{"id":29937,"date":"2013-03-18T06:39:08","date_gmt":"2013-03-18T06:39:08","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=29937"},"modified":"2018-04-23T15:19:08","modified_gmt":"2018-04-23T13:19:08","slug":"tres-melodias-de-le-corbusier-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tres-melodias-de-le-corbusier-marcelo-gardinetti\/","title":{"rendered":"Tres melodias de Le Corbusier | Marcelo GardinettiTres melodias de Le Corbusier | Marcelo GardinettiThree melodies of Le Corbusier | Marcelo Gardinetti"},"content":{"rendered":"

\"\"<\/a>
Casa Curutchet, Le Corbusier \u00a0| Marcelo Gardinetti<\/span><\/figcaption><\/figure><\/p>\n

La ruptura de las concepciones academicistas producidas por la revoluci\u00f3n pict\u00f3rica de finales del siglo XIX y fundamentalmente la b\u00fasqueda de los m\u00e1s importantes int\u00e9rpretes del cubismo obsesionados por representar la profundidad en dos dimensiones, cre\u00f3 un nuevo universo de im\u00e1genes que dio origen a numerosas corrientes art\u00edsticas. En a\u00f1os subsiguientes, la idea pict\u00f3rica desarrollada por el Purismo entiende la representaci\u00f3n de objetos en virtud de sus propiedades f\u00edsicas, sus conflictos o sus acuerdos, <\/em>admitiendo la tensi\u00f3n entre planos como un hecho espacial de la superficie representada. Un escenario donde la luz y las tonalidades son determinantes para el logro del objetivo.<\/p>\n

La convenci\u00f3n purista aplicada en la pintura, es transportada a la arquitectura por Le Corbusier a partir de 1920. Desde entonces y hasta el final de su carrera, las referencias a su saber pict\u00f3rico se encuentran amarradas a su obra en disposiciones, gestos o razonamientos, cualquiera sea su programa o escala.<\/p>\n

Esa alianza impl\u00edcita confiere a la arquitectura de Le Corbusier un car\u00e1cter singular, acu\u00f1ado en una dial\u00e9ctica colmada de alegor\u00edas po\u00e9ticas. Esta fusi\u00f3n manifestada en lenguajes indivisos, encuentra en la composici\u00f3n de la elevaci\u00f3n de calle de la casa Curutchet un caso emblem\u00e1tico. Con tres de sus caras laterales comprimidas entre muros medianeros, el car\u00e1cter de la fachada resulta fundamental para expresar la idea de arquitectura gestada en el interior de la obra.<\/p>\n

En la Casa Curutchet, Le Corbusier resume el proceso compositivo de la vista frontal aplicando el enfoque pict\u00f3rico purista.<\/em><\/p>\n

El dise\u00f1o es un equilibrado juego de signos aplicados en el espacio. Separa en planos los componentes que hist\u00f3ricamente formaron parte de la unidad del muro: la estructura, el cerramiento y la protecci\u00f3n solar. De esta forma, cada entidad se convierte en una capa independiente, superpuestas en un ejercicio de transparencia fenomenal que diferencia primer plano, medio y fondo. El Brise Soleil, el plano de carpinter\u00edas y la trama de pilotis constituyen las tres capas de la composici\u00f3n que Le Corbusier denomino \u201c3 melodies<\/strong>\u201d<\/em>.<\/p>\n

Esta calificaci\u00f3n fue apuntada por el propio Le Corbusier en el plano de elevaci\u00f3n que estaba desarrollando Bernard Hoesli, mediante un texto y un peque\u00f1o dibujo realizado a mano alzada que refleja esquem\u00e1ticamente estas tres entidades. [1]<\/sup><\/sup><\/em><\/p>\n

La composici\u00f3n mel\u00f3dica<\/em> de Le Corbusier secuencia tres capas con distintos ritmos,<\/em> o m\u00e1s exactamente, con modulaciones originadas por diferentes criterios: El brise soleil y los montantes de las carpinter\u00edas est\u00e1n formulados en base a los mandatos del modulor, en cambio la trama de pilotis responde a necesidades estructurales. Sin embargo, esta dualidad de criterios r\u00edtmicos<\/em> empleados en cada figura, pasa inadvertida en la composici\u00f3n final.<\/p>\n

El brise soleil es tratado como un plano flotante delante del volumen delantero, desempe\u00f1ando una doble funci\u00f3n: en el nivel de consultorios interrumpe el paso de los rayos solares y cuando supera el volumen se transforma en balaustrada de la terraza y marco de las visuales hacia el bosque. El plano de carpinter\u00edas se ajusta horizontalmente de lado a lado del volumen, a ras del muro, para conferir esa imagen de liviandad caracter\u00edstica en la obra de Le Corbusier. Por detr\u00e1s, la trama de columnas perfora el volumen de los consultorios, para elevarse sobre la terraza y sostener el baldaquino superior.<\/p>\n

\"\"<\/a>
Casa Curutchet, Le Corbusier | Marcelo Gardinetti<\/span><\/figcaption><\/figure>\n

En las composiciones pict\u00f3ricas puristas una paleta reducida en tonos articula los objetos, acercando los elementos ubicados por detr\u00e1s al iluminarlos con igual intensidad que los ubicados delante. Este efecto de luces y sombras que induce la compresi\u00f3n pict\u00f3rica es trasladado a la elevaci\u00f3n de calle, incitado en la disposici\u00f3n de los elementos. El brise soleil produce un efecto de sombra uniforme sobre el plano de los consultorios, secuela que repite el baldaquino superior sobre el muro medianero. Este efecto de sombra m\u00e1s sombra contrasta con la luminosidad de la fachada de la vivienda ubicada por detr\u00e1s, que aparece como un plano iluminado debido al hueco promovido en la losa de la terraza. Esta operaci\u00f3n simult\u00e1nea genera el efecto de acercamiento deseado.<\/p>\n

El juego compositivo pl\u00e1stico se renueva en una polifon\u00eda<\/em> nacida en la ubicaci\u00f3n de los componentes volum\u00e9tricos respecto al plano frontal. En ese juego, el p\u00f3rtico colocado a la izquierda equilibra la asimetr\u00eda producida por el baldaquino superior recostado sobre el lado derecho. Del mismo modo, el dise\u00f1o biselado de sus lados alienta el punto de fuga que se contrapone al efecto de dispersi\u00f3n visual que promueve la trama uniforme del brise soleil.<\/p>\n

Este relato, que bien podr\u00eda referir a una obra pict\u00f3rica consumada sobre un enorme lienzo, intenta rese\u00f1ar la t\u00e9cnica empleada en la composici\u00f3n de la vista frontal de la Casa Curutchet, trazada seg\u00fan las leyes que rigen el espacio pict\u00f3rico purista. Planos y capas transformados en melod\u00edas que Le Corbusier a\u00fana para componer una sugerente eufon\u00eda espacial.<\/p>\n

Pero no se trata solo de un juego compositivo. Esta alegor\u00eda mel\u00f3dica reproduce la b\u00fasqueda po\u00e9tica, pertinaz, casi ut\u00f3pica, de un hombre que se permiti\u00f3 ofrecerle a la arquitectura la expresi\u00f3n de la sensibilidad humana.<\/p>\n

Marcelo Gardinetti . arquitecto
\nLa Plata. marzo 2013<\/p>\n

Notas:
\n[1] plano n\u00b012.151, 1 de marzo de 1949, \u00a9FLC<\/em>.

\"\"<\/a>
Curutchet House, Le Corbusier | Marcelo Gardinetti<\/span><\/figcaption><\/figure><\/p>\n

The break of the conceptions academicistas produced by the pictorial revolution of ends of the 19th century and fundamentally the search of the most important interpreters of the cubism obsessed for representing the depth in two dimensions, created a new universe of images that gave origin to numerous artistic currents. In the subsequent years, the pictorial idea developed by the Purism understands the representation of objects by virtue of his physical properties, his conflicts or his agreements, <\/em>admitting the tension between planes as a spatial fact of the represented surface.<\/em> A scene where the light and the tonalities are determinant for the achievement of the aim..<\/p>\n

The purist convention applied in the painting, is transported to the Le Corbusier\u00b4s architecture from 1920. Since then and until the end of his career, the references to his to know pictorially are tied to his work in dispositions, gestures or reasonings, anyone is his program or scale.<\/p>\n

This implicit alliance awards to the Le Corbusier\u00b4s architecture a singular character coined in a dialectics fulfilled with poetical allegories. This merger demonstrated in undivided languages, he finds in the composition of the elevation of street of the Curutchet House an emblematic case. With three of his lateral faces compressed between dividing walls, the character of the front it turns out to be fundamental to express the idea of architecture prepared inside the work.<\/p>\n

In the Curutchet House<\/em>, Le Corbusier summarizes the process compositivo of the frontal sight applying the pictorial purist approach.<\/em><\/p>\n

The design is a balanced game of signs applied in the space. It separates in planes the components that historically formed a part of the unit of the wall: the structure, the closing and the solar protection. Of this form, every entity turns into an independent cap, superposed into an exercise of phenomenal transparency that differentiates the first plane, way and bottom. The Brise Soleil, the plane of carpentries and the plot of pilotis constitute three caps of the composition that Le Corbusier denominate\u00a0\u201c3 melodies<\/strong>\u201d<\/em>.<\/p>\n

This qualification was aimed by the own one Le Corbusier in the plane of elevation that Bernard Hoesli was developing, by means of a text and a small drawing realized to lifted hand that reflects schematically these three entities. [1]<\/sup><\/sup><\/em><\/p>\n

The Le Corbusier\u00b4s melodic composition sequences three caps with different paces, or more exactly, with modulations originated by different criteria: The brise soleil and the amounts of the carpentries are formulated on the basis of the mandates of the modulor, on the other hand the plot of pilotis answers to structural needs. Nevertheless, this duality of rhythmic criteria used in every figure, it slips by in the final composition.<\/p>\n

The brise soleil is treated as a floating plane in front of the front volume, recovering a double function: in the level of doctor’s offices it interrupts the step of the solar beams and when it overcomes the volume it transforms in balustrade of the terrace and frame of the visual ones towards the forest. The plane of carpentries adjusts horizontally from side to side of the volume, to evenness of the wall, to award this image of typical looseness in the work of Le Corbusier. Behind, the column plot perforates the volume of the doctor’s offices, to rise on the terrace and to support the top canopy.<\/p>\n

\"\"<\/a>
Curutchet House, Le Corbusier | Marcelo Gardinetti<\/span><\/figcaption><\/figure>\n

In the pictorial purist compositions a palette reduced in tones articulates the objects, bringing the elements over located behind on them having illuminated with equal intensity that the located ones ahead. This effect of lights and shades that induces the pictorial compression is moved to the elevation of street, incited in the disposition of the elements. The brise soleil produces an effect of uniform shade on the plane of the doctor’s offices, sequel that repeats the top canopy on the dividing wall. This effect of shade more shade confirms with the luminosity of the front of the housing located behind, that appears as a plane illuminated due to the hollow promoted in the slab of the terrace. This simultaneous operation generates the effect of wished approximation.<\/p>\n

The game compositivo plastic is renewed in a polyphony<\/em> born in the location of the volumetric components with regard to the frontal plane. In this game, the portico placed to the left side balances the asymmetry produced by the top canopy leaned on the right side. In the same way, the bevelled design of his sides encourages the point of escape that is opposed to the effect of visual dispersion that promotes the uniform plot of the brise soleil.<\/p>\n

This statement, which well might recount to a pictorial perfect work on an enormous linen, tries to outline the technology used in the composition of the frontal sight of the Curutchet House, planned according to the laws that govern the pictorial purist space. Planes and caps transformed into melodies that Le Corbusier a\u00fana to compose a suggestive spatial euphony.<\/p>\n

But it is not a question only of a game compositivo. This melodic allegory reproduces the poetical, pertinacious, almost Utopian search, of a man who was allowed to offer him to the architecture the expression of the human sensibility.<\/p>\n

Marcelo Gardinetti . architect<\/p>\n

La Plata. march 2013<\/p>\n

Notes:<\/p>\n

[1] plano n\u00b012.151, 1 march, 1949, \u00a9FLC<\/em>.<\/p>\n

\"\"<\/a>
Casa Curutchet, Le Corbusier | Marcelo Gardinetti<\/span><\/figcaption><\/figure><\/p>\n

A ruptura das concepci\u00f3ns academicistas producidas pola revoluci\u00f3n pict\u00f3rica de finais do s\u00e9culo XIX e fundamentalmente a procura dos m\u00e1is importantes int\u00e9rpretes do cubismo obsesionados por representar a profundidade en d\u00faas dimensi\u00f3ns, creou un novo universo de imaxes que deu orixe a numerosas correntes art\u00edsticas. En anos subseguintes, a idea pict\u00f3rica desenvolvida polo Purismo entende a representaci\u00f3n de obxectos en virtude das s\u00faas propiedades f\u00edsicas, os seus conflitos ou os seus acordos<\/em>, admitindo a tensi\u00f3n entre planos como un feito espacial da superficie representada. Un escenario onde a luz e as tonalidades son determinantes para o logro do obxectivo.<\/p>\n

A convenci\u00f3n purista aplicada na pintura, \u00e9 transportada \u00e1 arquitectura por Le Corbusier a partir de 1920. Dende ent\u00f3n e ata o final da s\u00faa carreira, as referencias \u00e1 s\u00faa saber pict\u00f3rico at\u00f3panse amarradas \u00e1 s\u00faa obra en disposici\u00f3ns, xestos ou razonamientos, calquera sexa o seu programa ou escala.<\/p>\n

Esa alianza impl\u00edcita confire \u00e1 arquitectura de Le Corbusier un car\u00e1cter singular, acu\u00f1ado nunha dial\u00e9ctica colmada de alegor\u00edas po\u00e9ticas. Esta fusi\u00f3n manifestada en linguaxes indivisos, atopa na composici\u00f3n da elevaci\u00f3n de r\u00faa da casa Curutchet un caso emblem\u00e1tico. Con tres das s\u00faas caras laterales comprimidas entre muros medianeiros, o car\u00e1cter da fachada resulta fundamental para expresar a idea de arquitectura xestada no interior da obra.<\/p>\n

Na Casa Curutchet, Lle Corbusier resume o proceso compositivo da vista frontal aplicando o enfoque pict\u00f3rico purista.<\/em><\/p>\n

O dese\u00f1o \u00e9 un equilibrado xogo de signos aplicados no espazo. Separa en planos os compo\u00f1entes que hist\u00f3ricamente formaron parte da unidade do muro: a estrutura, o cerramiento e a protecci\u00f3n solar. Desta forma, cada entidade conv\u00e9rtese nunha capa independente, superpuestas nun exercicio de transparencia fenomenal que diferencia primeiro plano, medio e fondo. O Brise Soleil, o plano de carpinter\u00edas e a trama de pilotis constit\u00faen as tres capas da composici\u00f3n que Le Corbusier denomino\u00a0\u201c3 melodies<\/strong>\u201d<\/em>.<\/p>\n

Esta cualificaci\u00f3n foi apuntada polo propio Le Corbusier no plano de elevaci\u00f3n que estaba desenvolvendo Bernard Hoesli, mediante un texto e un pequeno debuxo realizado a man alzada que reflicte esquem\u00e1ticamente estas tres entidades. [1]<\/sup><\/sup><\/em><\/p>\n

A composici\u00f3n mel\u00f3dica<\/em> de Le Corbusier secuencia tres capas con distintos ritmos, ou m\u00e1is exactamente, con modulaciones orixinadas por diferentes criterios: O brise soleil e os montantes das carpinter\u00edas est\u00e1n formulados en base aos mandatos do modulor, en cambio a trama de pilotis responde a necesidades estructurales. Con todo, esta dualidad de criterios r\u00edtmicos<\/em> empregados en cada figura, pasa inadvertida na composici\u00f3n final.<\/p>\n

O brise soleil \u00e9 tratado como un plano flotante diante do volume dianteiro, desempe\u00f1ando unha dobre funci\u00f3n: no nivel de consultorios interrompe o paso dos raios solares e cando supera o volume transf\u00f3rmase en balaustrada da terraza e marco das visuales cara ao bosque. O plano de carpinter\u00edas ax\u00fastase horizontalmente de lado a lado do volume, a ras do muro, para conferir esa imaxe de liviandad caracter\u00edstica na obra de Le Corbusier. Por detr\u00e1s, a trama de columnas perfora o volume dos consultorios, para elevarse sobre a terraza e soster o baldaquino superior.<\/p>\n

\"\"<\/a>
Casa Curutchet, Le Corbusier | Marcelo Gardinetti<\/span><\/figcaption><\/figure>\n

Nas composici\u00f3ns pict\u00f3ricas puristas unha paleta reducida en tons articula os obxectos, achegando os elementos situados por detr\u00e1s ao iluminalos con igual intensidade que os situados diante. Este efecto de luces e sombras que induce a compresi\u00f3n pict\u00f3rica \u00e9 trasladado \u00e1 elevaci\u00f3n de r\u00faa, incitado na disposici\u00f3n dos elementos. O brise soleil produce un efecto de sombra uniforme sobre o plano dos consultorios, secuela que repite o baldaquino superior sobre o muro medianero. Este efecto de sombra m\u00e1is sombra contrasta coa luminosidad da fachada da vivenda situada por detr\u00e1s, que aparece como un plano iluminado debido ao oco promovido na losa da terraza. Esta operaci\u00f3n simult\u00e1nea xera o efecto de achegamento desexado.<\/p>\n

O xogo compositivo pl\u00e1stico ren\u00f3vase nunha polifon\u00eda<\/em> nada na ubicaci\u00f3n dos compo\u00f1entes volum\u00e9tricos respecto ao plano frontal. Nese xogo, o p\u00f3rtico colocado \u00e1 esquerda equilibra a asimetr\u00eda producida polo baldaquino superior recostado sobre o lado dereito. Do mesmo xeito, o dese\u00f1o biselado dos seus lados alenta o punto de fuga que se contrapone ao efecto de dispersi\u00f3n visual que promueve a trama uniforme do brise soleil.<\/p>\n

Este relato, que ben poder\u00eda referir a unha obra pict\u00f3rica consumada sobre un enorme lenzo, intenta apuntar a t\u00e9cnica empregada na composici\u00f3n da vista frontal da Casa Curutchet, trazada segundo as leis que rexen o espazo pict\u00f3rico purista. Planos e capas transformados en melod\u00edas que Le Corbusier a\u00fana para compo\u00f1er unha sugerente eufon\u00eda espacial.<\/p>\n

Pero non se trata s\u00f3 dun xogo compositivo. Esta alegor\u00eda mel\u00f3dica reproduce a procura po\u00e9tica, pertinaz, case ut\u00f3pica, dun home que se permitiu ofrecerlle \u00e1 arquitectura a expresi\u00f3n da sensibilidade humana.<\/p>\n

Marcelo Gardinetti . arquitecto<\/p>\n

La Plata. marzo 2013<\/p>\n

Notas:<\/p>\n

[1] plano n\u00b012.151, 1 de marzo de 1949, \u00a9FLC<\/em>.<\/p>\n

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

La ruptura de las concepciones academicistas producidas por la revoluci\u00f3n pict\u00f3rica de finales del siglo XIX y fundamentalmente la b\u00fasqueda de los m\u00e1s importantes int\u00e9rpretes del cubismo obsesionados por representar la profundidad en dos dimensiones, cre\u00f3 un nuevo universo de im\u00e1genes que dio origen a numerosas corrientes art\u00edsticas. En a\u00f1os subsiguientes, la idea pict\u00f3rica desarrollada […]<\/p>\n","protected":false},"author":4,"featured_media":29938,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[129,147,6474,7213,7121,7214,558,785,4985,3452,12466,6194,1865,12455],"class_list":["post-29937","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-argentina","tag-arquitectura-moderna","tag-articulo","tag-bernhard-hoesli","tag-composicion","tag-cubismo","tag-expresion","tag-le-corbusier","tag-marcelo-gardinetti","tag-personaje","tag-pintura","tag-purismo","tag-reflexion","tag-vivienda-unifamiliar"],"yoast_head":"\nTres melodias de Le Corbusier | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Tres melodias de Le Corbusier | Marcelo GardinettiTres melodias de Le Corbusier | Marcelo 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