{"id":55290,"date":"2015-06-12T06:00:13","date_gmt":"2015-06-12T04:00:13","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=55290"},"modified":"2020-03-23T13:56:06","modified_gmt":"2020-03-23T12:56:06","slug":"la-concertacion-de-libera-y-malaparte-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-concertacion-de-libera-y-malaparte-marcelo-gardinetti\/","title":{"rendered":"La concertaci\u00f3n de Libera y Malaparte | Marcelo GardinettiA concertaci\u00f3n de Libera e Malaparte | Marcelo GardinettiThe conciliation of Liberates and Malaparte | Marcelo Gardinetti"},"content":{"rendered":"

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\n

\u201cLo que ordena aqu\u00ed la casa es la autosuficiencia que permite al cielo y la tierra, a los dioses y a los mortales formar una \u00fanica unidad con las cosas\u201d.<\/em>1<\/sup>\u00a0<\/sup><\/strong><\/p>\n<\/blockquote>\n

Durante la d\u00e9cada de 1930, en pleno proceso de consolidaci\u00f3n del movimiento moderno, la transformaci\u00f3n de la cualidad pl\u00e1stica del objeto de una parte de la producci\u00f3n arquitect\u00f3nica Europea, fue resultado del inter\u00e9s de algunos arquitectos por la arquitectura vern\u00e1cula.<\/p>\n

La noci\u00f3n de sitio y la integraci\u00f3n de la obra con su entorno, que hasta ese entonces resultaba indiferente, empiezan a formar parte de los objetivos de muchos arquitectos de la primera y segunda generaci\u00f3n, preconizando una sensibilidad privativa por el lugar. Esta inquietud integradora que tambi\u00e9n domina la voluntad de Adalberto Libera, hace eclosi\u00f3n durante el dise\u00f1o de la casa para el escritor Curzio Malaparte.<\/p>\n

\"\"<\/a><\/p>\n

Combatiente en la primera guerra mundial, Malaparte fue encarcelado por el r\u00e9gimen de Mussolini en la isla de Lipari, y al ser liberado busca un espacio de sosiego donde residir luego del largo exilio transcurrido. Para ello dispone de un terreno ubicado en el promontorio di Capo Massullo, geograf\u00eda portadora de una belleza deliciosa, que le ofrece a Libera una circunstancia excepcional para indagar la relaci\u00f3n entre la arquitectura y su entorno.<\/p>\n

El acto trascendental de Libera y Malaparte consiste en establecer un acuerdo de reciprocidad con la naturaleza, que reinterpreta la condici\u00f3n del sitio para promover una nueva relaci\u00f3n entre el hombre y el entorno natural. Los atributos arquitect\u00f3nicos para esta concertaci\u00f3n provienen de una mirada a la antig\u00fcedad cl\u00e1sica, donde se evoca el rito de la tradici\u00f3n del mundo griego, mediando un plano que urbaniza el \u00e1rea, oculta las funciones de la vida dom\u00e9stica, y subyuga el enclave como un fondo esc\u00e9nico, ordenando un ejercicio que concreta una nueva valoraci\u00f3n.<\/p>\n

En tal sentido, la casa resulta una prolongaci\u00f3n artificial de la roca, y como tal, se eleva monol\u00edtica, revestida en un estuco rojo sin ning\u00fan tipo de juntas. Para Francesco Venezia, estos acontecimientos subliman el valor de la casa: <\/em><\/p>\n

\n

\u201cen esta total indiferencia del espacio superior hacia la residencia subyacente reside la clave para comprender la casa. \u00c1cida y roma por fuera, renuncia a funciones y signos ef\u00edmeros. Franquea, enlaza, domina. Prolongaci\u00f3n artificial del enclave, forma expresiva de un acto de asentamiento primario. Piedra de toque, como el \u201cmidi le juste\u201d que separa dos momentos y mide las alternancias c\u00edclicas. Lugar testimonial y por ello lugar del recuerdo.\u201d<\/em> 2<\/sup><\/p>\n<\/blockquote>\n

\"\"<\/a><\/p>\n

Para alcanzar la vivienda se debe transitar un sendero que surca los riscos monta\u00f1osos. El primer contacto con la casa es la singular escalera que evoca la cercana Chiesa dell\u2019Annunziata y la cualidad graduada de la escalinata del Capitolio Romano dise\u00f1ada por Miguel \u00c1ngel. Su forma trapezoidal con el lado menor en la base exagera la dimensi\u00f3n real de la escalera y hace del ascenso el momento del acontecimiento. El visitante es incorporado de manera din\u00e1mica, fundando una incertidumbre que se devela al finalizar el escalamiento, donde un muro curvo lo obliga a desplazarse para percibir el paisaje.<\/p>\n

En ese suceso, el espectador encuentra el control absoluto del horizonte. La superficie creada permite una relaci\u00f3n dominante con el paisaje y anima la concordancia ideal con el mundo natural, una representaci\u00f3n m\u00e1s cercana a lo hier\u00e1tico que a lo dom\u00e9stico.<\/p>\n

El exterior no revela en absoluto lo que acontece dentro de la casa. A diferencia de la escalera que conduce a la terraza, el acceso es modesto y no jerarquizado. Una peque\u00f1a puerta permite acceder a la sala de estar, resuelta de manera independiente del resto del programa. La sala no revela ning\u00fan suceso singular, solo propone un lugar de descanso, con la naturaleza enmarcada en ventanales estrat\u00e9gicamente dispuestos. El resto de las \u00e1reas del programa est\u00e1n incrustadas en la roca, habitaciones perforadas por peque\u00f1os vanos de iluminaci\u00f3n para que en el exterior prevalezca el estuco terracota que reviste el muro de piedra.<\/p>\n

\"\"<\/a><\/p>\n

La relaci\u00f3n entre Libera y Malaparte tuvo un final abrupto y el propietario realiz\u00f3 la mayor parte de la obra con la ayuda de constructores locales. No obstante, la aportaci\u00f3n de Adalberto Libera y la voluntad de Curzio Malaparte se mancomunaron para componer el car\u00e1cter gestual at\u00edpico de la vivienda.<\/p>\n

La casa no impone condici\u00f3n alguna sobre el sitio; emerge de la piedra, se fusiona y se despliega sobre la roca sin da\u00f1ar la imagen de la naturaleza. Propone una voluntad compartida que permite mancomunar ambos paisajes en un nuevo escenario enriquecido.<\/p>\n

La idea acomete la roca para introducir en ella su arquitectura, y en la misma operaci\u00f3n, construye un territorio donde contemplar la agraciada belleza de un entorno infinito.<\/p>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Mayo 2015<\/p>\n

Notas:<\/p>\n

\u00a01<\/sup><\/strong> HEIDEGGER, citado por L. McDowell en Genero, Identidad y Lugar<\/em><\/a>, Ediciones C\u00e1tedra, Madrid, 2000, pp. 111 y 112.<\/p>\n

\u00a0<\/strong>2<\/sup> Francesco Venezia, Casa Malaparte<\/a>, pag. 17<\/p>\n

Se desconoce el autor de las fotograf\u00edas, que se encuentran en libre circulaci\u00f3n en la red.<\/em><\/p>\n

<\/p>\n

\"\"<\/a><\/p>\n

\n

\u201cWhat arranges here the house is the self-sufficiency that allows the sky and the land, the gods and the mortal ones to form the only unit with the things\u201d.<\/em>1<\/sup><\/p>\n<\/blockquote>\n

During the decade of 1930, in full process of consolidation of the modern movement, the transformation of the plastic quality of the object of a part of the architectural European production, it was a result of the interest of some architects for the vernacular architecture.<\/p>\n

The notion of site and the integration of the work with his environment, which up to this then was turning out to be indifferent, start forming a part of the aims of many architects of the first and second generation, praising an exclusive sensibility for the place. This of integration worry that also dominates Adalberto Libera’s will, does appearance during the design of the house for the writer Curzio Malaparte.<\/p>\n

\"\"<\/a><\/p>\n

Soldier in the first world war, Malaparte was imprisoned by Mussolini’s regime in Lipari’s island, and to the liberated being it looks for a space of quiet where to reside after the long passed exile. For it he has an area located in the promontory I gave Boss Massullo, carrying geography of a delicious beauty, that it offers him to It Liberates an exceptional circumstance to investigate the relation between the architecture and his environment.<\/p>\n

The transcendental act of Liberates and Malaparte consists of establishing an agreement of reciprocity with the nature, which reinterprets the condition of the site to promote a new relation between the man and the natural environment. The architectural attributes for this conciliation come from a look to the classic antiquity, where there is evoked the rite of the tradition of the Greek world, happening a plane that urbanizes the area, it conceals the functions of the domestic life, and subdues the enclave as a scenic bottom, arranging an exercise that makes concrete a new valuation.<\/p>\n

To this respect, the house turns out to be an artificial prolongation of the rock, and as such, rises monolithic, re-dressed in a red stucco without any type of meetings. For Francesco Venezia, these events sublimate the value of the house: <\/em><\/p>\n

\n

\u201cIn this total nonchalance of the top space towards the underlying residence the key resides to understand the house. Acid and blunt externally, he resigns functions and ephemeral signs. It liberates, connects, dominates. Artificial prolongation of the enclave, expressive form of an act of primary accession. Touchstone, since \u201cmidi le juste\u201d that separates two moments and measures the cyclical alternations. Nominal place and for it place of the recollection.\u201d<\/em> 2<\/sup><\/p>\n<\/blockquote>\n

\"\"<\/a><\/p>\n

To reach the housing one must travel a path that furrows the mountainous crags. The first contact with the house is the singular stairs that evokes the nearby Chiesa dell’Annunziata and the quality taken the degree as the perron of the Roman Capitol designed by Michael \u00c1ngel. His trapezoidal form with the minor side in the base exaggerates the royal dimension of the stairs and does of the ascent the moment of the event. The visitor is incorporated in a dynamic way, founding an uncertainty that devela on having finished the climbing, where a curved wall forces it to move to perceive the landscape.<\/p>\n

In this event, the spectator finds the absolute control of the horizon. The created surface allows a dominant relation with the landscape and hier\u00e1tico encourages the ideal conformity with the natural world, a nearest representation to that to the domestic thing.<\/p>\n

The exterior does not reveal by no means what happens inside the house. Unlike the stairs that he leads to the terrace, the access is modest and not organized into a hierarchy. A small door allows to accede to the room of being, solved in a way independent from the rest of the program. The room does not reveal any singular, alone event proposes a place of rest, with the nature placed in strategically ready large windows. The rest of the areas of the program are incrusted in the rock, rooms perforated for small vain with lighting in order that in the exterior the stucco prevails terracotta that re-dresses the wall of stone.<\/p>\n

\"\"<\/a><\/p>\n

The relation between Liberates and Malaparte had an abrupt end and the owner realized most of the work with the help of local builders. Nevertheless, Adalberto Libera’s contribution and Curzio Malaparte’s will combined to compose the character gestual atypical of the housing.<\/p>\n

The house does not impose any condition on the site; it emerges of the stone, fuses and despliega on the rock without damaging the image of the nature. He proposes a shared will that allows to unite both landscapes in a new enriched scene.<\/p>\n

The idea attacks the rock to introduce in her his architecture, and in the same operation, constructs a territory where to contemplate the attractive beauty of an infinite environment.<\/p>\n

Marcelo Gardinetti. Architect
\nLa Plata, Argentina. May 2015<\/p>\n

Notas:<\/p>\n

1<\/sup><\/strong> HEIDEGGER, citado por L. McDowell en Genero, Identidad y Lugar<\/em><\/a>, Ediciones C\u00e1tedra, Madrid, 2000, pp. 111 y 112.<\/p>\n

2<\/sup> Francesco Venezia, Casa Malaparte<\/a>, pag. 17<\/p>\n

There is not known the author of the photographies, which are in free traffic in the network.<\/em><\/p>\n

<\/p>\n

\"\"<\/a><\/p>\n

\n

\u201cO que ordena aqu\u00ed a casa \u00e9 a autosuficiencia que permite ao ceo e a terra, aos deuses e aos mortais formar unha \u00fanica unidade coas cosas\u201d.<\/em>1<\/sup><\/p>\n<\/blockquote>\n

Durante a d\u00e9cada de 1930, en pleno proceso de consolidaci\u00f3n do movemento moderno, a transformaci\u00f3n da calidade pl\u00e1stica do obxecto dunha parte da produci\u00f3n arquitect\u00f3nica Europea, foi resultado do interese dalg\u00fans arquitectos pola arquitectura vern\u00e1cula.<\/p>\n

A noci\u00f3n de sitio e a integraci\u00f3n da obra co seu \u00e1mbito, que ata ese ent\u00f3n resultaba indiferente, empezan a formar parte dos obxectivos de moitos arquitectos da primeira e segunda xeraci\u00f3n, preconizando unha sensibilidade privativa polo lugar. Esta inquietude integradora que tam\u00e9n domina a vontade de Adalberto Libera, fai eclosi\u00f3n durante o dese\u00f1o da casa para o escritor Curzio Malaparte.<\/p>\n

\"\"<\/a><\/p>\n

Combatente na primeira guerra mundial, Malaparte foi encarcerado polo r\u00e9xime de Mussolini na illa de Lipari, e ao ser liberado busca un espazo de sosego onde residir logo do longo exilio transcorrido. Para iso disp\u00f3n dun terreo situado no promontorio dei Capo Massullo, xeograf\u00eda portadora dunha beleza deliciosa, que lle ofrece a Libera unha circunstancia excepcional para indagar a relaci\u00f3n entre a arquitectura e o seu \u00e1mbito.<\/p>\n

O acto transcendental de Libera e Malaparte consiste en establecer un acordo de reciprocidade coa natureza, que reinterpreta a condici\u00f3n do sitio para promover unha nova relaci\u00f3n entre o home e o \u00e1mbito natural. Os atributos arquitect\u00f3nicos para esta concertaci\u00f3n prove\u00f1en dunha mirada \u00e1 antig\u00fcidade cl\u00e1sica, onde se evoca o rito da tradici\u00f3n do mundo grego, mediando un plano que urbaniza a \u00e1rea, oculta as funci\u00f3ns da vida dom\u00e9stica, e subxuga o enclave como un fondo esc\u00e9nico, ordenando un exercicio que concreta unha nova valoraci\u00f3n.<\/p>\n

En tal sentido, a casa resulta unha prolongaci\u00f3n artificial da rocha, e como tal, el\u00e9vase monol\u00edtica, revestida nun estuco vermello sen ning\u00fan tipo de xuntas. Para Francesco Venezia, estes acontecementos subliman o valor da casa:<\/p>\n

\n

\u201cnesta total indiferenza do espazo superior cara \u00e1 residencia subxacente reside a clave para comprender a casa. \u00c1cida e roma por f\u00f3ra, renuncia a funci\u00f3ns e signos ef\u00e9meros. Franquea, enlaza, domina. Prolongaci\u00f3n artificial do enclave, forma expresiva dun acto de asentamento primario. Pedra de toque, como o \u201cmidi le juste\u201d<\/em> que separa dous momentos e mide as alternancias c\u00edclicas. Lugar testemu\u00f1al e por iso lugar do recordo.\u201d<\/em> 2<\/sup><\/p>\n<\/blockquote>\n

\"\"<\/a><\/p>\n

Para alcanzar a vivenda d\u00e9bese transitar un sendeiro que suca os riscos monta\u00f1osos. O primeiro contacto coa casa \u00e9 a singular escaleira que evoca a pr\u00f3xima Chiesa dell’Annunziata e a calidade graduada da escalinata do Capitolio Romano dese\u00f1ada por Miguel \u00c1ngel. A s\u00faa forma trapezoidal co lado menor na base esaxera a dimensi\u00f3n real da escaleira e fai do ascenso o momento do acontecemento. O visitante \u00e9 incorporado de xeito din\u00e1mico, fundando unha incerteza que se devela ao finalizar o escalamento, onde un muro curvo o obriga a desprazarse para percibir a paisaxe.<\/p>\n

Nese suceso, o espectador encontra o control absoluto do horizonte. A superficie creada permite unha relaci\u00f3n dominante coa paisaxe e anima a concordancia ideal co mundo natural, unha representaci\u00f3n m\u00e1is pr\u00f3xima ao hier\u00e1tico que ao dom\u00e9stico.<\/p>\n

O exterior non revela en absoluto o que acontece dentro da casa. A diferenza da escaleira que conduce \u00e1 terraza, o acceso \u00e9 modesto e non xerarquizado. Unha pequena porta permite acceder \u00e1 sala de estar, resolta de xeito independente do resto do programa. A sala non revela ning\u00fan suceso singular, s\u00f3 prop\u00f3n un lugar de descanso, coa natureza enmarcada en ventanais estratexicamente dispostos. O resto das \u00e1reas do programa est\u00e1n incrustadas na rocha, cuartos perforados por pequenos vans de iluminaci\u00f3n para que no exterior prevaleza o estuco terracota que reviste o muro de pedra.<\/p>\n

\"\"<\/a><\/p>\n

A relaci\u00f3n entre Libera e Malaparte tivo un final abrupto e o propietario realizou a maior parte da obra coa axuda de construtores locais. Non obstante, a achega de Adalberto Libera e a vontade de Curzio Malaparte mancomun\u00e1ronse para compo\u00f1er o car\u00e1cter xestual at\u00edpico da vivenda.<\/p>\n

A casa non imp\u00f3n condici\u00f3n ningunha sobre o sitio; emerxe da pedra, fusi\u00f3nase e despr\u00e9gase sobre a rocha sen danar a imaxe da natureza. Prop\u00f3n unha vontade compartida que permite mancomunar ambas as d\u00faas paisaxes nun novo escenario enriquecido.<\/p>\n

A idea acomete a rocha para introducir nela a s\u00faa arquitectura, e na mesma operaci\u00f3n, constr\u00fae un territorio onde contemplar a agraciada beleza dun \u00e1mbito infinito.<\/p>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Maio 2015<\/p>\n

Notas:<\/p>\n

1<\/sup><\/strong> HEIDEGGER, citado por L. McDowell en Genero, Identidad y Lugar<\/em><\/a>, Ediciones C\u00e1tedra, Madrid, 2000, pp. 111 y 112.<\/p>\n

2<\/sup> Francesco Venezia, Casa Malaparte<\/a>, pag. 17<\/p>\n

Desco\u00f1\u00e9cese o autor das fotograf\u00edas, que se encontran en libre circulaci\u00f3n na rede.<\/em><\/p>\n

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

\u201cLo que ordena aqu\u00ed la casa es la autosuficiencia que permite al cielo y la tierra, a los dioses y a los mortales formar una \u00fanica unidad con las cosas\u201d.1\u00a0 Durante la d\u00e9cada de 1930, en pleno proceso de consolidaci\u00f3n del movimiento moderno, la transformaci\u00f3n de la cualidad pl\u00e1stica del objeto de una parte de […]<\/p>\n","protected":false},"author":4,"featured_media":55294,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[10728,6657,7137,150,6757,11796,11933,668,11934,6567,12455],"class_list":["post-55290","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-adalberto-libera","tag-arquitectura-italiana","tag-arquitectura-popular","tag-arquitectura-tradicional","tag-arquitectura-vernacula","tag-curzio-malaparte","tag-francesco-venezia","tag-historia","tag-linda-mcdowell","tag-miguel-angel","tag-vivienda-unifamiliar"],"yoast_head":"\nLa concertaci\u00f3n de Libera y Malaparte | Marcelo Gardinetti<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: La concertaci\u00f3n de Libera y Malaparte | Marcelo GardinettiA concertaci\u00f3n de Libera e Malaparte | Marcelo GardinettiThe conciliation of 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