{"id":27912,"date":"2012-11-04T07:00:56","date_gmt":"2012-11-04T07:00:56","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=27912"},"modified":"2020-02-10T19:24:49","modified_gmt":"2020-02-10T18:24:49","slug":"el-arquitecto-artesano-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-arquitecto-artesano-inigo-garcia-odiaga\/","title":{"rendered":"El arquitecto artesano | \u00cd\u00f1igo Garc\u00eda OdiagaO arquitecto artesano | \u00cd\u00f1igo Garc\u00eda OdiagaThe craftsman architect | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Studio Mumbai. Palmyra House<\/span><\/figcaption><\/figure><\/p>\n

Studio Mumbai, Praxis<\/em> es el t\u00edtulo de una exposici\u00f3n organizada por la British School en Roma como parte de las investigaciones que \u00e9sta desarrolla en el contexto de los paisajes urbanos. Tras la gran visibilidad que Studio Mumbai alcanz\u00f3 en todo el mundo, cuando Kazuyo Sejima les seleccion\u00f3, para el que es tal vez, el evento arquitect\u00f3nico m\u00e1s importante del mundo, la Bienal de Arquitectura de Venecia, en su edici\u00f3n de 2010, centros internacionales de estudio e investigaci\u00f3n en arquitectura miraron con lupa el trabajo de este estudio indio. Asentados en la ciudad india de Bombay, el estudio est\u00e1 dirigido por Bijoy Jain, un arquitecto formado en los Estados Unidos y cuyo mayor logro ha consistido en saber adaptar la forma de hacer occidental a un panorama tan singular como el indio. De este modo el estudio presenta un modelo operativo en el que los arquitectos son al mismo tiempo artesanos. No s\u00f3lo dise\u00f1an la arquitectura sino que tambi\u00e9n la construyen ellos mismos, en un enfoque que es al mismo tiempo un nueva visi\u00f3n de la profesi\u00f3n y tambi\u00e9n una reinterpretaci\u00f3n del maestro constructor de la edad medieval.<\/p>\n

Algo que en el contexto del primer mundo es impensable, no s\u00f3lo por la actitud de los profesionales, sino tambi\u00e9n por el intrincado mundo legislativo que regula la construcci\u00f3n.<\/p>\n

Esta forma de actuar, de entender la profesi\u00f3n de la arquitectura ha conllevado tambi\u00e9n un cambio de modelo en el procedimiento te\u00f3rico, intelectual de enfrentarse al proyecto. El m\u00e1s palpable es la apariencia de la propia oficina en la que desarrolla la actividad el estudio. Junto a las mesas de dibujo, ordenadores y planos, se amontonan cientos de maquetas, maquetas de edificios a peque\u00f1a escala, pero tambi\u00e9n prototipos enormes de tramos de fachada, de tipos de cubierta, de piedras o de carpinter\u00edas que resuelven a escala real encuentros o detalles concretos de sus edificios.\u00a0El patio del estudio, una gran explanada rodeada de pabellones, es m\u00e1s un taller que un espacio de dibujo, concentraci\u00f3n y meditaci\u00f3n. Pintores, carpinteros o alba\u00f1iles deambulan mezclados con arquitectos intentando estudiar y proponer la mejor soluci\u00f3n posible en un di\u00e1logo constante entre lo deseable y lo posible.<\/p>\n

\"\"<\/a>
Studio Mumbai. Cooper house<\/span><\/figcaption><\/figure>\n

Los dise\u00f1os del Studio Mumbai, deben su esencial intelectual a su fundador, Bijoy Jain, que model\u00f3 sus conocimientos te\u00f3ricos en el taller de Richard Meier como responsable del dise\u00f1o del Centro Getty de Los Angeles, pero deben su concreci\u00f3n real a las realidades de la cultura constructiva india.<\/p>\n

Es de ese lugar, de ese encuentro entre dos mundos tan diferentes de donde nace la esencia de las obras de este estudio. Las artes de construcci\u00f3n tradicionales, las ense\u00f1anzas de la artesan\u00eda local y los conocimientos medioambientales aprendidos durante siglos para vivir en esas latitudes del planeta, se ponen al servicio de la arquitectura contempor\u00e1nea, para realizar ese mestizaje que tan buenos resultados est\u00e1 dando.<\/div>\n

El suelo, el paisaje, los materiales tradicionales, como la madera o el ladrillo, junto con las limitaciones propias de cada lugar, como la falta de agua en unos casos o el excesivo calor en otros, son siempre el punto de entrada a los proyectos que la oficina ha ido realizando estos a\u00f1os.<\/p>\n

\"\"<\/a>
Sudio Mumbai. Pali Hill<\/span><\/figcaption><\/figure>\n

Las t\u00e9cnicas tradicionales de celos\u00edas en madera y del trabajo seriado de \u00e9sta, definen por ejemplo la Casa Belavali, construida en el a\u00f1o 2008, donde tanto sus estructuras de carga como sus revestimientos exteriores, se resuelven con maderas del lugar. Todo el protagonismo de la construcci\u00f3n se doblega a este material que resuelve techos, pilares, puertas, ventanas y las lamas verticales que separan el interior del exterior, pero esta tecnolog\u00eda local est\u00e1 puesta al servicio de una arquitectura que podr\u00edamos calificar de moderna, ya que su forma y el entendimiento que esta hace del lugar y del entorno as\u00ed lo denotan.<\/p>\n

Por contra, edificios como la casa Palmyra del a\u00f1o 2007, hablan de una arquitectura culta en la que las relaciones con grandes obras de la modernidad son casi directas. Los dos bloques rectangulares que forman la Casa Palmyra, est\u00e1n totalmente cubiertos de brise-soleils para proteger el espacio interior del fuerte sol mientras garantizan una correcta ventilaci\u00f3n. La arquitectura de Rudolph Schindler, el maestro americano, que Bijoy Jain pudo visitar en Los \u00c1ngeles o la casa-estudio que tantas veces estudio de Charles & Ray Eames, son referencias que pueden visualizarse en la ligereza, la sencillez formal o la apertura constante del espacio, entendido m\u00e1s como un contenedor en el que habitar y no como una sucesi\u00f3n de habitaciones de uso espec\u00edfico.<\/p>\n

La Cooper House o la Casa Pali Hill, \u00e9sta \u00faltima en un contexto urbano, hablan ya de una arquitectura que busca una nueva modernidad, la modernidad actual de un pa\u00eds en crecimiento como es la India y que busca generar un continuo entre su pasado tradicional y vernacular y su futuro de modernidad. Habr\u00e1 que esperar para ver c\u00f3mo se adapta el trabajo de un estudio de estas caracter\u00edsticas a la producci\u00f3n de grandes edificios, como hospitales o estaciones y si ser\u00e1 capaz de enfrentarse al urbanismo y a la ciudad con un discurso tambi\u00e9n novedoso que sea capaz de dar soluciones a ciudades como las indias, ciudades orientales que quieren convertirse en occidentales y que precisamente ahora navegan como el Studio Mumbai entre dos mundos.<\/p>\n

\"\"<\/a>
Studio Mumbai. Taller oficina propia<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga. arquitecto
\nsan sebasti\u00e1n. noviembre 2012

\"\"<\/a>
Studio Mumbai. Palmyra House<\/span><\/figcaption><\/figure><\/p>\n

Studio Mumbai, Praxis<\/em> is the title of an exhibition organised by the British School in Rome like part of the investigations that this develops in the context of the urban landscapes. After the big visibility that Studio Mumbai reached all over the world, when Kazuyo Sejima selected them, for which is maybe, the architectural event more important of the world, the Biennial of Architecture of Venecia, in his edition of 2010, international centres of study and investigation in architecture looked with lupa the work of this Indian study. Settled in the Indian city of Bombay, the study is directed by Bijoy Jain, an architect formed in the United States and whose greater attainment has consisted in knowing adapt the form to do western to a so singular panorama like the Indian. In this way the study presents an operative model in which the architects are at the same time handmade. No only they design the architecture but also they build it they same, in an approach that is at the same time a new vision of the profession and also a reinterpretaci\u00f3n of the master constructor of the mediaeval age.<\/p>\n

Something that in the context of the first world is unthinkable, not only for the attitude of the professionals, but also for the dense legislative world that regulates the construction.<\/p>\n

It forms this one of acting, of understanding the profession of the architecture has carried also a model change in the theoretical, intellectual procedure of facing the project. The most palpable is the appearance of the own office in which the activity develops the study. Close to the drawing boards, computers and planes, there are accumulated hundreds of models, building models on a small scale, but also enormous prototypes of sections of front, of types of cover, of stones or of carpentries that solve to royal scale meetings or concrete details of his buildings. The court of the study, a great esplanade surrounded with pavilions, is more a workshop than a space of drawing, concentration and meditation. Painters, carpenters or bricklayers stroll mixed with architects trying to study and to propose the best possible solution in a constant dialog between the desirable thing and the possible thing.<\/p>\n

\"\"<\/a>
Studio Mumbai. Cooper house<\/span><\/figcaption><\/figure>\n

The designs of the Studio Mumbai, they owe his essential intellectual one to his founder, Bijoy Jain, who shaped his theoretical knowledge in Richard Meier’s workshop as person in charge of the design of the Center Getty of The Angels, but they owe his royal concretion to the realities of the constructive Indian culture.<\/p>\n

It is of this place, of this meeting between two worlds so different from where there is born the essence of the works of this study. The traditional arts of construction, the educations of the local crafts and the environmental knowledge learned for centuries to live in these latitudes of the planet, puts to the service of the contemporary architecture, to realize this miscegenation that is giving so good results.<\/div>\n

The soil, the landscape, the traditional materials, as the wood or the brick, together with the own limitations of every place, as the water lack in a few cases or the excessive heat in others, are always the point of entry to the projects that the office has realized these years.<\/p>\n

\"\"<\/a>
Sudio Mumbai. Pali Hill<\/span><\/figcaption><\/figure>\n

The traditional technologies of lattices in wood and of the work seriado of this one, define for example the House Belavali, constructed in the year 2008, where both his structures of load and his exterior coatings, they are solved by local wood. All the protagonism of the construction is bent to this material that solves ceilings, props, doors, windows and the vertical muds that separate the interior of the exterior, but this local technology is put to the service of an architecture that we might qualify of modern, since his form and the understanding that this one does of the place and of the environment like that they denote it.<\/p>\n

For against, buildings like the house Palmyra of the year 2007, they speak about an educated architecture in which the relations with big works of the modernity are almost direct. Both rectangular blocks that form the House Palmyra, are totally covered of brise-soleils to protect the interior space of the strong Sun while they guarantee a correct ventilation. The architecture of Rudolph Schindler, the American teacher, which Bijoy Jain could visit in Los Angeles or the house – study that so often I study of Charles and Ray Eames, they are references that can be visualized in the lightness, the formal simplicity or the constant opening of the space, understood more as a container in which to live and not as a succession of rooms of specific use.<\/p>\n

The Cooper House or the House Pali Hill, the latter in an urban context, speaks already about an architecture that looks for a new modernity, the current modernity of a country in growth since it is the India and that seeks to generate the continuous one between his traditional past and vernacular and his future of modernity. It will be necessary to wait to see how one adapts the work of a study of these characteristics to the production of big buildings, as hospitals or stations and if it will be capable of facing the urbanism and the city a speech also new that is capable of giving solutions to cities like the indies, oriental cities that want to turn in western and that precisely now sail as the Studio Mumbai between two worlds.<\/p>\n

\"\"<\/a>
Studio Mumbai. Workshop own office
<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga. architect<\/p>\n

san sebasti\u00e1n. november 2012<\/p>\n

\"\"<\/a>
Studio Mumbai. Palmyra House<\/span><\/figcaption><\/figure><\/p>\n

Studio Mumbai, Praxis<\/em> \u00e9 o t\u00edtulo dunha exposici\u00f3n organizada pola British School en Roma como parte das investigaci\u00f3ns que esta desenvolve no contexto das paisaxes urbanas. Trala gran visibilidad que Studio Mumbai alcanzou en todo o mundo, cando Kazuyo Sejima seleccionoulles, para o que \u00e9 talvez, o evento arquitect\u00f3nico m\u00e1is importante do mundo, a Bienal de Arquitectura de Venecia, na s\u00faa edici\u00f3n de 2010, centros internacionais de estudo e investigaci\u00f3n en arquitectura miraron con lupa o traballo deste estudo indio. Asentados na cidade india de Bombay, o estudo est\u00e1 dirixido por Bijoy Jain, un arquitecto formado nos Estados Unidos e cuxo maior logro consistiu en saber adaptar a forma de facer occidental a un panorama tan singular como o indio. Deste xeito o estudo presenta un modelo operativo no que os arquitectos son ao mesmo tempo artesanos. Non s\u00f3 dese\u00f1an a arquitectura sen\u00f3n que tam\u00e9n a constr\u00faen eles mesmos, nun enfoque que \u00e9 ao mesmo tempo un nova visi\u00f3n da profesi\u00f3n e tam\u00e9n unha reinterpretaci\u00f3n do mestre constructor da idade medieval.<\/p>\n

Algo que no contexto do primeiro mundo \u00e9 impensable, non s\u00f3 pola actitude dos profesionais, sen\u00f3n tam\u00e9n polo intrincado mundo legislativo que regula a construci\u00f3n.<\/p>\n

Esta forma de actuar, de entender a profesi\u00f3n da arquitectura levou consigo tam\u00e9n un cambio de modelo no procedemento te\u00f3rico, intelectual de enfrontarse ao proxecto. O m\u00e1is palpable \u00e9 a aparencia da propia oficina na que desenvolve a actividade o estudo. Xunto \u00e1s mesas de debuxo, ordenadores e planos, amont\u00f3anse centos de maquetas, maquetas de edificios a pequena escala, pero tam\u00e9n prototipos enormes de tramos de fachada, de tipos de cuberta, de pedras ou de carpintar\u00edas que resolven a escala real encontros ou detalles concretos dos seus edificios. O patio do estudo, unha grande explanada rodeada de pavill\u00f3ns, \u00e9 m\u00e1is un taller que un espazo de debuxo, concentraci\u00f3n e meditaci\u00f3n. Pintores, carpinteiros ou albaneis deambulan mesturados con arquitectos intentando estudar e propo\u00f1er a mellor soluci\u00f3n posible nun di\u00e1logo constante entre o desexable e o posible.<\/p>\n

\"\"<\/a>
Studio Mumbai. Cooper house<\/span><\/figcaption><\/figure>\n

Os dese\u00f1os do Studio Mumbai, deben o seu esencial intelectual ao seu fundador, Bijoy Jain, que modelou os seus co\u00f1ecementos te\u00f3ricos no taller de Richard Meier como responsable do dese\u00f1o do Centro Getty de Los Angeles, pero deben a s\u00faa concreci\u00f3n real \u00e1s realidades da cultura construtiva india.<\/p>\n

\u00c9 dese lugar, dese encontro entre dous mundos tan diferentes de onde nace a esencia das obras deste estudo. As artes de construci\u00f3n tradicionais, as ensinanzas da artesan\u00eda local e os co\u00f1ecementos ambientais aprendidos durante s\u00e9culos para vivir nesas latitudes do planeta, p\u00f3\u00f1ense ao servizo da arquitectura contempor\u00e1nea, para realizar esa mestizaxe que tan bos resultados est\u00e1 a dar.<\/div>\n

O chan, a paisaxe, os materiais tradicionais, como a madeira ou o ladrillo, xunto coas limitaci\u00f3ns propias de cada lugar, como a falta de auga nuns casos ou a excesiva calor noutros, son sempre o punto de entrada aos proxectos que a oficina foi realizando estes anos.<\/p>\n

\"\"<\/a>
Sudio Mumbai. Pali Hill<\/span><\/figcaption><\/figure>\n

As t\u00e9cnicas tradicionais de celos\u00edas en madeira e do traballo seriado desta, definen por exemplo a Casa Belavali, constru\u00edda no ano 2008, onde tanto as s\u00faas estruturas de carga como os seus revestimentos exteriores, se resolven con madeiras do lugar. Todo o protagonismo da construci\u00f3n se dobrega a este material que resolve teitos, piares, portas, vent\u00e1s e as lamas verticais que separan o interior do exterior, pero esta tecnolox\u00eda local est\u00e1 posta ao servizo dunha arquitectura que poderiamos cualificar de moderna, xa que a s\u00faa forma e o entendemento que esta fai do lugar e do \u00e1mbito as\u00ed o denotan.<\/p>\n

Pola contra, edificios como a casa Palmyra do ano 2007, falan dunha arquitectura culta na que as relaci\u00f3ns con grandes obras da modernidade son case directas. Os dous bloques rectangulares que forman a Casa Palmyra, est\u00e1n totalmente cubertos de brise-soleils para protexer o espazo interior do forte sol mentres garanten unha correcta ventilaci\u00f3n. A arquitectura de Rudolph Schindler, o mestre americano, que Bijoy Jain puido visitar en Los \u00c1ngeles ou a casa-estudo que tantas veces estudo de Charles & Ray Eames, son referencias que poden visualizarse na lixeireza, a sinxeleza formal ou a apertura constante do espazo, entendido m\u00e1is como un colector no que habitar e non como unha sucesi\u00f3n de cuartos de uso espec\u00edfico.<\/p>\n

A Cooper House ou a Casa Pali Hill, esta \u00faltima nun contexto urbano, falan xa dunha arquitectura que busca unha nova modernidade, a modernidade actual dun pa\u00eds en crecemento como \u00e9 a India e que busca xerar un continuo entre o seu pasado tradicional e vern\u00e1culo e o seu futuro de modernidade. Haber\u00e1 que esperar para ver como se adapta o traballo dun estudo destas caracter\u00edsticas \u00e1 produci\u00f3n de grandes edificios, como hospitais ou estaci\u00f3ns e se ser\u00e1 capaz de enfrontarse ao urbanismo e \u00e1 cidade cun discurso tam\u00e9n novidoso que sexa capaz de dar soluci\u00f3ns a cidades como as indias, cidades orientais que queren converterse en occidentais e que precisamente agora navegan como o Studio Mumbai entre dous mundos.<\/p>\n

\"\"<\/a>
Studio Mumbai. Taller oficina propia<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga. arquitecto<\/p>\n

san sebasti\u00e1n. novembro 2012<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Studio Mumbai, Praxis es el t\u00edtulo de una exposici\u00f3n organizada por la British School en Roma como parte de las investigaciones que \u00e9sta desarrolla en el contexto de los paisajes urbanos. Tras la gran visibilidad que Studio Mumbai alcanz\u00f3 en todo el mundo, cuando Kazuyo Sejima les seleccion\u00f3, para el que es tal vez, el […]<\/p>\n","protected":false},"author":31,"featured_media":41349,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6590,150,6757,1769,211,6589,3881,9091,4285,770,815,878,2793,1865,2433,6588],"class_list":["post-27912","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-hindu","tag-arquitectura-tradicional","tag-arquitectura-vernacula","tag-artesania","tag-bienal-de-venecia","tag-bijoy-jain","tag-bombay","tag-discipulo","tag-inigo-garcia-odiaga","tag-kazuyo-sejima","tag-maestro","tag-modernidad","tag-raycharles-eames","tag-reflexion","tag-rudolf-michael-schindler","tag-studio-mumbai"],"yoast_head":"\nEl arquitecto artesano | \u00cd\u00f1igo Garc\u00eda 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