{"id":54449,"date":"2015-04-03T06:26:28","date_gmt":"2015-04-03T06:26:28","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=54449"},"modified":"2018-04-23T17:40:14","modified_gmt":"2018-04-23T15:40:14","slug":"joaquin-costa-21-antonio-giraldez-lopez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/joaquin-costa-21-antonio-giraldez-lopez\/","title":{"rendered":"Joaqu\u00edn Costa, 21 | Antonio Gir\u00e1ldez L\u00f3pezJoaqu\u00edn Costa, 21 | Antonio Gir\u00e1ldez L\u00f3pezJoaqu\u00edn Costa, 21 | Antonio Gir\u00e1ldez L\u00f3pez"},"content":{"rendered":"

\"\"<\/a>
Gimnasio Maravillas por Alejandro de la Sota. Fotograf\u00eda \u00a9 Fundaci\u00f3n Alejandro de la Sota. Cortes\u00eda de CANO Estudio.<\/span><\/figcaption><\/figure><\/p>\n

Joaqu\u00edn Costa, 21<\/strong><\/p>\n

\n

\u00abNos hemos vuelto pobres en las experiencias del<\/em>\u00a0<\/em>umbral<\/em><\/a>. Penetrar en el<\/em>\u00a0<\/em>sue\u00f1o<\/em><\/a>\u00a0es quiz\u00e1 la \u00fanica que hoy queda \u2013mas, con ello, tambi\u00e9n el\u00a0<\/em>despertar<\/em><\/a>\u2013\u00bb<\/em><\/p>\n

Walter Benjamin, Obra de los Pasajes.<\/p>\n

\u00abLa puerta es la se\u00f1al f\u00edsica de una singularidad, y como toda se\u00f1al, debe repercutir en el que la atraviesa y cambiar en algo su percepci\u00f3n, su movimiento o su ritmo de paso. All\u00ed es necesario un especial contorsionismo, ya sea de la mirada, de la musculatura o del esp\u00edritu. De lo contrario no se trata ni de un l\u00edmite ni de una verdadera puerta.\u00bb<\/em><\/p>\n

Santiago de Molina, Puertas y Contorsionismo<\/em><\/a>.<\/p>\n<\/blockquote>\n

Dice una vieja\u00a0 historia japonesa que los fantasmas no son capaces de doblar dos esquinas seguidas, que ante tal artefacto no saben reaccionar y desisten de su intento de entrar en los lugares que as\u00ed disponen sus recorridos. Es por ello, o por cualquier otra raz\u00f3n, que dicha configuraci\u00f3n ha sido adoptada en multitud de construcciones niponas. Toda entrada a un recinto requiere de un proceso, de una transici\u00f3n que permita ir dejando tras de s\u00ed aquello que sobra, que nos acompa\u00f1a aunque no se vea, aunque no queramos. La importancia del umbral, de un elemento a caballo entre un territorio y otro, no es el espacio f\u00edsico que configura sino todos los mecanismos que permitan ir despoj\u00e1ndose de los fantasmas de lo que queda detr\u00e1s y carg\u00e1ndose de todo aquello que est\u00e1 por venir. La importancia est\u00e1 en crear las trampas que permitan atraparlos. Algo de todo esto debi\u00f3 aprender Alejandro de la Sota.<\/p>\n

En el n\u00famero 21 de la calle Joaqu\u00edn Costa un vac\u00edo en la fachada da paso a un espacio desde donde se ve tamizada el exterior a trav\u00e9s de una verja de acero. Un muro de ladrillo rugoso, el mismo que uno ve\u00eda y tocaba antes, contin\u00faa aqu\u00ed, interrumpido por una l\u00ednea continua de pav\u00e9s. Al fondo del recinto, donde la luz es menor debido a la reducci\u00f3n de altura del espacio, aparece una nueva puerta de dimensiones m\u00e1s humanas que las que suelen dictar los est\u00e1ndares, de madera y metal, que repite la misma colocaci\u00f3n, la misma estrategia. No se sit\u00faa en el eje que marca la direccionalidad del lugar, paralelo a la calle, sino de manera tangencial a \u00e9l, en un rinc\u00f3n, intentando pasar desapercibida. El \u00e1mbito de lo p\u00fablico, de lo infinitamente abierto, se vuelve a reducir por tercera vez al atravesar esta segunda puerta. Uno se encuentra en un lugar mucho m\u00e1s oscuro, donde la luz natural se filtra a trav\u00e9s de la franja de vidrio que mencion\u00e1bamos antes, desmaterializando el encuentro entre pared y techo. Envolviendo el espacio aparece de nuevo el muro rugoso de ladrillo rojo, el mismo que hab\u00eda en la calle, el mismo que nos ha ido acompa\u00f1ando en todo el recorrido. Frente a nosotros (esta vez s\u00ed) la \u00faltima puerta, al otro lado un gimnasio.<\/p>\n

Por fin estamos dentro.<\/p>\n

Antonio Gir\u00e1ldez L\u00f3pez
\nArquitecto y vago
\nMadrid \u00b7 marzo 2015<\/p>\n

Pd:<\/strong><\/p>\n

\n

\u00abEl gimnasio de Maravillas tiene ya 22 a\u00f1os. No s\u00e9 por qu\u00e9 lo hice as\u00ed pero lo que s\u00ed s\u00e9 es que no me disgusta haberlo hecho. Creo que el no\u00a0hacer Arquitectura es un camino para hacerla y todos cuantos no la hagamos habremos hecho m\u00e1s por ella que los que, aprendida , la siguen haciendo. Entonces se resolvi\u00f3 un problema y sigue funcionando y me parece que nadie echa en falta la Arquitectura que no\u00a0tiene.\u00bb<\/em><\/p>\n

Alejandro de la Sota, 1984.<\/p>\n<\/blockquote>\n

\"\"<\/a>
Gymnasium You Astonish for Alejandro de la Sota. Alejandro de la Sota photographs \u00a9 Foundation. Comity of CANO Study.<\/span><\/figcaption><\/figure><\/p>\n

Joaqu\u00edn Costa, 21<\/strong><\/p>\n

\n

\u00abWe have turned poor in the experiences of the threshold<\/a>. To penetrate in the dream<\/a> is probably the only one that today stays -more, with it, also the awakening<\/a><\/em>\u2013\u00bb<\/em><\/p>\n

Walter Benjamin, Obra de los Pasajes.<\/p>\n

\u00abThe door is the physical sign of a singularity, and as any sign, must reverberate in the one that crosses it and to change in a little his perception, his movement or his pace of step. There a special contorsionismo is necessary, already be of the look, of the musculature or of the spirit. Otherwise it is a question neither of a limit nor of a real door.\u00bb<\/em><\/p>\n

Santiago de Molina, Doors and Contortionist<\/em><\/a>.<\/p>\n<\/blockquote>\n

He says an old Japanese history that the ghosts are not capable of doubling two followed corners, which to such a appliance cannot react and to desist from his attempt from entering the places that like that arrange his tours. It is for it, or for any other reason, that the above mentioned configuration has been adopted in multitude of Japanese constructions. Any entry to an enclosure needs of a process, of a transition that it allows to be leaving besides yes that one that exceeds, that accompanies us though one does not see, though let’s not let’s want. The importance of the threshold, of an element astride between a territory and other one, it is not the physical space that it forms but all the mechanisms that allow to go undressing the ghosts what stays behind and being loaded with all that that is for coming. The importance is in creating the traps that allow to catch them. Something of all that Alejandro de la Sota should have learned.<\/p>\n

In the number 21 of the street Joaqu\u00edn Costa an emptiness in the front gives step to a space from where the exterior meets sifted across a railing steel. A wall of rugose brick, the same one that one saw and touching before, continues here, interrupted by a constant line of pavis. o the bottom of the enclosure, where the light is minor due to the reduction of height of the space, there appears a new door of dimensions more human than those who are in the habit of dictating the standards, of wood and metal, which repeats the same placement, the same strategy. It does not place in the axis that marks local direccionalidad, parallel to the street, but in a tangential way to him, in a corner, trying to happen unnoticed. The area of the public thing, of the infinitely opened, it returns to reduce for third time on having crossed this second door.\u00a0One is in a much darker place, where the natural light filters across the glass band that we were mentioning before, desmaterializando the meeting between wall and ceiling. Wrapping the space there appears again the rugose wall of red brick, the same one that existed in the street, the same one who has been accompanying us in the whole tour. Opposite to us (this time yes) the last door, to another side a gymnasium.<\/p>\n

Finally we are inside.<\/p>\n

Antonio Gir\u00e1ldez L\u00f3pez
\nArchitect and vagabond
\nMadrid \u00b7 march 2015<\/p>\n

Pd:<\/strong><\/p>\n

\n

\u00abThe gymnasium of Marvels is already 22 years old. Do not be why I made it like that but what yes I know it is that I am not upset with to have done it. I believe that not to do Architecture is a way to do it and we all all those do not do it we will have done more for her that those who, learned, continue doing it. Then a problem was solved and it continues working and it seems to me that nobody begins in there is absent the Architecture that does not have.\u00bb<\/em><\/p>\n

Alejandro de la Sota, 1984.<\/p>\n<\/blockquote>\n

\"\"<\/a>
Ximnasio Maravillas por Alejandro de la Sota. Fotograf\u00eda \u00a9 Fundaci\u00f3n Alejandro de la Sota. Cortes\u00eda de CANO Estudio.<\/span><\/figcaption><\/figure><\/p>\n

Joaqu\u00edn Costa, 21<\/strong><\/p>\n

\n

\u00abVolv\u00e9monos pobres nas experiencias do<\/em> <\/em>albor<\/em><\/a>. Penetrar no<\/em> <\/em>sono<\/em><\/a>\u00a0\u00e9 quizais a \u00fanica que hoxe queda \u2013mais,\u00a0con iso, tam\u00e9n o <\/em>espertar<\/em><\/a>\u2013\u00bb<\/em><\/p>\n

Walter Benjamin, Obra de los Pasajes.<\/p>\n

\u00abA porta \u00e9 o sinal f\u00edsico dunha singularidade, e como todo sinal, debe repercutir no que a atravesa e cambiar en algo a s\u00faa percepci\u00f3n, o seu movemento ou o seu ritmo de paso. Al\u00ed \u00e9 necesario un especial contorsionismo, xa sexa da mirada, da musculatura ou do esp\u00edrito. Pola contra non se trata nin dun l\u00edmite nin dunha verdadeira porta..\u00bb<\/em><\/p>\n

Santiago de Molina, Portas e Contorsionismo<\/em><\/a>.<\/p>\n<\/blockquote>\n

Di unha vella historia xaponesa que os fantasmas non son capaces de dobrar d\u00faas esquinas seguidas, que ante tal artefacto non saben reaccionar e desisten do seu intento de entrar nos lugares que as\u00ed dispo\u00f1en os seus percorridos. \u00c9 por iso, ou por calquera outra raz\u00f3n, que a devandita configuraci\u00f3n foi adoptada en multitude de construci\u00f3ns nipoas. Toda entrada a un recinto require dun proceso, dunha transici\u00f3n que permita ir deixando tras de si aquilo que sobra, que nos acompa\u00f1a a\u00ednda que non se vexa, a\u00ednda que non queiramos. A importancia do albor, dun elemento a cabalo entre un territorio e outro, non \u00e9 o espazo f\u00edsico que configura sen\u00f3n todos os mecanismos que permitan ir despox\u00e1ndose dos fantasmas do que queda detr\u00e1s e carg\u00e1ndose de todo aquilo que est\u00e1 por vir. A importancia est\u00e1 en crear as trampas que permitan atrapalos. Algo de todo isto debeu aprender Alejandro de la Sota.<\/p>\n

No n\u00famero 21 da r\u00faa Joaqu\u00edn Costa un baleiro na fachada d\u00e1 paso a un espazo dende onde se ve tamizada o exterior a trav\u00e9s dun enreixado de aceiro. Un muro de ladrillo rugoso, o mesmo que un v\u00eda e tocaba antes, contin\u00faa aqu\u00ed, interrompido por unha li\u00f1a continua de paveses. Ao fondo do recinto, onde a luz \u00e9 menor debido \u00e1 reduci\u00f3n de altura do espazo, aparece unha nova porta de dimensi\u00f3ns m\u00e1is humana que as que adoitan ditar os est\u00e1ndares, de madeira e metal, que repite a mesma colocaci\u00f3n, a mesma estratexia. Non se sit\u00faa no eixe que marca a direccionalidad do lugar, paralelo \u00e1 r\u00faa, sen\u00f3n de xeito tanxencial a el, nun canto, intentando pasar desapercibida. O \u00e1mbito do p\u00fablico, do infinitamente aberto, v\u00f3lvese reducir por terceira vez ao atravesar esta segunda porta. Un enc\u00f3ntrase nun lugar moito m\u00e1is escuro, onde a luz natural se filtra a trav\u00e9s da franxa de vidro que mencionabamos antes, desmaterializando o encontro entre parede e teito. Envolvendo o espazo aparece de novo o muro rugoso de ladrillo vermello, o mesmo que hab\u00eda na r\u00faa, o mesmo que nos foi acompa\u00f1ando en todo o percorrido. Fronte a n\u00f3s (esta vez si) a \u00faltima porta, ao outro lado un ximnasio.<\/p>\n

Por fin estamos dentro.<\/p>\n

Antonio Gir\u00e1ldez L\u00f3pez
\nArquitecto y vago
\nMadrid \u00b7 marzo 2015<\/p>\n

Pd:<\/strong><\/p>\n

\n

\u00abO ximnasio de Maravillas ten xa 22 anos. Non sei por que o fixen as\u00ed pero o que si sei \u00e9 que non me desgusta telo feito. Creo que non facer Arquitectura \u00e9 un cami\u00f1o para facela e todos cantos non a fagamos teremos feito m\u00e1is por ela que os que, aprendida, s\u00e9guena facendo. Ent\u00f3n resolveuse un problema e segue funcionando e par\u00e9ceme que ningu\u00e9n bota en falta a Arquitectura que non ten.\u00bb<\/em><\/p>\n

Alejandro de la Sota, 1984.<\/p>\n<\/blockquote>\n

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

Joaqu\u00edn Costa, 21 \u00abNos hemos vuelto pobres en las experiencias del\u00a0umbral. Penetrar en el\u00a0sue\u00f1o\u00a0es quiz\u00e1 la \u00fanica que hoy queda \u2013mas, con ello, tambi\u00e9n el\u00a0despertar\u2013\u00bb Walter Benjamin, Obra de los Pasajes. \u00abLa puerta es la se\u00f1al f\u00edsica de una singularidad, y como toda se\u00f1al, debe repercutir en el que la atraviesa y cambiar en algo […]<\/p>\n","protected":false},"author":11,"featured_media":54451,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[93,12278,2631,5865,8309,6135,814,815,1865,1210,8599],"class_list":["post-54449","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alejandro-de-la-sota","tag-arquitectura-espanola","tag-arquitectura-gallega","tag-fundacion-alejandro-de-la-sota","tag-gimnasio","tag-madrid","tag-maestro","tag-reflexion","tag-santiago-de-molina","tag-walter-benjamin"],"yoast_head":"\nJoaqu\u00edn 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