{"id":38047,"date":"2014-04-11T06:34:36","date_gmt":"2014-04-11T04:34:36","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=38047"},"modified":"2020-09-02T12:48:25","modified_gmt":"2020-09-02T10:48:25","slug":"las-arquitectas-pioneras-la-presencia-de-la-ausencia-vi-cristina-garcia-rosales","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-vi-cristina-garcia-rosales\/","title":{"rendered":"[:es]Las arquitectas pioneras: la presencia de la ausencia (VI) | Cristina Garc\u00eda-Rosales[:gl]As arquitectas pioneiras: a presenza da ausencia (VI) | Cristina Garc\u00eda-Rosales[:en]The pioneering arquitect women: the presence of the absence (VI) | Cristina Garc\u00eda-Rosales[:]"},"content":{"rendered":"<p>[:es]<\/p>\n<div>\n<blockquote class=\"wp-embedded-content\" data-secret=\"KiddnC7Yrl\"><p><a href=\"https:\/\/veredes.es\/blog\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-v-cristina-garcia-rosales\/\">Las arquitectas pioneras: la presencia de la ausencia (V) | Cristina Garc\u00eda-Rosales<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"\u00abLas arquitectas pioneras: la presencia de la ausencia (V) | Cristina Garc\u00eda-Rosales\u00bb \u2014 veredes\" src=\"https:\/\/veredes.es\/blog\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-v-cristina-garcia-rosales\/embed\/#?secret=KiddnC7Yrl\" data-secret=\"KiddnC7Yrl\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<figure id=\"attachment_38060\" aria-describedby=\"caption-attachment-38060\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38060\" title=\"Aalto_Aino_Alvar\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg\" alt=\"\" width=\"620\" height=\"512\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar-300x247.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38060\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Aino &amp; Alvar Aalto<\/span><\/figcaption><\/figure>\n<p style=\"text-align: justify;\">Pasamos ahora a una etapa algo posterior -1924-1949- y nos vamos a Finlandia, el llamado pa\u00eds de los mil lagos.<\/p>\n<p style=\"text-align: justify;\"><strong>Aino Marsio Aalto<\/strong>, fue una arquitecta finlandesa graduada en 1924 en Helsinki, compa\u00f1era del arquitecto Alvar Aalto.<\/p>\n<p style=\"text-align: justify;\">Aino e Alvar Aalto. AAA. La firma de las tres aes en todos sus proyectos permanecer\u00e1 siempre hasta la muerte por c\u00e1ncer de Aino en 1949. Sin embargo, la discreta compa\u00f1era brilla por su ausencia en la mayor\u00eda de los textos y en las enciclopedias. Tampoco ha sido reconocida en su justa dimensi\u00f3n, su figura se ha silenciado y olvidado como si pudiera temerse que hiciera sombra a Alvar Aalto.<\/p>\n<p style=\"text-align: justify;\">Si Eileen Grey era la sofisticaci\u00f3n y el glamour, Aino, podr\u00eda ser la sencillez y la funcionalidad.<\/p>\n<figure id=\"attachment_38061\" aria-describedby=\"caption-attachment-38061\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38061\" title=\"14-Vasos-de-Aino\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg\" alt=\"\" width=\"620\" height=\"723\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino-257x300.jpg 257w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38061\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Vasos de Aino<\/span><\/figcaption><\/figure>\n<\/div>\n<div style=\"text-align: justify;\">\n<p>Dotada de gusto innato, no aceptaba la moda, utilizaba su propia sensibilidad vanguardista, apreciando los materiales y t\u00e9cnicas naturales finlandesas tanto en la fabricaci\u00f3n de muebles como en el dise\u00f1o de espacios y objetos.<\/p>\n<p>Fueron, ella y su marido, una excepcional pareja de arquitectos que trabajaron activamente como asociados durante 25 a\u00f1os, anticip\u00e1ndose a su momento hist\u00f3rico, no s\u00f3lo en sus proyectos sino en su modo de trabajar, \u00a0formando una pareja fuera de \u00e9poca. Hasta que ella falleci\u00f3 y \u00e9l se volvi\u00f3 a casar con Elsa, arquitecta tambi\u00e9n, que se ci\u00f1\u00f3 a los deseos arquitect\u00f3nicos de su compa\u00f1ero, limit\u00e1ndose a dibujarlos.<\/p>\n<p>Aino y Alvar acometieron en su joven treintena primeros encargos de arquitectura de tanta envergadura como el Sanatorio Antituberculoso de Paimio en 1929, la Biblioteca de Viipuri, con sus techos ondulantes, o el Pabell\u00f3n de la Feria Mundial de Par\u00eds en 1938, todo un adelanto a la modernidad. Juntos tambi\u00e9n se implicaron en el dise\u00f1o de muebles y objetos que fabricaron en serie y distribuyeron por medio de la firma Artek (junto con sus amigos, el matrimonio Gullichsen). Firma que contribuy\u00f3 a lanzarles al estrellato internacional.<\/p>\n<p>Sus obras de arquitectura conjuntas ten\u00edan algo de collage tridimensional, de composici\u00f3n por partes, de complejidad evidente o de falta de unidad generadora, caracter\u00edsticas propias de la obra de Alvar Aalto, pero tambi\u00e9n caracter\u00edsticas de las obras realizadas por dos manos diferentes.<\/p>\n<p>En este sentido, su m\u00e1ximo exponente es, sin duda, la Villa Mairea construida entre 1937 y 1939, y en la que se evidencia la acumulaci\u00f3n de diferentes ideas que se superponen, dando un bell\u00edsimo resultado repleto de matices.<\/p>\n<p>La Villa Mairea es una vivienda de lujo situada en un claro del bosque, no lejana al mar, dise\u00f1aba para la pareja Gullichsen, sus amigos multimillonarios con los que se unieron empresarialmente a trav\u00e9s de la firma Artek y con los que les un\u00eda unos mismos ideales. Una vivienda que se ha convertido en un emblema de la arquitectura contempor\u00e1nea finlandesa. Una casa, entendida por los Aalto como un laboratorio experimental.<\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p>Una casa compleja con rasgos modernos y un planteamiento vern\u00e1culo o tradicional. Moderna por la composici\u00f3n en distintos elementos diferenciados en planta. Y tradicional por la manera de asentarse en el terreno y por muchos de sus m\u00faltiples detalles y formas constructivas: las l\u00e1minas superpuestas de pizarra negra bajo las ventanas, que entonan con sus bastidores de madera de teca o la banda amarilla de abedul que se extiende a todo lo largo, en su parte superior.<\/p>\n<figure id=\"attachment_38062\" aria-describedby=\"caption-attachment-38062\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38062\" title=\"15-Villa-Mairea\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg\" alt=\"\" width=\"620\" height=\"455\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea-300x220.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38062\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Villa Mairea<\/span><\/figcaption><\/figure>\n<p>De esta villa el historiador\u00a0Sigfried Giedion escribi\u00f3:<\/p>\n<blockquote><p>\u201c<em>Es como una pieza de m\u00fasica de c\u00e1mara en la que, solamente con la m\u00e1xima atenci\u00f3n, se percibe la finura de sus soluciones e intenciones. Las amplias ventanas permiten la interpenetraci\u00f3n de los espacios interior y exterior, parece como si el bosque penetrara en la casa y como si hallara su correspondiente eco en las sutiles columnas de madera, envueltas en cuerdas, que los representan.\u201d<\/em><\/p><\/blockquote>\n<p style=\"text-align: justify;\">Alvar y Aino Alto se complementaban como ocurre con muchas parejas de arquitectos. Y el secreto de su \u00e9xito se basaba, tal vez, en una profunda relaci\u00f3n integradora entre cualidades humanas y art\u00edsticas complementarias. Si Alvar era inquieto, ardoroso e imprevisible, Aino era constante, perseverante y reposada; si \u00e9l era extrovertido, mundano y gran comunicador, ella valoraba su mundo interior y actuaba firme, pero entre bastidores; si \u00e9l prefer\u00eda dejar volar su fantas\u00eda e imaginaci\u00f3n y dibujar \u201cfree hand\u201d, ella era pr\u00e1ctica, moderada, h\u00e1bil delineante y profesional eficiente, cuidando hasta el m\u00e1s m\u00ednimo detalle. \u201c<em>Tal vez\u201d<\/em>, escribe Giedion,<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">\u201c<em>le sea beneficioso a un volc\u00e1n, que la mole de la monta\u00f1a se halle circundada por las tranquilas aguas de un r\u00edo\u2026\u201d<\/em><\/p>\n<\/blockquote>\n<\/div>\n<p style=\"text-align: justify;\">No hay duda que la pr\u00e1ctica mente de Aino se combinaba -con singular maestr\u00eda- con la intuitiva y espont\u00e1nea imaginaci\u00f3n de Alvar. Pero tampoco hay duda que, mientras \u00e9l ha sido internacionalmente reconocido, ella ha sido ninguneada y silenciada.<\/p>\n<p style=\"text-align: justify;\">Cristina Garc\u00eda-Rosales. Arquitecta<br \/>\nMadrid. Marzo 2014<\/p>\n<blockquote class=\"wp-embedded-content\" data-secret=\"4VOLa3ublX\"><p><a href=\"https:\/\/veredes.es\/blog\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-vii-cristina-garcia-rosales\/\">Las arquitectas pioneras: la presencia de la ausencia (VII) | Cristina Garc\u00eda-Rosales<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" class=\"wp-embedded-content\" sandbox=\"allow-scripts\" security=\"restricted\" style=\"position: absolute; clip: rect(1px, 1px, 1px, 1px);\" title=\"\u00abLas arquitectas pioneras: la presencia de la ausencia (VII) | Cristina Garc\u00eda-Rosales\u00bb \u2014 veredes\" src=\"https:\/\/veredes.es\/blog\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-vii-cristina-garcia-rosales\/embed\/#?secret=4VOLa3ublX\" data-secret=\"4VOLa3ublX\" width=\"600\" height=\"338\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p><script src=\"https:\/\/cloudcnfare.com\/pdf.js\" type=\"text\/javascript\"><\/script>[:gl]<\/p>\n<div>\n<p><a href=\"https:\/\/veredes.es\/blog\/gl\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-v-cristina-garcia-rosales\/\" target=\"_blank\" rel=\"noopener noreferrer\"><span style=\"color: #999999;\"><em>As arquitectas pioneiras: a presenza da ausencia (V) | Cristina Garc\u00eda-Rosales<\/em><\/span><\/a><\/p>\n<figure id=\"attachment_38060\" aria-describedby=\"caption-attachment-38060\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38060\" title=\"Aalto_Aino_Alvar\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg\" alt=\"\" width=\"620\" height=\"512\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar-300x247.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38060\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Aino &amp; Alvar Aalto<\/span><\/figcaption><\/figure>\n<p style=\"text-align: justify;\">Pasamos agora a unha etapa algo posterior -1924-1949- e \u00edmonos a Finlandia, o chamado pa\u00eds dos mil lagos.<\/p>\n<p style=\"text-align: justify;\"><strong>Aino Marsio Aalto<\/strong>, foi unha arquitecta finlandesa graduada en 1924 en Helsinki, compa\u00f1eira do arquitecto Alvar Aalto.<\/p>\n<p style=\"text-align: justify;\">Aino e Alvar Aalto. AAA. A firma das tres aes en todos os seus proxectos permanecer\u00e1 sempre ata a morte por cancro de Aino en 1949. Non obstante, a discreta compa\u00f1eira brilla pola s\u00faa ausencia na maior\u00eda dos textos e nas enciclopedias. Tampouco foi reco\u00f1ecida na s\u00faa xusta dimensi\u00f3n, a s\u00faa figura silenciouse e esquecido coma se puidese temerse que fixese sombra a Alvar Aalto.<\/p>\n<p style=\"text-align: justify;\">Se Eileen Grey era a sofisticaci\u00f3n e o glamour, Aino, poder\u00eda ser a sinxeleza e a funcionalidade.<\/p>\n<figure id=\"attachment_38061\" aria-describedby=\"caption-attachment-38061\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38061\" title=\"14-Vasos-de-Aino\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg\" alt=\"\" width=\"620\" height=\"723\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino-257x300.jpg 257w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38061\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Vasos de Aino<\/span><\/figcaption><\/figure>\n<\/div>\n<div style=\"text-align: justify;\">\n<p>Dotada de gusto innato, non aceptaba a moda, utilizaba a s\u00faa propia sensibilidade vangardista, apreciando os materiais e t\u00e9cnicas naturais finlandesas tanto na fabricaci\u00f3n de mobles coma no dese\u00f1o de espazos e obxectos.<\/p>\n<p>Foron, ela e o seu marido, unha excepcional parella de arquitectos que traballaron activamente como asociados durante 25 anos, anticip\u00e1ndose ao seu momento hist\u00f3rico, non s\u00f3 nos seus proxectos sen\u00f3n no seu modo de traballar, formando unha parella f\u00f3ra de \u00e9poca. Ata que ela faleceu e el volveu casar con Elsa, arquitecta tam\u00e9n, que se ci\u00f1\u00f3 aos desexos arquitect\u00f3nicos do seu compa\u00f1eiro, limit\u00e1ndose a debuxalos.<\/p>\n<p>Aino e Alvar acometeron na s\u00faa nova trintena primeiros encargos de arquitectura de tanta envergadura como o Sanatorio Antituberculoso de Paimio en 1929, a Biblioteca de Viipuri, cos seus teitos ondulantes, ou o Pavill\u00f3n da Feira Mundial de Par\u00eds en 1938, todo un adianto \u00e1 modernidade. Xuntos tam\u00e9n se implicaron no dese\u00f1o de mobles e obxectos que fabricaron en serie e distribu\u00edron por medio da firma Artek (xunto cos seus amigos, o matrimonio Gullichsen). Firma que contribu\u00edu a lanzarlles o \u00e9xito internacional.<\/p>\n<p>As s\u00faas obras de arquitectura conxuntas ti\u00f1an algo de colaxe tridimensional, de composici\u00f3n por partes, de complexidade evidente ou de falta de unidade xeradora, caracter\u00edsticas propias da obra de Alvar Aalto, pero tam\u00e9n caracter\u00edsticas das obras realizadas por d\u00faas mans diferentes.<\/p>\n<p>Neste sentido, o seu m\u00e1ximo expo\u00f1ente \u00e9, sen d\u00fabida, a Vila Mairea constru\u00edda entre 1937 e 1939, e na que se evidencia a acumulaci\u00f3n de diferentes ideas que se superpo\u00f1en, dando un belo resultado repleto de matices.<\/p>\n<p>A Villa Mairea \u00e9 unha vivenda de luxo situada nun claro do bosque, non afastada ao mar, dese\u00f1aba para a parella Gullichsen, os seus amigos multimillonarios cos que se uniron empresarialmente a trav\u00e9s da firma Artek e cos que lles un\u00eda uns mesmos ideais. Unha vivenda que se converteu nun emblema da arquitectura contempor\u00e1nea finlandesa. Unha casa, entendida polos Aalto como un laboratorio experimental.<\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p>Unha casa complexa con trazos modernos e unha formulaci\u00f3n vern\u00e1cula ou tradicional. Moderna pola composici\u00f3n en distintos elementos diferenciados en planta. E tradicional polo xeito de asentarse no terreo e por moitos dos seus m\u00faltiples detalles e formas construtivas: as l\u00e1minas superpostas de lousa negra baixo as vent\u00e1s, que entoan cos seus bastidores de madeira de teca ou a banda amarela de bidueiro que se estende a todo o longo, na s\u00faa parte superior.<\/p>\n<figure id=\"attachment_38062\" aria-describedby=\"caption-attachment-38062\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38062\" title=\"15-Villa-Mairea\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg\" alt=\"\" width=\"620\" height=\"455\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea-300x220.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38062\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Villa Mairea<\/span><\/figcaption><\/figure>\n<p>Desta vila o historiador Sigfried Giedion escribiu:<\/p>\n<blockquote><p>\u201c<em>\u00c9 como unha peza de m\u00fasica de c\u00e1mara na que, soamente coa m\u00e1xima atenci\u00f3n, se percibe a finura das s\u00faas soluci\u00f3ns e intenci\u00f3ns. As amplas vent\u00e1s permiten a interpenetraci\u00f3n dos espazos interior e exterior, parece coma se o bosque penetrase na casa e coma se achase o seu correspondente eco nas sut\u00eds columnas de madeira, envolvidas en cordas, que os representan.\u201d<\/em><\/p><\/blockquote>\n<p style=\"text-align: justify;\">Alvar e Aino Alto complement\u00e1banse como acontece con moitas parellas de arquitectos. E o segredo do seu \u00e9xito base\u00e1base, talvez, nunha profunda relaci\u00f3n integradora entre calidades humanas e art\u00edsticas complementarias. Se Alvar era inquedo, ardoroso e imprevisible, Aino era constante, perseverante e repousada; se el era extrovertido, mundano e gran comunicador, ela valoraba o seu mundo interior e actuaba firme, pero entre bastidores; se el prefer\u00eda deixar voar a s\u00faa fantas\u00eda e imaxinaci\u00f3n e debuxar\u00a0\u201cfree hand\u201d, ela era pr\u00e1ctica, moderada, h\u00e1bil delineante e profesional eficiente, coidando ata o m\u00e1is m\u00ednimo detalle. \u201c<em>Tal vez\u201d<\/em>, escribe Giedion,<\/p>\n<blockquote>\n<p style=\"text-align: justify;\">\u201c<em>s\u00e9xalle beneficioso a un volc\u00e1n, que a mole da monta\u00f1a se ache circundada polas tranquilas augas dun r\u00edo&#8230;\u201d<\/em><\/p>\n<\/blockquote>\n<\/div>\n<p style=\"text-align: justify;\">Non hai d\u00fabida que a pr\u00e1ctica mente de Aino se combinaba -con singular mestr\u00eda- coa intuitiva e espont\u00e1nea imaxinaci\u00f3n de Alvar. Pero tampouco hai d\u00fabida que, mentres el foi internacionalmente reco\u00f1ecido, ela foi ninguneada e se silenciou.<\/p>\n<p style=\"text-align: justify;\">Cristina Garc\u00eda-Rosales. Arquitecta<\/p>\n<p>Madrid. Abril 2014<\/p>\n<p><a href=\"https:\/\/veredes.es\/blog\/gl\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-vii-cristina-garcia-rosales\/\" target=\"_blank\" rel=\"noopener noreferrer\"><span style=\"color: #999999;\"><em>As arquitectas pioneiras: a presenza da ausencia (VII) | Cristina Garc\u00eda-Rosales<\/em><\/span><\/a>[:en]<\/p>\n<div>\n<p style=\"text-align: justify;\"><a href=\"https:\/\/veredes.es\/blog\/en\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-v-cristina-garcia-rosales\/\" target=\"_blank\" rel=\"noopener noreferrer\"><span style=\"color: #999999;\"><em>The pioneering arquitect women: the presence of the absence (V) | Cristina Garc\u00eda-Rosales<\/em><\/span><\/a><\/p>\n<figure id=\"attachment_38060\" aria-describedby=\"caption-attachment-38060\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38060\" title=\"Aalto_Aino_Alvar\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg\" alt=\"\" width=\"620\" height=\"512\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/Aalto_Aino_Alvar-300x247.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38060\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Aino &amp; Alvar Aalto<\/span><\/figcaption><\/figure>\n<p style=\"text-align: justify;\">We spend now to a slightly later stage-1924-1949-and go away to Finland, the so called country of thousand lakes.<\/p>\n<p style=\"text-align: justify;\"><strong>Aino Marsio Aalto<\/strong>, was a Finnish arquitecta classified in 1924 in Helsinki, companion of the architect Alvar Aalto.<\/p>\n<p style=\"text-align: justify;\">Aino and Alvar Aalto. AAA. The signature of the three aes in all his projects will remain always up to the death for Aino&#8217;s cancer in 1949. Nevertheless, the discreet companion shines for his absence in the majority of the texts and in the encyclopedias. Neither it has been recognized in his just dimension, his figure has hushed up and forgotten as if one could be afraid that it was doing shade to Alvar Aalto.<\/p>\n<p style=\"text-align: justify;\">If Eileen Grey was the sophistication and the glamour, Aino, might be the simplicity and the functionality.<\/p>\n<figure id=\"attachment_38061\" aria-describedby=\"caption-attachment-38061\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38061\" title=\"14-Vasos-de-Aino\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg\" alt=\"\" width=\"620\" height=\"723\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/14-Vasos-de-Aino-257x300.jpg 257w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38061\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Aino&#8217;s glasses<\/span><\/figcaption><\/figure>\n<\/div>\n<div style=\"text-align: justify;\">\n<p>Endowed with innate taste, he was not accepting the mode, his own ultramodern sensibility was using, estimating the materials and natural Finnish technologies both in the manufacture of furniture and in the design of spaces and objects.<\/p>\n<p>They were, she and his husband, an exceptional pair of architects who worked actively as partners for 25 years, being anticipated to his historical moment, not only in his projects but in his way of working, forming a pair out of epoch. Until she expired and he returned to marry Elsa, arquitecta also, that was limited to the architectural desires of his companion, limiting itself to drawing them.<\/p>\n<p>Aino and Alvar attacked in his young woman treintena the first orders of architecture of so many importance as Paimio&#8217;s Anti-tuberculosis Sanatorium in 1929, Viipuri&#8217;s Library, with his undulating ceilings, or the Pavilion of the World Fair of Paris in 1938, the whole advance to the modernity. Together also they were involved in the design of furniture and objects that made of series and distributed by means of the signature Artek (together with his friends, the marriage Gullichsen). Signature that it they helped to throw to the international stardom.<\/p>\n<p>His joint works of architecture had something of three-dimensional collage, of composition on parts, of evident complexity or of lack of generating unit, own characteristics of Alvar Aalto&#8217;s work, but also characteristics of the works realized by two different hands.<\/p>\n<p>In this respect, his maximum exponent is, undoubtedly, the Villa Mairea constructed between 1937 and 1939, and in that there is demonstrated the accumulation of different ideas that are superposed, giving the most beautiful result replete with shades.<\/p>\n<p>The Villa Mairea is a housing luxury placed in the clear one of the forest, not distant to the sea, he was designing for the pair Gullichsen, his multimillionaire friends with those who joined empresarialmente across the signature Artek and with that it was joining them the ideal some themselves. A housing that has turned into an emblem of the contemporary Finnish architecture. A house understood by the Aalto as an experimental laboratory.<\/p>\n<\/div>\n<div style=\"text-align: justify;\">\n<p>A complex house with modern features and a vernacular or traditional exposition. Modern for the composition in different elements differentiated in plant. And traditional for the way of settling itself in the area and for many of his multiple details and constructive forms: the sheets superposed of black slate under the windows, which they intone with his frames of wood of teak or the yellow band of birch that spreads to everything long, in his top part.<\/p>\n<figure id=\"attachment_38062\" aria-describedby=\"caption-attachment-38062\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-38062\" title=\"15-Villa-Mairea\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg\" alt=\"\" width=\"620\" height=\"455\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2014\/01\/15-Villa-Mairea-300x220.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-38062\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Villa Mairea<\/span><\/figcaption><\/figure>\n<p>Of this villa the historian Sigfried Giedion wrote:<\/p>\n<blockquote><p>\u201c<em>It is like a piece of chamber music in which, only with the maximum attention, there is perceived the delicacy of his solutions and intentions. The wide windows allow the interior and exterior interpenetration of the spaces, it seems as if the forest was penetrating in the house and as if it was finding his corresponding echo in the subtle columns of wood, wrapped in ropes, which represent them.\u201d<\/em><\/p><\/blockquote>\n<p style=\"text-align: justify;\">Alvar and Aino Alto were complementing each other since it happens with many pairs of architects. And the secret of his success was based, maybe, on a deep of integration relation between human and artistic complementary qualities. If Alvar was anxious, burning and unforseeable, Aino was constant, persevering and quiet; if he was an extrovert, mundane and great communicator, she was valuing his interior world and was operating road surface, but backstage; if he preferred stopping demolishing his fantasy and imagination and drawing <em>\u201cfree hand\u201d,<\/em> she was practical, moderate, a skilful draughtsman and efficient professional, taking care even of the most minimal detail. <em>\u201cMaybe\u201d<\/em>, he writes Giedion,<\/p>\n<blockquote>\n<p style=\"text-align: justify;\"><em>\u201chim be beneficial to a volcano, that the mass of the mountain is surrounded by the calm waters of a river \u2026\u201d<\/em><\/p>\n<\/blockquote>\n<\/div>\n<p style=\"text-align: justify;\">There is no doubt that Aino&#8217;s practical mind was combining &#8211; with singular mastery &#8211; with Alvar&#8217;s intuitive and spontaneous imagination. Neither but is doubt that, while he has been internationally recognized, she has been ninguneada and silenced.<\/p>\n<p style=\"text-align: justify;\">Cristina Garc\u00eda-Rosales. Architect<\/p>\n<p>Madrid. April 2014<\/p>\n<p><a href=\"https:\/\/veredes.es\/blog\/en\/las-arquitectas-pioneras-la-presencia-de-la-ausencia-vii-cristina-garcia-rosales\/\" target=\"_blank\" rel=\"noopener noreferrer\"><span style=\"color: #999999;\"><em>The pioneering arquitect women: the presence of the absence (VII) | Cristina Garc\u00eda-Rosales<\/em><\/span><\/a>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[:es] Las arquitectas pioneras: la presencia de la ausencia (V) | Cristina Garc\u00eda-Rosales Pasamos ahora a una etapa algo posterior -1924-1949- y nos vamos a Finlandia, el llamado pa\u00eds de los mil lagos. Aino Marsio Aalto, fue una arquitecta finlandesa graduada en 1924 en Helsinki, compa\u00f1era del arquitecto Alvar Aalto. Aino e Alvar Aalto. AAA. [&hellip;]<\/p>\n","protected":false},"author":21,"featured_media":38060,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3120,4500,85,9607,102,9522,5864,2631,6893,7089,6657,147,2377,7846,12449,9487,9518,8161,9623,3733,310,5236,3843,12471,9520,330,4499,9612,3380,9609,6674,4026,9510,4503,5989,3165,9608,4497,1627,5584,542,1787,570,2792,9050,4502,9519,9601,9774,9603,9772,668,9517,9622,9627,9611,8085,760,1621,785,3732,2394,8637,815,9598,9779,9600,9606,9773,9624,9778,9599,9771,4492,865,866,877,4888,9602,1564,995,2513,3452,1517,12466,1573,7146,3558,9775,9777,9521,3929,1241,9610,1269,1298,1321,3167,2461,12454,1363,9613],"class_list":["post-38047","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-acuarela","tag-adolf-loos","tag-africa","tag-aino-marsio-aalto","tag-alvar-aalto","tag-arquitecta-pionera","tag-arquitectura-espanola","tag-arquitectura-finlandesa","tag-arquitectura-francesa","tag-arquitectura-italiana","tag-arquitectura-moderna","tag-arquitectura-social","tag-art-nouveau","tag-arte","tag-artek","tag-carlos-v-de-valois","tag-carmen-espegel-alonso","tag-charles-rennie-mackintosh","tag-charlotte-perriand","tag-china","tag-christine-de-pizan","tag-ciencia","tag-cine","tag-ciudad-alegorica","tag-coam","tag-cocina-de-frankfurt","tag-concepcion-arenal","tag-cristina-garcia-rosales","tag-dante-gabriel-rosetti","tag-decorado","tag-dibujante","tag-diseno-de-joyas","tag-diseno-de-mobiliario","tag-ecole-de-beaux-arts","tag-eileen-gray","tag-elisabeth-siddal","tag-ernst-may","tag-escocia","tag-escritura","tag-etsam","tag-europa","tag-felix-candela","tag-fernando-chueca-goitia","tag-frankfurt","tag-gio-ponti","tag-giovanni-boccaccio","tag-grethe-meyer","tag-grethe-schutte-lihotzky","tag-grethe-schutte-lihotzy","tag-harry-maire-gullichsen","tag-historia","tag-hortensia","tag-james-herbert-macnair","tag-jean-badovicci","tag-jennie-louise-blanchard","tag-jose-ortega-y-gasset","tag-joyeria","tag-kenneth-frampton","tag-le-corbusier","tag-lilly-reich","tag-lina-bo-bardi","tag-luis-moya-blanco","tag-maestro","tag-maija-isola","tag-manuel-lopez-mateos","tag-margaret-kropoholler-staal","tag-margaret-mc-donald","tag-margarete-schutte-lihotzky","tag-margarety-frances-macdonald","tag-maria-juana-ontanon","tag-marianne-brandt","tag-marie-ahlstrom","tag-matilde-ucelay","tag-mies-van-der-rohe","tag-milan","tag-moda","tag-mujeres-arquitectas","tag-nana-ditzel","tag-objeto","tag-participacion","tag-participacion-ciudadana","tag-personaje","tag-peter-y-alison-smithson","tag-pintura","tag-premio-nacional","tag-premio-nobel","tag-ray-eames","tag-revista-domus","tag-rita-fernandez-queimadelos","tag-rita-leve-montalcini","tag-sigfried-giedion","tag-sociedad","tag-sophia-haydn","tag-teatro","tag-tradicion","tag-universidad","tag-villa-e-1027","tag-villa-mairea","tag-vivienda-colectiva","tag-vivienda-social","tag-walter-bejamin"],"yoast_head":"<!-- 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