{"id":38367,"date":"2014-02-24T06:39:24","date_gmt":"2014-02-24T06:39:24","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=38367"},"modified":"2022-08-08T11:30:15","modified_gmt":"2022-08-08T09:30:15","slug":"la-arquitectura-del-silencio-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-arquitectura-del-silencio-marcelo-gardinetti\/","title":{"rendered":"[:es]La arquitectura del silencio | Marcelo Gardinetti[:gl]A arquitectura do silencio | Marcelo Gardinetti[:en]The architecture of the silence | Marcelo Gardinetti [:]"},"content":{"rendered":"

[:es]

\"La
La casa Farnsworth | Fotograf\u00eda: Jonathan Rieke | Fuente: flikcr<\/span><\/figcaption><\/figure><\/p>\n

Las acepciones de la palabra silencio permiten establecer una multiplicidad de im\u00e1genes aleg\u00f3ricas que pueden aplicarse indistintamente a diferentes contextos. Entendida como ausencia de ruido, permite interpretar un perfil de reflexi\u00f3n introvertido. En el hecho arquitect\u00f3nico, una intervenci\u00f3n silenciosa puede resultar aquella que no interfiere con las caracter\u00edsticas naturales del sitio donde se inserta.<\/p>\n

En este sentido, la inclusi\u00f3n de la casa Farnsworth en el predio frondoso que bordea el rio Fox compone una operaci\u00f3n que sugiere la lectura de un retrato sigiloso. Las formas de su arquitectura construyen la simbiosis po\u00e9tica necesaria para insertar al hombre en el paisaje. Una simbiosis que trasciende su propia facultad en la complementaci\u00f3n de formas, texturas y tonalidades estructuradas bajo una po\u00e9tica que se enaltece en las m\u00e9tricas de transparencias y opacidades establecidas.<\/p>\n

De esta forma, la relaci\u00f3n entre ling\u00fc\u00edstica y sitio se desarrolla mediante un relato arquitect\u00f3nico que niega la privacidad tanto como su propia materialidad.<\/p>\n

La omisi\u00f3n de caminos para llegar a la casa es uno de los m\u00e1s contundentes gestos de silencio que emplea Mies para no interferir en el sitio. En su enclave, los planos horizontales que construyen el espacio levitan como l\u00edneas trazadas en el horizonte. El plano inferior se instala a la altura de los ojos para acentuar esa percepci\u00f3n flotable. El superior se aloja no muy lejos del \u00e1ngulo de visi\u00f3n, para evitar el rumor brusco de la mirada.<\/p>\n

\"\"<\/a>
La casa Farnsworth | Fotograf\u00eda: Jonathan Rieke | Fuente: flikcr<\/span><\/figcaption><\/figure>\n

Este juego compositivo termina por componer una operaci\u00f3n de absoluto sentido cl\u00e1sico: un podio, un espacio horizontal dominante y la secuencia r\u00edtmica de los elementos de soporte. Sin embargo, el gesto de desplazamiento aplicado al podio construye un perfil que semeja figuras de pinturas abstractas de las primeras d\u00e9cadas del siglo 20 y permite diluir los rasgos de clasicismo antes mencionados.<\/p>\n

Las columnas delatan una exactitud rigurosa. Esta regularidad resulta revelada por la aplicaci\u00f3n de elementos bajo el est\u00edmulo de la t\u00e9cnica. Su ubicaci\u00f3n, alejada de los \u00e1ngulos de intersecci\u00f3n de los planos transparentes, permite desmaterializar los \u00e1ngulos del volumen.<\/p>\n

Para acentuar esa percepci\u00f3n, el per\u00edmetro transparente no resulta interrumpido por ning\u00fan elemento. El plano de vidrio continuo expresa su negaci\u00f3n a la materialidad del volumen y la continuidad visual solo es impedida por el cuerpo de servicios.<\/p>\n

Consecuencia de su propia cualidad, la fachada difumina las fronteras habituales. Esta condici\u00f3n puede atribuirse un doble ox\u00edmoron: el interior afuera, el exterior adentro. Una concepci\u00f3n abstracta, ratificada por la aplicaci\u00f3n de colores neutros, que pasan desapercibidos en el contexto en que se inserta.<\/p>\n

Soslayando toda acci\u00f3n mim\u00e9tica, la casa Farnsworth diluye su car\u00e1cter abstracto en la naturaleza. Sus formas revelan un car\u00e1cter sint\u00e9tico y ratifican de manera concreta la m\u00e1xima de su autor.<\/p>\n

Su figura templada y decisiva, enlazada entre las especies arb\u00f3reas que habitan el sitio, discurre un mensaje subliminal: cuando la arquitectura fecunda una infiltraci\u00f3n silenciosa entre elementos de la naturaleza, la ordenaci\u00f3n del sitio alcanza su mayor belleza.<\/p>\n

\"\"<\/a>
La casa Farnsworth | Fotograf\u00eda: Jonathan Rieke | Fuente: flikcr<\/span><\/figcaption><\/figure>\n

Mies conoc\u00eda ese secreto.<\/p>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Febrero de 2014<\/p>\n

[:en]

\"\"<\/a>
The Farnsworth House\u00a0| Phootography: Jonathan Rieke | Source: flikcr<\/span><\/figcaption><\/figure><\/p>\n

The meanings of the word I silence they allow to establish a multiplicity of allegoric images that can be applied indistinctly to different contexts. Understood as absence of noise, it allows to interpret an introverted profile of reflection. In the architectural fact, a silent intervention can turn out to be that one who does not interfere with the natural characteristics of the site where it is inserted.<\/p>\n

In this respect, the incorporation of the Farnsworth House in the leafy land that borders on the river Fox composes an operation that suggests the reading of a secret portrait. The forms of his architecture construct the poetical necessary simbiosis to insert the man in the landscape. A simbiosis that comes out his own faculty in the complementaci\u00f3n of forms, textures and tonalities structured under a poetics that enaltece in the metric ones of transparencies and established opaquenesses.<\/p>\n

Of this form, the relation between linguistics and site develops by means of an architectural statement that denies the privacy so much as his own materiality.<\/p>\n

The omission of ways to come to the house is one of the most forceful gestures of silence that uses Grain not to interfere in the site. In his enclave, the horizontal planes that construct the space levitan as lines planned in the horizon. The low plane establishes itself at a height of the eyes to accentuate this perception flotable. The Superior lodges not very far from the angle of vision, to avoid the sudden rumor of the look.<\/p>\n

\"\"<\/a>
The Farnsworth House\u00a0| Phootography: Jonathan Rieke | Source: flikcr<\/span><\/figcaption><\/figure>\n

This game compositivo ends for composing an operation of absolute classic sense: a podium, a horizontal dominant space and the rhythmic sequence of the elements of support. Nevertheless, the gesture of displacement applied to the podium constructs a profile that resembles figures of abstract paintings of the first decades of the 20th century and allows to dilute the features of classicism before mentioned.<\/p>\n

The columns betray a rigorous accuracy. This regularity turns out to be revealed by the application of elements under the stimulus of the technology. His location removed from the angles of intersection of the transparent planes, allows desmaterializar the angles of the volume.<\/p>\n

To accentuate this perception, the transparent perimeter does not turn out to be interrupted by any element. The plane of constant glass expresses his denial to the materiality of the volume and the visual continuity only is disabled for the body of services.<\/p>\n

Consequence of his own quality, the front blurs the habitual borders. This condition can attribute a double to him ox\u00edmoron: the interior out, the exterior I enter. An abstract conception ratified by the application of neutral colors, which happen unnoticed in the context in which it is inserted.<\/p>\n

Ignoring any mimetic action, the Farnsworth house dilutes his abstract character in the nature. His forms reveal a synthetic character and ratify in a concrete way the maxim of his author.<\/p>\n

His moderate and decisive figure connected between the arboreal species that live the site, thinks up a subliminal message: when the architecture fertilizes a silent infiltration between elements of the nature, the arrangement of the site reaches his major beauty.<\/p>\n

\"\"<\/a>
The Farnsworth House\u00a0| Phootography: Jonathan Rieke | Source: flikcr<\/span><\/figcaption><\/figure>\n

Mies knew this secret.<\/p>\n

Marcelo Gardinetti. Architect<\/p>\n

La Plata. February 2014<\/p>\n

[:gl]

\"\"<\/a>
A casa Farnsworth | Fotograf\u00eda: Jonathan Rieke | Fonte: flikcr<\/span><\/figcaption><\/figure><\/p>\n

As acepci\u00f3ns da palabra silencio permiten establecer unha multiplicidade de imaxes aleg\u00f3ricas que poden aplicarse indistintamente a diferentes contextos. Entendida como ausencia de ru\u00eddo, permite interpretar un perfil de reflexi\u00f3n introvertido. No feito arquitect\u00f3nico, unha intervenci\u00f3n silenciosa pode resultar aquela que non interfire coas caracter\u00edsticas naturais do sitio onde se insire.<\/p>\n

Neste sentido, a inclusi\u00f3n da casa Farnsworth no predio frondoso que bordea o rio Fox comp\u00f3n unha operaci\u00f3n que suxire a lectura dun retrato sixiloso. As formas da s\u00faa arquitectura constr\u00faen a simbiose po\u00e9tica necesaria para inserir o home na paisaxe. Unha simbiose que transcende a s\u00faa propia facultade na complementaci\u00f3n de formas, texturas e tonalidades estruturadas baixo unha po\u00e9tica que se enaltece nas m\u00e9tricas de transparencias e opacidades establecidas.<\/p>\n

Desta forma, a relaci\u00f3n entre ling\u00fc\u00edstica e sitio desenv\u00f3lvese mediante un relato arquitect\u00f3nico que nega a privacidade tanto como a s\u00faa propia materialidade.<\/p>\n

A omisi\u00f3n de cami\u00f1os para chegar \u00e1 casa \u00e9 un dos m\u00e1is contundentes xestos de silencio que emprega Cereal para non interferir no sitio. No seu enclave, os planos horizontais que constr\u00faen o espazo levitan como li\u00f1as trazadas no horizonte. O plano inferior inst\u00e1lase \u00e1 altura dos ollos para acentuar esa percepci\u00f3n flotable. O superior al\u00f3xase non moi lonxe do \u00e1ngulo de visi\u00f3n, para evitar o rumor brusco da mirada.<\/p>\n

\"\"<\/a>
A casa Farnsworth | Fotograf\u00eda: Jonathan Rieke | Fonte: flikcr<\/span><\/figcaption><\/figure>\n

Este xogo compositivo remata por compo\u00f1er unha operaci\u00f3n de absoluto sentido cl\u00e1sico: un podio, un espazo horizontal dominante e a secuencia r\u00edtmica dos elementos de soporte. Non obstante, o xesto de desprazamento aplicado ao podio constr\u00fae un perfil que semeja figuras de pinturas abstractas das primeiras d\u00e9cadas do s\u00e9culo 20 e permite dilu\u00edr os trazos de clasicismo antes mencionados.<\/p>\n

As columnas delatan unha exactitude rigorosa. Esta regularidade resulta revelada pola aplicaci\u00f3n de elementos baixo o est\u00edmulo da t\u00e9cnica. A s\u00faa situaci\u00f3n, afastada dos \u00e1ngulos de intersecci\u00f3n dos planos transparentes, permite desmaterializar os \u00e1ngulos do volume.<\/p>\n

Para acentuar esa percepci\u00f3n, o per\u00edmetro transparente non resulta interrompido por ning\u00fan elemento. O plano de vidro continuo expresa a s\u00faa negaci\u00f3n \u00e1 materialidade do volume e a continuidade visual s\u00f3 \u00e9 impedida polo corpo de servizos.<\/p>\n

Consecuencia da s\u00faa propia calidade, a fachada esvae as fronteiras habituais. Esta condici\u00f3n pode atribu\u00edrse un dobre ox\u00edmoro: o interior f\u00f3ra, o exterior dentro. Unha concepci\u00f3n abstracta, ratificada pola aplicaci\u00f3n de cores neutras, que pasan desapercibidos no contexto en que se insire.<\/p>\n

Evitando toda acci\u00f3n mim\u00e9tica, a casa Farnsworth dil\u00fae o seu car\u00e1cter abstracto na natureza. As s\u00faas formas revelan un car\u00e1cter sint\u00e9tico e ratifican de xeito concreto a m\u00e1xima do seu autor.<\/p>\n

A s\u00faa figura morna e decisiva, enlazada entre as especies arb\u00f3reas que habitan o sitio, discorre unha mensaxe subliminal: cando a arquitectura fecunda unha infiltraci\u00f3n silenciosa entre elementos da natureza, a ordenaci\u00f3n do sitio alcanza a s\u00faa maior beleza.<\/p>\n

\"\"<\/a>
A casa Farnsworth | Fotograf\u00eda: Jonathan Rieke | Fonte: flikcr<\/span><\/figcaption><\/figure>\n

Mies co\u00f1ec\u00eda ese segredo.<\/p>\n

Marcelo Gardinetti. Arquitecto<\/p>\n

La Plata. Febreiro de 2014<\/p>\n

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

[:es] Las acepciones de la palabra silencio permiten establecer una multiplicidad de im\u00e1genes aleg\u00f3ricas que pueden aplicarse indistintamente a diferentes contextos. Entendida como ausencia de ruido, permite interpretar un perfil de reflexi\u00f3n introvertido. En el hecho arquitect\u00f3nico, una intervenci\u00f3n silenciosa puede resultar aquella que no interfiere con las caracter\u00edsticas naturales del sitio donde se inserta. […]<\/p>\n","protected":false},"author":4,"featured_media":38368,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[140,1696,789,804,815,4985,865,920,977,3452,1286],"class_list":["post-38367","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-anonima","tag-casa-farnsworth","tag-lenguaje","tag-lugar","tag-maestro","tag-marcelo-gardinetti","tag-mies-van-der-rohe","tag-naturaleza","tag-paisaje","tag-personaje","tag-territorio"],"yoast_head":"\nLa arquitectura del silencio | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"La arquitectura del silencio\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/la-arquitectura-del-silencio-marcelo-gardinetti\/\" 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