{"id":28491,"date":"2013-01-14T06:53:54","date_gmt":"2013-01-14T06:53:54","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=28491"},"modified":"2018-04-23T20:48:01","modified_gmt":"2018-04-23T18:48:01","slug":"parar-el-tiempo-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/parar-el-tiempo-inigo-garcia-odiaga\/","title":{"rendered":"Parar el tiempo | \u00cd\u00f1igo Garc\u00eda Odiaga\tParar o tempo | \u00cd\u00f1igo Garc\u00eda Odiaga\tStopping the time | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Coliseo romano, intervenci\u00f3n de Rafael Stern, 1807<\/span><\/figcaption><\/figure><\/p>\n

Muchos son los edificios a lo largo de la historia cuyo destino final ha sido el de servir de cantera. Canteras de bloques ya tallados que se empleaban en la construcci\u00f3n de obras cercanas, en una suerte de canibalismo arquitect\u00f3nico. Si se prefiere, por suavizar el t\u00e9rmino y volverlo m\u00e1s contempor\u00e1neo, este proceso se podr\u00eda calificar de reciclaje, ya que al fin y al cabo, este proceso podr\u00eda identificarse como la obtenci\u00f3n de una materia prima a partir de la reutilizaci\u00f3n de desechos con el fin de ahorrar energ\u00eda. Por contra este mecanismo de reutilizaci\u00f3n se parece m\u00e1s a una transfusi\u00f3n, ya que no se puede ignorar que el alma, la esencia o la memoria del edificio original contaminar\u00e1 la futura obra, provocando un efecto similar al de los hermanos de sangre.<\/p>\n

Este es el caso del Coliseo romano, cuyo lado sur se convirti\u00f3 en lugar de extracci\u00f3n de sillares durante la Edad Media de forma que sus piedras a\u00fan palpitan en otros edificios de la capital italiana, alargando su tiempo, multiplicando la vida \u00fatil de esa materia p\u00e9trea.<\/p>\n

Esta sangr\u00eda material supuso graves da\u00f1os en el edificio por lo que se tuvieron que cometer obras de contenci\u00f3n estructural en los dos extremos del anillo exterior. En 1828 Giuseppe Valadier se encarga de consolidar uno de los extremos de ese anillo exterior para poder as\u00ed contener los empujes laterales. Su intervenci\u00f3n reconstruye en ladrillo y m\u00e1rmol blanco, para las zonas labradas, algunas arcadas en cada planta, a las que a\u00f1ade despu\u00e9s un contrafuerte en cada nivel.<\/p>\n

Se separa del original por el uso de un material diferente, pero reproduce su trama compositiva, a la que a\u00f1ade dramatismo con algunos arcos o piezas incompletas, que dejan ver los enjarjes del ladrillo, simulando que all\u00ed, al otro lado de esas juntas, faltan arcos similares hasta completar todo el exterior. Podr\u00eda afirmarse que es una intervenci\u00f3n arquitect\u00f3nica que no resuelve \u00fanicamente el problema estructural sino que pretende a\u00f1adir contenido dando una explicaci\u00f3n sobre el monumento en su totalidad.<\/p>\n

En cambio, a\u00f1os antes, concretamente en 1807, el arquitecto Rafael Stern, se hab\u00eda enfrentado con el otro extremo de esa pared inestable del Coliseo que amenazaba ruina. Su misi\u00f3n, exactamente la misma que en el caso anterior, era la de contener el deterioro dando estabilidad estructural a ese borde de la ruina. Un gran contrafuerte, tambi\u00e9n de ladrillo, que recorre la totalidad de la vertical en un \u00fanico gesto fue la soluci\u00f3n empleada. Un \u00fanico resalte, a la altura de la cornisa del segundo nivel, expresa el cambio de espesor de la pieza para adecuarse al grosor de los muros existentes. Es un gesto rotundo, seco, mudo, que a primera vista, \u00fanicamente es entendible desde la funcionalidad estrictamente estructural. Podr\u00eda incluso calificarse como una actitud ingenieril.<\/p>\n

Pero una segunda mirada m\u00e1s detenida, otorga otro tipo de informaci\u00f3n. Los dos arcos contiguos, muy deteriorados y con bloques muy movidos, incluso a punto de desmoronarse, han sido tapiados. Mediante esta acci\u00f3n su estado de deterioro ha sido congelado, no han sido recolocados en una situaci\u00f3n te\u00f3rica propia de la disciplina. Stern detiene el tiempo del coliseo justo en ese momento, conservando el dramatismo de la situaci\u00f3n del edificio.<\/p>\n

Son precisamente esta congelaci\u00f3n y el radical minimalismo lingu\u00edstico de su propuesta, las armas que su proyecto utiliza para distanciarse del tiempo del edificio romano, cedi\u00e9ndole todo el protagonismo que le corresponde.<\/p>\n

Se hace dif\u00edcil pensar que la obra de Stern, con veinte a\u00f1os m\u00e1s que la construida por Valadier, pueda resultar m\u00e1s contempor\u00e1nea, pero es que parar el tiempo es un logro que muy pocos proyectos alcanzan, entrando con ello en un lenguaje atemporal que los mantiene vivos a lo largo del tiempo.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. enero 2013<\/p>\n

\"\"<\/a>
Roman coliseum, Rafael Stern’s intervention, 1807<\/span><\/figcaption><\/figure><\/p>\n

Many are the buildings along the history which final destination has been of using as quarry. Quarries of already carved blocks that were used in the construction of nearby works, in a luck of architectural cannibalism. If it is preferred, for smoothing the term and to turn it more contemporary, this process might be qualified of recycling, since in the end, this process might be identified as the obtaining of a raw material from the reutilization of waste in order to save energy. For against this mechanism of reutilization it looks like more a transfusion, since it is not possible to ignore that the soul, the essence or the memory of the original building will contaminate the future work, provoking an effect similar to that of the brothers of blood.<\/p>\n

This one is the case of the Roman Coliseum, which south side turned instead of extraction of ashlars during the Middle Ages so that his stones still flutter in other buildings of the Italian capital, lengthening his time, multiplying the useful life of this stony matter.<\/p>\n

This material bleeding supposed serious hurts in the building by what there had to be committed works of structural containment in both ends of the exterior ring. In 1828 Giuseppe Valadier takes charge consolidating one of the ends of this exterior ring for power like that containing the side thrusts. His intervention reconstructs in brick and white marble, for the carved zones, some arcades in every plant, to which it adds later a buttress in every level.<\/p>\n

It separates of the original one for the use of a different material, but it reproduces his plot compositiva, to that it adds dramatic quality with some arches or incomplete pieces, which stop to see the enjarjes of the brick, simulating that there, to another side of these meetings, are absent similar arches up to completing the whole exterior. One might affirm that it is an architectural intervention that does not solve only the structural problem but it tries to add content giving an explanation on the monument in its entirety.<\/p>\n

On the other hand, years before, concretely in 1807, the architect Rafael Stern, had faced another end of this unstable wall of the Coliseum that was threatening ruin. His mission, exactly the same one that in the previous case, was her of containing the deterioration giving structural stability to this edge of the ruin. A great buttress, also of brick, which crosses the totality of the vertical one in the only gesture was the used solution. The only projection, at a height of the cornice of the second level, it expresses the change of thickness of the piece to be adapted to the thickness of the existing walls. It is a round, dry, mute gesture, which to the first sight, only is understandable from the strictly structural functionality. It might be qualified even as an attitude ingenieril.<\/p>\n

But the more arrested second look, it grants another type of information. Both contiguous, very damaged arches and with very blurred blocks, even on the verge of crumbling, they have been blocked. By means of this action his condition of deterioration has been frozen, they have not been re-placed in a theoretical own situation of the discipline. Stern detains the time of the just coliseum in this moment, preserving the dramatic quality of the situation of the building.<\/p>\n

They are precisely this freezing and the radical minimalismo lingu\u00edstico of his offer, the weapon that his project uses to drift apart from the time of the Roman building, yielding all the protagonism that corresponds to him.<\/p>\n

It becomes difficult to think that Stern’s work, with twenty years more than the constructed one for Valadier, could turn out to be more contemporary, but it is that to stop the time is an achievement that very few projects reach, entering with it in a language atemporal that keeps them alive throughout the time.<\/p>\n

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

san sebasti\u00e1n. january 2013<\/p>\n

\"\"<\/a>
Coliseo romano, intervenci\u00f3n de Rafael Stern, 1807<\/span><\/figcaption><\/figure><\/p>\n

Moitos son os edificios ao longo da historia cuio destino final foi o de servir de canteira. Canteiras de bloques xa tallados que se empregaban na construci\u00f3n de obras pr\u00f3ximas, nunha sorte de canibalismo arquitect\u00f3nico. Si pref\u00edrese, por suavizar o termo e volvelo m\u00e1is contempor\u00e1neo, este proceso poder\u00edase cualificar de reciclaxe, xa que \u00e1 fin e ao cabo, este proceso poder\u00eda identificarse como a obtenci\u00f3n dunha materia prima a partir da reutilizaci\u00f3n de desfeitos co fin de aforrar enerx\u00eda. Por contra este mecanismo de reutilizaci\u00f3n par\u00e9cese m\u00e1is a unha transfusi\u00f3n, xa que non se pode ignorar que a alma, a esencia ou a memoria do edificio orixinal contaminar\u00e1 a futura obra, provocando un efecto similar ao dos irm\u00e1ns de sangue.<\/p>\n

Este \u00e9 o caso do Coliseo romano, cuio lado sur converter en lugar de extracci\u00f3n de sillares durante a Idade Media de forma que as s\u00faas pedras a\u00ednda palpitan noutros edificios da capital italiana, alargando o seu tempo, multiplicando a vida \u00fatil desa materia p\u00e9trea.<\/p>\n

Esta sangr\u00eda material supuxo graves danos no edificio polo que se tiveron que cometer obras de contenci\u00f3n estructural nos dous extremos do anel exterior. En 1828 Giuseppe Valadier enc\u00e1rgase de consolidar un dos extremos dese anel exterior para poder as\u00ed conter emp\u00faxelos laterales. A s\u00faa intervenci\u00f3n reconstr\u00fae en ladrillo e m\u00e1rmore branco, para as zonas labradas, algunhas arcadas en cada planta, \u00e1s que engade despois un contrafuerte en cada nivel.<\/p>\n

Sep\u00e1rase do orixinal polo uso dun material diferente, pero reproduce a s\u00faa trama compositiva, \u00e1 que engade dramatismo con alg\u00fans arcos ou pezas incompletas, que deixan ver os enxarxes do ladrillo, simulando que al\u00ed, al\u00e9n desas xuntas, faltan arcos similares ata completar todo o exterior. Poder\u00eda afirmarse que \u00e9 unha intervenci\u00f3n arquitect\u00f3nica que non resolve \u00fanicamente o problema estructural sen\u00f3n que pretende engadir contido dando unha explicaci\u00f3n sobre o monumento na s\u00faa totalidade.<\/p>\n

En cambio, anos antes, concretamente en 1807, o arquitecto Rafael Stern, enfrontouse co outro extremo desa parede inestable do Coliseo que ameazaba ru\u00edna. A s\u00faa misi\u00f3n, exactamente a mesma que no caso anterior, era a de conter o deterioro dando estabilidade estructural a ese bordo da ru\u00edna. Un gran contraforte, tam\u00e9n de ladrillo, que percorre a totalidade da vertical nun \u00fanico xesto foi a soluci\u00f3n empregada. Un \u00fanico resalte, \u00e1 altura da cornisa do segundo nivel, expresa o cambio de espesor da peza para adecuarse ao grosor dos muros existentes. \u00c9 un xesto rotundo, seco, mudo, que a primeira vista, \u00fanicamente \u00e9 entendible desde a funcionalidad estrictamente estructural. Poder\u00eda ata cualificarse como unha actitude inxenieril.<\/p>\n

Pero unha segunda mirada m\u00e1is detida, outorga outro tipo de informaci\u00f3n. Os dous arcos contiguos, moi deteriorados e con bloques moi movidos, ata a piques de desmoronarse, foron tapiados. Mediante esta acci\u00f3n o seu estado de deterioro foi conxelado, non foron recolocados nunha situaci\u00f3n te\u00f3rica propia da disciplina. Stern det\u00e9n o tempo do coliseo xusto nese momento, conservando o dramatismo da situaci\u00f3n do edificio.<\/p>\n

Son precisamente esta conxelaci\u00f3n e o radical minimalismo lingu\u00edstico da s\u00faa proposta, as armas que o seu proxecto utiliza para distanciarse do tempo do edificio romano, ced\u00e9ndolle todo o protagonismo que lle corresponde.<\/p>\n

Faise dif\u00edcil pensar que a obra de Stern, con vinte anos m\u00e1is que a constru\u00edda por Valadier, poida resultar m\u00e1is contempor\u00e1nea, pero \u00e9 que parar o tempo \u00e9 un logro que moi poucos proxectos alcanzan, entrando con iso nunha linguaxe atemporal que os mant\u00e9n vivos ao longo do tempo.<\/p>\n

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

san sebasti\u00e1n. xaneiro 2013<\/p>\n

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

Muchos son los edificios a lo largo de la historia cuyo destino final ha sido el de servir de cantera. Canteras de bloques ya tallados que se empleaban en la construcci\u00f3n de obras cercanas, en una suerte de canibalismo arquitect\u00f3nico. Si se prefiere, por suavizar el t\u00e9rmino y volverlo m\u00e1s contempor\u00e1neo, este proceso se podr\u00eda […]<\/p>\n","protected":false},"author":31,"featured_media":28492,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6745,4285,1021,6746,1865,3686,1168],"class_list":["post-28491","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-giuseppe-valadier","tag-inigo-garcia-odiaga","tag-pensamiento","tag-rafael-stern","tag-reflexion","tag-rehabilitar","tag-restauracion"],"yoast_head":"\nParar el tiempo | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Parar el tiempo\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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