{"id":46302,"date":"2014-06-30T06:34:48","date_gmt":"2014-06-30T06:34:48","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=46302"},"modified":"2020-02-03T10:41:46","modified_gmt":"2020-02-03T09:41:46","slug":"de-nubes-y-cajas-negras-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/de-nubes-y-cajas-negras-marcelo-gardinetti\/","title":{"rendered":"De nubes y cajas negras | Marcelo GardinettiDe nubes e caixas negras | Marcelo GardinettiOf clouds and black boxes | Marcelo Gardinetti"},"content":{"rendered":"

\"\"<\/a>
Imagen gentileza \u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure><\/p>\n

Aun considerando el escaso compromiso de los nuevos ismos respecto al ideario de normalizaci\u00f3n y producci\u00f3n en serie promovido por los maestros del Movimiento Moderno, el hecho que m\u00e1s divergencia genera con aquel per\u00edodo es la indeterminaci\u00f3n de la forma que arrogan los edificios dise\u00f1ados por los m\u00e1s popularizados actores de la producci\u00f3n actual.<\/p>\n

El concepto de la forma, que en aquellos a\u00f1os estaba unido a la b\u00fasqueda de una justificaci\u00f3n en el programa, en la actualidad busca justificaci\u00f3n alguna. Por el contrario, en la mayor\u00eda de los casos se propone como un cuestionamiento al orden y equilibrio que la arquitectura gozaba en las primeras d\u00e9cadas del siglo XX. En este sentido, el rechazo a las soluciones urbanas del pasado tiene un fuerte relato cr\u00edtico que muchas veces se ve desvirtuado por la prodigalidad de las formas.<\/p>\n

El trabajo de Wolf Prix no escapa a estas definiciones. Su arquitectura, cargada de analog\u00edas y met\u00e1foras, busca superar las convenciones de las formas tradicionales proponiendo una serie de interacciones y la mutaci\u00f3n permanente de diferentes entidades para constituir una nueva forma.<\/p>\n

\"\"<\/a>
Imagen gentileza \u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

Estas operaciones se inscriben en el concepto de \u201cnube\u201d<\/em>, una estructura de forma indeterminada donde los programas se conectan de manera f\u00edsica o visual. La caracter\u00edstica de esta identidad est\u00e1 representada en la complejidad de los espacios intersticiales que propone. Un organismo donde el aire es el componente principal de la forma, que encierra lo intersticial para hacerlo habitable.<\/p>\n

El dise\u00f1o de Coop Himmelblau para el museo de las confluencias de Lyon se formula aplicando cuidadosamente estos conceptos. Su arquitectura expone un car\u00e1cter biol\u00f3gico fertilizado por un pensamiento expresionista. Un objeto indeterminado que expresa en la ambig\u00fcedad formal la complexi\u00f3n de su estructura.<\/p>\n

El museo se concreta por el acoplamiento de dos unidades: una transparente que permite hacer visibles los espacios de ocio urbano y otra que garantiza la opacidad necesaria para la actividad de los museos.<\/p>\n

La unidad transparente est\u00e1 orientada hacia la ciudad. Establece el punto de ingreso al museo, pero adem\u00e1s permite visualizar la actividad cotidiana. La unidad opaca es producto de las \u201ccorrientes ocultas\u201d<\/em>, una entidad que esconde lo que pasa dentro de la nube. De esta forma, se conjuga lo conocido y lo desconocido para \u201cestimular la curiosidad p\u00fablica\u201d<\/em>.<\/p>\n

\"\"<\/a>
Imagen gentileza \u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

En el lado opuesto al ingreso se desarrolla una plaza p\u00fablica. \u00a0Este espacio, oprimido por las formas filosas de la arquitectura, resulta una continuidad del parque donde se emplaza el museo. Un paisaje urbano que se construye entre superficies en desnivel y rampas que las vinculan. Bajo la plaza, un z\u00f3calo subterr\u00e1neo contiene todas las funciones de servicio necesarias para el funcionamiento del museo.<\/p>\n

En el interior de la nube la sucesi\u00f3n de espacios enriquece la espacialidad buscada. Una serie de cajas negras dispuestas irregularmente encierran las funciones espec\u00edficas. La superficie generada entre estas unidades propicia las \u00e1reas expositivas alternativas. Estos intersticios inasibles escapan de cualquier an\u00e1lisis racional y quedan sometidos al influjo de la percepci\u00f3n.<\/p>\n

De este modo, el museo de las confluencias explora con agudeza la confrontaci\u00f3n de elementos para crear franjas indagadoras sorpresivas. La apariencia ingobernable de las formas alcanza un corolario in\u00e9dito donde la fantas\u00eda y la curiosidad se manifiestan mediante un repertorio de figuras din\u00e1micas.<\/p>\n

\"\"<\/a>
Imagen Gentileza \u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

Aunque en el transcurso del juego, las necesidades funcionales resultan una excusa para desarrollar el artificioso relato formal.<\/p>\n

Marcelo Gardinetti.\u00a0 Arquitecto
\nLa Plata. Junio 2014<\/p>\n

\"\"<\/a>
Image gentility\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure><\/p>\n

Even considering the scanty commitment of the new ismos with regard to the ideology of normalization and production in series promoted by the teachers of the Modern Movement, the fact that more difference generates with that period is the indetermination of the form that there assume the buildings designed by the most popularized actors of the current production.<\/p>\n

The concept of the form, which in those years was joined to the search of a justification in the program, at present looks for some justification. On the contrary, in most cases he proposes as a question to the order and balance that the architecture was enjoying in the first decades of the 20th century. In this respect, the rejection to the urban solutions of the past has a strong critical statement that often meets spoilt by the prodigality of the forms.<\/p>\n

Wolf Prix’s work does not escape to these definitions. His architecture loaded with analogies and metaphors, seeks to overcome the conventions of the traditional forms proposing a series of interactions and the permanent mutation of different entities to constitute a new form.<\/p>\n

\"\"<\/a>
Image gentility\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

These operations register in the concept of \u00abcloud\u00bb, he structures a of indeterminate form where the programs connect in a physical or visual way. The characteristic of this identity is represented in the complexity of the intermediate spaces that he proposes. An organism where the air is the principal component of the form, which encloses the intermediate thing to make it inhabitable.<\/p>\n

Coop Himmelblau’s design for the museum of the confluences of Lyons is formulated applying carefully these concepts. His architecture expressionist exposes a biological character fertilized by a thought. An indeterminate object that expresses in the formal ambiguity the complexion of his structure.<\/p>\n

The museum makes concrete for the coupling of two units: one reveals that it allows to make visible the spaces of urban leisure and other one that guarantees the opaqueness necessary for the activity of the museums.<\/p>\n

The transparent unit is orientated towards the city. It establishes the point of revenue to the museum, but in addition it allows to visualize the daily activity. The opaque unit is a product of the \u201csecret currents\u201d<\/em>, an entity that hides what happens inside the cloud. Of this form, the known conjugates and known \u201cto stimulate the public curiosity\u201d<\/em>.<\/p>\n

\"\"<\/a>
Image gentility\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

In the side opposite to the revenue a public square develops. This space oppressed by the sharp forms of the architecture, turns out to be a continuity of the park where the museum is located. An urban landscape that is constructed between surfaces in difference and ramps that link them. Under the square, an underground socle contains all the functions of service necessary for the functioning of the museum.<\/p>\n

Inside the cloud the succession of spaces enriches the looked espacialidad. A series of black boxes arranged irregularly enclose the specific functions. The surface generated between these units propitiates the explanatory alternative areas. These interstices inasibles escape of any rational analysis and remain submitted to the influence of the perception.<\/p>\n

Thus, the museum of the confluences explores with keenness the confrontation of elements to create striping indagadoras surprising. The ungovernable appearance of the forms reaches an unpublished corollary where the fantasy and the curiosity demonstrate by means of a digest of dynamic figures.<\/p>\n

\"\"<\/a>
Image gentility\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

Though in the course of the game, the functional needs turn out to be an excuse to develop the artful formal statement.<\/p>\n

Marcelo Gardinetti. Architect
\nLa Plata. Juny 2014<\/p>\n

\"\"<\/a>
Imaxe xentileza \u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure><\/p>\n

A\u00ednda considerando o escaso compromiso dos novos ismos respecto ao ideario de normalizaci\u00f3n e produci\u00f3n en serie promovido polos mestres do Movemento Moderno, o feito que m\u00e1is diverxencia xera con aquel per\u00edodo \u00e9 a indeterminaci\u00f3n da forma que arrogan os edificios dese\u00f1ados polos m\u00e1is popularizados actores da produci\u00f3n actual.<\/p>\n

O concepto da forma, que naqueles anos estaba unido \u00e1 busca dunha xustificaci\u00f3n no programa, na actualidade busca xustificaci\u00f3n algunha. Pola contra, na maior\u00eda dos casos proponse como un cuestionamento \u00e1 orde e equilibrio que a arquitectura gozaba nas primeiras d\u00e9cadas do s\u00e9culo XX. Neste sentido, o rexeitamento \u00e1s soluci\u00f3ns urbanas do pasado ten un forte relato cr\u00edtico que moitas veces se ve desvirtuado pola prodigalidade das formas.<\/p>\n

O traballo de Wolf Prix non escapa a estas definici\u00f3ns. A s\u00faa arquitectura, cargada de analox\u00edas e met\u00e1foras, busca superar as convenci\u00f3ns das formas tradicionais propo\u00f1endo unha serie de interacci\u00f3ns e a mutaci\u00f3n permanente de diferentes entidades para constitu\u00edr unha nova forma.<\/p>\n

\"\"<\/a>
Imaxe xentileza\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

Estas operaci\u00f3ns inscr\u00edbense no concepto de \u201c<\/em>nube\u201d<\/em><\/em>, unha estrutura de forma indeterminada onde os programas se conectan de xeito f\u00edsico ou visual. A caracter\u00edstica desta identidade est\u00e1 representada na complexidade dos espazos intersticiais que prop\u00f3n. Un organismo onde o aire \u00e9 o compo\u00f1ente principal da forma, que encerra o intersticial para facelo habitable.<\/p>\n

O dese\u00f1o de Coop Himmelblau para o museo das confluencias de Lyon form\u00falase aplicando coidadosamente estes conceptos. A s\u00faa arquitectura exp\u00f3n un car\u00e1cter biol\u00f3xico fertilizado por un pensamento expresionista. Un obxecto indeterminado que expresa na ambig\u00fcidade formal a complexi\u00f3n da s\u00faa estrutura.<\/p>\n

O museo concr\u00e9tase polo acoplamento de d\u00faas unidades: unha transparente que permite facer visibles os espazos de ocio urbano e outra que garante a opacidade necesaria para a actividade dos museos.<\/p>\n

A unidade transparente est\u00e1 orientada cara \u00e1 cidade. Establece o punto de ingreso ao museo, pero ademais permite visualizar a actividade coti\u00e1. A unidade opaca \u00e9 produto das \u201ccorrentes ocultas\u201d<\/em>, unha entidade que esconde o que pasa dentro da nube. Desta forma, conx\u00fagase o co\u00f1ecido e o desco\u00f1ecido para \u201cestimular a curiosidade p\u00fablica\u201d.<\/em><\/p>\n

\"\"<\/a>
Imaxe xentileza\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

No lado oposto ao ingreso desenv\u00f3lvese unha praza p\u00fablica. Este espazo, oprimido polas formas filosas da arquitectura, resulta unha continuidade do parque onde se empraza o museo. Unha paisaxe urbana que se constr\u00fae entre superficies en desnivel e ramplas que as vinculan. Baixo a praza, un z\u00f3colo subterr\u00e1neo cont\u00e9n todas as funci\u00f3ns de servizo necesarias para o funcionamento do museo.<\/p>\n

No interior da nube a sucesi\u00f3n de espazos enriquece a espacialidad buscada. Unha serie de caixas negras dispostas irregularmente encerran as funci\u00f3ns espec\u00edficas. A superficie xerada entre estas unidades propicia as \u00e1reas expositivas alternativas. Estes intersticios inasibles escapan de calquera an\u00e1lise racional e quedan sometidos ao influxo da percepci\u00f3n.<\/p>\n

Deste modo, o museo das confluencias explora con agudeza a confrontaci\u00f3n de elementos para crear franxas indagadoras sorpresivas. A aparencia ingobernable das formas alcanza un corolario in\u00e9dito onde a fantas\u00eda e a curiosidade se manifestan mediante un repertorio de figuras din\u00e1micas.<\/p>\n

\"\"<\/a>
Imaxe xentileza\u00a0\u00a9 COOP HIMMELB(L)AU<\/span><\/figcaption><\/figure>\n

A\u00ednda que no transcurso do xogo, as necesidades funcionais resultan unha escusa para desenvolver o artificioso relato formal.<\/p>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Xu\u00f1o 2014<\/p>\n

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

Aun considerando el escaso compromiso de los nuevos ismos respecto al ideario de normalizaci\u00f3n y producci\u00f3n en serie promovido por los maestros del Movimiento Moderno, el hecho que m\u00e1s divergencia genera con aquel per\u00edodo es la indeterminaci\u00f3n de la forma que arrogan los edificios dise\u00f1ados por los m\u00e1s popularizados actores de la producci\u00f3n actual. El […]<\/p>\n","protected":false},"author":4,"featured_media":46304,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[1592,4935,9364,12456,513,516,5885,4048,815,4985,3014,898,12453,3452,1106,4444,10652],"class_list":["post-46302","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-artificio","tag-complejidad","tag-coop-himmelblau","tag-equipamiento-cultural","tag-espacio-interior","tag-espacio-publico","tag-expresionismo","tag-interactivo","tag-maestro","tag-marcelo-gardinetti","tag-metafora","tag-movimiento-moderno","tag-museo-arquitectura-arquitectura","tag-personaje","tag-programa","tag-s-xx","tag-wolf-prix"],"yoast_head":"\nDe nubes y cajas negras | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"De nubes y cajas negras\" \/>\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\/de-nubes-y-cajas-negras-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"De nubes y cajas negras | Marcelo Gardinetti\" \/>\n<meta property=\"og:description\" content=\"De nubes y cajas negras\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/de-nubes-y-cajas-negras-marcelo-gardinetti\/\" \/>\n<meta property=\"og:site_name\" content=\"veredes, arquitectura y divulgaci\u00f3n\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/veredesArquitecturayDivulgacion\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/marcegardinetti\" \/>\n<meta property=\"article:published_time\" content=\"2014-06-30T06:34:48+00:00\" \/>\n<meta property=\"article:modified_time\" 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