{"id":34088,"date":"2013-08-30T06:57:46","date_gmt":"2013-08-30T06:57:46","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=34088"},"modified":"2018-04-23T15:19:06","modified_gmt":"2018-04-23T13:19:06","slug":"refrendar-la-topografia-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/refrendar-la-topografia-marcelo-gardinetti\/","title":{"rendered":"Refrendar la topografia | Marcelo GardinettiRefrendar a topografia | Marcelo GardinettiCountersigning the topography | Marcelo Gardinetti"},"content":{"rendered":"

<\/p>\n

\u201cPaul Klee no merece un museo, sino un paisaje\u201d. <\/em>La reflexi\u00f3n de Renzo Piano respecto al Centro Paul Klee resulta exeg\u00e9tica de la operaci\u00f3n realizada en el dise\u00f1o del museo, instituido como homenaje al artista Suizo. Un ejercicio donde el arquitecto opera sobre la arquitectura con la misma sutileza que el pintor lo hac\u00eda sobre la pintura. Porque Piano al construir el edificio, parodia la abstracci\u00f3n a la manera de Paul Klee.<\/p>\n

\"\"<\/a>
Fotograf\u00eda \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

Establece un monumento sutil, espont\u00e1neo y consistente, que reinterpreta la topograf\u00eda del lugar, explorando los vividos matices de la naturaleza para incorporarlos al interior del museo en una explosi\u00f3n de luz y color no exenta de poes\u00eda. De esta forma, el dise\u00f1o pretende consumar una operaci\u00f3n topogr\u00e1fica natural. Enormes vigas sinusoidales establecidas r\u00edtmicamente en paralelo construyen tres peque\u00f1as colinas de acero que se mimetizan con las superficies onduladas del sitio.<\/p>\n

Para esta estratagema, ninguna viga es igual a la otra. Un ejercicio de manipulaci\u00f3n dispone las vigas con distintos \u00e1ngulos de inclinaci\u00f3n, estableciendo siempre una altura diferente al centro del arco superior. En una maniobra sincr\u00f3nica, el soterramiento de las ondulaciones inferiores permite reducir la altura para cubrir gran parte de la cubierta con la naturaleza, fundando una composici\u00f3n donde la cubierta se convierte en un terrapl\u00e9n de trigo y amapolas que propone en una misma gesti\u00f3n la vegetaci\u00f3n como edificio. Este juego reduce el impacto de la arquitectura sobre la naturaleza sin dejar de manifestar la faena humana.<\/p>\n

\"\"<\/a>
Fotograf\u00eda \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

El ejercicio formal propuesto genera tres cuerpos decrecientes en tama\u00f1o que se encuentran vinculados por una calle peatonal que se abre paso entre las ondulaciones met\u00e1licas. En su recorrido, la calle va anexando sucesivamente espacios de estar, circulaciones verticales, peque\u00f1as tiendas, una librer\u00eda y una cafeter\u00eda.<\/p>\n

Cada ondulaci\u00f3n responde a una funci\u00f3n diferente. La primera es la de mayor superficie y el punto de acceso al edificio. Un vest\u00edbulo articula la calle interna con las actividades previstas para este cuerpo: un auditorio para 400 personas y los talleres de arte para ni\u00f1os.<\/p>\n

El volumen central aloja en su interior la colecci\u00f3n permanente de Paul Klee, la mayor atracci\u00f3n del complejo. Sus muros est\u00e1n dise\u00f1ados con paneles m\u00f3viles, caracter\u00edstica que permite emplazarlos de diferentes maneras, estableciendo una amplia variedad de espacios expositivos. Una serie de salas anexas de menor tama\u00f1o consienten realizar exposiciones temporales. El menor de los tres vol\u00famenes fue \u00a0consignado a funciones administrativas y un centro de investigaci\u00f3n.<\/p>\n

\"\"<\/a>
Fotograf\u00eda \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

El dise\u00f1o hace visible en el interior del edificio la estructura de acero, acabada por cielorrasos de abedul natural o pintado de blanco. Parasoles en la fachada controlan el ingreso de luz natural, que se difunde en el interior de las salas reflejado en pantallas trasl\u00facidas para evitar el efecto perjudicial de la luz sobre las pinturas. Ranuras en el solado permiten la circulaci\u00f3n de aire y favorecen la correcta ventilaci\u00f3n.<\/p>\n

\"\"<\/a>
Dibujo \u00a9RPBW<\/span><\/figcaption><\/figure>\n

Piano procura esculpir la naturaleza revalidando la topograf\u00eda. Esta pretensi\u00f3n monopoliza una complejidad taxativa que excede la voluntad de erigir un museo para establecer un signo que evoca las sutiles composiciones del artista homenajeado.<\/p>\n

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

<\/p>\n

\u201cPaul Klee does not deserve a museum, but a landscape\u201d. <\/em>Renzo Piano’s reflection with regard to the Paul KleeCenter ensues\u00a0energy from the operation realized in the design of the museum, instituted as honoring to the artist Suizo. An exercise where the architect operates on the architecture with the same subtlety that the painter it was doing on the painting. Because Piano on having constructed the building, parodies the abstraction like Paul Klee.<\/p>\n

\"\"<\/a>
Photography\u00a0\u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

It establishes a subtle, spontaneous and consistent monument, which reinterprets the local topography, exploring the vivid shades of the nature to incorporate them into the interior of the museum in an explosion of light and color exempts of poetry. Of this form, the design claims consumar a topographic natural operation. Enormous sinusoidal girders established rhythmically in parallel construct three small hills of steel that change color with the wavy surfaces of the site.<\/p>\n

For this stratagem, no girder is equal to other one. An exercise of manipulation arranges the girders with different angles of inclination, establishing always a height different from the center of the top arch. In a synchronous maneuver, the soterramiento of the low wavinesses allows to reduce the height to cover great part of the cover with the nature, founding a composition where the cover turns into a terrace of wheat and poppies that proposes in the same management the vegetation as building. This game reduces the impact of the architecture on the nature without stopping demonstrating the human task.<\/p>\n

\"\"<\/a>
Photography\u00a0\u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

The formal proposed exercise generates three diminishing bodies in size that they are linked by a pedestrian street that makes way for itself between the metallic wavinesses. In his tour, the street is annexing successively spaces of being, vertical traffics, small shops, a bookshop and a coffee shop.<\/p>\n

Every waviness answers to a different function. The first one is that of major surface and the point of access to the building. A foyer articulates the internal street with the activities foreseen for this body: an audience for 400 persons and the workshops of art for children.<\/p>\n

The central volume lodges in his interior Paul Klee’s permanent collection, the major attraction of the complex. His walls are designed by mobile panels, characteristic that allows to locate them in different ways, establishing a wide variety of explanatory spaces. A series of attached rooms of minor size allow to realize temporary exhibitions. The minor of three volumes was recorded to administrative functions and a center of investigation.<\/p>\n

\"\"<\/a>
Photography \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

The design makes visible inside the building the structure of steel, ended by ceilings of birch natural or identical with white. Parasols in the front control the revenue of natural light, which spreads inside the rooms reflected on translucent screens to avoid the harmful effect of the light on the paintings. Grooves in the solado allow the air traffic and favor the correct ventilation.<\/p>\n

\"\"<\/a>
Sketch \u00a9RPBW<\/span><\/figcaption><\/figure>\n

Piano tries esculpir the nature confirming the topography. This pretension monopolizes a restricted complexity that exceeds the will to raise a museum to establish a sign that evokes the subtle compositions of the honoured artist.<\/p>\n

Marcelo Gardinetti . architect
\nLa Plata. august 2013<\/p>\n

<\/p>\n

\u201cPaul Klee non merece un museo, sen\u00f3n unha paisaxe\u201d. <\/em>A reflexi\u00f3n de Renzo Piano respecto ao Centro Paul Klee resulta exeg\u00e9tica da operaci\u00f3n realizada no dese\u00f1o do museo, instituido como homenaxe ao artista Suizo. Un exercicio onde o arquitecto opera sobre a arquitectura coa mesma sutileza que o pintor fac\u00edao sobre a pintura. Porque Piano ao constru\u00edr o edificio, parodia a abstracci\u00f3n ao xeito de Paul Klee.<\/p>\n

\"\"<\/a>
Fotograf\u00eda \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

Establece un monumento sutil, espont\u00e1neo e consistente, que reinterpreta a topograf\u00eda do lugar, explorando os vividos matices da natureza para incorporalos ao interior do museo nunha explosi\u00f3n de luz e cor non exenta de poes\u00eda. Desta forma, o dese\u00f1o pretende consumar unha operaci\u00f3n topogr\u00e1fica natural. Enormes vigas sinusoidales establecidas r\u00edtmicamente en paralelo constr\u00faen tres pequenas outeiros de aceiro que se mimetizan coas superficies onduladas do sitio.<\/p>\n

Para esta estrataxema, ningunha viga \u00e9 igual \u00e1 outra. Un exercicio de manipulaci\u00f3n disp\u00f3n as vigas con distintos \u00e1ngulos de inclinaci\u00f3n, establecendo sempre unha altura diferente ao centro do arco superior. Nunha manobra sincr\u00f3nica, o soterramiento das ondulaciones inferiores permite reducir a altura para cubrir gran parte da cuberta coa natureza, fundando unha composici\u00f3n onde a cuberta conv\u00e9rtese nun terrapl\u00e9n de trigo e mapoulas que prop\u00f3n nunha mesma xesti\u00f3n a vegetaci\u00f3n como edificio. Este xogo reduce o impacto da arquitectura sobre a natureza sen deixar de manifestar a faena humana.<\/p>\n

\"\"<\/a>
Fotograf\u00eda \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

O exercicio formal proposto xera tres corpos decrecientes en tama\u00f1o que se atopan vinculados por unha r\u00faa peatonal que se abre paso entre as ondulaciones met\u00e1licas. No seu percorrido, a r\u00faa vai anexando sucesivamente espazos de estar, circulaci\u00f3ns verticais, pequenas tendas, unha librer\u00eda e unha cafeter\u00eda.<\/p>\n

Cada ondulaci\u00f3n responde a unha funci\u00f3n diferente. A primeira \u00e9 a de maior superficie e o punto de acceso ao edificio. Un vest\u00edbulo articula a r\u00faa interna coas actividades previstas para este corpo: un auditorio para 400 persoas e os talleres de arte para nenos.<\/p>\n

O volume central aloxa no seu interior a colecci\u00f3n permanente de Paul Klee, a maior atracci\u00f3n do complexo. Os seus muros est\u00e1n dese\u00f1ados con paneles m\u00f3biles, caracter\u00edstica que permite emplazarlos de diferentes xeitos, establecendo unha ampla variedade de espazos expositivos. Unha serie de salas anexas de menor tama\u00f1o consenten realizar exposici\u00f3ns temporais. O menor dos tres volumes foi consignado a funci\u00f3ns administrativas e un centro de investigaci\u00f3n.<\/p>\n

\"\"<\/a>
Fotograf\u00eda \u00a9Michel Denanc\u00e9<\/span><\/figcaption><\/figure>\n

O dese\u00f1o fai visible no interior do edificio a estrutura de aceiro, acabada por cielorrasos de abedul natural ou pintado de branco. Parasois na fachada controlan o ingreso de luz natural, que se difunde no interior das salas reflectido en pantallas trasl\u00facidas para evitar o efecto perjudicial da luz sobre as pinturas. Ranuras no solado permiten a circulaci\u00f3n de aire e favorecen a correcta ventilaci\u00f3n.<\/p>\n

\"\"<\/a>
Debuxo \u00a9RPBW<\/span><\/figcaption><\/figure>\n

Piano procura esculpir a natureza revalidando a topograf\u00eda. Esta pretensi\u00f3n monopoliza unha complejidad taxativa que excede a vontade de erigir un museo para establecer un signo que evoca as sut\u00eds composici\u00f3ns do artista homenaxeado.<\/p>\n

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

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

\u201cPaul Klee no merece un museo, sino un paisaje\u201d. La reflexi\u00f3n de Renzo Piano respecto al Centro Paul Klee resulta exeg\u00e9tica de la operaci\u00f3n realizada en el dise\u00f1o del museo, instituido como homenaje al artista Suizo. Un ejercicio donde el arquitecto opera sobre la arquitectura con la misma sutileza que el pintor lo hac\u00eda sobre […]<\/p>\n","protected":false},"author":4,"featured_media":34090,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[4882,4985,12453,920,7335,1048,12466,2447,2799],"class_list":["post-34088","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-color","tag-marcelo-gardinetti","tag-museo-arquitectura-arquitectura","tag-naturaleza","tag-paul-klee","tag-pintor","tag-pintura","tag-renzo-piano","tag-topografia"],"yoast_head":"\nRefrendar la topografia | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Refrendar la topografia | Marcelo GardinettiRefrendar a topografia | Marcelo GardinettiCountersigning the topography | Marcelo Gardinetti\" \/>\n<meta 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