{"id":36389,"date":"2014-09-26T05:46:55","date_gmt":"2014-09-26T05:46:55","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36389"},"modified":"2023-01-13T16:37:37","modified_gmt":"2023-01-13T15:37:37","slug":"la-belleza-de-lo-feo-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-belleza-de-lo-feo-inigo-garcia-odiaga\/","title":{"rendered":"[:es]La belleza de lo feo | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]A beleza do feo | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]The beauty of the ugly thing | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Pabell\u00f3n de verano de la Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure><\/p>\n

Como ha ocurrido todos los a\u00f1os desde el 2000, el 1 de junio de 2012 se abri\u00f3 al p\u00fablico el pabell\u00f3n de verano de la Serpentine Gallery de Londres. El Pabell\u00f3n de 2012 ha sido realizado por los arquitectos suizos Herzog & de Meuron en colaboraci\u00f3n con el artista chino Ai Weiwei. El equipo que fue responsable del edificio m\u00e1s emblem\u00e1tico de los Juegos Ol\u00edmpicos de Beijing 2008, el nido, el Estadio Ol\u00edmpico, se re\u00fane de nuevo en Londres en 2012 para resolver el reto de la Serpentine, una cita marcada ya en el calendario arquitect\u00f3nico y que pretende revivir en el Londres 2012, una especie de olimpiada cultural.<\/p>\n

La idea de construir un pabell\u00f3n de verano en los jardines de Kensington que rodean la Serpentine Gallery parti\u00f3 en el a\u00f1o 2000 de la directora de la entidad Julia Peyton-Jones y con el paso del tiempo se ha convertido en un evento internacional para la experimentaci\u00f3n arquitect\u00f3nica y ha presentado propuestas de algunos de los mejores arquitectos del mundo. Cada pabell\u00f3n se construye en el jard\u00edn de la galer\u00eda durante tres meses y son los puntos de partida como la inmediatez, lo ef\u00edmero, as\u00ed como el tiempo dedicado para proyectarlo con un m\u00e1ximo de seis meses entre la invitaci\u00f3n y la inauguraci\u00f3n del pabell\u00f3n, lo que proporciona un modelo \u00fanico en el mundo.<\/p>\n

\"\"<\/a>
Pabell\u00f3n de verano de la Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

El pabell\u00f3n, al ser una estructura temporal, sin programa, abierta y de forma libre, da libertad a los dise\u00f1adores para maximizar la innovaci\u00f3n, para construir un manifiesto, una obra que pueda reflejar el pensamiento cr\u00edtico del autor, su postura ante el momento actual y el futuro de la arquitectura, el paisaje o la naturaleza.<\/p>\n

Es precisamente esta postura de manifiesto la que otorga m\u00e1s valor a este evento y aunque parezca contradictorio, no todos los pabellones levantados estos 12 a\u00f1os han conseguido acertar con ese mensaje. Toyo Ito en el 2002, o SANAA en el 2009 consiguieron construir pabellones que propusieron un discurso, una postura, m\u00e1s que una edificaci\u00f3n. De igual modo Peter Zumthor en la edici\u00f3n del a\u00f1o pasado logr\u00f3 trasladar a los jardines londinenses gran parte de su ideario, formalizando un claustro contempor\u00e1neo capaz de generar una atm\u00f3sfera interior independiente de la ciudad que lo rodeaba. Pero la historia de estas arquitecturas ef\u00edmeras tambi\u00e9n tiene sus peque\u00f1os fracasos como el de Oscar Niemeyer en el 2003 o el de MVRDV en el 2004. O tal vez la m\u00e1s llamativa, de \u00c1lvaro Siza y Eduardo Souto de Moura en 2005, cuya jaima tecnol\u00f3gica, m\u00e1s all\u00e1 del inter\u00e9s propio del proyecto, distaba mucho de sus recorridos personales y resultaba inexplicable como un resumen concentrado de la propuesta de los dos maestros portugueses.<\/p>\n

El pabell\u00f3n de este a\u00f1o, que permanecer\u00e1 abierto hasta el 14 octubre, refleja bien su condici\u00f3n de postura intelectual. De hecho el edificio podr\u00eda ser calificado como feo, abrupto o si se quiere d\u00edscolo, pero no se puede por contra negar su condici\u00f3n de ideario, de propuesta ideol\u00f3gica.<\/p>\n

El Pabell\u00f3n de este a\u00f1o lleva a los visitantes por debajo del c\u00e9sped del jard\u00edn de la Serpentine, para explorar la historia oculta de sus pabellones anteriores. Once columnas que caracterizan a cada pabell\u00f3n del pasado y una columna que representa la duod\u00e9cima estructura, la actual, dan apoyo a un techo plataforma flotante que se encuentra a 1,4 metros por encima de los prados de Kensington. La cubierta recuerda a la que los arque\u00f3logos colocan para proteger sus descubrimientos durante una expedici\u00f3n. Flota por encima de la hierba del parque, y permite que se estanque sobre ella una l\u00e1mina de agua de 15 cms, llena de agua, se convierte en un espejo que refleja los cielos atmosf\u00e9ricos de Londres. Para eventos especiales, el agua puede ser drenada y as\u00ed la cubierta se transforma en una pista de baile, en un escenario o simplemente en una plataforma suspendida por encima del parque.<\/p>\n

\"\"<\/a>
Pabell\u00f3n de verano de la Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

El interior del pabell\u00f3n est\u00e1 revestido de corcho, un material de construcci\u00f3n sostenible y barato, elegido para lanzar este mensaje y para representar la condici\u00f3n de tierra excavada del interior del pabell\u00f3n.<\/p>\n

Tal y como ha comentado Jacques Herzog:<\/p>\n

\n

\u00abA medida que excavamos en la tierra nos encontramos con una diversidad de realidades construidas, tales como cables de tel\u00e9fono, conducciones de agua, el\u00e9ctricas o cimentaciones anteriores. Al igual que un equipo de arque\u00f3logos, se identifican estos fragmentos f\u00edsicos como los restos de los once pabellones construidos entre 2000 y 2011. Su forma var\u00eda: circulares, largos y estrechos, puntales o grandes agujeros. Estos restos dan testimonio de la existencia de los pabellones antiguos y su mayor o menor intervenci\u00f3n en el entorno natural del parque.\u00bb<\/em><\/p>\n<\/blockquote>\n

Los viejos cimientos forman una mara\u00f1a de l\u00edneas retorcidas, un paisaje distintivo a modo de ruinas arqueol\u00f3gicas pero en este caso ruinas de extrema modernidad. La realidad en tres dimensiones de este paisaje es impresionante y es un lugar perfecto para sentarse, pararse, acostarse o simplemente mirar. En otras palabras, es el ambiente ideal para seguir haciendo lo que los visitantes han venido haciendo en los Pabellones de la Serpentine Gallery en los \u00faltimos once a\u00f1os.<\/p>\n

Este pabell\u00f3n habla del lugar, del terreno, del suelo que pisamos y de c\u00f3mo la arquitectura lo afecta, pero tambi\u00e9n habla de la belleza de aquellas cosas que nunca se pensaron para ser vistas como las cimentaciones. Las cimentaciones no tienen ornamento, son expresi\u00f3n directa de una necesidad y tal vez en esa austeridad de lo feo, de lo esencial, est\u00e9 precisamente su belleza, al igual que en el pabell\u00f3n de Herzog, de Meuron y Ai Weiwei.<\/p>\n

\"\"<\/a>
Pabell\u00f3n de verano de la Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. junio 2007<\/p>\n

Publicado en ZAZPIKA 12.06.07<\/span><\/em><\/p>\n

\n

[:en]

\"\"<\/a>
Summer pavilion of the Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure><\/p>\n

Since it has happened every year from 2000, on June 1, 2012 there was opened the public the summer pavilion of the Serpentine Gallery of London. The Pavilion of 2012 has been realized by the Swiss architects\u00a0Herzog & de Meuron in collaboration with the Chinese artist Ai Weiwei. The equipment that was responsible for the most emblematic building of the Olympic Games of Beijing 2008, the nest, the Olympic stadium, meets again in London in 2012 to solve the challenge of the Serpentine, an appointment marked already in the architectural calendar and that tries to re-live in the London 2012, a species of cultural Olympiad.<\/p>\n

The idea of constructing a summer pavilion in Kensington’s gardens that surround the Serpentine Gallery divided in the year 2000 of the director of the entity Julia Peyton-Jones and with the passage of time it has turned into an international event for the architectural experimentation and has presented offers of some of the best architects of the world. Every pavilion is constructed in the garden of the gallery for three months and they are the points of item as the immediacy, the ephemeral thing, as well as the time dedicated to project with a maximum of six months between the invitation and the inauguration of the pavilion, which the only model provides in the world.<\/p>\n

\"\"<\/a>
Summer pavilion of the Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

The pavilion, to the being a temporary structure, without program, opened and of free form, gives freedom to the designers to maximize the innovation, to construct a manifest, a work that could reflect the critical thought of the author, his position before the current moment and the future of the architecture, the landscape or the nature.<\/p>\n

It is precisely this position of manifest the one that grants more value to this event and though it seems to be contradictory, not all the elevated pavilions these 12 years have managed to succeed with this message. Toyo Ito in 2002, or SANAA in 2009 managed to construct pavilions that proposed a speech, a position, more than a building. Of equal way Peter Zumthor in the edition of last year managed to move to the London gardens great part of his ideology, formalizing a contemporary cloister capable of generating an interior atmosphere independent from the city that was surrounding it. But the history of these ephemeral architectures also takes his small failures as that of Oscar Niemeyer in 2003 or that of MVRDV in 2004. Or maybe the most showy, of \u00c1lvaro Siza and Eduardo Souto de Moura in 2005, which technological jaima, beyond the own interest of the project, was far much from his personal tours and was turning out to be inexplicable as a concentrated summary of the offer of both Portuguese teachers.<\/p>\n

The pavilion of this year, which will remain opened until October 14, reflects well his condition of intellectual position. In fact the building might be considered to be like ugly, abrupt or if it is wanted uncontrollable, but it is not possible for against denying his condition of ideology, of ideological offer.<\/p>\n

The Pavilion of this year takes the visitors below the lawn of the garden of the Serpentine, to explore the secret history of his previous pavilions. Eleven columns that they characterize to every pavilion of the past and a column that represents the twelfth structure, the current one, give support to a ceiling floating platform that one finds to 1,4 meters over Kensington’s meadows. The cover resembles the one that the archeologists place to protect his discoveries during an expedition. It floats over the grass of the park, and allows that a water sheet of 15 should stagnate on her cms, water fills, turns into a mirror that reflects the atmospheric skies of London. For special events, the water can be drenada and this way the cover transforms in a dancing floor, in a scene or simply in a platform suspended over the park.<\/p>\n

\"\"<\/a>
Summer pavilion of the Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

The interior of the pavilion is redressed in cork, a material and cheap of construction sustainable, chosen to throw this message and to represent the condition of land excavated of the interior of the pavilion.<\/p>\n

As Jacques Herzog has commented:<\/p>\n

\n

\u00abAs we excavate in the land we meet a diversity of constructed, such realities as cables of telephone, water conductions, electricity companies or previous foundations. As an equipment of archeologists, identify these physical fragments as the remains of eleven pavilions constructed between 2000 and 2011. His form changes: circular letters, lengths and straits, props or big holes. These remains give testimony of the existence of the ancient pavilions and his major or minor intervention in the natural environment of the park.\u00bb<\/em><\/p>\n<\/blockquote>\n

The old foundations form a tangle of involved lines, a distinctive landscape like archaeological ruins but in this case ruins of extreme modernity. The reality in three dimensions of this landscape is impressive and is a perfect place to sit down, to stop, to go to bed or simply to look. In other words, it is the ideal environment to continue doing what the visitors have come doing in the Pavilions of the Serpentine Gallery in the last eleven years.<\/p>\n

This pavilion speaks local, of the area, of the soil on that we tread and of how the architecture affects it, but also he speaks about the beauty of those things that were never thought to be seen as the foundations. The foundations do not have ornament, are a direct expression of a need and maybe in this austerity of the ugly thing, of the essential thing, his beauty is precisely, as in the pavilion of Herzog, of Meuron and Ai Weiwei.<\/p>\n

\"\"<\/a>
Summer pavilion of the Serpentine Gallery, 2012, Herzog & de Meuron
<\/span><\/figcaption><\/figure>\n

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

san sebasti\u00e1n. juny 2007<\/p>\n

It\u00b4s published in ZAZPIKA 12.06.07<\/em><\/span><\/p>\n

[:gl]

\"\"<\/a>
Pavill\u00f3n de ver\u00e1n da Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure><\/p>\n

Como aconteceu todos os anos dende o 2000, o 1 de xu\u00f1o de 2012 abriuse ao p\u00fablico o pavill\u00f3n de ver\u00e1n da Serpentine Gallery de Londres. O Pavill\u00f3n de 2012 foi realizado polos arquitectos su\u00edzos Herzog & de Meuron en colaboraci\u00f3n co artista chin\u00e9s Ai Weiwei. O equipo que foi responsable do edificio m\u00e1is emblem\u00e1tico dos Xogos Ol\u00edmpicos de Beijing 2008, o ni\u00f1o, o Estadio Ol\u00edmpico, re\u00fanese de novo en Londres en 2012 para resolver o reto da Serpentine, unha cita marcada xa no calendario arquitect\u00f3nico e que pretende revivir no Londres 2012, unha especie de olimp\u00edada cultural.<\/p>\n

A idea de constru\u00edr un pavill\u00f3n de ver\u00e1n nos xard\u00edns de Kensington que rodean a Serpentine Gallery partiu no ano 2000 da directora da entidade Julia Peyton-Jones e co paso do tempo converteuse nun evento internacional para a experimentaci\u00f3n arquitect\u00f3nica e presentou propostas dalg\u00fans dos mellores arquitectos do mundo. Cada pavill\u00f3n constr\u00faese no xard\u00edn da galer\u00eda durante tres meses e son os puntos de partida como a inmediatez, o ef\u00e9mero, as\u00ed como o tempo dedicado para proxectalo cun m\u00e1ximo de seis meses entre o convite e a inauguraci\u00f3n do pavill\u00f3n, o que proporciona un modelo \u00fanico no mundo.<\/p>\n

\"\"<\/a>
Pavill\u00f3n de ver\u00e1n da Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

O pavill\u00f3n, ao ser unha estrutura temporal, sen programa, aberta e de forma libre, d\u00e1 liberdade aos dese\u00f1adores para maximizar a innovaci\u00f3n, para constru\u00edr un manifesto, unha obra que poida reflectir o pensamento cr\u00edtico do autor, a s\u00faa postura ante o momento actual e o futuro da arquitectura, a paisaxe ou a natureza.<\/p>\n

\u00c9 precisamente esta postura de manifesto a que outorga m\u00e1is valor a este evento e a\u00ednda que pareza contraditorio, non todos os pavill\u00f3ns levantados estes 12 anos conseguiron acertar con esa mensaxe. Toyo Ito no 2002, ou SANAA no 2009 conseguiron constru\u00edr pavill\u00f3ns que propuxeron un discurso, unha postura, m\u00e1is que unha edificaci\u00f3n. De igual modo Peter Zumthor na edici\u00f3n do ano pasado logrou trasladar aos xard\u00edns londinienses gran parte do seu ideario, formalizando un claustro contempor\u00e1neo capaz de xerar unha atmosfera interior independente da cidade que o rodeaba. Pero a historia destas arquitecturas ef\u00e9meras tam\u00e9n ten os seus pequenos fracasos como o de Oscar Niemeyer no 2003 ou o de MVRDV no 2004. O talvez a m\u00e1is rechamante, de \u00c1lvaro Siza e Eduardo Souto de Moura en 2005, cuxa jaima tecnol\u00f3xica, m\u00e1is al\u00e1 do interese propio do proxecto, distaba moito dos seus percorridos persoais e resultaba inexplicable como un resumo concentrado da proposta dos dous mestres portugueses.<\/p>\n

O pavill\u00f3n deste ano, que permanecer\u00e1 aberto ata o 14 outubro, reflicte ben a s\u00faa condici\u00f3n de postura intelectual. De feito o edificio poder\u00eda ser cualificado como feo, abrupto ou se se quere d\u00edscolo, pero non se pode pola contra negar a s\u00faa condici\u00f3n de ideario, de proposta ideol\u00f3xica.<\/p>\n

O Pavill\u00f3n deste ano leva os visitantes por debaixo do c\u00e9spede do xard\u00edn da Serpentine, para explorar a historia oculta dos seus pavill\u00f3ns anteriores. Once columnas que caracterizan a cada pavill\u00f3n do pasado e unha columna que representa a duod\u00e9cima estrutura, a actual, dan apoio a un teito plataforma flotante que se encontra a 1,4 metros por enriba dos prados de Kensington. A cuberta recorda a que os arque\u00f3logos colocan para protexer os seus descubrimentos durante unha expedici\u00f3n. Flota por enriba da herba do parque, e permite que se estanque sobre ela unha l\u00e1mina de auga de 15 cms, chea de auga, conv\u00e9rtese nun espello que reflicte os ceos atmosf\u00e9ricos de Londres. Para eventos especiais, a auga pode ser drenada e as\u00ed a cuberta transf\u00f3rmase nunha pista de baile, nun escenario ou simplemente nunha plataforma suspendida por enriba do parque.<\/p>\n

\"\"<\/a>
Pavill\u00f3n de ver\u00e1n da Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

O interior do pavill\u00f3n est\u00e1 revestido de cortiza, un material de construci\u00f3n sostible e barato, elixido para lanzar esta mensaxe e para representar a condici\u00f3n de terra escavada do interior do pavill\u00f3n.<\/p>\n

Tal e comocomentou Jacques Herzog:<\/p>\n

\n

\u00abA medida que escavamos na terra encontr\u00e1monos cunha diversidade de realidades constru\u00eddas, tales como cables de tel\u00e9fono, conduci\u00f3ns de auga, el\u00e9ctricas ou cimentaci\u00f3ns anteriores. Ao igual que un equipo de arque\u00f3logos, identif\u00edcanse estes fragmentos f\u00edsicos como os restos dos once pavill\u00f3ns constru\u00eddos entre 2000 e 2011. A s\u00faa forma var\u00eda: circulares, longos e estreitos, puntais ou grandes buratos. Estes restos dan testemu\u00f1o da existencia dos pavill\u00f3ns antigos e a s\u00faa maior ou menor intervenci\u00f3n no \u00e1mbito natural do parque.\u00bb<\/em><\/p>\n<\/blockquote>\n

Os vellos alicerces forman unha mara\u00f1a de li\u00f1as retorcidas, unha paisaxe distintiva a xeito de ru\u00ednas arqueol\u00f3xicas pero neste caso ru\u00ednas de extrema modernidade. A realidade en tres dimensi\u00f3ns desta paisaxe \u00e9 impresionante e \u00e9 un lugar perfecto para sentarse, pararse, deitarse ou simplemente mirar. Noutras palabras, \u00e9 o ambiente ideal para seguir facendo o que os visitantes vi\u00f1eron facendo nos Pavill\u00f3ns da Serpentine Gallery nos \u00faltimos once anos.<\/p>\n

Este pavill\u00f3n fala do lugar, do terreo, do chan que pisamos e de como a arquitectura o afecta, pero tam\u00e9n fala da beleza daquelas cousas que nunca se pensaron para ser vistas como as cimentaci\u00f3ns. As cimentaci\u00f3ns non te\u00f1en ornamento, son expresi\u00f3n directa dunha necesidade e talvez nesa austeridade do feo, do esencial, estea precisamente a s\u00faa beleza, ao igual que no pavill\u00f3n de Herzog, de Meuron e Ai Weiwei.<\/p>\n

\"\"<\/a>
Pavill\u00f3n de ver\u00e1n da Serpentine Gallery, 2012, Herzog & de Meuron<\/span><\/figcaption><\/figure>\n

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

san sebasti\u00e1n. xu\u00f1o 2007<\/p>\n

Publicado en ZAZPIKA 12.06.07<\/em><\/span><\/p>\n

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

[:es] Como ha ocurrido todos los a\u00f1os desde el 2000, el 1 de junio de 2012 se abri\u00f3 al p\u00fablico el pabell\u00f3n de verano de la Serpentine Gallery de Londres. El Pabell\u00f3n de 2012 ha sido realizado por los arquitectos suizos Herzog & de Meuron en colaboraci\u00f3n con el artista chino Ai Weiwei. El equipo […]<\/p>\n","protected":false},"author":31,"featured_media":36390,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[5242,103,7476,4727,665,4285,3718,9417,9416,2740,3243,972,1021,1726,3719,1190,1206,1278,1721],"class_list":["post-36389","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-ai-weiwei","tag-alvaro-siza-vieira","tag-beijing","tag-eduardo-souto-de-moura","tag-herzog-de-meuron","tag-inigo-garcia-odiaga","tag-jacques-herzog","tag-julia-peyton-jones","tag-kensington","tag-mvrdv","tag-oscar-niemeyer","tag-pabellon","tag-pensamiento","tag-peter-zumthor","tag-pierre-de-meuron","tag-ruina","tag-sanaa","tag-teoria","tag-toyo-ito"],"yoast_head":"\nLa belleza de lo feo | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"La belleza de lo feo\" \/>\n<meta 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