{"id":36468,"date":"2014-01-17T06:16:23","date_gmt":"2014-01-17T06:16:23","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=36468"},"modified":"2025-04-23T15:12:25","modified_gmt":"2025-04-23T13:12:25","slug":"museo-nomada-de-shigeru-ban-halldora-arnardottir-javier-sanchez-merina","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/museo-nomada-de-shigeru-ban-halldora-arnardottir-javier-sanchez-merina\/","title":{"rendered":"[:es]Museo N\u00f3mada, de Shigeru Ban | Halld\u00f3ra Arnard\u00f3ttir \u2013 Javier S\u00e1nchez Merina[:gl]Museo N\u00f3made, de Shigeru Ban | Halld\u00f3ra Arnard\u00f3ttir \u2013 Javier S\u00e1nchez Merina[:en]Nomad Museum, by Shigeru Ban | Halld\u00f3ra Arnard\u00f3ttir \u2013 Javier S\u00e1nchez Merina[:]"},"content":{"rendered":"

[:es]

\"Shigeru
Shigeru Ban (n. 1957), arquitecto<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abAl explorar el lenguaje y la sensibilidad po\u00e9tica compartida por todos estos animales, trabajo hacia el redescubrimiento del \u00e1mbito com\u00fan que una vez existi\u00f3 cuando la gente viv\u00eda en armon\u00eda con los animales. Espero que el efecto final sea una experiencia de asombro y contemplaci\u00f3n, de serenidad y esperanza.\u00bb<\/em><\/p>\n

Gregory Colbert, fot\u00f3grafo.<\/p>\n<\/blockquote>\n

\"El
El Museo N\u00f3mada muestra las extraordinaria exposici\u00f3n de Colbert, \u201cCenizas y Nieve\u201d, un t\u00edtulo que sugiere belleza y renovaci\u00f3n, y donde nada est\u00e1 manipulado digitalmente | Ashes and Snow, de Gregory Colbert<\/span><\/figcaption><\/figure>\n

Fue a finales del 2003 cuando Shigeru Ban, el arquitecto japon\u00e9s popular por sus construcciones con tubos de cart\u00f3n, recibi\u00f3 un encargo incre\u00edble: el de imaginar un museo m\u00f3vil.<\/p>\n

El museo deb\u00eda viajar alrededor del mundo para mostrar las im\u00e1genes que el fot\u00f3grafo canadiense Gregory Colbert ha tomado a lo largo de treinta y tres expediciones por lugares ins\u00f3litos del mundo. Las fotograf\u00edas responden al criterio de buscar aquellas relaciones originales entre los animales y las personas que el hombre contempor\u00e1neo ya ha perdido.<\/p>\n

Precisamente esa misma noci\u00f3n de viajar con la c\u00e1mara era la que Colbert quer\u00eda para su museo. La construcci\u00f3n tendr\u00eda que moverse, tendr\u00eda que viajar por todo el mundo y provocar entre sus visitantes un fuerte compromiso con el entorno.<\/p>\n

\"El
El hombre y el animal en paz completa\u00a0| Ashes and Snow, de Gregory Colbert<\/span><\/figcaption><\/figure>\n

Cenizas y Nieve<\/strong>
\nDurante los \u00faltimos trece a\u00f1os Gregory Colbert ha viajado con su c\u00e1mara a lugares ex\u00f3ticos de la India, Sri Lanka, Egipto, Sud\u00e1frica, Etiop\u00eda, Namibia, Tonga, Myanmar -anteriormente conocida como Birmania-, las Islas Azores y la Ant\u00e1rtida, para explorar la interacci\u00f3n primordial entre los humanos y los animales. Significativamente, las fotograf\u00edas capturan a los animales a plena luz del d\u00eda, y ninguna de ellas ha sido manipulada o superpuesta posteriormente. \u00c9ste ha sido un trabajo paciente, tal y como Colbert explica:<\/p>\n

\n

\u201cEstoy interesado en explorar maravillas intemporales, as\u00ed que no hay urgencia. Cinco a\u00f1os, diez, quince, no lo habr\u00edan hecho distinto, porque lo que se hac\u00eda era completamente atemporal.\u201d<\/em><\/p>\n<\/blockquote>\n

As\u00ed contin\u00faa:<\/p>\n

\n

\u201cNosotros habr\u00edamos esperado durante meses. Con las ballenas estuvimos trabajando durante seis semanas sin disparar un s\u00f3lo fotograma. Hay d\u00edas de milagros, y hay d\u00edas cuando uno s\u00f3lo piensa en ellos. Pero no los fuerzas. Los elefantes decidieron, las ballenas decidieron.\u201d<\/em><\/p>\n<\/blockquote>\n

Son m\u00e1s de cien fotograf\u00edas de gran formato, de 180×270 cms, impresas en un papel japon\u00e9s que ha sido coloreado con pigmentos de plantas siguiendo t\u00e9cnicas artesanales de m\u00e1s de trescientos a\u00f1os de antig\u00fcedad. Fueron mostradas por primera vez en el Arsenal de Venecia, en el verano del 2002, bajo el t\u00edtulo \u201cCenizas y Nieve\u201d. La exposici\u00f3n fue extraordinaria y se organiz\u00f3 a lo largo de todo un astillero del siglo XV, pertenece a la marina italiana, que mide m\u00e1s de un kil\u00f3metro y medio de longitud. La respuesta del p\u00fablico fue sorprendente. Las im\u00e1genes fueron visitadas por m\u00e1s de cien mil personas y la colecci\u00f3n fue comprada en su totalidad por la compa\u00f1\u00eda Rolex, que a\u00fan act\u00faa como uno de los principales patrocinadores de Colbert.<\/p>\n

A la hora de enumerar el listado de necesidades para el nuevo museo que albergar\u00eda su colecci\u00f3n, Gregory Colbert requiri\u00f3 un espacio que \u00e9l pudiese organizar libremente, adem\u00e1s de poder enviar, junto a sus im\u00e1genes, a lugares tan remotos como el Parque Nacional de Serengeti en Tanzania, durante el periodo de migraci\u00f3n de animales; o instalarse en el Mar de Bering cuando se hiela. Esto implicaba que todo el edificio tuviese que ser reciclable y f\u00e1cil de montar y desmontar.<\/p>\n

\"El
El Museo N\u00f3mada tiene que viajar con sus planos alrededor del mundo<\/span><\/figcaption><\/figure>\n

El Museo N\u00f3mada<\/strong>
\nSu experiencia con arquitecturas m\u00f3viles y elementos constructivos reciclables fue un factor decisivo para que Shigeru Ban recibiese el encargo de desarrollar este nuevo concepto de museo.<\/p>\n

Ban se interes\u00f3 por los contenedores de transporte de mercanc\u00edas como un posible material de construcci\u00f3n que ya ten\u00edan intr\u00ednseco en su naturaleza la idea del viaje:<\/p>\n

\n

\u201cAl viajar por todo el mundo cada contenedor tiene su propia historia\u201d. <\/em><\/p>\n<\/blockquote>\n

Los contenedores, al incorporar tambi\u00e9n otras cualidades como su facilidad de ensamblarse y apilarse, podr\u00edan transportar el museo completo y cambiar su disposici\u00f3n en cada localizaci\u00f3n.<\/p>\n

\"La
La estructura del techo agudiza el efecto de perspectiva y crea un sentir de entrar en un santuario con escenas que nos recuerdan la relaci\u00f3n primordial entre aquellos que habitan la Tierra<\/span><\/figcaption><\/figure>\n

El arquitecto calcul\u00f3 que necesitar\u00edan ciento cincuenta y dos contenedores para crear una estructura que cerrar\u00eda los 4.180 m2 que ocupa el Museo N\u00f3mada. Puesto que la exposici\u00f3n empaquetada requer\u00eda tan s\u00f3lo de los ocho contenedores en los que viajar\u00eda, para completar la estructura del museo se tomar\u00edan prestados otros contenedores en cada nueva localizaci\u00f3n. Ser\u00eda, por lo tanto, esencial que los dibujos del arquitecto acompa\u00f1asen a la exposici\u00f3n en todo momento, aunque el edificio final pudiese alterar levemente su disposici\u00f3n dependiendo de las diferentes condiciones del lugar.<\/p>\n

Los contenedores est\u00e1n apilados siguiendo el dibujo de un damero y crean unos frentes de 10\u20192 metros de altura, y con el fin de protegerse del viento que sople entre la cuadr\u00edcula de contenedores, se cerraron las aperturas con una tela a modo de membrana inclinada.<\/p>\n

\"\"
Los materiales reciclables del Museo N\u00f3mada incorporan en su naturaleza el sentido del viaje y la memoria |Por ikm, CC BY-SA 3.0, https:\/\/commons.wikimedia.org\/w\/index.php?curid=37541017<\/span><\/figcaption><\/figure>\n

En cuanto a su interior, siguiendo con su inter\u00e9s por el uso de materiales reciclables con los que sea f\u00e1cil construir y de obtener, adem\u00e1s, en cada lugar, Shigeru Ban ha proyectado su techo y las columnas que lo sustentan con tubos de cart\u00f3n. Para protegerlos del agua y cumplir con la normativa de protecci\u00f3n contra incendios, los tubos, adem\u00e1s de estar sellados, incluyen un revestimiento impermeable interno y externo. El entramado de la cubierta est\u00e1 construido con tubos de 30 cms de di\u00e1metro que descansan sobre los contenedores y las sesenta y cuatro columnas formadas por tubos de 60 cms de di\u00e1metro.<\/p>\n

Los visitantes entran en la penumbra del espacio de exposiciones del museo al cruzar por una cortina de doce metros de longitud que est\u00e1 hecha con un mill\u00f3n de bolsas de papel de t\u00e9 procedentes de Sri Lanka. Entonces una majestuosa vista se abre frente a ellos: un largo paseo hacia una sala de proyecci\u00f3n recorre entre la colecci\u00f3n de las fotograf\u00edas de Colbert. El sencillo dise\u00f1o de la cubierta a dos aguas refuerza el efecto de perspectiva y dramatiza el espacio en el que las fotograf\u00edas parecen flotar entre las columnas por estar colgadas con finos cables. Es como si se entrase en un santuario en el que no hay palabras ni textos, s\u00f3lo im\u00e1genes: unas pac\u00edficas escenas del hombre con animales que nos hacen reflexionar.<\/p>\n

\"La
La primera disposici\u00f3n del Museo N\u00f3mada se realiz\u00f3 en la primavera del 2005, en Nueva York, en el hist\u00f3rico embarcadero n\u00famero 54 del r\u00edo Hudson, donde desembarcaron los supervivientes del Titanic. Su siguiente destino fue Los \u00c1ngeles, desde donde viajar\u00e1 a lo largo de Europa y Asia | Fotograf\u00eda: Michael Moran<\/span><\/figcaption><\/figure>\n

Los trabajos de Colbert son aut\u00e9nticos testimonios que demuestran que nuestros sentimientos primordiales con los animales no se han perdido totalmente. En un mundo de exceso industrial, los animales no deber\u00edan ser definidos simplemente por su grado de domesticaci\u00f3n o agresividad. Ellos tambi\u00e9n encarnan una paz inolvidable. Las fotograf\u00edas de Colbert mantienen una relaci\u00f3n de respeto y calma donde nadie domina al otro; un gesto que el Museo N\u00f3mada ayuda a instalar entre las personas dondequiera que se asiente, todo ello en atm\u00f3sfera de solemnidad creada con materiales de construcci\u00f3n reciclados.<\/p>\n

Halld\u00f3ra Arnard\u00f3ttir + Javier S\u00e1nchez Merina
\ndoctora en historia del arte. doctor arquitecto
\nMurcia. enero 2014<\/p>\n

[:gl]

\"\"<\/a>
Shigeru Ban (n. 1957), arquitecto<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abAl explorar el lenguaje y la sensibilidad po\u00e9tica compartida por todos estos animales, trabajo hacia el redescubrimiento del \u00e1mbito com\u00fan que una vez existi\u00f3 cuando la gente viv\u00eda en armon\u00eda con los animales. Espero que el efecto final sea una experiencia de asombro y contemplaci\u00f3n, de serenidad y esperanza.<\/em>\u00ab<\/em><\/p>\n

Gregory Colbert, fot\u00f3grafo.<\/p>\n<\/blockquote>\n

\"\"<\/a>
O Museo N\u00f3made mostra as extraordinaria exposici\u00f3n de Colbert, \u00abCinzas e Neve\u00bb, un t\u00edtulo que suxire beleza e renovaci\u00f3n, e onde nada est\u00e1 manipulado dixitalmente\u00a0| Ashes and Snow, de Gregory Colbert<\/span><\/figcaption><\/figure>\n

Foi a finais do 2003 cando Shigeru Ban, o arquitecto xapon\u00e9s popular polas s\u00faas construci\u00f3ns con tubos de cart\u00f3n, recibiu un encargo incrible: o de imaxinar un museo m\u00f3bil.<\/p>\n

O museo deb\u00eda viaxar arredor do mundo para mostrar as imaxes que o fot\u00f3grafo canadense Gregory Colbert tomou ao longo de trinta e tres expedici\u00f3ns por lugares ins\u00f3litos do mundo. As fotograf\u00edas responden ao criterio de buscar aquelas relaci\u00f3ns orixinais entre os animais e as persoas que o home contempor\u00e1neo xa perdeu.<\/p>\n

Precisamente esa mesma noci\u00f3n de viaxar coa c\u00e1mara era a que Colbert quer\u00eda para o seu museo. A construci\u00f3n ter\u00eda que moverse, ter\u00eda que viaxar por todo o mundo e provocar entre os seus visitantes un forte compromiso co \u00e1mbito.<\/p>\n

\"\"<\/a>
O home e o animal en paz completa | Ashes and Snow, de Gregory Colbert<\/span><\/figcaption><\/figure>\n

Cinzas e Neve<\/strong><\/p>\n

Durante os \u00faltimos trece anos Gregory Colbert viaxou coa s\u00faa c\u00e1mara a lugares ex\u00f3ticos da India, Sri Lanka, Exipto, Sud\u00e1frica, Etiop\u00eda, Namibia, Tonga, Myanmar -anteriormente co\u00f1ecida como Birmania-, as Illas Azores e a Ant\u00e1rtida, para explorar a interacci\u00f3n primordial entre os humanos e os animais. Significativamente, as fotograf\u00edas capturan aos animais a plena luz do d\u00eda, e ningunha delas foi manipulada ou superposta posteriormente. Este foi un traballo paciente, tal e como Colbert explica:<\/p>\n

\n

\u201cEstou interesado en explorar marabillas intemporais, as\u00ed que non hai urxencia. Cinco anos, dez, quince, non o ter\u00edan feito distinto, porque o que se fac\u00eda era completamente atemporal.\u201d<\/em><\/p>\n<\/blockquote>\n

As\u00ed contin\u00faa:<\/p>\n

\n

\u201cN\u00f3s teriamos esperado durante meses. Coas baleas estivemos a traballar durante seis semanas sen disparar un s\u00f3 fotograma. Hai d\u00edas de milagres, e hai d\u00edas cando un s\u00f3 pensa neles. Pero non os forzas. Os elefantes decidiron, as baleas decidiron.\u201d<\/em><\/p>\n<\/blockquote>\n

Son m\u00e1is de cen fotograf\u00edas de gran formato, de 180 x 270 cms, imprimidas nun papel xapon\u00e9s que foi coloreado con pigmentos de plantas seguindo t\u00e9cnicas artesanais de m\u00e1is de trescentos anos de antig\u00fcidade. Foron mostradas por primeira vez no Arsenal de Venecia, no ver\u00e1n do 2002, baixo o t\u00edtulo \u00abCinzas e Neve\u00bb. A exposici\u00f3n foi extraordinaria e organizouse ao longo de todo un estaleiro do s\u00e9culo XV, pertence \u00e1 mari\u00f1a italiana, que mide m\u00e1is dun quil\u00f3metro e medio de lonxitude. A resposta do p\u00fablico foi sorprendente. As imaxes foron visitadas por m\u00e1is de cen mil persoas e a colecci\u00f3n foi comprada na s\u00faa totalidade pola compa\u00f1\u00eda Rolex, que a\u00ednda act\u00faa como un dos principais patrocinadores de Colbert.<\/p>\n

\u00c1 hora de enumerar o listado de necesidades para o novo museo que albergar\u00eda a s\u00faa colecci\u00f3n, Gregory Colbert requiriu un espazo que el puidese organizar libremente, ademais de poder enviar, xunto \u00e1s s\u00faas imaxes, lugares tan remotos como o Parque Nacional de Serengeti en Tanzania, durante o per\u00edodo de migraci\u00f3n de animais; ou instalarse no Mar de Bering cando se xea. Isto implicaba que todo o edificio tivese que ser reciclable e doado de montar e desmontar.<\/p>\n

\"\"<\/a>
O Museo N\u00f3made ten que viaxar cos seus planos arredor do mundo<\/span><\/figcaption><\/figure>\n

O Museo N\u00f3made<\/strong><\/p>\n

A s\u00faa experiencia con arquitecturas m\u00f3biles e elementos construtivos reciclables foi un factor decisivo para que Shigeru Ban recibise o encargo de desenvolver este novo concepto de museo.<\/p>\n

Ban interesouse polos colectores de transporte de mercador\u00edas como un posible material de construci\u00f3n que xa ti\u00f1an intr\u00ednseco na s\u00faa natureza a idea da viaxe:<\/p>\n

\n

\u201cAo viaxar por todo o mundo cada colector ten a s\u00faa propia historia\u201d. <\/em><\/p>\n<\/blockquote>\n

Os colectores, ao incorporar tam\u00e9n outras calidades como a s\u00faa facilidade de ensamblarse e amorearse, poder\u00edan transportar o museo completo e cambiar a s\u00faa disposici\u00f3n en cada localizaci\u00f3n.<\/p>\n

\"\"<\/a>
A estrutura do teito agudiza o efecto de perspectiva e crea un sentir de entrar nun santuario con escenas que nos recordan a relaci\u00f3n primordial entre aqueles que habitan a Terra<\/span><\/figcaption><\/figure>\n

O arquitecto calculou que necesitar\u00edan cento cincuenta e dous colectores para crear unha estrutura que pechar\u00eda os 4.180 m2 que ocupa o Museo N\u00f3made. Posto que a exposici\u00f3n empaquetada requir\u00eda tan s\u00f3 dos oito colectores nos que viaxar\u00eda, para completar a estrutura do museo tomar\u00edanse prestados outros colectores en cada nova localizaci\u00f3n. Ser\u00eda, polo tanto, esencial que os debuxos do arquitecto acompa\u00f1asen a exposici\u00f3n en todo momento, a\u00ednda que o edificio final puidese alterar levemente a s\u00faa disposici\u00f3n dependendo das diferentes condici\u00f3ns do lugar.<\/p>\n

Os colectores est\u00e1n amoreados seguindo o debuxo dun damero e crean unhas frontes de 10’2 metros de altura, e co fin de protexerse do vento que sopre entre a cuadr\u00edcula de colectores, pech\u00e1ronse as aperturas cunha tea a xeito de membrana inclinada.<\/p>\n

\"\"<\/a>
Os materiais reciclables do Museo N\u00f3made incorporan na s\u00faa natureza o sentido da viaxe e a memoria\u00a0| Fotograf\u00eda: Michael Moran<\/span><\/figcaption><\/figure>\n

En canto ao seu interior, seguindo co seu interese polo uso de materiais reciclables cos que sexa doado constru\u00edr e de obter, ademais, en cada lugar, Shigeru Ban proxectou o seu teito e as columnas que o sustentan con tubos de cart\u00f3n. Para protexelos da auga e cumprir coa normativa de protecci\u00f3n contra incendios, os tubos, ademais de estar selados, incl\u00faen un revestimento impermeable interno e externo. A armaz\u00f3n da cuberta est\u00e1 constru\u00edda con tubos de 30 cms de di\u00e1metro que descansan sobre os colectores e as sesenta e catro columnas formadas por tubos de 60 cms de di\u00e1metro.<\/p>\n

Os visitantes entran na penumbra do espazo de exposici\u00f3ns do museo ao cruzar por unha cortina de doce metros de lonxitude que est\u00e1 feita cun mill\u00f3n de bolsas de papel de t\u00e9 procedentes de Sri Lanka. Ent\u00f3n unha maxestosa vista \u00e1brese fronte a eles: un longo paseo cara a unha sala de proxecci\u00f3n percorre entre a colecci\u00f3n das fotograf\u00edas de Colbert. O sinxelo dese\u00f1o da cuberta a d\u00faas augas reforza o efecto de perspectiva e dramatiza o espazo no que as fotograf\u00edas parecen flotar entre as columnas por estar colgada con finos cables. \u00c9 coma se se entrase nun santuario no que non hai palabras nin textos, s\u00f3 imaxes: unhas pac\u00edficas escenas do home con animais que nos fan reflexionar.<\/p>\n

\"La
A primeira disposici\u00f3n do Museo N\u00f3made realizouse na primavera do 2005, en Nova York, no hist\u00f3rico embarcadoiro n\u00famero 54 do r\u00edo Hudson, onde desembarcaron os superviventes do Titanic. O seu seguinte destino foi Los \u00c1ngeles, dende onde viaxar\u00e1 ao longo de Europa e Asia | Fotograf\u00eda: Michael Moran<\/span><\/figcaption><\/figure>\n

Os traballos de Colbert son aut\u00e9nticos testemu\u00f1os que demostran que os nosos sentimentos primordiais cos animais non se perderon totalmente. Nun mundo de exceso industrial, os animais non deber\u00edan ser definidos simplemente polo seu grao de domesticaci\u00f3n ou agresividade. Eles tam\u00e9n encarnan unha paz inesquecible. As fotograf\u00edas de Colbert mante\u00f1en unha relaci\u00f3n de respecto e calma onde ningu\u00e9n domina o outro; un xesto que o Museo N\u00f3made axuda a instalar entre as persoas onde queira que se asente, todo iso en atmosfera de solemnidade creada con materiais de construci\u00f3n reciclados.<\/p>\n

Halld\u00f3ra Arnard\u00f3ttir + Javier S\u00e1nchez Merina
\ndoutora en historia del arte. doutor arquitecto
\nMurcia. xaneiro 2014<\/p>\n

[:en]

\"\"<\/a>
Shigeru Ban (n. 1957), achitect<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abOn having explored the language and the poetical sensibility shared by all these animals, work towards the rediscovery of the common area that once existed when the people were living in harmony with the animals. I hope that the final effect is an experience of amazement and contemplation, of serenity and hope.\u00bb<\/em><\/p>\n

Gregory Colbert, photographer.<\/p>\n<\/blockquote>\n

\"\"<\/a>
The Nomadic Museum shows Colbert’s extraordinary exhibition, \u00bb Ashes and Snow \u00ab, a title that suggests beauty and renovation, and where nothing is manipulated digital | Ashes and Snow, by Gregory Colbert<\/span><\/figcaption><\/figure>\n

It was at the end of 2003 when Shigeru Ban, the Japanese popular architect for his constructions with pipes of carton, received an incredible order: of imagining a mobile museum.<\/p>\n

The museum had to travel about the world to show the images that the Canadian photographer Gregory Colbert has taken along thirty three expeditions for unusual places of the world. The photographies answer to the criterion for looking for those original relations between the animals and the persons that the contemporary man already has lost.<\/p>\n

Precisely the same notion of travelling with the chamber was the one that Colbert wanted for his museum. The construction would have to move, would have to travel all over the world and provoke between his visitors a strong commitment with the environment.<\/p>\n

\"\"<\/a>
The man and the animal in complete peace\u00a0| Ashes and Snow, by Gregory Colbert<\/span><\/figcaption><\/figure>\n

Ashes and Snow<\/strong><\/p>\n

During the last thirteen years Gregory Colbert has travelled with his chamber to exotic places of the India, Sri Lanka, Egypt, South Africa, Ethiopia, Namibia, Tonga, Myanmar – previously known as Burma-, the Azores and the Antarctica, to explore the basic interaction between the human beings and the animals. Significantly, the photographies capture to the animals to full daylight, and none of them has been manipulated or superposed later. This one has been a patient work, as Colbert explains:<\/p>\n

\n

\u201cI am interested in exploring timeless marvels, so there is no urgency. Five years, ten, fifteen, would not have made it different, because what was done was completely atemporal.\u201d<\/em><\/p>\n<\/blockquote>\n

This way it continues:<\/p>\n

\n

\u201cWe would have waited for months. With the whales we were working for six weeks without one shot only still. It is days of miracles, and is days when one only thinks about them. But you do not force them. The elephants decided, the whales decided.\u201d<\/em><\/p>\n<\/blockquote>\n

They are more than hundred photographies of great format, of 180×270 cms, printed in a Japanese paper that has been colored by pigments of plants following handcrafted technologies of more than three hundred years of antiquity. They were showed by the first time in the Arsenal of Venice, in the summer of 2002, under the title \u00bb Ashes and Snow \u00ab. The exhibition was extraordinary and one organized along the whole shipyard of the 15th century, it belongs to the Italian sea-coast, which measures more than one kilometre and a half of length. The response of the public was surprising. The images were visited by more than hundred thousand persons and the collection it was bought in its entirety by the company Rolex, which still acts as one of the principal sponsors of Colbert.<\/p>\n

At the moment of enumerating the list of needs for the new museum that would shelter his collection, Gregory Colbert needed a space that he could organize freely, beside being able to send, close to his images, places as remote as Serengeti’s National Park in Tanzania, during the period of migration of animals; or to establish itself in the Bering Sea when it freezes. This was implying that the whole building had to be recyclable and easy to mount and dismount.<\/p>\n

\"\"<\/a>
The Nomadic Museum has to travel with his planes about the world<\/span><\/figcaption><\/figure>\n

The Nomadic Museum<\/strong><\/p>\n

His experience with mobile architectures and constructive recyclable elements was a decisive factor in order that Shigeru Ban was receiving the order of developing this new concept of museum.<\/p>\n

Ban was interested for the containers of transport of goods as a possible material of construction that already they had the idea of the trip intrinsic in his nature:<\/p>\n

\n

\u201cOn having travelled all over the world every container has his own history\u201d. <\/em><\/p>\n<\/blockquote>\n

The containers, on having incorporated also other qualities as his facility of being assembled and to be piled up, might transport the complete museum and change his disposition into every location.<\/p>\n

\"\"<\/a>
The structure of the ceiling sharpens the effect of perspective and be thinking one about feeling of entering a sanctuary with scenes that us remember the basic relation between those who live the Earth<\/span><\/figcaption><\/figure>\n

The architect calculated that they would need hundred fifty two containers to create a structure that would close the 4.180 m2 that occupies the Nomadic Museum. Since the stiff exhibition was needing only of eight containers in which he would travel, to complete the structure of the museum other containers would take given in every new location. It would be, therefore, essential that the drawings of the architect were accompanying to the exhibition at all time, though the final building could alter slightly his disposition depending on the different local conditions.<\/p>\n

The containers are piled up following the drawing of a draught-board and a few fronts of 10’2 meters of height, and in order to be protected from the wind that blows between the squared pattern of containers, the openings were closed with a fabric like sloping membrane.<\/p>\n

\"\"<\/a>
The recyclable materials of the Nomadic Museum incorporate in his nature the sense of the trip and the memory | Photography: Michael Moran<\/span><\/figcaption><\/figure>\n

As for his interior, continuing with his interest for the use of recyclable materials with which it is easy to construct and of to obtaining, in addition, in every place, Shigeru Ban has projected his ceiling and the columns that sustain it with pipes of carton. To protect them from the water and to expire with the protection regulation against fires, the pipes, beside being sealed, they include an impermeable internal and external coating. The studding of the cover is constructed by pipes of 30 cms of diameter that they rest on the containers and sixty four columns formed by pipes of 60 cms of diameter.<\/p>\n

The visitors enter the semidarkness of the space of exhibitions of the museum on having crossed for a curtain of twelve meters of length that is done by a million paper bags of tea proceeding from Sri Lanka. Then a majestic sight is opened opposite to them: a long walk towards a projection room crosses between the collection of Colbert’s photographies. The simple design of the cover to two waters reinforces the effect of perspective and dramatizes the space in which the photographies seem to float between the columns for being hung by thin cables. It is as if it was entered in a sanctuary in that there are neither words nor texts, only images: a few pacific scenes of the man with animals that they make us think over.<\/p>\n

\"La
The first disposition of the Nomadic Museum was realized in the spring of 2005, in New York, in the historical pier number 54 of the river Hudson, where the survivors of the Titanic landed. His following destination was Los Angeles, from where he will travel along Europe and Asia | Photography: Michael Moran<\/span><\/figcaption><\/figure>\n

Colbert’s works are authentic testimonies that demonstrate that our basic feelings with the animals have not got lost totally. In a world of industrial excess, the animals should not be defined simply for his degree of domesticaci\u00f3n or aggressiveness. They also personify an unforgettable peace. Colbert’s photographies support a relation of respect and calm where nobody dominates other one; a gesture that the Nomadic Museum helps to install between the persons anywhere that one agrees, all this in atmosphere of solemnity created with materials of construction recycled.<\/p>\n

Halld\u00f3ra Arnard\u00f3ttir + Javier S\u00e1nchez Merina
\ndoctor in history of the art. doctor architect
\nMurcia. january 2014<\/p>\n

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

[:es] \u00abAl explorar el lenguaje y la sensibilidad po\u00e9tica compartida por todos estos animales, trabajo hacia el redescubrimiento del \u00e1mbito com\u00fan que una vez existi\u00f3 cuando la gente viv\u00eda en armon\u00eda con los animales. Espero que el efecto final sea una experiencia de asombro y contemplaci\u00f3n, de serenidad y esperanza.\u00bb Gregory Colbert, fot\u00f3grafo. Fue a […]<\/p>\n","protected":false},"author":48,"featured_media":62479,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3657,171,365,1650,12456,4908,12460,9425,8659,8658,815,7058,2496,9424,1146,1226],"class_list":["post-36468","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-japonesa","tag-autoconstruccion","tag-construccion","tag-contenedor","tag-equipamiento-cultural","tag-experimentacion","tag-fotografia","tag-gregory-colbert","tag-halldora-arnardottir","tag-javier-sanchez-merina","tag-maestro","tag-materialidad","tag-movimiento","tag-museo-nomada","tag-reciclaje","tag-shigeru-ban"],"yoast_head":"\nMuseo N\u00f3mada, de Shigeru Ban | Halld\u00f3ra Arnard\u00f3ttir \u2013 Javier S\u00e1nchez Merina<\/title>\n<meta name=\"description\" content=\"Museo N\u00f3mada, de Shigeru Ban\" 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