{"id":36439,"date":"2014-05-09T06:18:33","date_gmt":"2014-05-09T04:18:33","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36439"},"modified":"2022-06-27T12:11:06","modified_gmt":"2022-06-27T10:11:06","slug":"masa-liquida-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/masa-liquida-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Masa l\u00edquida | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Masa l\u00edquida | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Liquid mass | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Miguel Fisac, experimentado con las propiedades l\u00edquidas del hormig\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

Aunque pueda parecer una terrible contradicci\u00f3n, ya desde los a\u00f1os 50, arquitectos como Miguel Fisac han experimentado con las propiedades l\u00edquidas del hormig\u00f3n. Una masa cementosa que adquiere una condici\u00f3n p\u00e9trea tras su fraguado, pero que en origen es un fluido que permite tratarlo de forma eficaz.<\/p>\n

El hormig\u00f3n por tanto adopta la forma del molde en el que se vierte, pero tradicionalmente esas formas reproduc\u00edan las geometr\u00edas de las estructuras de madera, como si la evoluci\u00f3n del material no hubiese supuesto un evoluci\u00f3n material. Ser\u00e1 Miguel Fisac el que quiera de alguna manera buscar la geometr\u00eda natural que le corresponde al nuevo material y se plantear\u00e1 cuestiones como; cuando el hormig\u00f3n no tenga nada que le moleste, \u00bfqu\u00e9 forma tomar\u00e1?. Llegando a afirmar:<\/p>\n

\n

\u00abEs el \u00fanico material que se echa blando en un molde. Pues que quede un poco la huella de que aquello ha sido blando.\u00bb<\/em><\/p>\n<\/blockquote>\n

Sus obras con encofrados el\u00e1sticos construidos con bastidores de madera, cables y lonas propiciaron muros de hormig\u00f3n cuya materialidad final asemejaba almohadillados, texturas imposibles para un elemento p\u00e9treo que mantiene su memoria fluida.<\/p>\n

Casi 60 a\u00f1os despu\u00e9s de las obras llevadas a cabo por Fisac, con cierto aire experimental, arquitectos contempor\u00e1neos han retomado esa capacidad expresiva del hormig\u00f3n.<\/p>\n

Los arquitectos Mierta y Kurt Lazzarini acaban de inaugurar un edificio de viviendas en el pueblo rural suizo de Samedan, que reinterpreta estas cuestiones. El edificio se sit\u00faa en el centro de este n\u00facleo urbano de monta\u00f1a y hace uso de su estructura fragmentada, de su colocaci\u00f3n aterrazada y de la expresi\u00f3n de sus muros de hormig\u00f3n para fundirse con el entorno.<\/p>\n

\"\"<\/a>
Edificio de viviendas en el pueblo rural suizo de Samedan, Mierta & Kurt Lazzarini<\/span><\/figcaption><\/figure>\n

En el fondo la volumetr\u00eda del edificio reinventa las t\u00edpicas formas de las casas rurales suizas, as\u00ed como su morfolog\u00eda generada mediante la adici\u00f3n de diferentes piezas. Esta relectura del modelo cl\u00e1sico ha generado un edificio con la geometr\u00eda de las antiguas construcciones pero con la rotundidad que un cierto aire minimalista contempor\u00e1neo le ha otorgado.<\/p>\n

En la fuerte pendiente aparecen, los tres vol\u00famenes que componen el edificio, con sus plantas ligeramente trapezoidales. El edificio de mayor altura se encuentra colocado en el extremo m\u00e1s elevado de la parcela lo que acent\u00faa su car\u00e1cter dominante respecto del pueblo.<\/p>\n

La estratificaci\u00f3n del paisaje aterrazado de la regi\u00f3n, de las \u00e1reas de cultivo y de las laderas que rodean el valle se ha llevado a la fachada. La fachada reproduce la estratificaci\u00f3n del paisaje mediante la estratificaci\u00f3n de sus propios hormigones. Capas de diferentes hormigones, realizados con piedras diferentes de la regi\u00f3n, se van acumulando de forma sinuosa sobre la pared del volumen edificado. Los muros ofrecen una especie de estampado, de acuarela paisaj\u00edstica del entorno, generando una integraci\u00f3n arm\u00f3nica en el paisaje y tambi\u00e9n hist\u00f3rica, ya que la piedra es la materia t\u00edpica de la zona, lo que ofrece una especie de continuidad de la memoria del lugar.<\/p>\n

\"\"<\/a>
Detalle de fachada<\/span><\/figcaption><\/figure>\n

Otro proyecto que parte de premisas similares es el realizado por el artista pl\u00e1stico Walter Jack, para la construcci\u00f3n de un muro de contenci\u00f3n en la regi\u00f3n de Cornwall.<\/p>\n

La obra se sit\u00faa en Heartlands, una promoci\u00f3n inmobiliaria destinada a promover la transformaci\u00f3n del suelo de unas antiguas minas de esta\u00f1o, en una nueva \u00e1rea urbana, que incluir\u00e1 equipamientos culturales, comerciales, residenciales y tur\u00edsticos.<\/p>\n

\"\"<\/a>
Walter Jack, muro de contenci\u00f3n en la regi\u00f3n de Cornwall<\/span><\/figcaption><\/figure>\n

El muro quiere expresar la presi\u00f3n geol\u00f3gica que la miner\u00eda tuvo en la tierra durante el apogeo de la miner\u00eda de esta\u00f1o en Cornualles, cuando los mineros estaban golpeando el coraz\u00f3n de la regi\u00f3n a m\u00e1s de un kil\u00f3metro de profundidad. Un recuerdo hist\u00f3rico a\u00fan visible en muchos edificios y f\u00e1bricas de la regi\u00f3n y que Walter Jack, toma como met\u00e1fora inicial de su trabajo. \u00bfComo contener un terreno que ha sido licuado por el hombre para extraer sus minerales?<\/p>\n

Mediante una t\u00e9cnica de moldeo realizada con cauchos se crea un efecto fluido y sensual sobre la masa de hormig\u00f3n. Walter y su equipo crearon un gigante molde de caucho en el que el hormig\u00f3n debe penetrar por todos los resquicios, por lo que hubo que utilizar hormigones extremadamente fluidos, tremendamente l\u00edquidos. Una vez terminado, el llenado del molde, la pieza final se cort\u00f3 en seis secciones que fueron transportadas a la obra. Una vez all\u00ed, especialistas en montaje de estructuras prefabricadas recompusieron la pieza inicial para generar esa visi\u00f3n inusual, la de una piedra convertida en l\u00edquido, o en una tela arrugada por el viento.<\/p>\n

La expresividad de las telas de las esculturas barrocas de Bernini, esa fluidez textil tallada en el m\u00e1rmol por el artista romano, es alcanzada ahora por el mantenimiento de la memoria l\u00edquida del material.\u00a0 Si el hormig\u00f3n al fin y al cabo es una masa que permite construir de forma artificial una roca, algo de su memoria, de su origen o de su composici\u00f3n qu\u00edmica debe quedar latente en su expresividad. El hormig\u00f3n ahora se ve liberado de la geometr\u00eda de sus moldes y puede expresar su latir interno, el de la fluidez que lo cre\u00f3.<\/p>\n

\u00ed\u00f1igo garc\u00eda odiaga . arquitecto
\nsan sebasti\u00e1n. marzo 2012<\/p>\n

Publicado en ZAZPIKA 25.03.2012<\/em><\/span><\/p>\n

[:en]

\"\"<\/a>
Michael Fisac experienced with the liquid properties of the concrete<\/span><\/figcaption><\/figure><\/p>\n

Though it could look like a terrible contradiction, already from the 50s, architects like Michael Fisac have experimented with the liquid properties of the concrete. A like cement mass that acquires a stony condition after his plotted one, but that in origin is a fluid that allows to treat it as an effective form.<\/p>\n

The concrete therefore adopts the form of the mold in the one that is spilt, but traditionally these forms were reproducing the geometries of the structures of wood, as if the evolution of the material had not supposed a material evoluci\u00f3n. He will be Michael Fisac the one that wants to look somehow for the natural geometry that corresponds to him to the new material and one will raise questions as; when the concrete does not have anything that he cannot stand, what it forms it will take?. Managing to affirm:<\/p>\n

\n

\u00abIt is the material only one that one throws I swing in a mold. So that stays a bit the fingerprint of which that one has been soft.\u00bb<\/em><\/p>\n<\/blockquote>\n

His works with encofrados elastic tapes constructed with frames of wood, cables and canvases propitiated walls of concrete which final materiality was making alike almohadillados, impossible textures for a stony element that supports his fluid memory.<\/p>\n

Almost 60 years after the works carried out by Fisac, with certain experimental air, contemporary architects have taken again this expressive capacity of the concrete.<\/p>\n

The architects Mierta and Kurt Lazzarini have just inaugurated a building of housings in the rural Swiss people of Samedan, which reinterprets these questions. The building places in the center of this urban core of mountain and uses his fragmented structure, his placement aterrazada and the expression of his walls of concrete to fuse with the environment.<\/p>\n

\"\"<\/a>
Building of housings in the rural Swiss people of Samedan, Mierta and Kurt Lazzarini<\/span><\/figcaption><\/figure>\n

In the bottom the volumetry of the building reinvents the typical forms of the rural Swiss houses, as well as his morphology generated by means of the addition of different pieces. This rereading of the classic model has generated a building with the geometry of the former constructions but with the rotundity that a certain minimalist contemporary air has granted him.<\/p>\n

In the hanging fuerte they appear, three volumes that compose the building, with his plants lightly trapezoidal. The building of major height is placed in the highest end of the plot what accentuates his dominant characteristic respect of the people.<\/p>\n

The stratification of the landscape aterrazado of the region, of the areas of culture and of the hillsides that surround the valley has removed to the front. The front reproduces the stratification of the landscape by means of the stratification of his own concretes. Caps of different concretes, realized with stones different from the region, are accumulating of sinuous form on the wall of the built-up volume. The walls offer a species of print, of landscape water-color of the environment, generating a harmonic integration in the landscape and also historical, since the stone is the typical matter of the zone, which offers a species of continuity of the local memory.<\/p>\n

\"\"<\/a>
Detail of front<\/span><\/figcaption><\/figure>\n

Another project that departs from similar premises is the realized one for the plastic artist Walter Jack, for the construction of a wall of containment in Cornwall’s region.<\/p>\n

The work places in Heartlands, a real-estate promotion destined to promote the transformation of the soil of a few former mines of tin, in a new urban area, which will include cultural, commercial, residential and tourist equipments.<\/p>\n

\"\"<\/a>
Walter Jack, wall of containment in Cornwall’s region<\/span><\/figcaption><\/figure>\n

The wall wants to express the geological pressure that the mining industry had in the land during the height of the mining industry of tin in Cornwall, when the miners were striking the heart of the region to more than one kilometre of depth. A historical still visible recollection in many buildings and factories of the region and that Walter Jack, takes as an initial metaphor of his work. Since contains an area that has been liquefied by the man to extract his minerals?<\/p>\n

By means of a technology of I mold realized with rubbers there is created a fluid and sensual effect on the mass of concrete. Walter and his equipment created a giant mold of rubber in which the concrete must penetrate for all the chinks, for what it was necessary to use extremely fluid, tremendously liquid concretes. Once finished, the filling of the mold, the final piece was cut in six sections that were transported to the work. Once there, specialists in assembly of prefabricated structures re-composed the initial piece to generate this unusual vision, that of a stone turned into liquid, or in a fabric wrinkled by the wind.<\/p>\n

The expressiveness of the fabrics of Bernini’s baroque sculptures, this textile fluency carved in the marble for the Roman artist, is reached now by the maintenance of the liquid memory of the material. If the makes concrete in the end is to mass that allows to construct of artificial form to rock, something of his memory, of his origin or of his chemical composition it must remain latent in his expressiveness. The khan makes concrete now meets liberated of the geometry of his molds and his internal latir express, that of the fluency that created it.<\/p>\n

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

san sebasti\u00e1n. march 2012<\/p>\n

It\u00b4s published in ZAZPIKA 25.03.2012<\/em><\/p>\n

[:gl]

\"\"<\/a>
Miguel Fisac, experimentado coas propiedades l\u00edquidas do formig\u00f3n
<\/span><\/figcaption><\/figure><\/p>\n

A\u00ednda que poida parecer unha terrible contradici\u00f3n, xa dende os anos 50, arquitectos como Miguel Fisac experimentaron coas propiedades l\u00edquidas do formig\u00f3n. Unha masa cementosa que adquire unha condici\u00f3n p\u00e9trea tras o seu fraguado, pero que en orixe \u00e9 un flu\u00eddo que permite tratalo de forma eficaz.<\/p>\n

O formig\u00f3n polo tanto adopta a forma do molde no que se verte, pero tradicionalmente esas formas reproduc\u00edan as xeometr\u00edas das estruturas de madeira, coma se a evoluci\u00f3n do material non tivese suposto un evoluci\u00f3n material. Ser\u00e1 Miguel Fisac o que queira dalg\u00fan xeito buscar a xeometr\u00eda natural que lle corresponde ao novo material e formularase cuesti\u00f3ns como; cando o formig\u00f3n non te\u00f1a nada que lle moleste, \u00bfque forma tomar\u00e1?. Chegando a afirmar:<\/p>\n

\n

\u00ab\u00c9 o \u00fanico material que se bota brando nun molde. Pois que quede un pouco a pegada de que aquilo foi brando.\u00bb<\/em><\/p>\n<\/blockquote>\n

As s\u00faas obras con encofrados el\u00e1sticos constru\u00eddos con bastidores de madeira, cables e lonas propiciaron muros de formig\u00f3n cuxa materialidade final asemellaba almofadados, texturas imposibles para un elemento p\u00e9treo que mant\u00e9n a s\u00faa memoria flu\u00edda.<\/p>\n

Case 60 anos despois das obras levadas a cabo por Fisac, con certo aire experimental, arquitectos contempor\u00e1neos retomaron esa capacidade expresiva do formig\u00f3n.<\/p>\n

Os arquitectos Mierta e Kurt Lazzarini acaban de inaugurar un edificio de vivendas no pobo rural su\u00edzo de Samedan, que reinterpreta estas cuesti\u00f3ns. O edificio sit\u00faase no centro deste n\u00facleo urbano de monta\u00f1a e fai uso da s\u00faa estrutura fragmentada, da s\u00faa colocaci\u00f3n aterrazada e da expresi\u00f3n dos seus muros de formig\u00f3n para fundirse co \u00e1mbito.<\/p>\n

\"\"<\/a>
Edificio de vivendas no pobo rural su\u00edzo de Samedan, Mierta & Kurt Lazzarini<\/span><\/figcaption><\/figure>\n

No fondo a volumetr\u00eda do edificio reinventa as t\u00edpicas formas das casas rurais su\u00edzas, as\u00ed como a s\u00faa morfolox\u00eda xerada mediante a adici\u00f3n de diferentes pezas. Esta relectura do modelo cl\u00e1sico xerou un edificio coa xeometr\u00eda das antigas construci\u00f3ns pero coa rotundidade que certo aire minimalista contempor\u00e1neo lle outorgou.<\/p>\n

Na forte pendente aparecen, os tres volumes que compo\u00f1en o edificio, coas s\u00faas plantas lixeiramente trapezoidais. O edificio de maior altura enc\u00f3ntrase colocado no extremo m\u00e1is elevado da parcela o que acent\u00faa o seu car\u00e1cter dominante respecto do pobo.<\/p>\n

A estratificaci\u00f3n da paisaxe aterrazado da rexi\u00f3n, das \u00e1reas de cultivo e das abas que rodean o val levouse \u00e1 fachada. A fachada reproduce a estratificaci\u00f3n da paisaxe mediante a estratificaci\u00f3n dos seus propios formig\u00f3ns. Capas de diferentes formig\u00f3ns, realizados con pedras diferentes da rexi\u00f3n, vanse acumulando de forma sinuosa sobre a parede do volume edificado. Os muros ofrecen unha especie de estampado, de acuarela paisax\u00edstica do \u00e1mbito, xerando unha integraci\u00f3n harm\u00f3nica na paisaxe e tam\u00e9n hist\u00f3rica, xa que a pedra \u00e9 a materia t\u00edpica da zona, o que ofrece unha especie de continuidade da memoria do lugar.<\/p>\n

\"\"<\/a>
Detalle de fachada<\/span><\/figcaption><\/figure>\n

Outro proxecto que parte de premisas similares \u00e9 o realizado polo artista pl\u00e1stico Walter Jack, para a construci\u00f3n dun muro de contenci\u00f3n na rexi\u00f3n de Cornwall.<\/p>\n

A obra sit\u00faase en Heartlands, unha promoci\u00f3n inmobiliaria destinada a promover a transformaci\u00f3n do chan dunhas antigas minas de esta\u00f1o, nunha nova \u00e1rea urbana, que incluir\u00e1 equipamentos culturais, comerciais, residenciais e tur\u00edsticos.<\/p>\n

\"\"<\/a>
Walter Jack, muro de contenci\u00f3n na rexi\u00f3n de Cornwall<\/span><\/figcaption><\/figure>\n

O muro quere expresar a presi\u00f3n xeol\u00f3xica que a minar\u00eda tivo na terra durante o apoxeo da minar\u00eda de esta\u00f1o en Cornualles, cando os mineiros estaban a golpear o coraz\u00f3n da rexi\u00f3n a m\u00e1is dun quil\u00f3metro de profundidade. Un recordo hist\u00f3rico a\u00ednda visible en moitos edificios e f\u00e1bricas da rexi\u00f3n e que Walter Jack, toma como met\u00e1fora inicial do seu traballo. \u00bfComo conter un terreo que foi licuado polo home para extraer os seus minerais?<\/p>\n

Mediante unha t\u00e9cnica de moldeo realizada con cauchos cr\u00e9ase un efecto flu\u00eddo e sensual sobre a masa de formig\u00f3n. Walter e o seu equipo crearon un xigante molde de caucho no que o formig\u00f3n debe penetrar por todas as aberturas, polo que houbo que utilizar formig\u00f3ns extremadamente flu\u00eddos, tremendamente l\u00edquidos. Unha vez rematada, a enchedura do molde, a peza final cortouse en seis secci\u00f3ns que foron transportadas \u00e1 obra. Unha vez al\u00ed, especialistas en montaxe de estruturas prefabricadas recompuxeron a peza inicial para xerar esa visi\u00f3n inusual, a dunha pedra convertida en l\u00edquido, ou nunha tea engurrada polo vento.<\/p>\n

A expresividade das teas das esculturas barrocas de Bernini, esa fluidez t\u00e9xtil tallada no m\u00e1rmore polo artista romano, \u00e9 alcanzada agora polo mantemento da memoria l\u00edquida do material. Se o formig\u00f3n \u00e1 fin e ao cabo \u00e9 unha masa que permite constru\u00edr de forma artificial unha rocha, algo da s\u00faa memoria, da s\u00faa orixe ou da s\u00faa composici\u00f3n qu\u00edmica debe quedar latente na s\u00faa expresividade. O formig\u00f3n agora vese liberado da xeometr\u00eda dos seus moldes e pode expresar o seu latexar interno, o da fluidez que o creou.<\/p>\n

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

san sebasti\u00e1n. marzo 2012<\/p>\n

Publicado en ZAZPIKA 25.03.2012<\/em><\/span><\/p>\n

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

[:es] Aunque pueda parecer una terrible contradicci\u00f3n, ya desde los a\u00f1os 50, arquitectos como Miguel Fisac han experimentado con las propiedades l\u00edquidas del hormig\u00f3n. Una masa cementosa que adquiere una condici\u00f3n p\u00e9trea tras su fraguado, pero que en origen es un fluido que permite tratarlo de forma eficaz. El hormig\u00f3n por tanto adopta la forma […]<\/p>\n","protected":false},"author":31,"featured_media":36445,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[673,1787,6604,668,4285,4287,9423,3327,1021,3452,1258,1271,12465,4288],"class_list":["post-36439","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-en-hormigon","tag-europa","tag-gian-lorenzo-bernini","tag-historia","tag-inigo-garcia-odiaga","tag-kurt-lazzarini","tag-mierta-kurt-lazzarini","tag-miguel-fisac","tag-pensamiento","tag-personaje","tag-suiza","tag-tecnologia","tag-vivienda","tag-walter-jack"],"yoast_head":"\nMasa l\u00edquida | \u00cd\u00f1igo Garc\u00eda Odiaga<\/title>\n<meta name=\"description\" content=\"Masa l\u00edquida\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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