{"id":29298,"date":"2013-02-18T09:09:44","date_gmt":"2013-02-18T09:09:44","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=29298"},"modified":"2021-07-17T09:30:50","modified_gmt":"2021-07-17T07:30:50","slug":"tumba-y-monumento-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tumba-y-monumento-inigo-garcia-odiaga\/","title":{"rendered":"Tumba y Monumento | \u00cd\u00f1igo Garc\u00eda OdiagaTumba e Monumento | \u00cd\u00f1igo Garc\u00eda OdiagaTomb and Monument | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Monumento recuerdo a los ca\u00eddos en la guerra de Vietnam, Maya Lin<\/span><\/figcaption><\/figure><\/p>\n

Dec\u00eda Adolf Loos, que s\u00f3lo hay una peque\u00f1a parte de la arquitectura que pertenezca al arte: el monumento funerario y el monumento conmemorativo. Todo lo dem\u00e1s, aquello que sirve para un fin, aquello que tiene una funcionalidad concreta, habitar, trabajar, ocio, deb\u00eda quedar excluido del reino del arte. La visi\u00f3n funcionalista de Loos se encuentra aqu\u00ed con un l\u00edmite en la disciplina de la arquitectura. Para atender a las funciones del alma, de la memoria o de la identidad; aquellas funciones a las que se dedican los monumentos, hay que recurrir al arte.<\/p>\n

Pero la afirmaci\u00f3n de Loos no es excluyente, sino inclusiva, aquellos proyectos que obligan a recordar, no son s\u00f3lo arte, sino arquitectura que se eleva a la condici\u00f3n de arte.<\/p>\n

Escala, construcci\u00f3n, materialidad, alineaciones son claves arquitect\u00f3nicas que Philip Johnson no olvid\u00f3 al proyectar el John Fitzgerald Kennedy Memorial en Dallas. Recordar, ensalzar y homenajear era la funci\u00f3n, arquitect\u00f3nicas las herramientas.<\/p>\n

El presidente Johnson, que sucedi\u00f3 a Kennedy, calific\u00f3 el monumento durante la inauguraci\u00f3n como: \u00abUn lugar de refugio tranquilo, un lugar cerrado dedicado al pensamiento y la contemplaci\u00f3n, separado de la ciudad que lo rodea, pero cerca del cielo y de la tierra\u00bb.<\/em> Y es precisamente esta definici\u00f3n la que mejor describe esta pieza, un monumento sencillo, un cenotafio, una tumba abierta.<\/p>\n

Un edificio de la ciudad cuyo espacio no pertenece a \u00e9sta, ya que construye un espacio in vitro que se aleja del bullicio metropolitano. El monumento es una habitaci\u00f3n cuadrada, sin techo, de 9 metros de alto, por 9 metros de ancho por 9 metros de largo, con dos aberturas estrechas que dan al norte y al sur. Las paredes constan de 72 columnas de hormig\u00f3n blanco prefabricado, la mayor\u00eda de los cuales parecen flotar sin apoyo visible sobre la tierra. Ocho columnas se extienden hasta el suelo, actuando como apoyos, que parecen sostener el monumento. Cada columna termina en una luminaria. Por la noche, la iluminaci\u00f3n crea la ilusi\u00f3n de que la estructura se apoya sobre luz.<\/p>\n

Los visitantes entran a la habitaci\u00f3n despu\u00e9s de un corto paseo hasta la peque\u00f1a colina en la que se sit\u00faa y dentro en el centro de la estancia, una piedra de granito negro les recibe. Demasiado grande para ser un cartel, demasiado peque\u00f1a para ser una tumba, demasiado baja para ser una mesa y demasiado alta para ser un banco. Simplemente es un monolito que recuerda con letras doradas a la persona de John Fitzgerald Kennedy y que invita a los visitantes a rememorar su persona y su legado.<\/p>\n

Un nombre grabado en piedra que recuerda otro monumento americano, el que contiene 58195, recordando a los ca\u00eddos en la guerra de Vietnam. La pieza fue construida por la arquitecta Maya Lin que result\u00f3 vencedora del concurso internacional. La parte m\u00e1s importante del monumento es un largo muro quebrado acompa\u00f1ado de una leve rampa que se hunde hacia el centro. Una pieza de arquitectura abstracta, cercana al land art, pero que toma el pulso individual al incluir un espacio para cada uno de los nombres. Un gesto rotundo, seco y contundente que parece abrir una herida, un duro corte en los jardines de la capital, una herida semejante a la que la guerra abri\u00f3 en el pa\u00eds.<\/p>\n

En un pa\u00eds con una historia tan corta como EEUU, el centro de la ciudad de Washington, lugar de las grandes representaciones del pa\u00eds, act\u00faa como ba\u00fal, como disco duro de la memoria colectiva. Monumentos llenos de mensajes e historia, se agolpan en este espacio para intentar adem\u00e1s de honrar la memoria de muchos, ser un motor para reforzar la identidad y el orgullo de pertenencia. Son arquitecturas que intentan construir un relato colectivo. Funci\u00f3n, si se quiere alejadas de la vida cotidiana, pero no por ello menos importante. S\u00f3lo hay que pensar en la importancia que tiene recordar.<\/p>\n

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

\"\"<\/a>
Vietnams Veterans Memorial, Maya Lin<\/span><\/figcaption><\/figure><\/p>\n

Was saying Adolf Loos, that only there is a small part of the architecture that belongs to the art: the funeral monument and the commemorative monument. Everything else, that one that serves for an end, that one that has a concrete functionality, to live, to work, leisure, had to remain excluded from the kingdom of the art. The vision funcionalista of Loos meets here a limit in the discipline of the architecture. To attend to the functions of the soul, of the memory or of the identity; those functions to which they dedicate the monuments, it is necessary to resort to the art.<\/p>\n

But Loos’s affirmation is not exclusive, but inclusive, those projects that they force to remember, they are not only an art, but architecture that rises up to the condition of art.<\/p>\n

Scale, construction, materiality, alignments are architectural keys that Philip Johnson did not forget when projected the John Fitzgerald Kennedy Memorial in Dallas. To remember, ensalzar and to honour was the function, architectural the tools.<\/p>\n

The president Johnson, who happened to Kennedy, qualified the monument during the inauguration as: \u00abA place of calm refuge, a closed place dedicated to the thought and the contemplation, separated from the city that surrounds it, but near the sky and the land\u00bb<\/em>. And it is precisely this definition better the one that describes this piece, a simple monument, a cenotaph, an opened tomb.<\/p>\n

A building of the city which space does not belong to this one, since he constructs an in vitro space that moves away from the metropolitan hustle. The monument is a square room, without ceiling, of 9 meters of high place, for 9 meters of width per 9 meters of length, with two narrow openings that give in the northern part and in the southern part. The walls consist of 72 columns of white prefabricated concrete, the majority of which seem to float without visible support on the land. Eight columns spread up to the soil, acting as supports, which seem to support the monument. Every column ends in a light. In the night, the lighting creates the illusion of which the structure rests on light.<\/p>\n

The visitors enter to the room after a short walk up to the small hill the one that places and inside in the center of the stay, a stone of black granite receives them. Too big to be a cartel, too small to be a tomb, too low to be a table and too high to be a bank. Simply it is a monolith that he remembers with letters gilded to the person of John Fitzgerald Kennedy and that invites the visitors to recall his person and his legacy.<\/p>\n

A name recorded in stone that remembers another American monument, which contains 58195, remembering the fallen in the war of Vietnam. The piece Lin was constructed by the Mayan arquitecta that she turned out to be a winner of the international contest. The most important part of the monument is a long broken wall accompanied of a slight ramp that sinks towards the center. A piece of abstract architecture, near to the land art, but that takes the individual pulse on having included a space for each of the names. A round, dry and forceful gesture that seems to open a wound, a hard court in the gardens of the capital, a wound similar whom the war opened in the country.<\/p>\n

En un pa\u00eds con una historia tan corta como EEUU, el centro de la ciudad de Washington, lugar de las grandes representaciones del pa\u00eds, act\u00faa como ba\u00fal, como disco duro de la memoria colectiva. Monumentos llenos de mensajes e historia, se agolpan en este espacio para intentar adem\u00e1s de honrar la memoria de muchos, ser un motor para reforzar la identidad y el orgullo de pertenencia. Son arquitecturas que intentan construir un relato colectivo. Funci\u00f3n, si se quiere alejadas de la vida cotidiana, pero no por ello menos importante. S\u00f3lo hay que pensar en la importancia que tiene recordar.<\/p>\n

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

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

\"\"<\/a>
Monumento recordo os ca\u00eddos na guerra de Vietnam, Maya Lin
<\/span><\/figcaption><\/figure><\/p>\n

Dic\u00eda Adolf Loos, que s\u00f3 hai unha pequena parte da arquitectura que pertenza \u00e1 arte: o monumento funerario e o monumento conmemorativo. Todo o demais, aquilo que serve para un fin, aquilo que ten unha funcionalidad concreta, habitar, traballar, lecer, deb\u00eda quedar exclu\u00eddo do reino da arte. A visi\u00f3n funcionalista de Loos at\u00f3pase aqu\u00ed cun l\u00edmite na disciplina da arquitectura. Para atender \u00e1s funci\u00f3ns do alma, da memoria ou da identidade; aquelas funci\u00f3ns \u00e1s que se dedican os monumentos, hai que recorrer \u00e1 arte.<\/p>\n

Pero a afirmaci\u00f3n de Loos non \u00e9 exclu\u00ednte, sen\u00f3n inclusiva, aqueles proxectos que obrigan a recordar, non son s\u00f3 arte, sen\u00f3n arquitectura que se eleva \u00e1 condici\u00f3n de arte.<\/p>\n

Escala, construci\u00f3n, materialidad, alineaciones son claves arquitect\u00f3nicas que Philip Johnson non esqueceu ao proxectar o John Fitzgerald Kennedy Memorial en Dallas. Recordar, enxalzar e homenajear era a funci\u00f3n, arquitect\u00f3nicas as ferramentas.<\/p>\n

O presidente Johnson, que sucedeu a Kennedy, cualificou o monumento durante a inauguraci\u00f3n como: \u00abUn lugar de refuxio tranquilo, un lugar pechado dedicado ao pensamento e a contemplaci\u00f3n, separado da cidade que o rodea, pero preto do ceo e da terra\u00bb<\/em>. E \u00e9 precisamente esta definici\u00f3n a que mellor describe esta peza, un monumento sinxelo, un cenotafio, unha tumba aberta.<\/p>\n

Un edificio da cidade cuxo espazo non pertence a esta, xa que constr\u00fae un espazo in vitro que se afasta do bullicio metropolitano. O monumento \u00e9 unha habitaci\u00f3n cadrada, sen teito, de 9 metros de alto, por 9 metros de ancho por 9 metros de longo, con dous aberturas estreitas que dan ao norte e ao sur. As paredes constan de 72 columnas de hormig\u00f3n branco prefabricado, a maior\u00eda dos cales parecen flotar sen apoio visible sobre a terra. Oito columnas est\u00e9ndense ata o chan, actuando como apoios, que parecen soster o monumento. Cada columna termina nunha luminaria. Pola noite, a iluminaci\u00f3n crea a ilusi\u00f3n de que a estrutura ap\u00f3iase sobre luz.<\/p>\n

Os visitantes entran \u00e1 habitaci\u00f3n logo dun curto paseo ata o pequeno outeiro na que se sit\u00faa e dentro no centro da estancia, unha pedra de granito negro rec\u00edbelles. Demasiado grande para ser un cartel, demasiado pequena para ser unha tumba, demasiado baixa para ser unha mesa e demasiado alta para ser un banco. Simplemente \u00e9 un monolito que recorda con letras douradas \u00e1 persoa de John Fitzgerald Kennedy e que invita aos visitantes a rememorar a s\u00faa persoa e o seu legado.<\/p>\n

Un nome gravado en pedra que recorda outro monumento americano, o que cont\u00e9n 58195, recordando aos ca\u00eddos na guerra de Vietnam. A peza foi constru\u00edda pola arquitecta Maya Lin que resultou vencedora do concurso internacional. A parte m\u00e1is importante do monumento \u00e9 un longo muro crebado acompa\u00f1ado dunha leve rampa que se afunde cara ao centro. Unha peza de arquitectura abstracta, pr\u00f3xima ao land art, pero que toma o pulso individual ao inclu\u00edr un espazo para cada un dos nomes. Un xesto rotundo, seco e contundente que parece abrir unha ferida, un duro corte nos xard\u00edns da capital, unha ferida semellante \u00e1 que a guerra abriu no pa\u00eds.<\/p>\n

Nun pa\u00eds cunha historia tan curta como EEUU, o centro da cidade de Washington, lugar das grandes representaci\u00f3ns do pa\u00eds, act\u00faa como ba\u00fal, como disco duro da memoria colectiva. Monumentos cheos de mensaxes e historia, ap\u00ed\u00f1anse neste espazo para intentar ademais de honrar a memoria de moitos, ser un motor para reforzar a identidade e o orgullo de pertenencia. Son arquitecturas que intentan constru\u00edr un relato colectivo. Funci\u00f3n, si qu\u00e9rese afastadas da vida coti\u00e1, pero non por iso menos importante. S\u00f3 hai que pensar na importancia que ten recordar.<\/p>\n

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

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

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

Dec\u00eda Adolf Loos, que s\u00f3lo hay una peque\u00f1a parte de la arquitectura que pertenezca al arte: el monumento funerario y el monumento conmemorativo. Todo lo dem\u00e1s, aquello que sirve para un fin, aquello que tiene una funcionalidad concreta, habitar, trabajar, ocio, deb\u00eda quedar excluido del reino del arte. La visi\u00f3n funcionalista de Loos se encuentra […]<\/p>\n","protected":false},"author":31,"featured_media":29300,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[4500,149,6474,460,3451,4285,6987,6989,2081,3109,6988],"class_list":["post-29298","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-adolf-loos","tag-arquitectura-religiosa","tag-articulo","tag-eeuu","tag-funcionalismo","tag-inigo-garcia-odiaga","tag-john-fitzgerald-kennedy","tag-maya-lin","tag-monumento","tag-philip-johnson","tag-tumba"],"yoast_head":"\nTumba y Monumento | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Tumba y Monumento\" \/>\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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