{"id":59318,"date":"2016-02-29T05:53:44","date_gmt":"2016-02-29T04:53:44","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=59318"},"modified":"2022-07-04T10:00:57","modified_gmt":"2022-07-04T08:00:57","slug":"objet-trouve-04-sota-y-el-edificio-luminoso-rodrigo-almonacid","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/objet-trouve-04-sota-y-el-edificio-luminoso-rodrigo-almonacid\/","title":{"rendered":"[:es]Objet trouv\u00e9 [05] : Sota y el edificio ‘luminoso’ | Rodrigo Almonacid[:gl]Objet trouv\u00e9 [05] : Sota e o edificio ‘luminoso’ | Rodrigo Almonacid[:en]Objet trouv\u00e9 [05] : Sota and the ‘luminous’ building | Rodrigo Almonacid[:]"},"content":{"rendered":"

[:es]

\"SOTA<\/a>
SOTA ‘diapositiva de luminaria de autopista’ | Fuente: Conversaci\u00f3n en torno a Alejandro de la Sota<\/a> (p.41-ilustrac.2.5)<\/span><\/figcaption><\/figure><\/p>\n

El a\u00f1o 1970 es un punto de inflexi\u00f3n en la trayectoria arquitect\u00f3nica de Alejandro de la Sota: por una parte, pierde el concurso<\/a> de C\u00e1tedra de Elementos de Composici\u00f3n de la ETSAM, tras llevar como profesor catorce a\u00f1os entonces, y haberse convertido en doctor cinco a\u00f1os antes; por otra parte, no resulta ganador del importante concurso de proyectos para las oficinas bancarias de Bankuni\u00f3n, quiz\u00e1 porque su propuesta era tan desafiante que el promotor no confiaba en que aquel mudo prisma de vidrio servir\u00eda para dotar de identidad a su nueva sede. Sea como fuere, el caso es que Sota decide recluirse en la labor de su estudio1<\/sup>, abandonando el ambiente acad\u00e9mico para siempre y neg\u00e1ndose a aparecer en p\u00fablico apenas, ni siquiera a trav\u00e9s de la publicaci\u00f3n de sus obras en las revistas.<\/p>\n

Encerrado pues en su estudio acomete una cierta labor introspectiva, casi expurgadora o incluso cat\u00e1rtica, con el solo prop\u00f3sito de liberarse de ciertos h\u00e1bitos arquitect\u00f3nicos, como si quisiera buscar el firme sobre el que asentar sus a\u00f1os venideros como arquitecto. En ese camino le surge la oportunidad de participar en el concurso para la sede de AVIACO en 1975, un edificio emblem\u00e1tico que debe ser construido en plena calle Serrano de Madrid como su se\u00f1a de identidad corporativa. La propuesta presentada no pod\u00eda ser m\u00e1s radical, y quiz\u00e1 por ello encontr\u00f3 cierto rechazo entre los directivos de la compa\u00f1\u00eda a\u00e9rea que le impedir\u00eda ganar el concurso.<\/p>\n

La idea arquitect\u00f3nica era brillante, o mejor dicho, \u201cluminosa\u201d: un discreto cubo cristalino, de apariencia opalescente y sutil por el d\u00eda, pero tambi\u00e9n un reclamo luminoso y soporte \u201cpublicitario\u201d durante la noche. Comenta Jos\u00e9 Manuel L\u00f3pez-Pel\u00e1ez2<\/sup> que Don Alejandro les mostraba a sus colaboradores en el estudio una fotograf\u00eda de una ramplona luminaria de autopista (precisamente la de la cabecera de este texto) para explicarles precisamente ese efecto m\u00e1gico de la luz crepuscular, cuando \u00e9sta empieza a encenderse lentamente conforme la luz del sol se va apagando… algo as\u00ed como un \u201cequilibrador lum\u00ednico\u201d. Maravillosa ideal visual de efecto po\u00e9tico.<\/p>\n

En esos a\u00f1os dif\u00edciles, de nuevo Sota saca fuerzas de flaqueza para intentar (quiz\u00e1 por \u00faltima vez) construir para AVIACO el \u00faltimo \u201ccubo que funciona\u201d, esa figura ideal que Sota citaba en relaci\u00f3n a una respuesta que Le Corbusier le escribi\u00f3 al alcalde de NUEVA York tras su primer viaje como promesa de vanguardia para ca\u00f3tica ciudad de los rascacielos. Pero Sota quer\u00eda trascender esa mera bo\u00eete \u00e0 miracles<\/em> corbusieriana, a\u00f1adi\u00e9ndole una humanidad y una sensibilidad que recualificase el hexaedro puro.<\/p>\n

En la memoria del proyecto el arquitecto gallego habla de fachadas cuyas l\u00edneas evoquen las del barrio de Salamanca en el que se iba a insertar; explica las fachadas como resultado tecnol\u00f3gico de una investigaci\u00f3n de materiales (pretend\u00eda construir las fachadas con un in\u00e9dito panel s\u00e1ndwich de metacrilato y fibra de vidrio) nada menos que con la ayuda de los cient\u00edficos del CSIC; habla de las franjas transparentes (como si fueran \u201cbarras de hielo\u201d) incrustadas horizontalmente en las paredes trasl\u00facidas para relajar la vista panor\u00e1mica desde el puesto de trabajo de cada empleado; habla de la percepci\u00f3n nocturna de los anuncios luminosos sobre las fachadas de los edificios como una demanda a resolver por la nueva arquitectura (en el m\u00e1s pleno sentido venturiniano de \u201cLearning from Las Vegas<\/a>\u201d<\/em>). Al fin, un espacio donde sentirse bien al trabajar: pura \u201carquitectura l\u00f3gica\u201d como \u00e9l la llamaba.<\/p>\n

\"SOTA<\/a>
SOTA ‘sede AVIACO’ perspectiva acuarela nocturna | Fuente: Alejandro de la Sota<\/a> (p.425)<\/span><\/figcaption><\/figure>\n

Quiz\u00e1 podamos interpretar esa fotograf\u00eda de la luminaria de autopista como una especie de objet trouv\u00e9<\/em><\/a> en el proceso de proyecto. Acaso sea solo una m\u00e1s de esas \u201cocurrencias\u201d que \u00e9l reclamaba para sus proyectos. Es discutible. Pero de lo que no me cabe duda es del talento de alguien que se limit\u00f3 simplemente detener su mirada profunda en un objeto cotidiano, casi vulgar, a partir del cual encontrar\u00eda un discurso arquitect\u00f3nico capaz de desencadenar un proyecto tan magn\u00edfico y coherente como aquel de AVIACO. Hoy, pasados ya m\u00e1s de cuarenta a\u00f1os, todav\u00eda nos resultan admirables: el maestro y su obra.<\/p>\n

Rodrigo Almonacid [r-arquitectura<\/a>] \u00b7 doctor arquitecto
\nvalladolid. febrero 2016<\/p>\n

Notas:
\n1 <\/sup>Mariano Bay\u00f3n lleg\u00f3 a denominar esta situaci\u00f3n de reclusi\u00f3n voluntaria como \u201carresto domiciliario\u201d, con motivo de la entrevista que le fue concedida para el n\u00famero inaugural de la revista Arquitecturas Bis<\/em> en 1974.<\/a>
\n2<\/sup><\/sup> L\u00d3PEZ-PEL\u00c1EZ, Jos\u00e9 Manuel: \u201cRecuerdo de Sota\u201d, en Conversaciones en torno a Alejandro de la Sota<\/a><\/em>. Madrid: Departamento de Proyectos de la ETSAM, 1996.<\/p>\n

[:gl]

\"SOTA<\/a>
SOTA ‘diapositiva de luminaria de autopista’ | Fonte: Conversaci\u00f3n en torno a Alejandro de la Sota<\/a> (p.41-ilustrac.2.5)<\/span><\/figcaption><\/figure><\/p>\n

O ano 1970 \u00e9 un punto de inflexi\u00f3n na traxectoria arquitect\u00f3nica de Alejandro da Sota: por unha banda, perde o concurso<\/a> de C\u00e1tedra de Elementos de Composici\u00f3n da ETSAM, tras levar como profesor catorce anos ent\u00f3n, e converterse en doutor cinco anos antes; por outra banda, non resulta ga\u00f1ador do importante concurso de proxectos para as oficinas bancarias de Bankuni\u00f3n, quiz\u00e1 porque a s\u00faa proposta era tan desafiante que o promotor non confiaba en que aquel mudo prisma de vidro servir\u00eda para dotar de identidade \u00e1 s\u00faa nova sede. Sexa como for, o caso \u00e9 que Sota decide reclu\u00edrse no labor do seu estudo1, abandonando o ambiente acad\u00e9mico para sempre e neg\u00e1ndose a aparecer en p\u00fablico apenas, nin sequera a trav\u00e9s da publicaci\u00f3n das s\u00faas obras nas revistas.<\/p>\n

Encerrado pois no seu estudo acomete un certo labor introspectiva, case expurgadora ou mesmo cat\u00e1rtica, co s\u00f3 prop\u00f3sito de liberarse de certos h\u00e1bitos arquitect\u00f3nicos, coma se quixese buscar o firme sobre o que asentar os seus anos vindeiros como arquitecto. Nese cami\u00f1o x\u00f3rdelle a oportunidade de participar no concurso para a sede de AVIACO en 1975, un edificio emblem\u00e1tico que debe ser constru\u00eddo en plena r\u00faa Serrano de Madrid como o seu aceno de identidade corporativa. A proposta presentada non pod\u00eda ser m\u00e1is radical, e quiz\u00e1 por iso atopou certo rexeitamento entre os directivos da compa\u00f1\u00eda a\u00e9rea que lle impedir\u00eda ga\u00f1ar o concurso.<\/p>\n

A idea arquitect\u00f3nica era brillante, ou mellor devandito, \u201cluminosa\u201d: un discreto cubo cristalino, de aparencia opalescente e sutil polo d\u00eda, pero tam\u00e9n un reclamo luminoso e soporte \u201cpublicitario\u201d durante a noite. Comenta Jos\u00e9 Manuel L\u00f3pez-Pel\u00e1ez2<\/sup> que Don Alejandro mostr\u00e1balles aos seus colaboradores no estudo unha fotograf\u00eda dunha ramplona luminaria de autoestrada (precisamente a da cabeceira deste texto) para explicarlles precisamente ese efecto m\u00e1xico da luz crepuscular, cando esta empeza a acenderse lentamente conforme a luz do sol vaise apagando… algo as\u00ed como un \u201cequilibrador lum\u00ednico\u201d. Marabillosa ideal visual de efecto po\u00e9tico.<\/p>\n

Neses anos dif\u00edciles, de novo Sota saca forzas de fraqueza para tentar (quiz\u00e1 por \u00faltima vez) constru\u00edr para AVIACO o \u00faltimo \u201ccubo que funciona\u201d, esa figura ideal que Sota citaba en relaci\u00f3n a unha resposta que Lle Corbusier escribiulle ao alcalde de NOVA York tras a s\u00faa primeira viaxe como promesa de vangarda para ca\u00f3tica cidade dos ra\u00f1aceos. Pero Sota quer\u00eda transcender esa mera bo\u00eete \u00e0 miracles<\/em> corbusieriana, engad\u00edndolle unha humanidade e unha sensibilidade que recualificase o hexaedro puro.<\/p>\n

Na memoria do proxecto o arquitecto galego fala de fachadas cuxas li\u00f1as evoquen as do barrio de Salamanca no que se \u00eda a inserir; explica as fachadas como resultado tecnol\u00f3xico dunha investigaci\u00f3n de materiais (pretend\u00eda constru\u00edr as fachadas cun in\u00e9dito panel s\u00e1ndwich de metacrilato e fibra de vidro) nada menos que coa axuda dos cient\u00edficos do CSIC; fala das franxas transparentes (coma se fosen \u201cbarras de xeo\u201d) incrustadas horizontalmente nas paredes trasl\u00facidas para relaxar a vista panor\u00e1mica desde o posto de traballo de cada empregado; fala da percepci\u00f3n nocturna dos anuncios luminosos sobre as fachadas dos edificios como unha demanda para resolver pola nova arquitectura (no m\u00e1is pleno sentido venturiniano de \u201cLearning from Las Vegas<\/a>\u201d<\/em>). Ao fin, un espazo onde sentirse ben ao traballar: pura \u201carquitectura l\u00f3xica\u201d como el cham\u00e1baa.<\/p>\n

\"SOTA<\/a>
SOTA ‘sede AVIACO’ perspectiva acuarela nocturna | Fonte: Alejandro de la Sota<\/a> (p.425)<\/span><\/figcaption><\/figure>\n

Quiz\u00e1 podamos interpretar esa fotograf\u00eda da luminaria de autoestrada como unha especie de\u00a0objet trouv\u00e9<\/em><\/a> no proceso de proxecto. Seica sexa s\u00f3 unha m\u00e1is desas \u201cocurrencias\u201d que el reclamaba para os seus proxectos. \u00c9 discutible. Pero do que non me cabe d\u00fabida \u00e9 do talento de algu\u00e9n que se limitou simplemente deter a s\u00faa mirada profunda nun obxecto coti\u00e1n, case vulgar, a partir do cal atopar\u00eda un discurso arquitect\u00f3nico capaz de desencadear un proxecto tan magn\u00edfico e coherente como aquel de AVIACO. Hoxe, pasados xa m\u00e1is de corenta anos, a\u00ednda nos resultan admirables: o mestre e a s\u00faa obra.<\/p>\n

Rodrigo Almonacid [r-arquitectura<\/a>] \u00b7 doutor arquitecto
\nvalladolid. febreiro 2016<\/p>\n

Notas:
\n1 <\/sup>Mariano Bay\u00f3n chegou a denominar esta situaci\u00f3n de reclusi\u00f3n voluntaria como \u201carresto domiciliario\u201d, con motivo da entrevista que lle foi concedida para o n\u00famero inaugural da revista Arquitecturas Bis<\/em> en 1974.<\/a>
\n2<\/sup><\/sup> L\u00d3PEZ-PEL\u00c1EZ, Jos\u00e9 Manuel: \u201cRecuerdo de Sota\u201d, en Conversaciones en torno a Alejandro de la Sota<\/a><\/em>. Madrid: Departamento de Proxectos de la ETSAM, 1996.<\/p>\n

[:en]

\"SOTA<\/a>
SOTA ‘slide of light of highway’ | Source: Conversaci\u00f3n en torno a Alejandro de la Sota<\/a> (p.41-ilustration.2.5)<\/span><\/figcaption><\/figure><\/p>\n

The year 1970 is a point of inflexion in Alejandro de la Sota’s architectural path: on one hand, it loses the contest<\/a> of Chair of Elements of Composition of the ETSAM, after going as teacher fourteen years at the time, and to have turned into doctor five years before; on the other hand, he does not turn out to be a winner of the important contest of projects for Bankuni\u00f3n’s bank offices, probably because his offer was so challenging that the promoter was not trusting that that mute prism of glass would serve to provide with identity to his new headquarters. Be since it will be, the case is that Jack decides to imprison in the labor of his study1<\/sup>, leaving the academic environment forever and refusing to appear publicly scarcely, not at least across the publication of his works in the magazines.<\/p>\n

Enclosed so in his study it attacks a certain introspective labor, almost expurgadora or even cathartic, with the alone intention of being liberated of certain architectural habits, as if it wanted to look for the road surface on which to suit his future years as architect. In this way him there arises the opportunity to take part in the contest for AVIACO’s headquarters in 1975, one emblematic building that it must be constructed in full street Highland of Madrid as his sign of corporate identity. The presented offer could not be more radical, and probably for it he found certain rejection between the executives of the airline that would prevent him from gaining the contest.<\/p>\n

The architectural idea was brilliant, or rather, \u201cluminous\u201d: a discreet crystalline bucket, of opalescent and subtle appearance for the day, but also a luminous claim and \u201cadvertising\u201d support during the night. Jose Manuel L\u00f3pez-Pel\u00e1ez2<\/sup> comments that Don Alejandro was showing a photography of a ramplona to his collaborators in the study light of highway (precisely that of the head-board of this text) to explain to them precisely this magic effect of the crepuscular light, when this one starts igniting slowly as the light of the Sun it is going out … something like one \u201cequilibrador light\u201d. Wonderful ideal visual of poetical effect.<\/p>\n

In these difficult years, again Jack extracts forces of sluggishness to try (probably for last time) to construct for AVIACO last \u201cbucket that works\u201d, this ideal figure that Jack was mentioning in relation to a response that Le Corbusier wrote to the mayor of NEW York after his first trip as promise of forefront for chaotic city of the skyscrapers. Pero Sota wanted to come out this mere bo\u00eete \u00e0 miracles<\/em> corbusierian, adding a humanity and a sensibility that should re-qualify the pure hexahedron.<\/p>\n

In the memory of the project the Galician architect speaks about fronts which lines evoke those of the neighborhood of Salamanca in the one that was going to be inserted; it explains the fronts as technological result of an investigation of materials (it was trying to construct the fronts with an unpublished panel s\u00e1ndwich of methacrylate and glass fiber) nothing less than with the help of the scientists of the CSIC; he speaks about the transparent striping (as if they were \u201cice bars\u201d) incrusted horizontally in the translucent walls to relax the panoramic sight from the working place of every employee; he speaks about the night perception of the luminous announcements on the fronts of the buildings as a demand to resolving for the new architecture (in the fullest sense venturiniano of \u201cLearning from Las Vegas<\/a>\u201d<\/em>). To the end, a space where to feel good on having worked: pure \u201clogical architecture\u201d like he was calling her.<\/p>\n

\"SOTA<\/a>
SOTA ‘Headquarters AVIACO’ perspective night water-color | Source: Alejandro de la Sota<\/a> (p.425)<\/span><\/figcaption><\/figure>\n

Probably let’s be able interpret this photography of the light of highway as a species of\u00a0objet trouv\u00e9<\/em><\/a> in the project process. Perhaps there is alone one more of these \u201coccurrences\u201d that he was claiming for his projects. It is debatable. But of what does not fit his doubt it is of the talent of someone who limited himself simply to stop his deep look in a daily, almost vulgar object, from which he would find an architectural speech capable of unleashing such a magnificent and coherent project as that one of AVIACO. Today, spent already more than forty years, still they us turn out to be admirable: the teacher and his work.<\/p>\n

Rodrigo Almonacid [r-arquitectura<\/a>] \u00b7 PhD architect
\nvalladolid. february 2016<\/p>\n

Notas:
\n1 <\/sup>Mariano Bay\u00f3n managed to name this situation of voluntary imprisonment as \u201cdomiciliary arrest\u201d, on the occasion of the interview that was granted to him for the inaugural number of the Arquitecturas Bis<\/em> magazine in 1974.<\/a>
\n2<\/sup><\/sup> L\u00d3PEZ-PEL\u00c1EZ, Jos\u00e9 Manuel: \u201cRecuerdo de Sota\u201d, en Conversaciones en torno a Alejandro de la Sota<\/a><\/em>. Madrid: Project department of the ETSAM, 1996.<\/p>\n

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

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