{"id":56567,"date":"2015-10-09T06:45:49","date_gmt":"2015-10-09T04:45:49","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=56567"},"modified":"2020-02-17T14:44:38","modified_gmt":"2020-02-17T13:44:38","slug":"una-rueda-de-bicicleta-silvia-blanco-agueira","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/una-rueda-de-bicicleta-silvia-blanco-agueira\/","title":{"rendered":"Una rueda de bicicleta | Silvia Blanco Ag\u00fceiraCycle wheel | Silvia Blanco Ag\u00fceiraUnha roda de bicicleta | Silvia Blanco Ag\u00fceira"},"content":{"rendered":"

\"Emplazamiento<\/a>
Emplazamiento del pabell\u00f3n y el teatro americanos en el recinto de la Expo58, se\u00f1alados en color sobre el plano del recinto.<\/span><\/figcaption><\/figure><\/p>\n

La Exposici\u00f3n Universal de Bruselas estuvo marcada por las tensiones entre los Estados Unidos y la Uni\u00f3n Sovi\u00e9tica, cuyos respectivos pabellones ocuparon las casillas m\u00e1s importantes de ese tablero de ajedrez pol\u00edtico en el que se convirti\u00f3 el gran parque belga elegido para la celebraci\u00f3n. Ambas parcelas se encontraban provocativamente enfrentadas, con ambos pa\u00edses desconfiando mutuamente y embarcados en una contienda promocional.<\/p>\n

De hecho, los sovi\u00e9ticos fueron los primeros en avisar de sus intenciones: la construcci\u00f3n del edificio m\u00e1s costoso y de mayores dimensiones de toda la secci\u00f3n internacional. Los estadounidenses se lo tomaron con m\u00e1s calma, tardando casi dos a\u00f1os en elegir al arquitecto que diese forma a una imagen que deb\u00eda proyectarse al mundo entero, pero tambi\u00e9n hacia el futuro en el tiempo.<\/p>\n

\"Im\u00e1genes<\/a>
Im\u00e1genes del interior del pabell\u00f3n. Derecha: fotograf\u00eda de Wouter Hagens.<\/span><\/figcaption><\/figure>\n

Bajo esas premisas, Edward Durell Stone dise\u00f1\u00f3 un pabell\u00f3n en el que se invitaba a sentir Am\u00e9rica, donde se apelotonaban los brillantes productos de consumo, y en el que se realizaban constantes pases de moda patrocinados por la revista Vogue1<\/sup>. De planta circular, pose\u00eda una celos\u00eda a modo de envolvente, una cubierta a base de un material pl\u00e1stico transl\u00facido, una gran l\u00e1mina de agua central con una isleta para los desfiles, y la presencia de varios sauces que completaban la escenograf\u00eda interior. El espacio creado parec\u00eda directamente extra\u00eddo del entorno urbano, ya que pose\u00eda fragmentos de grandes r\u00f3tulos publicitarios, logotipos, s\u00edmbolos gr\u00e1ficos y se\u00f1ales de tr\u00e1fico. La vanguardista se\u00f1al\u00e9tica, un trabajo de los dise\u00f1adores gr\u00e1ficos Robert Brownjohn, Ivan Chermayeff y Thomas Geismar mostraba un conseguido proceso de hibridaci\u00f3n que sumerg\u00eda al espectador en un mundo divertido, atractivo y centelleante. Todos los recursos eran necesarios para atraer al visitante cansado, desde un amplio teatro hasta un cine construido por la compa\u00f1\u00eda Disney, en cuyos democr\u00e1ticos muros curvados se proyectaban im\u00e1genes en tecnicolor2<\/sup>.<\/p>\n

\"Brownjohn,<\/a>
Brownjohn, Chermayeff y Geismar: \u00abStreetscape\u00bb. \u00a9 2015 Eliza Brownjohn\/MoMA<\/a>
<\/span><\/figcaption><\/figure>\n

En ambos casos, los vol\u00famenes se encontraban independientes del principal y pose\u00edan menores dimensiones, aunque compart\u00edan un aspecto similar, como de tambor3<\/sup>. Pocos saben que, junto al c\u00e9lebre Atomium<\/em><\/a>, tanto el mencionado teatro como el basamento de la construcci\u00f3n principal fueron las \u00fanicas realizaciones de la Expo58 que a\u00fan perviven en su ubicaci\u00f3n primitiva, emple\u00e1ndose hasta la actualidad como plat\u00f3 de radio y televisi\u00f3n.<\/p>\n

La que no ha sobrevivido ha sido la singular cubierta del pabell\u00f3n oficial, concebida como si de una rueda de bicicleta se tratara, con cables a tracci\u00f3n sujetos en la zona central por un anillo de acero, o lo que es lo mismo, una serie de radios dispuestos horizontalmente y sostenidos por pilares met\u00e1licos en el per\u00edmetro exterior4<\/sup>.<\/p>\n

\"Maqueta<\/a>
Maqueta del pabell\u00f3n americano, detalle de la estructura de cubierta, 2010. \u00a9 Peter Putman, Vakgroep Architectuur & Stedenbouw, Universiteit Gent | atomium.be<\/a><\/span><\/figcaption><\/figure>\n

Precisamente, fueron esos los soportes alrededor de los cuales se contone\u00f3 la explosiva Jayne Mansfield en su visita al recinto de Heysel, con el edificio a\u00fan en obras. Si una de las principales obsesiones de las autoridades y comisarios era robarle el protagonismo al enemigo, el objetivo parec\u00eda alcanzado con creces. En parte, gracias a una rueda de bicicleta.<\/p>\n

Silvia Blanco Ag\u00fceira, doctora arquitecta
\nViveiro, octubre 2015<\/p>\n

Notas:<\/p>\n

1<\/sup> Pases organizados por la socialit\u00e9<\/em> neoyorquina Caroline Lee <\/em>Bouvier Canfield<\/em>, hermana de Jacqueline Kennedy.<\/p>\n

2<\/sup> Esta pantalla ten\u00eda su doble en la Kinopanorama<\/em> sovi\u00e9tica, seis proyectores y tres pantallas donde se exhib\u00eda una pel\u00edcula \u00e9pica de la vida y del paisaje de sus rep\u00fablicas.<\/p>\n

3<\/sup> Adem\u00e1s de los dos anteriores, exist\u00eda un tercer volumen separado y que completaba el conjunto estadounidense, el pabell\u00f3n denominado Unfinished Business<\/a><\/em>, compuesto por tres piezas unidas por una pasarela y que se centraba en los problemas sociales y raciales del pa\u00eds. Blanco Ag\u00fceira, Silvia: \u00abAsuntos pendientes<\/a>\u00ab, Veredes<\/em> [26\/06\/2015].<\/p>\n

4<\/sup> Mallo, \u00c1lvaro; Blanco, Silvia y Carballo, Francisco: \u00abDenostada Bx\u00b458\u00bb (Conferencia impartida dentro del curso Secretos de la Arquitectura, Fundaci\u00f3n Luis Seoane, A Coru\u00f1a, 19 de mayo de 2014).<\/p>\n

\"Emplazamiento<\/a>
Emplacement of the pavilion and the theatre Americans in the enclosure of the Expo58, indicated in color on the plane of the enclosure.<\/span><\/figcaption><\/figure><\/p>\n

The Universal Exhibition of Brussels was marked by the tensions between the United States and the Soviet Union, which respective pavilions occupied the most important cabins of this political chessboard into which there turned the great Belgian park chosen for the celebration. Both plots were provocativamente conflicting, with both countries distrusting mutually and embarked in a promotional contest.<\/p>\n

In fact, the Soviets were the first ones in warning of his intentions: the construction of the costliest building and of major dimensions of the whole international section. The Americans took it with calmer, being late almost two years in choosing the architect who was giving form to an image that had to be projected to the entire world, but also towards the future in the time.<\/p>\n

\"Im\u00e1genes<\/a>
Images of the interior of the pavilion. Right: Wouter Hagens\u00b4s photography.<\/span><\/figcaption><\/figure>\n

Under these premises, Edward Durell Stone designed a pavilion in which one was inviting to feel America, where the brilliant products of consumption were crowding together, and in which there were realized constant fashion shows supported by the Vogue Magazine1<\/sup>. Of circular plant, it was possessing a lattice like surrounding, a cover based on a plastic translucent material, a great sheet of central water with an islet for the parades, and the presence of several willows that were completing the interior scenery. The created space seemed to be directly extracted from the urban environment, since it was possessing fragments of big advertising labels, logos, graphical symbols and traffic signals. The vanguardista se\u00f1al\u00e9tica, a work of the graphical designers Robert Brownjohn, Ivan Chermayeff and Thomas Geismar was showing an obtained process of hybridization that was immersing the spectator in an enterteining, attractive and gleaming world. All the resources were necessary to attract the tired visitor, from a wide theatre up to a cinema constructed by the company Disney, in whose democratic curled walls were projecting images in tecnicolor2<\/sup>.<\/p>\n

\"Brownjohn,<\/a>
Brownjohn, Chermayeff and Geismar: \u00abStreetscape\u00bb. \u00a9 2015 Eliza Brownjohn\/MoMA<\/a>
<\/span><\/figcaption><\/figure>\n

In both cases, the volumes were independent from the principal one and minors were possessing measure, though they were sharing a similar aspect, since of drum3<\/sup>. \u00a0Few ones know that, together with the famous Atomium<\/em><\/a>, both the mentioned theatre and the basement of the principal construction were the only accomplishments of the Expo58 that still perviven in his primitive location, being used up to the current importance as set of radio and television.<\/p>\n

The one that has not survived has been the singular cover of the official pavilion, concebida as if about a wheel of bicycle it was treating itself, with cables to traction subjects in the central zone for a ring steel, or what is the same thing, a series of radioes arranged horizontally and supported by metallic props in the exterior perimeter4<\/sup>.<\/p>\n

\"Maqueta<\/a>
Model of the American pavilion, detail of the structure of cover, 2010. \u00a9 Peter Putman, Vakgroep Architectuur & Stedenbouw, Universiteit Gent | atomium.be<\/a><\/span><\/figcaption><\/figure>\n

Precisely, they were these supports about which the explosive Jayne Mansfield swaggered in his visit to Heysel’s enclosure, with the building still in works. If one of the principal obsessions to the authorities and commissioners belonged to steal the protagonism from the enemy, the aim seemed to be reached fully. Partly, thanks to a wheel of bicycle.<\/p>\n

Silvia Blanco Ag\u00fceira, PhD architect
\nViveiro, october 2015<\/p>\n

Notes:<\/p>\n

1<\/sup> Passes organized by the socialit\u00e9<\/em> of New York Caroline Lee<\/em> Bouvier Canfield<\/em>, sister of Jacqueline Kennedy.<\/p>\n

2<\/sup> This screen had his double in the Soviet Kinopanorama<\/em>, six projectors and three screens where there was showing itself an epic movie of the life and of the landscape of his republics.<\/p>\n

3<\/sup> Besides both previous ones, there existed the third separated volume and that was completing the American set, the pavilion named Unfinished Business<\/a><\/em>, composed by three pieces joined by a gangplank and that was centring on the social and racial problems of the country. Blanco Ag\u00fceira, Silvia: \u00abAsuntos pendientes<\/a>\u00ab, Veredes [26\/06\/2015].<\/p>\n

4<\/sup> Mallo, \u00c1lvaro; Blanco, Silvia and Carballo, Francisco: \u00abDenostada Bx\u00b458\u00bb (Conference given inside the course Secrets of the Architecture, Luis Seoane Foundation, A Coru\u00f1a, on May 19, 2014).<\/p>\n

\"Emplazamiento<\/a>
Emprazamento do pabell\u00f3n e o teatro americanos no recinto da Expo58, sinalados en cor sobre o plano do recinto.<\/span><\/figcaption><\/figure><\/p>\n

A Exposici\u00f3n Universal de Bruxelas estivo marcada polas tensi\u00f3ns entre os Estados Unidos e a Uni\u00f3n Sovi\u00e9tica, cuxos respectivos pabellones ocuparon as casillas m\u00e1is importantes dese taboleiro de ajedrez pol\u00edtico no que se converteu o gran parque belga elixido para a celebraci\u00f3n. Ambas parcelas atop\u00e1banse provocativamente enfrontadas, con ambos pa\u00edses desconfiando mutuamente e embarcados nunha contenda promocional.<\/p>\n

De feito, os sovi\u00e9ticos foron os primeiros en avisar das s\u00faas intenci\u00f3ns: a construci\u00f3n do edificio m\u00e1is custoso e de maiores dimensi\u00f3ns de toda a secci\u00f3n internacional. Os estadounidenses tom\u00e1ronllo con m\u00e1is calma, tardando case dous anos en elixir ao arquitecto que dese forma a unha imaxe que deb\u00eda proxectarse ao mundo enteiro, pero tam\u00e9n cara ao futuro no tempo.<\/p>\n

\"Im\u00e1genes<\/a>
Imaxes do interior do pabell\u00f3n. Dereita: fotograf\u00eda de Wouter Hagens.<\/span><\/figcaption><\/figure>\n

Baixo esas premisas, Edward Durell Stone dese\u00f1ou un pabell\u00f3n no que se invitaba a sentir Am\u00e9rica, onde se apelotonaban os brillantes produtos de consumo, e no que se realizaban constantes pases de moda patrocinados pola revista Vogue1<\/sup>. De planta circular, posu\u00eda unha celos\u00eda a modo de envolvente, unha cuberta a base dun material pl\u00e1stico transl\u00facido, unha gran l\u00e1mina de auga central cunha isleta para desf\u00edlelos, e a presenza de varios sauces que completaban a escenograf\u00eda interior. O espazo creado parec\u00eda directamente extra\u00eddo da contorna urbana, xa que posu\u00eda fragmentos de grandes r\u00f3tulos publicitarios, logotipos, s\u00edmbolos gr\u00e1ficos e sinais de tr\u00e1fico. A vanguardista se\u00f1al\u00e9tica, un traballo dos dise\u00f1adores gr\u00e1ficos Robert Brownjohn, Ivan Chermayeff e Thomas Geismar mostraba un conseguido proceso de hibridaci\u00f3n que mergullaba ao espectador nun mundo divertido, atractivo e centelleante. Todos os recursos eran necesarios para atraer ao visitante canso, desde un amplo teatro ata un cine constru\u00eddo pola compa\u00f1\u00eda Disney, en cuxos democr\u00e1ticos muros curvados proxect\u00e1banse imaxes en tecnicor2<\/sup>.<\/p>\n

\"Brownjohn,<\/a>
Brownjohn, Chermayeff e Geismar: \u00abStreetscape\u00bb. \u00a9 2015 Eliza Brownjohn\/MoMA<\/a>
<\/span><\/figcaption><\/figure>\n

En ambos casos, os volumes atop\u00e1banse independentes do principal e posu\u00edan menores dimensi\u00f3ns, a\u00ednda que compart\u00edan un aspecto similar, como de tambor3<\/sup>. Poucos saben que, xunto ao soado Atomium<\/em><\/a>, tanto o mencionado teatro como o basamento da construci\u00f3n principal foron as \u00fanicas realizaci\u00f3ns da Expo58 que a\u00ednda perviven na s\u00faa ubicaci\u00f3n primitiva, empreg\u00e1ndose ata a actualidade como plat\u00f3 de radio e televisi\u00f3n.<\/p>\n

A que non sobreviviu foi a singular cuberta do pabell\u00f3n oficial, concibida coma se dunha roda de bicicleta trat\u00e1sese, con cables a tracci\u00f3n suxeitos na zona central por un anel de aceiro, ou o que \u00e9 o mesmo, unha serie de radios dispostos horizontalmente e sostidos por alicerces met\u00e1licos no per\u00edmetro exterior4<\/sup>.<\/p>\n

\"Maqueta<\/a>
Maqueta do pabell\u00f3n americano, detalle da estrutura de cuberta, 2010. \u00a9 Peter Putman, Vakgroep Architectuur & Stedenbouw, Universiteit Gent | atomium.be<\/a><\/span><\/figcaption><\/figure>\n

Precisamente, foron eses os soportes ao redor dos cales se contone\u00f3 a explosiva Jayne Mansfield na s\u00faa visita ao recinto de Heysel, co edificio a\u00ednda en obras. Si una das principais obsesi\u00f3ns das autoridades e comisarios era roubarlle o protagonismo ao inimigo, o obxectivo parec\u00eda alcanzado con fartura. En parte, grazas a unha roda de bicicleta.<\/p>\n

Silvia Blanco Ag\u00fceira, doutora arquitecta
\nViveiro, outubro 2015<\/p>\n

Notas:<\/p>\n

1<\/sup> Pases organizados pola socialit\u00e9<\/em> neoiorquina Caroline Lee <\/em>Bouvier Canfield<\/em>, irm\u00e1 de Jacqueline Kennedy.<\/p>\n

2<\/sup> Esta pantalla ti\u00f1a o seu dobre na Kinopanorama<\/em> sovi\u00e9tica, seis proyectores e tres pantallas onde se exhib\u00eda unha pel\u00edcula \u00e9pica da vida e da paisaxe das s\u00faas rep\u00fablicas.<\/p>\n

3<\/sup> Ademais dos dous anteriores, exist\u00eda un terceiro volume separado e que completaba o conxunto estadounidense, o pabell\u00f3n denominado Unfinished Business<\/a><\/em>, composto por tres pezas unidas por unha pasarela e que se centraba nos problemas sociais e raciales do pa\u00eds. Branco Ag\u00fceira, Silvia: \u00abAsuntos pendentes<\/a>\u00ab, Veredes [26\/06\/2015].<\/p>\n

4<\/sup> Mallo, \u00c1lvaro; Blanco, Silvia e Carballo, Francisco: \u00abDenostada Bx\u00b458\u00bb (Conferencia impartida dentro do curso Segredos da Arquitectura, Fundaci\u00f3n Luis Seoane, A Coru\u00f1a, 19 de maio de 2014).<\/p>\n

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

La Exposici\u00f3n Universal de Bruselas estuvo marcada por las tensiones entre los Estados Unidos y la Uni\u00f3n Sovi\u00e9tica, cuyos respectivos pabellones ocuparon las casillas m\u00e1s importantes de ese tablero de ajedrez pol\u00edtico en el que se convirti\u00f3 el gran parque belga elegido para la celebraci\u00f3n. Ambas parcelas se encontraban provocativamente enfrentadas, con ambos pa\u00edses desconfiando […]<\/p>\n","protected":false},"author":23,"featured_media":56569,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[5803,12448,11951,147,9132,6145,7934,223,12470,430,12125,557,11989,5789,668,12124,887,972,1021,12127,12126,12123,11986,12129,12128],"class_list":["post-56567","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alvaro-mallo","tag-arquitectura","tag-arquitectura-americana","tag-arquitectura-moderna","tag-arquitectura-norteamericana","tag-arquitectura-rusa","tag-arquitectura-sovietica","tag-bruselas","tag-diseno","tag-diseno-grafico","tag-edward-durell-stone","tag-exposicion-universal","tag-francisco-carballo","tag-fundacion-luis-seoane","tag-historia","tag-ivan-chermayeff","tag-moma","tag-pabellon","tag-pensamiento","tag-peter-putman","tag-robert-brownjohn","tag-silvia-blanco-agueira","tag-thomas-geismar","tag-vakgroep-architectuur-stedenbouw"],"yoast_head":"\nUna 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