{"id":3855,"date":"2010-03-29T09:36:47","date_gmt":"2010-03-29T08:36:47","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=3855"},"modified":"2023-09-21T14:55:49","modified_gmt":"2023-09-21T12:55:49","slug":"premio-pritzker-sanaa-sejima-and-nishizawa-and-associates","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/premio-pritzker-sanaa-sejima-and-nishizawa-and-associates\/","title":{"rendered":"Premio Pritzker SANAA. Sejima and Nishizawa and Associates"},"content":{"rendered":"

[:es]<\/p>\n

Kazuyo Sejima (Ibarki, 1956) responde al m\u00f3vil. Dice que est\u00e1 contenta y agradecida y pide hablar con m\u00e1s intimidad, una hora m\u00e1s tarde. Est\u00e1 en un autob\u00fas, camino de su despacho. Se dispone a trabajar un domingo por la noche. Est\u00e1 claro que su perfil queda muy lejos de esos arquitectos que pilotan su propio\u00a0jet.<\/em> Su arquitectura tambi\u00e9n.<\/p>\n

Naturalmente, es esto \u00faltimo lo que le ha hecho ganar el Premio Pritzker a ella y a su socio Ryue Nishizawa (Tokio, 1966), con el que fund\u00f3 el estudio SANAA (Sejima and Nishizawa and Associates) hace 15 a\u00f1os. \u00ab\u00c9l me hac\u00eda dudar de todo. Supe que deb\u00eda ofrecerle ser mi socio\u00bb, explica, aunque cada uno mantiene proyectos propios y las viviendas las firman individualmente. Que un premio Pritzker trabaje como un estudiante resulta revelador.<\/p>\n

\"Los<\/a>
Los arquitectos Ryue Nishizawa y Kazuyo Sejima | takashi okamoto<\/span><\/figcaption><\/figure>\n

As\u00ed parece haberlo entendido el jurado que les ha concedido el galard\u00f3n por \u00absu franqueza constructiva y por el contraste que ofrecen frente a la apabullante ret\u00f3rica arquitect\u00f3nica\u00bb. Aunque sus proyectos sean descritos con frecuencia como ligeros y transparentes, su econom\u00eda de medios no es una simplificaci\u00f3n de la arquitectura. Es muy complicado mejorar las cosas. Pero Sejima y Nishizawa investigan y analizan todas las posibilidades de los encargos para que lo complejo parezca simple, ligero, transparente, todos esos adjetivos asociados a sus esmerados trabajos que el jurado ha calificado \u00abde una belleza precisa\u00bb.<\/p>\n

\n

\u00abNo nos interesa hacer muchos proyectos. Nos interesa hacerlos con tiempo\u00bb, <\/em><\/p>\n<\/blockquote>\n

cuenta Sejima. Ella y Nishizawa dedican 15 horas de trabajo diario a eliminar las jerarqu\u00edas espaciales dentro de una vivienda, a conseguir que todos los bailarines tengan vistas desde su camerino (Teatro Kunstline en Almere, Holanda), a investigar para emplear materiales cotidianos de una manera sutil y precisa (Pabell\u00f3n de Cristal del Museo de Arte de Toledo, Ohio) o a extrusionar las plantas para asentar un edificio en su contexto y conseguir m\u00e1s luz en su interior (New Museum of Contemporary Art, Nueva York, 2007). Lo hacen \u00abporque no sabemos trabajar m\u00e1s r\u00e1pido\u00bb, sin escatimar esfuerzos. Y sin teor\u00edas.<\/p>\n

Si numerosas ciudades se han llenado ya de \u00abcolecciones de premios Pritzker\u00bb, el galard\u00f3n m\u00e1s importante de la arquitectura ha demostrado su voluntad de mantener ese puesto premiando, ahora, a Sejima y Nishizawa. Ellos son los arquitectos del cambio. Han llenado la nueva arquitectura de ideas, pero ni tienen ideario ni han escrito teor\u00edas. A pesar de carecer de libros ideol\u00f3gicos, Sejima fue nombrada comisaria de la pr\u00f3xima Bienal de Arquitectura de Venecia, cuyo Le\u00f3n de Oro obtuvo en 2004.<\/p>\n

Los arquitectos de SANAA, que trabajan en el futuro Museo Louvre de Lens (en el norte de Francia), y que ganaron hace una d\u00e9cada el concurso para la ampliaci\u00f3n del Instituto Valenciano de Arte Moderno (IVAM), que nunca se construy\u00f3, admiten comer y cenar en el estudio. Y hasta dormir, de vez en cuando, debajo de su mesa de trabajo: \u00abSon siestas reparadoras. Luego seguimos trabajando\u00bb. Esta periodista ha visto c\u00f3mo uno de sus colaboradores terminaba el\u00a0carpaccio <\/em>de una Sejima inapetente sin necesidad de pedirlo, alargando el tenedor. Lo de eliminar las jerarqu\u00edas no lo ha hecho s\u00f3lo en sus viviendas, parece ser.<\/p>\n

\n

\u00abDelicada y poderosa, precisa y fluida, su arquitectura es a la vez ingenua y sagaz, y explica, como pocas otras, las ventajas del trabajo en equipo\u00bb, <\/em><\/p>\n<\/blockquote>\n

subray\u00f3 el jurado. Y aunque no es \u00e9sta la primera vez que el Pritzker reconoce una labor a d\u00fao (Herzog y De Meuron lo ganaron en 2001) s\u00ed es la primera ocasi\u00f3n en la que comparten honores un hombre y una mujer. Puede parecer anecd\u00f3tico. No lo es. Denisse Scott Brown, que m\u00e1s all\u00e1 de los edificios hab\u00eda firmado tambi\u00e9n libros seminales como\u00a0Aprendiendo de Las Vegas<\/em> con su marido Robert Venturi, tuvo que contentarse con escuchar c\u00f3mo su marido le agradec\u00eda el apoyo prestado en el discurso tras recibir el premio.<\/p>\n

Sejima, que tan esforzada y sutilmente ha llegado a la cima, se ha adelantado al que, hace ya casi tres d\u00e9cadas, fuera su maestro, Toyo Ito.<\/p>\n

\n

\u00abEn los setenta, Ito logr\u00f3 que la gente confiase casas peque\u00f1as a los arquitectos. Fue importante. Luego Nishizawa me hizo ver las cosas de otra manera\u00bb, <\/em><\/p>\n<\/blockquote>\n

explic\u00f3 a este peri\u00f3dico. Por supuesto, el que Sejima y Nishizawa se adelanten no invalida al autor del Nuevo Hotel Porta Fira de Barcelona como candidato, pero no deja de ser elocuente que un disc\u00edpulo tome ventaja.<\/p>\n

Tampoco es esta la primera vez que una mujer gana el Pritzker. Zaha Hadid se hizo con el galard\u00f3n en 2004. Pero s\u00ed es la primera ocasi\u00f3n en la que, m\u00e1s all\u00e1 de la arquitectura, el Pritzker parece reconocer otra manera de trabajar. Seg\u00fan Sejima: \u00abPara hacer grandes obras tienes que crecer y manejar un estudio grande. Una mujer puede hacer eso, pero los grandes proyectos suelen estar relacionados con la pol\u00edtica. Y ah\u00ed, por lo menos en Jap\u00f3n, no lo tenemos f\u00e1cil. No nos hemos preparado para lidiar con el poder\u00bb.<\/p>\n

El Pritzker ha insistido en el trabajo en equipo. Y en Tokio los colaboradores de los galardonados lo celebran con horas de trabajo nocturno. \u00abSus edificios quieren construir m\u00e1s contexto que objeto. No hay mejores exploradores del espacio colectivo\u00bb, apunt\u00f3 el jurado. Sejima resta importancia a la dedicaci\u00f3n nocturna. \u00abNecesito tiempo. Nuestros proyectos han crecido y son m\u00e1s complejos. Para poder controlar todos los detalles necesitamos a\u00fan m\u00e1s tiempo\u00bb.<\/p>\n

anatxu zabalbeascoa<\/p>\n

[:en]<\/p>\n

Kazuyo Sejima (Ibarki, 1956) answers to the mobile phone. It says that is glad and grateful and requests to talk with more intimacy, a time later. It is in a bus, path of its office. Is arranged to work one Sunday night. It is of course its profile miles away is of those architects that pilot its own one jet. Its architecture also. Naturally, is this latest what has done him to win the Pritzker Prize to her and to its member Ryue Nishizawa (Tokyo, 1966), with which founded the study SANAA (Sejima and Nishizawa and Associates) 15 years ago. \u00abHe did me to doubt of all. I knew that should offer him be my member\u00bb, explains, although each maintains own projects and housing sign them individually. That a prize Pritzker works as a student results revealing.<\/p>\n

\"\"<\/a> Architects Ryue Nishizawa and Kazuyo Sejima | takashi okamoto<\/span><\/p>\n

So it seems to have it expert the jury that the award has granted them for \u00abits constructive frankness and for the contrast that offer compared to the apabullante architectural\u00bbrhetoric. Although its projects are described frequently as light and transparent, its means economy is not a simplification of the architecture. It is very complicated to improve things. But Sejima and Nishizawa research and they analyse all possibilities of the errands so that the complex thing seems simple, light, transparent, all those adjectives associated with its polished works that the jury has qualified \u00abof a precise\u00bbbeauty.<\/p>\n

\u00abDoes not interest us to do many projects. We we interest doing with time\u00bb, account Sejima. She and Nishizawa dedicate 15 work schedule daily newspaper to delete space hierarchies within a property, to achieve that all dancers have views from its greenroom (Theatre Kunstline in Almere, Holland), to research to use everyday materials in a subtle and precise way (Pavilion of Glass of the Art museum of Toledo, Ohio) or to extrusionar plants to lay down a building in its context and achieve more light in its hinterland (New Museum of Contemporary Article, New York, 2007). They do \u00abit because we do not know to work faster\u00bb, without skimping efforts. And without theories.<\/p>\n

If numerous cities have been filled already of \u00abcollections of prizes Pritzker\u00bb, the most significant award of the architecture has demonstrated its willpower of maintaining that position awarding a prize, now, to Sejima and Nishizawa. They are architects of the change. They have filled the new architecture of ideas, but nor they have ideario nor have written theories. In spite of lacking ideological books, Sejima was appointed commissioner of the next Biennial of Architecture of Venice, whose Leon of Gold obtained in 2004.<\/p>\n

Architects of SANAA, that work in the future Museum Louvre of Lens (in the north of France), and that earned does a decade the contest for the extension of the Instituto Valenciano de Arte Moderno (IVAM), that was never built, admit to eat and to have dinner in the study. And until sleeping, from time to time, under its work table: \u00abThey are naps repairers. Later on still work\u00bb. This journalist has seen how one of its collaborators ended the carpaccio of one Sejima inapetente without the need for to request it, lengthening the holder. It of deleting hierarchies just has not done it in its housing, seems be.<\/p>\n

\u00abDelicate and powerful, precise and fluid, its architecture is at the same time dupe and sagacious, and it explains, as few other, leads of the team work\u00bb, the jury underlined. And although is not this the first time that the Pritzker recognises a work together (Herzog and Of Meuron earned it in 2001) yes is the first occasion in which share honors a man and a woman. It can seem anecdotal. Does not be it. Denisse Scott Brown, that beyond buildings had signed also seminal books as Learning from Las Vegas with its husband Robert Venturi, he had to please with to listen how its husband thanked him the lent support in the discourse after receiving the prize.<\/p>\n

Sejima, that so strained and it has subtly arrived at the summit, has been moved forward to the one which, does already almost three decades, was its schoolteacher, Toyo Ito. \u00abIn the seventy, Ito achieved that people trusted small houses to the architects. It was significant. Later on Nishizawa made me to see things otherwise\u00bb, explained to this newspaper. Of course, the one which Sejima and Nishizawa are moved forward does not invalidate to the author of the New Hotel Carries Fira of Barcelona such as a candidate, but does not stop being eloquent that a disciple takes advantage.<\/p>\n

It neither be this the first time that a woman earns the Pritzker. Zaha Hadid was made with the award in 2004. But yes is the first occasion in which, beyond the architecture, the Pritzker seems to recognise another way of working. According to Sejima: \u00abTo do big works have to grow and to use a large study. A woman can do that, but large projects usually are related to the policy. And there, at least in Japan, do not have it easy. We have not prepared us to fight with the to be able to\u00bb.<\/p>\n

The Pritzker has insisted at work as a team. And in Tokyo the ones collaborating with award winners it celebrate with nocturnal work schedule. \u00abIts buildings want to build more context that object. It does not be better explorers of the space group\u00bb, the jury pointed out. Sejima takes away importance to the nocturnal dedication. \u00abNeed time. Our projects have grown and are more complex. In order to be able to control all details need even more time\u00bb.<\/p>\n

anatxu zabalbeascoa<\/p>\n

+ www.elpais.com<\/span><\/p>\n

[:gl]<\/p>\n

Kazuyo Sejima (Ibarki, 1956) responde ao m\u00f3bil. Di que est\u00e1 contenta e agradecida e pide falar con m\u00e1is intimidade, unha hora m\u00e1is tarde. Est\u00e1 nun autob\u00fas, cami\u00f1o do seu despacho. D\u00edsp\u00f3nse a traballar un domingo pola noite. Est\u00e1 claro que o seu perfil queda moi lonxe deses arquitectos que pilotan o seu propio jet. A s\u00faa arquitectura tam\u00e9n. Naturalmente, \u00e9 isto \u00faltimo o que lle fixo ga\u00f1ar o Premio Pritzker a ela e ao seu socio Ryue Nishizawa (Toquio, 1966), co que fundou o estudo SANAA (Sejima and Nishizawa and Associates) fai 15 anos. \u00abEl fac\u00edame dubidar de todo. Souben que deb\u00eda ofrecerlle ser o meu socio\u00bb, explica, a\u00ednda que cada un mant\u00e9n proxectos propios e as vivendas as\u00ednanas individualmente. Que un premio Pritzker traballe como un estudante resulta reveladora.<\/p>\n

\"\"<\/a> Os arquitectos Ryue Nishizawa e Kazuyo Sejima | takashi okamoto<\/span><\/p>\n

As\u00ed parece habero entendido o xurado que lles concedeu o galard\u00f3n pola \u00abs\u00faa franqueza construtiva e polo contraste que ofrecen fronte \u00e1 intimidatoria ret\u00f3rica arquitect\u00f3nica\u00bb. A\u00ednda que os seus proxectos sexan descritos con frecuencia como lixeiros e transparentes, a s\u00faa econom\u00eda de medios non \u00e9 unha simplificaci\u00f3n da arquitectura. \u00c9 moi complicado mellorar as cousas. Pero Sejima e Nishizawa investigan e analizan todas as posibilidades dos encargos para que o complexo pareza simple, lixeiro, transparente, todos eses adxectivos asociados a s\u00faas esmerados traballos que o xurado cualificou \u00abdunha beleza precisa\u00bb.<\/p>\n

\u00abNon inter\u00e9sanos facer moitos proxectos. Inter\u00e9sanos faceros con tempo\u00bb, conta Sejima. Ela e Nishizawa dedican 15 horas de traballo diario a eliminar as xerarqu\u00edas espaciais dentro dunha vivenda, a conseguir que todos os bailar\u00edns te\u00f1an vistas desde o seu camerino (Teatro Kunstline en Almere, Holanda), a investigar para empregar materiais coti\u00e1ns dunha maneira sutil e precisa (Pavill\u00f3n de Cristal do Museo de Arte de Toledo, Ohio) ou a extrusionar as plantas para asentar un edificio no seu contexto e conseguir m\u00e1is luz no seu interior (New Museum of Contemporary Art, Nova York, 2007). Fano \u00abporque non sabemos traballar m\u00e1is r\u00e1pido\u00bb, sen escatimar esforzos. E sen teor\u00edas.<\/p>\n

Se numerosas cidades se encheron xa de \u00abcolecci\u00f3ns de premios Pritzker\u00bb, o galard\u00f3n m\u00e1is importante da arquitectura demostrou a s\u00faa vontade de manter ese posto premiando, agora, a Sejima e Nishizawa. Eles son os arquitectos do cambio. Encheron a nova arquitectura de ideas, pero nin te\u00f1en ideario nin escribiron teor\u00edas. A pesar de carecer de libros ideol\u00f3xicos, Sejima foi nomeada comisaria da pr\u00f3xima Bienal de Arquitectura de Venecia, cuxo Le\u00f3n de Oro obtivo en 2004.<\/p>\n

Os arquitectos de SANAA, que traballan no futuro Museo Louvre de Lens (no norte de Francia), e que ga\u00f1aron fai unha d\u00e9cada o concurso para a ampliaci\u00f3n do Instituto Valenciano de Arte Moderna (IVAM), que nunca se constru\u00edu, admiten comer e cear no estudo. E ata durmir, de cando en vez, debaixo da s\u00faa mesa de traballo: \u00abSon sestas reparadoras. Logo seguimos traballando\u00bb. Esta xornalista viu como un dos seus colaboradores terminaba o carpaccio dunha Sejima inapetente sen necesidade de pediro, alongando o garfo. O de eliminar as xerarqu\u00edas non fixoo s\u00f3 nas s\u00faas vivendas, parece ser.<\/p>\n

\u00abDelicada e poderosa, precisa e flu\u00edda, a s\u00faa arquitectura \u00e9 a un tempo inxenua e sagaz, e explica, como poucas outras, as vantaxes do traballo en equipo\u00bb, subli\u00f1ou o xurado. E a\u00ednda que non \u00e9 esta a primeira vez que o Pritzker reco\u00f1ece un labor a d\u00fao (Herzog e De Meuron ga\u00f1\u00e1rono en 2001) \u00e9si a primeira ocasi\u00f3n en que comparten honores un home e unha muller. Pode parecer anecd\u00f3tico. Non \u00e9o. Denisse Scott Brown, que m\u00e1is al\u00e1 dos edificios asinara tam\u00e9n libros seminales como Aprendendo das Vegas co seu marido Robert Venturi, tivo que contentarse con escoitar como o seu marido agradec\u00edalle o apoio prestado no discurso tras recibir o premio.<\/p>\n

Sejima, que tan esforzada e sutilmente chegou \u00e1 cima, adiantouse a que, fai xa case tres d\u00e9cadas, f\u00f3ra o seu mestre, Toyo Ito. \u00abNos setenta, Ito logrou que a xente confiase casas pequenas aos arquitectos. Foi importante. Logo Nishizawa fixome ver as cousas doutra maneira \u00ab, explicou a este xornal. Por suposto, o que Sejima e Nishizawa adi\u00e1ntense non invalida ao autor do Novo Hotel Porta Fira de Barcelona como candidato, pero non deixa de ser elocuente que un disc\u00edpulo tome vantaxe.<\/p>\n

Tampouco \u00e9 esta a primeira vez que unha muller gana o Pritzker. Zaha Hadid fixose co galard\u00f3n en 2004. Pero \u00e9si a primeira ocasi\u00f3n en que, m\u00e1is al\u00e1 da arquitectura, o Pritzker parece reco\u00f1ecer outra maneira de traballar. Segundo Sejima: \u00abPara facer grandes obras tes que medrar e manexar un estudo grande. Unha muller pode facer iso, pero os grandes proxectos adoitan estar relacionados coa pol\u00edtica. E a\u00ed, polo menos en Xap\u00f3n, non t\u00e9molo doado. Non prepar\u00e1mosnos para lidar co poder \u00ab.<\/p>\n

O Pritzker insistiu no traballo en equipo. E en Toquio os colaboradores dos galardoados cel\u00e9brano con horas de traballo nocturno. \u00abOs seus edificios queren constru\u00edr m\u00e1is contexto que obxecto. Non hai mellores exploradores do espazo colectivo\u00bb, apuntou o xurado. Sejima resta importancia \u00e1 dedicaci\u00f3n nocturna. \u00abNecesito tempo. Os nosos proxectos medraron e son m\u00e1is complexos. Para poder controlar todos os detalles necesitamos a\u00ednda m\u00e1is tempo\u00bb.<\/p>\n

anatxu zabalbeascoa<\/p>\n

+ www.elpais.com<\/span>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Kazuyo Sejima (Ibarki, 1956) responde al m\u00f3vil. Dice que est\u00e1 contenta y agradecida y pide hablar con m\u00e1s intimidad, una hora m\u00e1s tarde. Est\u00e1 en un autob\u00fas, camino de su despacho. Se dispone a trabajar un domingo por la noche. Est\u00e1 claro que su perfil queda muy lejos de esos arquitectos que pilotan su […]<\/p>\n","protected":false},"author":2,"featured_media":3859,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16,1383],"tags":[770,1096,2690,1206,1721],"class_list":["post-3855","post","type-post","status-publish","format-standard","has-post-thumbnail","category-eventos","category-premios","tag-kazuyo-sejima","tag-premio-pritzker","tag-ryue-nishizawa","tag-sanaa","tag-toyo-ito"],"yoast_head":"\nPremio Pritzker SANAA. 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