{"id":36358,"date":"2014-01-10T06:48:24","date_gmt":"2014-01-10T06:48:24","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36358"},"modified":"2019-07-05T18:57:20","modified_gmt":"2019-07-05T16:57:20","slug":"tradicion-contemporanea-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tradicion-contemporanea-inigo-garcia-odiaga\/","title":{"rendered":"Tradici\u00f3n contempor\u00e1nea | \u00cd\u00f1igo Garc\u00eda OdiagaTradici\u00f3n contempor\u00e1nea | \u00cd\u00f1igo Garc\u00eda OdiagaContemporary tradition | \u00cd\u00f1igo Garc\u00eda Odiaga"},"content":{"rendered":"

\"\"<\/a>
Museo y Centro de Investigaci\u00f3n GC Prostho, 2012 | Kengo Kuma and Associates | Fotograf\u00eda: Daici Ano<\/span><\/figcaption><\/figure><\/p>\n

Dos cosas destacan profundamente al acercarse a la obra del arquitectos japon\u00e9s Kengo Kuma. Por un lado la gran cantidad de proyectos que ha construido en los \u00faltimos 10 a\u00f1os, todos ellos de un alt\u00edsimo nivel, por otro lado el uso tan radical de los materiales, o si se prefiere de la materia, como un elemento de continuidad entre el pasado, el presente y el futuro de la arquitectura.<\/p>\n

No es una casualidad que a Kengo Kuma, muchos textos e investigadores le hayan colocado el sobrenombre del arquitecto de la materia. Muchos de los trabajos del estudio de Kuma hacen un esfuerzo por llevar el material a un escal\u00f3n en el que adquiera todo el protagonismo, tanto formal como expresivo, pero siempre luchando por sumarse al contexto en el que se asienta el edificio.<\/p>\n

\"\"<\/a>
Museo y Centro de Investigaci\u00f3n GC Prostho, 2012 | Kengo Kuma and Associates | Fotograf\u00eda: Daici Ano<\/span><\/figcaption><\/figure>\n

Es una constante en su trabajo el uso de los materiales t\u00edpicos de una determinada regi\u00f3n o de las t\u00e9cnicas constructivas tradicionales de un pueblo para la construcci\u00f3n de un edificio contempor\u00e1neo en esa regi\u00f3n.<\/p>\n

Un buen ejemplo de esa obsesi\u00f3n por la materia del lugar es el Museo en Yusuhara. El proyecto puede resumirse\u00a0 como la construcci\u00f3n de un edificio puente, que unir\u00e1 dos edificios p\u00fablicos antiguos que durante mucho tiempo estuvieron separados por una carretera.<\/p>\n

De esta manera, los museos existentes se comunicar\u00e1n y se fusionar\u00e1n en un \u00fanico gran edificio que multiplicar\u00e1 sus funciones y su oferta cultural.<\/p>\n

\"\"<\/a>
Yusuhara, Museo y Puente de Madera, 2011 | Kengo Kuma and Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

Dado que esta conexi\u00f3n en puente era necesaria, Kuma opt\u00f3 por dotarla de contenido, de este modo el puente no funciona s\u00f3lamente como un pasaje entre las dos instalaciones existentes, sino que tambi\u00e9n alberga alojamientos y un taller, en definitiva un lugar de residencia temporal para artistas. En lugar de un derroche estructural de acero y vidrio, se propuso una estructura que con peque\u00f1os avances en voladizo fuese ganando poco a poco la distancia que separa los dos antiguos edificios. El sistema estructural, que se compone de cientos de peque\u00f1as piezas, hace una clara alusi\u00f3n a las estructuras de voladizos desarrolladas a menudo en la arquitectura tradicional de China y Jap\u00f3n.<\/p>\n

De alguna manera esta estructura reivindica un dise\u00f1o sostenible, en un lugar de monta\u00f1a en el que los transportes son muy caros, resuelve la cuesti\u00f3n de c\u00f3mo se puede lograr un gran puente a trav\u00e9s de la suma y encaje de peque\u00f1as unidades de madera, evitando el uso y traslado de grandes elementos de construcci\u00f3n.<\/p>\n

Este proyecto del puente recuerda en gran medida al Museo y Centro de Investigaci\u00f3n GC Prostho\u00a0construido por la oficina de Kuma 5 a\u00f1os antes. Todo el proyecto se origina en el sistema\u00a0Cidori<\/em>, un juego de construcci\u00f3n tradicional japon\u00e9s. El Cidori<\/em>\u00a0es un conjunto de palos de madera articulados que tiene una forma \u00fanica, que les permite unirse y formar agrupaciones espaciales \u00fanicamente gir\u00e1ndolos, sin necesidad de usar clavos o elementos met\u00e1licos. El tradicional juguete ha llegado a las nuevas generaciones gracias al trabajo de cientos de artesanos que en la actualidad lo siguen fabricando. Mediante una colaboraci\u00f3n con el ingeniero estructural del proyecto, Jun Sato, que llev\u00f3 a cabo pruebas de compresi\u00f3n y flexi\u00f3n para comprobar la capacidad del sistema, se comprob\u00f3 que el mismo dispositivo del juguete infantil pod\u00eda ser adaptado a los grandes edificios contempor\u00e1neos. Multiplicando el tama\u00f1o de las piezas del juego se construy\u00f3 la totalidad del edificio, creando una arquitectura cuyo universo surge mediante la combinaci\u00f3n de unidades peque\u00f1as y su repetici\u00f3n. Este proyecto defiende adem\u00e1s una postura ideol\u00f3gica, aquella en la que el ingenio tradicional puede competir en la era de la tecnolog\u00eda en igualdad de condiciones y demuestra con la construcci\u00f3n del edificio que tecnolog\u00eda y tradici\u00f3n no est\u00e1n enfrentadas a las necesidades de la modernidad.<\/p>\n

\"\"<\/a>
Yusuhara Marche, 2012, Kengo Kuma & Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

El Yusuhara Marche es uno de los \u00faltimos proyectos de Kuma. El edificio alberga un mercado de productos locales, y un peque\u00f1o hotel de 15 habitaciones, que quedan comunicados a trav\u00e9s de un atrio. La calle principal del municipio en la que se sit\u00faa el edificio, es un destino tur\u00edstico muy importante en la regi\u00f3n, y precisamente a este hecho se debe la existencia de gran cantidad de \u201cChad Do\u201d tradicionales, unos locales con cubierta de paja que ofrecen servicios a los viajeros, tales como alojamiento, comida o eventos culturales y en los que se sirve t\u00e9 de forma gratuita. Como un intento de respetar la historia del lugar, los arquitectos usaron la paja tradicional como material; ya que su uso est\u00e1 muy arraigado en las cubiertas de los edificios existentes en la calle y su uso pod\u00eda ser un buen medio para conectar el pasado con el presente. La cubierta de paja tradicional se reinventa en el edificio para proponer una fachada que mejora las condiciones del muro cortina de vidrio, tamizando la luz y que junto al cedro local en los testeros produce una imagen que habla de modernidad mientras dialoga con el contexto.<\/p>\n

Interrogado en ocasiones por la autoimposici\u00f3n del uso estricto de un determinado tipo de madera para una obra concreta, Kuma explica que los carpinteros japoneses siempre han usado en sus obras la madera local, la que crece en ese mismo clima. Desde su visi\u00f3n es lo m\u00e1s razonable y lo m\u00e1s l\u00f3gico, la humedad y la temperatura alteran la madera, que tambi\u00e9n se estropea en el transporte. Desde esta \u00f3ptica, la madera de un lugar dura m\u00e1s en ese lugar y adem\u00e1s es m\u00e1s econ\u00f3mica. Podr\u00eda por lo tanto tildarse esta metodolog\u00eda de sostenible, equilibrada y l\u00f3gica. Estas obras de Kengo Kuma, m\u00e1s all\u00e1 de sus efectos volum\u00e9tricos o de sus riesgos formales, nos sirven para reflexionar sobre una tendencia que parece haberse implantado en la sociedad de consumo actual y que parece priorizar lo lejano y sofisticado frente a lo local y lo sencillo, defendiendo en ocasiones lo absurdo frente a lo ajustado y lo razonable.<\/p>\n

\"\"<\/a>
Yusuhara Marche, 2012, Kengo Kuma & Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. enero 2014<\/p>\n

\"\"<\/a>
Museum and Center of Investigation GC Prostho, 2012 | Kengo Kuma and Associates | Photography:\u00a0Daici Ano<\/span><\/figcaption><\/figure><\/p>\n

Two things stand out deeply when Kengo Kuma approaches the work of the Japanese arquitectos. On the one hand the great quantity of projects that he has constructed in the last 10 years, all of them of the highest level, on the other hand such a radical use of the materials, or if it is preferred of the matter, as an element of continuity between the past, the present and the future of the architecture.<\/p>\n

It is not a chance that to Kengo Kuma, many texts and investigators have placed the nickname of the architect of the matter. A lot of works of Kuma’s study do an effort for taking the material to a step in the one that acquires all the protagonism, both formal and expressive, but always fighting to add to the context in which one agrees the building.<\/p>\n

\"\"<\/a>
Museum and Center of Investigation GC Prostho, 2012 | Kengo Kuma and Associates | Photography: Daici Ano<\/span><\/figcaption><\/figure>\n

It is a constant in his work the use of the typical materials of a certain region or of the constructive traditional technologies of a people for the construction of a contemporary building in this region.<\/p>\n

A good example of this obsession for the local matter is the Museum in Yusuhara. The project can summarize as the construction of a building bridge, which will join two public ancient buildings that for a long time were separated by a road.<\/p>\n

Hereby, the existing museums will communicate and will fuse in an only one great building that will multiply his functions and his cultural offer.<\/p>\n

\"\"<\/a>
Yusuhara, Museum and Bridge of wood, 2011 | Kengo Kuma and Associates | Photography: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

Provided that this connection in bridge was necessary, Kuma chose to provide it with content, thus the bridge does not work only as a passage between two existing facilities, but also it shelters housings and a workshop, definitively a place of temporary residence for artists. Instead of a structural waste of steel and glass, one proposed a structure that with small advances in projecting was gaining little by little the distance that separates both former buildings. The structural system, which consists of hundreds of small pieces, does a clear allusion to the structures of projecting developed often in the traditional architecture of China and Japan.<\/p>\n

Somehow this structure claims a sustainable design, in a place of mountain in which the transport is very expensive, solves the question of how it is possible to achieve a great bridge across the sum and lace of small units of wood, avoiding the use and movement of big elements of construction.<\/p>\n

This project of the bridge resembles to a great extent the Museum and Center of Investigation GC Prostho constructed by Kuma’s office 5 years before. The whole project originates in the system Cidori<\/em>, a Japanese game of traditional construction. The Cidori<\/em> is a set of articulated sticks of wood that has the only form, which allows them to join and to form spatial groups only turning them, without need to use nails or metallic elements. The traditional toy has come to the new generations thanks to the work of hundreds of craftsmen who at present continue making it. By means of a collaboration with the structural engineer of the project, Jun Sato, which carried out tests of compression and flexion to verify the capacity of the system, there was verified that the same device of the infantile toy could be adapted to the big contemporary buildings. Multiplying the size of the pieces of the game the totality of the building was constructed, creating an architecture which universe arises by means of the combination of small units and his repetition. This project defends in addition an ideological position, that one in which the traditional ingenuity can compete in the age of the technology in equality of conditions and to demonstrate with the construction of the building that technology and tradition are not faced to the needs of the modernity.<\/p>\n

\"\"<\/a>
Yusuhara Marche, 2012, Kengo Kuma & Associates | Photography: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

The Yusuhara Marche is one of Kuma’s last projects. The building shelters a market of local products, and a small hotel of 15 rooms, which remain communicated across a porch. The principal street of the municipality in the one that places the building, is a tourist very important destination in the region, and precisely to this fact there owes the existence of great quantity of \u00abChad Do\u00bb traditional, a few places with cover of straw that services offer to the travelers, such as housing, food or cultural events and in which there is served tea of free form. As an attempt of respecting the local history, the architects used the traditional as material straw; since his use is very established in the covers of the existing buildings in the street and his use could be a good way to connect the past with the present. The cover of traditional straw is reinvented in the building to propose a front that improves the conditions of the wall glass curtain, sifting the light and that close to the local cedar in the testeros produces an image that he speaks about modernity while he talks with the context.<\/p>\n

Interrogated in occasions for the autoimposition of the strict use of a certain type of wood for a concrete work, Kuma makes clear that the Japanese carpenters always have used in his works the local wood, which grows in the same climate. From his vision it is the most reasonable and most logical thing, the dampness and the temperature alter the wood, which also gets damaged in the transport. From this optics, the wood of a place lasts more in this place and in addition it is more economic. This methodology might be labelled therefore of sustainable, balanced and logical. These Kengo Kuma’s works, beyond his volumetric effects or his formal risks, serve us to think about a trend that seems to have been implanted in the company of current consumption and that seems to prioritize the distant and sophisticated thing opposite to the local thing and the simple thing, defending in cause the absurd thing opposite to the exact thing and the reasonable thing.<\/p>\n

\"\"<\/a>
Yusuhara Marche, 2012, Kengo Kuma & Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

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

san sebasti\u00e1n. january 2014<\/p>\n

\"\"<\/a>
Museo e Centro de Investigaci\u00f3n GC Prostho, 2012 | Kengo Kuma and Associates | Fotograf\u00eda: Daici Ano<\/span><\/figcaption><\/figure><\/p>\n

D\u00faas cousas destacan profundamente ao achegarse \u00e1 obra do arquitectos xapon\u00e9s Kengo Kuma. Por un lado a gran cantidade de proxectos que constru\u00edu nos \u00faltimos 10 anos, todos eles dun alto nivel, por outro lado o uso tan radical dos materiais, ou se se prefire da materia, como un elemento de continuidade entre o pasado, o presente e o futuro da arquitectura.<\/p>\n

Non \u00e9 unha casualidade que a Kengo Kuma, moitos textos e investigadores lle colocasen o sobrenome do arquitecto da materia. Moitos dos traballos do estudo de Kuma fan un esforzo por levar o material a un chanzo no que adquira todo o protagonismo, tanto formal coma expresivo, pero sempre loitando por sumarse ao contexto no que se asenta o edificio.<\/p>\n

\"\"<\/a>
Museo e Centro de Investigaci\u00f3n GC Prostho, 2012 | Kengo Kuma and Associates | Fotograf\u00eda: Daici Ano<\/span><\/figcaption><\/figure>\n

\u00c9 unha constante no seu traballo o uso dos materiais t\u00edpicos dunha determinada rexi\u00f3n ou das t\u00e9cnicas construtivas tradicionais dun pobo para a construci\u00f3n dun edificio contempor\u00e1neo nesa rexi\u00f3n.<\/p>\n

Un bo exemplo desa obsesi\u00f3n pola materia do lugar \u00e9 o Museo en Yusuhara. O proxecto pode resumirse como a construci\u00f3n dun edificio ponte, que unir\u00e1 dous edificios p\u00fablicos antigos que durante moito tempo estiveron separados por unha estrada.<\/p>\n

Deste xeito, os museos existentes comunicaranse e fusionaranse nun \u00fanico grande edificio que multiplicar\u00e1 as s\u00faas funci\u00f3ns e a s\u00faa oferta cultural.<\/p>\n

\"\"<\/a>
Yusuhara, Museo e Ponte de Madeira, 2011 | Kengo Kuma and Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

Dado que esta conexi\u00f3n en ponte era necesaria, Kuma optou por dotala de contido, deste modo a ponte non funciona s\u00f3lamente como unha pasaxe entre as d\u00faas instalaci\u00f3ns existentes, sen\u00f3n que tam\u00e9n alberga aloxamentos e un taller, en definitiva un lugar de residencia temporal para artistas. En lugar dun dispendio estrutural de aceiro e vidro, prop\u00faxose unha estrutura que con pequenos avances en beiril fose ga\u00f1ando pouco a pouco a distancia que separa os dous antigos edificios. O sistema estrutural, que se comp\u00f3n de centos de pequenas pezas, fai unha clara alusi\u00f3n \u00e1s estruturas de beiriles desenvolvidas a mi\u00fado na arquitectura tradicional de China e Xap\u00f3n.<\/p>\n

Dalg\u00fan xeito esta estrutura reivindica un dese\u00f1o sostible, nun lugar de monta\u00f1a no que os transportes son moi caros, resolve a cuesti\u00f3n de como se pode lograr unha gran ponte a trav\u00e9s da suma e encaixe de pequenas unidades de madeira, evitando o uso e traslado de grandes elementos de construci\u00f3n.<\/p>\n

Este proxecto da ponte recorda en boa medida ao Museo e Centro de Investigaci\u00f3n GC Prostho constru\u00eddo pola oficina de Kuma 5 anos antes. Todo o proxecto se orixina no sistema Cidori, un xogo de construci\u00f3n tradicional xapon\u00e9s. O Cidori<\/em> \u00e9 un conxunto de paus de madeira articulados que ten unha forma \u00fanica, que lles permite unirse e formar agrupaci\u00f3ns espaciais unicamente xir\u00e1ndoos, sen necesidade de usar cravos ou elementos met\u00e1licos. O tradicional xoguete chegou \u00e1s novas xeraci\u00f3ns grazas ao traballo de centos de artes\u00e1ns que na actualidade o seguen fabricando. Mediante unha colaboraci\u00f3n co enxe\u00f1eiro estrutural do proxecto, Xu\u00f1o Sato, que levou a cabo probas de compresi\u00f3n e flexi\u00f3n para comprobar a capacidade do sistema, se comprobou que o mesmo dispositivo do xoguete infantil pod\u00eda ser adaptado aos grandes edificios contempor\u00e1neos. Multiplicando o tama\u00f1o das pezas do xogo constru\u00eduse a totalidade do edificio, creando unha arquitectura cuxo universo xorde mediante a combinaci\u00f3n de unidades pequenas e a s\u00faa repetici\u00f3n. Este proxecto defende ademais unha postura ideol\u00f3xica, aquela na que o enxe\u00f1o tradicional pode competir na era da tecnolox\u00eda en igualdade de condici\u00f3ns e demostra coa construci\u00f3n do edificio que tecnolox\u00eda e tradici\u00f3n non est\u00e1n enfrontadas \u00e1s necesidades da modernidade.<\/p>\n

\"\"<\/a>
Yusuhara Marche, 2012, Kengo Kuma & Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

O Yusuhara Marche \u00e9 un dos \u00faltimos proxectos de Kuma. O edificio alberga un mercado de produtos locais, e un pequeno hotel de 15 cuartos, que quedan comunicados a trav\u00e9s dun adro. A r\u00faa principal do municipio na que se sit\u00faa o edificio, \u00e9 un destino tur\u00edstico moi importante na rexi\u00f3n, e precisamente a este feito se debe a existencia de gran cantidade de \u00abChad Domingo\u00bb tradicionais, uns locais con cuberta de palla que ofrecen servizos aos viaxeiros, tales como aloxamento, comida ou eventos culturais e nos que se serve t\u00e9 de forma gratu\u00edta. Como un intento de respectar a historia do lugar, os arquitectos usaron a palla tradicional como material; xa que o seu uso est\u00e1 moi arraigado nas cubertas dos edificios existentes na r\u00faa e o seu uso pod\u00eda ser un bo medio para conectar o pasado co presente. A cuberta de palla tradicional reinv\u00e9ntase no edificio para propo\u00f1er unha fachada que mellora as condici\u00f3ns do muro cortina de vidro, tamizando a luz e que xunto ao cedro local nos testeiros produce unha imaxe que fala de modernidade mentres dialoga co contexto.<\/p>\n

Interrogado en ocasi\u00f3ns pola autoimposici\u00f3n do uso estrito dun determinado tipo de madeira para unha obra concreta, Kuma explica que os carpinteiros xaponeses sempre usaron nas s\u00faas obras a madeira local, a que crece nese mesmo clima. Dende a s\u00faa visi\u00f3n \u00e9 o m\u00e1is razoable e o m\u00e1is l\u00f3xico, a humidade e a temperatura alteran a madeira, que tam\u00e9n se estraga no transporte. Dende esta \u00f3ptica, a madeira dun lugar dura m\u00e1is nese lugar e ademais \u00e9 m\u00e1is econ\u00f3mica. Poder\u00eda polo tanto acusarse esta metodolox\u00eda de sostible, equilibrada e l\u00f3xica. Estas obras de Kengo Kuma, m\u00e1is al\u00e1 dos seus efectos volum\u00e9tricos ou dos seus riscos formais, s\u00e9rvennos para reflexionar sobre unha tendencia que parece terse implantado na sociedade de consumo actual e que parece priorizar o afastado e sofisticado fronte ao local e o sinxelo, defendendo en ocasi\u00f3ns o absurdo fronte ao axustado e o razoable.<\/p>\n

\"\"<\/a>
Yusuhara Marche, 2012, Kengo Kuma & Associates | Fotograf\u00eda: Takumi Ota Photography<\/span><\/figcaption><\/figure>\n

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

san sebasti\u00e1n. xaneiro 2014<\/p>\n

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

Dos cosas destacan profundamente al acercarse a la obra del arquitectos japon\u00e9s Kengo Kuma. Por un lado la gran cantidad de proyectos que ha construido en los \u00faltimos 10 a\u00f1os, todos ellos de un alt\u00edsimo nivel, por otro lado el uso tan radical de los materiales, o si se prefiere de la materia, como un 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