{"id":36381,"date":"2014-03-10T06:00:00","date_gmt":"2014-03-10T06:00:00","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36381"},"modified":"2024-04-11T09:48:16","modified_gmt":"2024-04-11T07:48:16","slug":"arquitectura-sin-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitectura-sin-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Arquitectura sin | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitectura sen | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Architecture without | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Arquitectura<\/a>
Museo de Arte se sit\u00faa en la ciudad de Ordos, 2011 | MAD Architects<\/span><\/figcaption><\/figure><\/p>\n

Los arquitectos sentimos atracci\u00f3n por la arquitectura sin, o lo que es lo mismo, por la arquitectura que se ha desprendido de una de sus partes. Al igual que en otro tipo de productos esa suerte de proyecto sin, se convierte en un procedimiento light, pero que mantiene todo el sabor. Muchos son los textos o las exposiciones que recogen por ejemplo edificaciones espont\u00e1neas, generadas por pura necesidad y sin ninguna pretensi\u00f3n estil\u00edstica, que suelen recogerse bajo un t\u00edtulo unificador de arquitectura sin arquitectos.<\/p>\n

Algo parecido sucede con las construcciones derivadas del mundo industrial o de las infraestructuras, cuya inmediatez para resolver el problema de la forma m\u00e1s sencilla, econ\u00f3mica y ecol\u00f3gicamente posible, genera fascinaci\u00f3n en la arquitectura. Sin lugar a dudas se debe a la envidia l\u00f3gica atisbada al comprobar que esos planteamientos que se han visto desprovistos del cors\u00e9 de la disciplina arquitect\u00f3nica ofrecen por contra una soluci\u00f3n inteligente, contundente y en algunos casos emocionante.<\/p>\n

En el a\u00f1o 2004 Federico Soriano escrib\u00eda un ensayo que recog\u00eda un peculiar visi\u00f3n sobre el trabajo de la arquitectura. Titulado Sin Tesis<\/em><\/a>, el ensayo recoge seis negaciones, seis actitudes capaces de desprenderse de diferentes capas de la disciplina arquitect\u00f3nica. Los diferentes cap\u00edtulos recorren arquitecturas sin escala, sin peso, sin detalle, sin gesto, sin planta o sin forma.<\/p>\n

Uno de los edificios que se ha convertido en paradigma de los edificios sin forma es el recientemente inaugurado Museo de Arte Contempor\u00e1neo de Ordos.<\/p>\n

\"Arquitectura<\/a>
Museo de Arte se sit\u00faa en la ciudad de Ordos, 2011 | MAD Architects<\/span><\/figcaption><\/figure>\n

Dise\u00f1ado por la oficina china MAD Architects<\/a> el Museo de Arte<\/a> se sit\u00faa en la ciudad de Ordos, una nueva ciudad proyectada en las llanuras de Mongolia y cuyo plan maestro fue dise\u00f1ado por el artista Ai Wei Wei, y busca ser un punto de encuentro para una comunidad que trabaja por el mantenimiento de sus tradiciones locales dentro de un nuevo contexto urbano.<\/p>\n

Impulsado por la econom\u00eda en auge de China, el Gobierno Municipal de Ordos estaba decidido a crear una nueva ciudad, a decenas de kil\u00f3metros de la ciudad actual, en un sitio que hasta hace poco no era m\u00e1s que el desierto de Gobi. El plan maestro de Ai Wei se bas\u00f3 en la imagen simb\u00f3lica de un sol que se levanta en la pradera, una met\u00e1fora del resurgir de la regi\u00f3n. La traducci\u00f3n formal de esta idea se resume en un plan radial que parte de una plaza central en la que se sit\u00faa el nuevo museo, como pieza arquitect\u00f3nica maestra y ejemplo de ese pretendido resurgir.<\/p>\n

\"Arquitectura<\/a>
Museo de Arte se sit\u00faa en la ciudad de Ordos, 2011 | MAD Architects<\/span><\/figcaption><\/figure>\n

El proyecto fue encargado a MAD Architects cuando la ciudad a\u00fan era una enso\u00f1aci\u00f3n. En medio de la controversia alrededor de la ciudad planeada, se volvi\u00f3 evidente que el museo de Ordos deb\u00eda navegar ante las contradicciones que emergen cuando la cultura local se encuentra con las visiones de una ciudad futura a\u00fan sin concretar.<\/p>\n

El Presidente Mao dijo una vez, cuenta la memoria del proyecto, que \u00fanicamente de una hoja limpia de papel en blanco puede extraerse una imagen m\u00e1s nueva y m\u00e1s hermosa. Es precisamente ah\u00ed donde surgen los problemas para la definici\u00f3n formal del nuevo museo. En una tabula rasa, donde el futuro depara una gran incertidumbre, es muy peligroso dise\u00f1ar un edificio para el centro de la ciudad, all\u00ed donde la trama urbana todav\u00eda no existe, donde las referencias y el espacio urbano no existen y a duras penas se sabe como donde est\u00e1 el \u00abdelante\u00bb y el \u00abdetr\u00e1s\u00bb.<\/p>\n

El dise\u00f1o del museo fue concebido como una reacci\u00f3n a este no plan de la ciudad. Toma la forma de un elemento compacto de la naturaleza, irregular e informe, en contraste con la estricta geometr\u00eda del plan director. La estructura est\u00e1 envuelta por piezas de metal pulido para que los reflejos y los brillos del caparaz\u00f3n del museo ayuden a disolver su forma en el entorno previsto. Esta concha genera un gran espacio interior formando un nuevo espacio p\u00fablico para la futura ciudad bajo una cubierta protectora, donde protegerse del clima del desierto del Gobi donde se ubica la ciudad.<\/p>\n

Inspirada en el proyecto de ciencia ficci\u00f3n de Buckminster Fuller<\/a> para cubrir la isla de Manhattan, MAD concibi\u00f3 una concha futurista para proteger el legado cultural e hist\u00f3rico de la regi\u00f3n y protegerse de la indeterminaci\u00f3n de la nueva ciudad. Encapsulado por una fachada sinuosa, el museo se encuentra localizado sobre una colina con muy poca altura pero la suficiente para destacar en la inmensa llanura que lo rodea. Un hito al fin y al cabo en el desierto y ahora uno de los lugares favoritos de reuni\u00f3n para los ni\u00f1os y las familias de Ordos.<\/p>\n

El atrio, con un dise\u00f1o irregular, es el espacio principal del museo. Un gran ventanal circular sirve para que la luz natural entre al interior del museo, logrando que no sea necesario utilizar iluminaci\u00f3n artificial durante el d\u00eda. El interior est\u00e1 dividido en varias salas de exposiciones, que se definen por las continuas paredes curvil\u00edneas, todas se abren al gran hall convertido en espacio p\u00fablico que atraviesa el edificio.<\/p>\n

El ambiente luminoso, tranquilo y fluido de este nuevo espacio ofrece de nuevo a los visitantes un espacio que habla al igual que la imagen exterior del edificio de la ausencia de forma, ausencia de reglas geom\u00e9tricas claras y ausencia de jerarqu\u00edas. Pero por contra es imposible no pensar en referencias de la naturaleza, cactus, an\u00e9monas, hongos u otras estructuras vegetales que resumen las im\u00e1genes de lo org\u00e1nico.<\/p>\n

La arquitectura puede renunciar a muchas de sus pretensiones, a muchos de sus condicionantes, pero incluso en la idea de la no forma, ya existe inevitablemente, la idea previa de lo org\u00e1nico, de lo fluido, de lo continuo o ilimitado. La forma de lo informe.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. diciembre 2011<\/p>\n

Publicado en ZAZPIKA 19.12.2011<\/em><\/span><\/p>\n

[:en]

\"\"<\/a>
Museum of Art places in Ordos’s city, 2011 | MAD Architects<\/span><\/figcaption><\/figure><\/p>\n

The architects we feel attraction for the architecture without, or what is the same thing, for the architecture that has parted with one of his parts. As in another type of products this luck of project without, there turns into a procedure light, but that supports all the flavor. Many are the texts or the exhibitions that gather for example spontaneous buildings generated by pure need and without any stylistic pretension, which is in the habit of being gathered under a title unifier of architecture without architects. Something similar happens with the constructions derived from the industrial world or from the infrastructures, which immediacy to solve the problem of the simplest, economic and ecologically possible form, generates fascination in the architecture. No doubt it is necessary to to the logical envy watched on having verified that these expositions that have met devoid of the corset of the architectural discipline offer for against an intelligent, forceful solution and in some cases exciting.<\/p>\n

In the year 2004 Federico Soriano was writing a test that one was gathering peculiar vision on the work of the architecture. Graduate \u00bb Without Thesis \u00ab, the test gathers six denials, six attitudes capable of parting with different caps of the architectural discipline. The different chapters cross architectures without scale, without weight, without detail, without gesture, without plant or without form.<\/p>\n

One of the buildings that has turned into paradigm of the buildings without form is the recently inaugurated Museum of Ordos’s Contemporary Art.<\/p>\n

\"\"<\/a>
Museum of Art places in Ordos’s city, 2011 | MAD Architects<\/span><\/figcaption><\/figure>\n

Designed by the Chinese office MAD Architects the Museum of Art places in Ordos’s city, a new city projected in the plains of Mongolia and whose main plan was designed by the artist Ai Wei Wei, and search to be a point of meeting for a community that works for the maintenance of his local traditions inside a new urban context.<\/p>\n

Stimulated by the economy in summit of China, the Municipal Government of Ordos was determined to create a new city, to dozens of kilometres of the current city, in a site that even it makes small it was not any more than the desert from Gobi. Ai Wei’s main plan was based on the symbolic image of the Sun that gets up in the meadow, a metaphor of to re-arise from the region. The formal translation of this idea is summarized in a radial plan that departs from a central square in the one that places the new museum, as architectural main piece and example of this claimed one to re-arise.<\/p>\n

\"\"<\/a>
Museum of Art places in Ordos’s city, 2011 | MAD Architects<\/span><\/figcaption><\/figure>\n

The project was entrusted to MAD Architects when the city still was a dream. In the middle of the controversy about the planned city, one turned evidently that Ordos’s museum had to sail before the contradictions that emerge when the local culture meets the visions of a future city still without making concrete.<\/p>\n

The President Mao said once, tells the memory of the project, that only from a clean leaf of paper in blank there can be extracted a more new and more beautiful image. It is precisely there where the problems arise for the formal definition of the new museum. In one it tabulates levels, where the future provides a great uncertainty, it is very dangerous to design a building for the downtown, there where the urban plot still does not exist, where the references and the urban space do not exist and hardly it is known as where it is \u00abahead\u00bb and \u00abbehind\u00bb.<\/p>\n

The design of the museum was conceived as a reaction to this one not plan of the city. The director takes the form of a compact element of the nature, irregular and formless, in contrast with the strict geometry of the plan. The structure is wrapped for pieces of polished metal in order that the reflections and the sheens of the shell of the museum help to dissolve his form in the foreseen environment. This shell generates a great interior space forming a new public space for the future city under a protective cover, where to be protected from the climate of the desert of the Gobi where the city is located.<\/p>\n

Inspired by the project of science Buckminster Fuller’s fiction to cover the island of Manhattan, MAD conceived a futurist shell to protect the cultural and historical legacy of the region and to be protected from the indetermination of the new city. Encased by a sinuous front, the museum is located on a hill by few height but the sufficient one to emphasize in the immense plain that it surrounds it. A milestone in the end in the desert and now one of the favorite places of meeting for the children and Ordos’s families.<\/p>\n

The porch, with an irregular design, is the principal space of the museum. A great circular large window serves in order that the natural light between to the interior of the museum, achieving that it is not necessary to use artificial lighting during the day. The interior is divided in several rooms of exhibitions, which are defined by the continuous curvilinear walls, they all are opened the great hall turned into public space that crosses the building.<\/p>\n

The luminous, calm and fluid environment of this new space offers again to the visitors a space that he speaks as the exterior image of the building of the absence of form, absence of geometric clear rules and absence of hierarchies. But for against it is impossible not to think about references of the nature, cactus, anemones, fungi or other vegetable structures that summarize the images of the organic thing.<\/p>\n

The architecture can resign many of his pretensions, many of his determining ones, but even in the idea of it her does not form, already it exists inevitably, the previous idea of the organic thing, of the fluid thing, of the continuous or unlimited thing. The form of the formless thing.<\/p>\n

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

san sebasti\u00e1n. december 2011<\/p>\n

It\u00b4s published in ZAZPIKA 19.12.2011<\/em><\/p>\n

[:gl]

\"\"<\/a>
Museo de Arte sit\u00faase na cidade de Ordos, 2011 | MAD Architects<\/span><\/figcaption><\/figure><\/p>\n

Os arquitectos sentimos atracci\u00f3n pola arquitectura sen, ou o que \u00e9 o mesmo, pola arquitectura que se desprendeu dunha das s\u00faas partes. Ao igual que noutro tipo de produtos esa sorte de proxecto sen, conv\u00e9rtese nun procedemento light, pero que mant\u00e9n todo o sabor. Moitos son os textos ou as exposici\u00f3ns que recollen por exemplo edificaci\u00f3ns espont\u00e1neas, xeradas por pura necesidade e sen ningunha pretensi\u00f3n estil\u00edstica, que adoitan recollerse baixo un t\u00edtulo unificador de arquitectura sen arquitectos. Algo parecido sucede coas construci\u00f3ns derivadas do mundo industrial ou das infraestruturas, cuxa inmediatez para resolver o problema da forma m\u00e1is sinxela, econ\u00f3mica e ecoloxicamente posible, xera fascinaci\u00f3n na arquitectura. Sen lugar a d\u00fabidas d\u00e9bese \u00e1 envexa l\u00f3xica albiscada ao comprobar que esas formulaci\u00f3ns que se viron desprovistos do corpi\u00f1o da disciplina arquitect\u00f3nica ofrecen pola contra unha soluci\u00f3n intelixente, contundente e nalg\u00fans casos emocionante.<\/p>\n

No ano 2004 Federico Soriano escrib\u00eda un ensaio que recoll\u00eda un peculiar visi\u00f3n sobre o traballo da arquitectura. Titulado \u00abSen Tese\u00bb, o ensaio recolle seis negaci\u00f3ns, seis actitudes capaces de desprenderse de diferentes capas da disciplina arquitect\u00f3nica. Os diferentes cap\u00edtulos percorren arquitecturas sen escala, sen peso, sen detalle, sen xesto, sen planta ou sen forma.<\/p>\n

Un dos edificios que se converteu en paradigma dos edificios sen forma \u00e9 o recentemente inaugurado Museo de Arte Contempor\u00e1neo de Ordos.<\/p>\n

\"\"<\/a>
Museo de Arte sit\u00faase na cidade de Ordos, 2011 | MAD Architects<\/span><\/figcaption><\/figure>\n

Dese\u00f1ado pola oficina chinesa MAD Architects el Museo de Arte sit\u00faase na cidade de Ordos, unha nova cidade proxectada nas chairas de Mongolia e cuxo plan mestre foi dese\u00f1ado polo artista Ai Wei Wei, e busca ser un punto de encontro para unha comunidade que traballa polo mantemento das s\u00faas tradici\u00f3ns locais dentro dun novo contexto urbano.<\/p>\n

Impulsado pola econom\u00eda en auxe de China, o Goberno Municipal de Ordos estaba decidido a crear unha nova cidade, a decenas de quil\u00f3metros da cidade actual, nun sitio que ata hai pouco non era m\u00e1is que o deserto de Gobi. O plan mestre de Ai Wei baseouse na imaxe simb\u00f3lica dun sol que se levanta na pradar\u00eda, unha met\u00e1fora de rexurdir da rexi\u00f3n. A traduci\u00f3n formal desta idea res\u00famese nun plan radial que parte dunha praza central na que se sit\u00faa o novo museo, como peza arquitect\u00f3nica mestra e exemplo dese pretendido rexurdir.<\/p>\n

\"\"<\/a>
Museo de Arte sit\u00faase na cidade de Ordos, 2011 | MAD Architects<\/span><\/figcaption><\/figure>\n

O proxecto foi encargado a MAD Architects cando a cidade a\u00ednda era unha fantas\u00eda. No medio da controversia arredor da cidade planeada, volveuse evidente que o museo de Ordos deb\u00eda navegar ante as contradici\u00f3ns que emerxen cando a cultura local se encontra coas visi\u00f3ns dunha cidade futura a\u00ednda sen concretar.<\/p>\n

O Presidente Mao dixo unha vez, conta a memoria do proxecto, que unicamente dunha folla limpa de papel en branco pode extraerse unha imaxe m\u00e1is nova e m\u00e1is fermosa. \u00c9 precisamente a\u00ed onde xorden os problemas para a definici\u00f3n formal do novo museo. Nunha tabula rasa, onde o futuro depara unha grande incerteza, \u00e9 moi perigoso dese\u00f1ar un edificio para o centro da cidade, al\u00ed onde a trama urbana a\u00ednda non existe, onde as referencias e o espazo urbano non existen e a duras penas s\u00e1bese como onde est\u00e1 o \u00abdiante\u00bb e o \u00abdetr\u00e1s\u00bb.<\/p>\n

O dese\u00f1o do museo foi concibido como unha reacci\u00f3n a este non plan da cidade. Toma a forma dun elemento compacto da natureza, irregular e informe, en contraste coa estrita xeometr\u00eda do plan director. A estrutura est\u00e1 envolvida por pezas de metal pulido para que os reflexos e os brillos da cuncha do museo axuden a disolver a s\u00faa forma no \u00e1mbito previsto. Esta cuncha xera un grande espazo interior formando un novo espazo p\u00fablico para a futura cidade baixo unha cuberta protectora, onde protexerse do clima do deserto do Gobi onde se sit\u00faa a cidade.<\/p>\n

Inspirada no proxecto de ciencia ficci\u00f3n de Buckminster Fuller para cubrir a illa de Manhattan, MAD concibiu unha cuncha futurista para protexer o legado cultural e hist\u00f3rico da rexi\u00f3n e protexerse da indeterminaci\u00f3n da nova cidade. Encapsular por unha fachada sinuosa, o museo enc\u00f3ntrase localizado sobre un outeiro con moi pouca altura pero a suficiente para destacar na inmensa chaira que o rodea. Un fito \u00e1 fin e ao cabo no deserto e agora un dos lugares favoritos de reuni\u00f3n para os nenos e as familias de Ordos.<\/p>\n

O adro, cun dese\u00f1o irregular, \u00e9 o espazo principal do museo. Un gran ventanal circular serve para que a luz natural entre ao interior do museo, logrando que non sexa necesario utilizar iluminaci\u00f3n artificial durante o d\u00eda. O interior est\u00e1 dividido en varias salas de exposici\u00f3ns, que se definen polas continuas paredes curvil\u00edneas, todas se abren ao gran vest\u00edbulo convertido en espazo p\u00fablico que atravesa o edificio.<\/p>\n

O ambiente luminoso, tranquilo e flu\u00eddo deste novo espazo ofrece de novo aos visitantes un espazo que fala ao igual que a imaxe exterior do edificio da ausencia de forma, ausencia de regras xeom\u00e9tricas claras e ausencia de xerarqu\u00edas. Pero pola contra \u00e9 imposible non pensar en referencias da natureza, cacto, an\u00e9monas, fungos ou outras estruturas vexetais que resumen as imaxes do org\u00e1nico.<\/p>\n

A arquitectura pode renunciar a moitas das s\u00faas pretensi\u00f3ns, a moitos dos seus condicionantes, pero mesmo na idea da non forma, xa existe inevitablemente, a idea previa do org\u00e1nico, do flu\u00eddo, do continuo ou ilimitado. A forma do informe.<\/p>\n

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

san sebasti\u00e1n. decembro 2011<\/p>\n

Publicado en ZAZPIKA 19.12.2011<\/em><\/span><\/p>\n

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

[:es] Los arquitectos sentimos atracci\u00f3n por la arquitectura sin, o lo que es lo mismo, por la arquitectura que se ha desprendido de una de sus partes. Al igual que en otro tipo de productos esa suerte de proyecto sin, se convierte en un procedimiento light, pero que mantiene todo el sabor. Muchos son los […]<\/p>\n","protected":false},"author":31,"featured_media":36387,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[5242,6694,12449,310,318,9414,9413,2703,1848,9412,668,4285,6695,6696,823,6658,12453,3278,1004,1062,7295,12468,9415],"class_list":["post-36381","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-ai-weiwei","tag-arquitectura-china","tag-arte","tag-china","tag-ciudad","tag-dang-qun","tag-desierto-de-gobi","tag-diseno-urbano","tag-espacio-urbano","tag-federico-soriano","tag-historia","tag-inigo-garcia-odiaga","tag-ma-yansong","tag-mad-architects","tag-manhattan","tag-mongolia","tag-museo-arquitectura-arquitectura","tag-ordos","tag-patrimonio-historico","tag-planificacion-urbana","tag-richard-buckminster-fuller","tag-urbanismo","tag-yosuke-hayano"],"yoast_head":"\nArquitectura sin | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Arquitectura sin\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/arquitectura-sin-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Arquitectura sin | \u00cd\u00f1igo Garc\u00eda Odiaga\" \/>\n<meta property=\"og:description\" content=\"Arquitectura sin\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/arquitectura-sin-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:site_name\" content=\"veredes, arquitectura y divulgaci\u00f3n\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/\" \/>\n<meta property=\"article:author\" 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