{"id":30049,"date":"2013-03-25T06:20:15","date_gmt":"2013-03-25T06:20:15","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=30049"},"modified":"2018-04-23T20:48:00","modified_gmt":"2018-04-23T18:48:00","slug":"deseo-vertical-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/deseo-vertical-inigo-garcia-odiaga\/","title":{"rendered":"Deseo Vertical | \u00cd\u00f1igo Garc\u00eda OdiagaDesexo Vertical | \u00cd\u00f1igo Garc\u00eda OdiagaVertical Desire | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

<\/p>\n

A menudo observamos edificios que muestran un gran deseo por conquistar la verticalidad. Es inmediato pensar en la idea proporci\u00f3n, un concepto que desliga la altura real de un objeto o de un edificio de sus deseos de verticalidad. Una planta reducida, frente a una fuerte componente en el eje Z garantiza la formalizaci\u00f3n de una torre aunque su altura no sea muy elevada.<\/p>\n

\"\"<\/a>
Paisaje de retranqueos en Manhattan | wikipedia.org<\/span><\/figcaption><\/figure>\n

Pero tambi\u00e9n podr\u00eda pensarse en otro mecanismo para conquistar la vertical, el de acumular o si se prefiere el de apilar. Colocar un objeto sobre otro y otro m\u00e1s encima, en un ejercicio constante de crecer hacia arriba. Es una ley que no tiene relaci\u00f3n con lo horizontal, crecer en altura es su \u00fanico objetivo. Es una ley simple pero poderosa, gobernada secretamente por la necesidad de conseguir el equilibrio. Al montar una pieza sobre la anterior hay que equilibrar el conjunto, y para ello hay que mantener el eje de gravedad del conjunto dentro de la base inferior, para no acabar con todas las piezas en el suelo.<\/p>\n

Mantener esta premisa es la garant\u00eda de conquistar el cielo, y las arquitecturas que de ella surgen, amontonan piezas que se apoyan unas en otras para lograr la vertical.<\/p>\n

Arquitecturas de la antig\u00fcedad como las pir\u00e1mides escalonadas de Zoser o los zigurats Mayas, son ejemplos radicales de \u00e9sta estructura formal. Estructura que tambi\u00e9n emple\u00f3 Brueghel para dar forma a su representaci\u00f3n de la torre de Babel que alcanzaba las nubes, ya que como demuestra Brancusi en su columna infinita para alcanzar el cielo \u00fanicamente hay que ir apilando otra pieza sobre la anterior.<\/p>\n

Igualmente los rascacielos de los a\u00f1os treinta que aspiraban a conquistar las alturas en Nueva York o Chicago utilizaron \u00e9sta simple norma formal para generar cientos de edificios como los construidos por Raymond Hood, Ralph Thomas Walker o Ely Jacques Kahn. El edificio del 120 de Wall Street o el del 1400 de Broadway, ambos obras de Kahn, son un buen reflejo de este manejo de la altura que como bien explica Rem Koolhaas en Delirious New York<\/em>, obedece adem\u00e1s a un problema urbano.<\/p>\n

\"\"<\/a>
El 1400 de Broadway | wikipedia.org<\/span><\/figcaption><\/figure>\n

Cuando en 1915 se finaliz\u00f3 la construcci\u00f3n del Equitable Building en Manhattan, se constat\u00f3 que su sombra privaba de luz natural a cuatro manzanas de la cuadricula de la isla, y la ciudad respondi\u00f3 a este problema con la aprobaci\u00f3n de la ordenanza 1916 Zoning Resolution<\/em>. Una normativa que regulaba la altura obligando a constantes retranqueos, que originan ese lenguaje de plantas amontonadas o apiladas y que muchos han calificado como Wedding Cake Style, (estilo de tarta nupcial); y es que al fin y al cabo la l\u00f3gica del mecanismo formal de apilar dicta normas similares para una tarta o para un rascacielos. La aplicaci\u00f3n de una normativa que no obliga a unas dimensiones, sino que implica leyes formales, junto con la obligatoriedad impuesta por los promotores de agotar el aprovechamiento de los solares, generaron un amplio abanico de soluciones, que construyen el paisaje urbano de Manhattan. Un paisaje de edificios diversos, de alturas cambiantes y perfiles aterrazados que pese a la diversidad, presentan una gen\u00e9tica formal similar debido a la ordenanza municipal, lo que otorga al conjunto una cierta unidad.<\/p>\n

Resulta llamativo comprobar como arquitectos contempor\u00e1neos como SANAA han asumido esta ley creativa para desarrollar edificios en Manhattan. La volumetr\u00eda del Nuevo Museo de Arte Contempor\u00e1neo, inaugurado en 2007, obedece a la estructura formal de un apilamiento. El edificio se asemeja a una pila de cajas, de contenedores de arte, que a diferencia de los rascacielos cl\u00e1sicos centrados, investigan los l\u00edmites del equilibrio, sobrevolandose y desalineandose unas respecto a otras, rompiendo as\u00ed la continuidad del eje central, tensionando el conjunto. Podr\u00eda interpretarse que a pesar de no tener que cumplir la ordenanza 1916 Zoning Resolution<\/em>, SANAA pretend\u00eda reinterpretar la clave formal que caracteriza los grandes edificios de la ciudad de los rascacielos. No es un edificio excesivamente alto, y lo es menos a\u00fan en una ciudad como Nueva York, pero por contra las leyes que definen su forma lo convierten en una torre. En una torre de cajas apiladas que vibran por su deseo de conquistar la vertical.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga . arquitecto
\nSan Sebasti\u00e1n. marzo 2013<\/p>\n

<\/p>\n

Often we observe buildings that show a great desire for conquering the uprightness. It is immediate to think about the idea proportion, a concept that unties the royal height of an object or of a building of his desires of uprightness. A limited plant, opposite to one strong component in the axis Z guarantees the formalization of a tower though his height is not very high.<\/p>\n

\"\"<\/a>
Landscape of setbacks in Manhattan\u00a0| wikipedia.org<\/span><\/figcaption><\/figure>\n

But also it might be thought about another mechanism to conquer the vertical one, of accumulating or if it is preferred of piling up. To place an object on other one and other one more above, in a constant exercise of growing up. It is a law that does not have relation with the horizontal thing, to grow in height is his only aim. It is a simple but powerful law, governed secretly by the need to obtain the balance. On having mounted a piece on the previous one it is necessary to balance the set, and for it it is necessary to support the gravit axis of the set inside the low base, not to finish with all the pieces in the soil.<\/p>\n

To support this premise is the guarantee to conquer the sky, and the architectures that from her arise, they accumulate pieces that rest some on others to achieve the vertical one.<\/p>\n

Architectures of the antiquity like the pyramids staggered of Zoser or the Mayan zigurats, they are radical examples of this one formal structure. Structure that also Brueghel used to give form to his representation of the tower of Babel that was reaching the clouds, since since it demonstrates Brancusi in his infinite column to reach the sky only it is necessary to go piling up another piece on the previous one.<\/p>\n

Equally the skyscrapers of the thirties that were aspiring to conquer the heights in New York or Chicago used this one simple formal norm to generate hundreds of buildings as the constructed ones for Raymond Hood, Ralph Thomas Walker or Ely Jacques Kahn. The building of 120 of Wall Street or that of 1400 of Broadway, you work both of Kahn, they are a good reflection of this managing of the height that as good explains Rem Koolhaas in Delirious New York<\/em>, it obeys in addition an urban problem.<\/p>\n

\"\"<\/a>
The 1400 of Broadway | wikipedia.org<\/span><\/figcaption><\/figure>\n

When in 1915 the construction of the Equitable Building concluded in Manhattan, there was stated that his shade was obtaining from natural light to four apples of the squared pattern of the island, and the city answered to this problem with the approval of the ordinance 1916 Zoning Resolution<\/em>. Na regulation that was regulating the height forcing to constants setbacks, that originate this language of accumulated or piled up plants and that many have qualified as Wedding Cake Style, (style of wedding tart); and it is that in the end the logic of the formal mechanism of piling up dictates similar procedure for a tart or for a skyscraper. The application of a regulation that does not force to a few dimensions, but it implies formal laws, together with the obligatiry nature imposed by the promoters to exhaust the utilization of the lots, they generated a wide range of solutions, which construct the urban landscape of Manhattan. A landscape of diverse buildings, of changeable heights and profiles aterrazados that in spite of the diversity, they present a formal similar genetics due to the municipal ordinance, which grants to the set a certain unit.<\/p>\n

It turns out to be showy to verify as contemporary architects as SANAA they have assumed this creative law to develop buildings in Manhattan. The volumetry of the New Museum of Contemporary Art, inaugurated in 2007, obeys the formal structure of an apilamiento. The building is alike a battery of boxes, of containers of art, which unlike the classic centered skyscrapers, investigate the limits of the balance, being overflown and\u00a0misaligned some with regard to others, breaking this way the continuity of the backbone, tensing the set. It might be interpreted that in spite of 1916 Zoning Resolution<\/em> does not have to fulfill the ordinance, SANAA was trying to reinterpret the formal key that characterizes the big buildings of the city of the skyscrapers. It is not an excessively high building, and it it is less still in a city as New York, but for against the laws that define his form they turn it into a tower. In a tower of piled up boxes that vibrate for his desire to conquer the vertical one.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga . architect<\/p>\n

San Sebasti\u00e1n. march 2013<\/p>\n

<\/p>\n

A mi\u00fado observamos edificios que mostran un gran desexo por conquistar a verticalidad. \u00c9 inmediato pensar na idea proporci\u00f3n, un concepto que desliga a altura real dun obxecto ou dun edificio dos seus desexos de verticalidade. Unha planta reducida, fronte a unha forte compo\u00f1ente no eixo Z garante a formalizaci\u00f3n dunha torre a\u00ednda que a s\u00faa altura non sexa moi elevada.<\/p>\n

\"\"<\/a>
Paisaxe de retranqueos en Manhattan | wikipedia.org<\/span><\/figcaption><\/figure>\n

Pero tam\u00e9n poder\u00eda pensarse noutro mecanismo para conquistar a vertical, o de acumular ou si pref\u00edrese o de apilar. Colocar un obxecto sobre outro e outro m\u00e1is encima, nun exercicio constante de crecer cara arriba. \u00c9 unha lei que non ten relaci\u00f3n co horizontal, crecer en altura \u00e9 o seu \u00fanico obxectivo. \u00c9 unha lei simple pero poderosa, gobernada secretamente pola necesidade de conseguir o equilibrio. Ao montar unha peza sobre a anterior hai que equilibrar o conxunto, e para iso hai que manter o eixe de gravidade do conxunto dentro da base inferior, para non acabar con todas as pezas no chan.<\/p>\n

Manter esta premisa \u00e9 a garant\u00eda de conquistar o ceo, e as arquitecturas que dela xorden, amontoan pezas que se apoian unhas noutras para lograr a verticalidade.<\/p>\n

Arquitecturas da antig\u00fcidade como as pir\u00e1mides escalonadas de Zoser ou os zigurats Maias, son exemplos radicais desta estrutura formal. Estrutura que tam\u00e9n empregou Brueghel para dar forma \u00e1 s\u00faa representaci\u00f3n da torre de Babel que alcanzaba as nubes, xa que como demostra Brancusi na s\u00faa columna infinita para alcanzar o ceo \u00fanicamente hai que ir apilando outra peza sobre a anterior.<\/p>\n

Igualmente os ra\u00f1aceos dos anos trinta que aspiraban a conquistar as alturas en Nova York ou Chicago utilizaron esta simple norma formal para xerar centos de edificios como os constru\u00eddos por Raymond Hood, Ralph Thomas Walker ou Ely Jacques Kahn. O edificio do 120 de Wall Street ou o do 1400 de Broadway, ambos obras de Kahn, son un bo reflexo deste manexo da altura que como ben explica Rem Koolhaas en Delirious New York<\/em>, obedece adem\u00e1is a un problema urb\u00e1n.<\/p>\n

\"\"<\/a>
O 1400 de Broadway | wikipedia.org<\/span><\/figcaption><\/figure>\n

Cando en 1915 finalizouse a construci\u00f3n do Equitable Building en Manhattan, constatouse que a s\u00faa sombra privaba de luz natural a catro maz\u00e1s da cuadricula da illa, e a cidade respondeu a este problema coa aprobaci\u00f3n da ordenanza 1916 Zoning Resolution<\/em>. Unha normativa que regulaba a altura obrigando a constantes retranqueos, que orixinan esa linguaxe de plantas amontoadas ou apiladas e que moitos cualificaron como Wedding Cake Style, (estilo de tarta nupcial); e \u00e9 que \u00e1 fin e ao cabo a l\u00f3xica do mecanismo formal de apilar dicta normas similares para unha tarta ou para un ra\u00f1aceos. A aplicaci\u00f3n dunha normativa que non obriga a unhas dimensi\u00f3ns, sen\u00f3n que implica leis form\u00e1is, xunto coa obligatoriedade imposta polos promotores de esgotar o aproveitamento dos solares, xeraron un amplo abanico de soluci\u00f3ns, que constr\u00faen a paisaxe urbana de Manhattan. Unha paisaxe de edificios diversos, de alturas cambiantes e perf\u00eds aterrazados que pese \u00e1 diversidade, presentan unha xen\u00e9tica formal similar debido \u00e1 ordenanza municipal, o que outorga ao conxunto una certa unidade.<\/p>\n

Resulta chamativo comprobar como arquitectos contempor\u00e1neos como SANAA asumiron esta lei creativa para desenvolver edificios en Manhattan. A volumetr\u00eda do Novo Museo de Arte Contempor\u00e1nea, inaugurado en 2007, obedece \u00e1 estrutura formal dun apilamento. O edificio asem\u00e9llase a unha pila de caixas, de contenedores de arte, que a diferenza dos ra\u00f1aceos cl\u00e1sicos centrados, investigan os l\u00edmites do equilibrio, sobrev\u00f3anse e desalin\u00e9anse unhas respecto doutras, rompendo as\u00ed a continuidade do eixo central, tensionando o conxunto. Poder\u00eda interpretarse que malia non ter que cumprir a ordenanza 1916 Zoning Resolution<\/em>, SANAA pretend\u00eda reinterpretar a clave formal que caracteriza os grandes edificios da cidade dos ra\u00f1aceos. Non \u00e9 un edificio excesivamente alto, e o \u00e9 menos a\u00ednda nunha cidade como Nova York, pero por contra as leis que definen a s\u00faa forma conv\u00e9rteno nunha torre. Nunha torre de caixas apiladas que vibran polo seu desexo de conquistar a vertical.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga . arquitecto<\/p>\n

San Sebasti\u00e1n. marzo 2013<\/p>\n

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

A menudo observamos edificios que muestran un gran deseo por conquistar la verticalidad. Es inmediato pensar en la idea proporci\u00f3n, un concepto que desliga la altura real de un objeto o de un edificio de sus deseos de verticalidad. Una planta reducida, frente a una fuerte componente en el eje Z garantiza la formalizaci\u00f3n de […]<\/p>\n","protected":false},"author":31,"featured_media":30050,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[1798,7267,7269,7272,508,688,4285,930,7273,978,1021,7268,12466,2066,7271,1138,7270,1865,2173,1206,1294],"class_list":["post-30049","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-chicago","tag-constantin-brancusi","tag-dinastia-brueghel","tag-ely-jacques-kahn","tag-escultura","tag-idea","tag-inigo-garcia-odiaga","tag-new-york","tag-ordenanza","tag-paisaje-urbano","tag-pensamiento","tag-pieter-brueghel-el-viejo","tag-pintura","tag-proyectar","tag-ralph-thomas-walker","tag-rascacielos","tag-raymond-hood","tag-reflexion","tag-rem-koolhaas","tag-sanaa","tag-torre"],"yoast_head":"\nDeseo Vertical | 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