{"id":60053,"date":"2016-05-27T00:20:50","date_gmt":"2016-05-26T22:20:50","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=60053"},"modified":"2020-01-28T11:30:23","modified_gmt":"2020-01-28T10:30:23","slug":"estatus-igualitario-limite-ilusorio-sanaa-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/estatus-igualitario-limite-ilusorio-sanaa-marcelo-gardinetti\/","title":{"rendered":"[:es]Estatus igualitario y l\u00edmite ilusorio en SANAA | Marcelo Gardinetti[:gl]Status igualitario e l\u00edmite ilusorio en SANAA | Marcelo Gardinetti[:en]Igalitarian status and illusory limit in SANAA | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"Centro
Centro Rolex \u00a9Rolex Learning Center<\/span><\/figcaption><\/figure><\/p>\n

Un rasgo distintivo de la obra de Kazuyo Sejima y Ryue Nishizawa es la valoraci\u00f3n a ultranza del espacio horizontal, entendiendo que consiente el movimiento natural del hombre y facilita su campo de visi\u00f3n de un modo que permite unir la arquitectura con el horizonte.<\/p>\n

Esta disposici\u00f3n, que tiene como referencia el concepto de planta libre arraigado en el movimiento moderno, se ajusta mediante diagramas que en cada caso proporcionan el sustento para resolver las m\u00faltiples condiciones de un programa. Pero adem\u00e1s, resulta de vital importancia para articular la idea embrionaria que los arquitectos japoneses utilizan como estructurantes en los edificios de uso p\u00fablico: el concepto de parque urbano. <\/em>Un espacio donde se produce naturalmente el intercambio social y donde pueden congregarse muchas personas en actividades comunitarias o individuales dentro de un estatus igualitario.<\/p>\n

\"Centro
Centro Rolex \u00a9Rolex Learning Center<\/span><\/figcaption><\/figure>\n

El esmero por la aplicaci\u00f3n de estos conceptos da como resultado edificios donde los usuarios entienden con rapidez la totalidad del paisaje construido, resultado de una narraci\u00f3n que hunde sus ra\u00edces en la obra de Mies Van Der Rohe, y se asiste de las nuevas tecnolog\u00edas para acentuar el car\u00e1cter et\u00e9reo de la arquitectura mediante el uso de elementos de sost\u00e9n extremadamente esbeltos. De esta forma, ofrece respuestas a las necesidades funcionales sin limitar la articulaci\u00f3n espacial y la cualidad lum\u00ednica y visual buscada.<\/p>\n

A partir de estas premisas, cada trabajo adquiere modalidades espec\u00edficas que se establecen a partir del peso del lugar, <\/em>noci\u00f3n que resulta determinante para componer la naturaleza de su arquitectura.<\/p>\n

\"Louvre
Louvre Lens | Fotograf\u00eda \u00a9Julien Lanoo<\/span><\/figcaption><\/figure>\n

Por ejemplo, el dise\u00f1o del Louvre Lens presenta una sucesi\u00f3n de cajas prism\u00e1ticas horizontales que siguen las ondulaciones del sitio. Entre estos vol\u00famenes se producen inflexiones que distorsionan el car\u00e1cter de los espacios interiores y evitan que una perspectiva libre dificulte el funcionamiento del museo. No existe un l\u00edmite f\u00edsico, pero los giros de las cajas limitan la visual al espacio que se visita.<\/p>\n

En el Centro R\u00f3lex se invierte el esquema y es el edificio el que asiente las ondulaciones sobre el terreno llano para limitar de manera f\u00edsica las diferentes \u00e1reas del centro sin entorpecer la continuidad visual. Las l\u00e1minas horizontales inferior y superior adquieren una din\u00e1mica que tipifica el singular car\u00e1cter del edificio. El l\u00edmite f\u00edsico es interrumpido por las ondulaciones, pero la visual es ilimitada.<\/p>\n

\"Louvre
Louvre Lens | Fotograf\u00eda \u00a9Julien Lanoo<\/span><\/figcaption><\/figure>\n

Las inflexiones del primero y las ondulaciones del segundo no distorsionan el car\u00e1cter de parque urbano<\/em>, pero articulan de diferentes maneras el l\u00edmite.<\/p>\n

En la ampliaci\u00f3n de la Serpentine Gallery y en la obra para la Granja Grace, las libertades que ofrece la implantaci\u00f3n permiten que las l\u00e1minas horizontales liberen su forma. Los contornos son dominados por una disposici\u00f3n de l\u00edneas libres que responden de manera diferente en cada edificio. El pabell\u00f3n flota entre los \u00e1rboles, y su car\u00e1cter reflectante permite que se fusione con el entorno y se transforme en una extensi\u00f3n protegida del parque.<\/em> En la Granja, el concepto se mantiene pero difieren las formas. La arquitectura recorre el terreno como el curso de un rio, fundi\u00e9ndose con la naturaleza hasta convertirse en un componente del paisaje natural. En ambos casos se maximiza el concepto de parque en sentido literal.<\/p>\n

\"Serpentine
Serpentine Galley | Fotograf\u00eda \u00a9Iwan Baan<\/span><\/figcaption><\/figure>\n

Cuando SANAA act\u00faa en espacios urbanos limitados, el concepto se resuelve mediante apilamientos que siguen privilegiando los espacios horizontales, pero indagan la manera de articularse en vertical. Los edificios mantienen el uso de pieles transparentes o trasl\u00facidas seg\u00fan el caso, para atenuar o extender los l\u00edmites visuales.<\/p>\n

En el museo de Arte Contempor\u00e1neo de Nueva York el dise\u00f1o busca minimizar la masa construida desplazando las cajas horizontales en altura, atendiendo una modalidad que acent\u00faa la ingravidez, pero a la vez que mejora las condiciones de iluminaci\u00f3n, direcciona las visuales y resuelve la autonom\u00eda funcional de las \u00e1reas del museo.<\/p>\n

\"Serpentine
Granja Grace | Fotograf\u00eda \u00a9Paul Clemence<\/span><\/figcaption><\/figure>\n

En el Campus para la Academia Bezalel, los planos horizontales se superponen irregularmente siguiendo la pendiente del terreno. Los parques se apilan y se conectan con rampas y escaleras para facilitar una conexi\u00f3n fluida entre los diferentes niveles. Los desplazamientos fomentan la formaci\u00f3n de vac\u00edos verticales que incentivan la conexi\u00f3n visual entre las \u00e1reas y terrazas, favoreciendo diferentes puntos vistas en el interior del edificio y hacia la ciudad.<\/p>\n

La compleja variedad del trabajo de SANAA libera su producci\u00f3n de encasillamientos estrictos, pero su obra inscribe lineamientos que de un modo u otro frecuentan met\u00f3dicamente. Aunque alterne el uso de geometr\u00edas estrictas o de figuras serpenteantes, ordenando apilamientos estrictos o irregulares, su arquitectura toma referencias del lugar y responde en ese sentido, sublimando el car\u00e1cter natural del espacio horizontal y alentando transparencias que incitan la visi\u00f3n total o fragmentada del espacio.<\/p>\n

\"Museo
Museo de arte contemporaneo de Nueva York | Fotograf\u00eda \u00a9Dean Kaufman<\/span><\/figcaption><\/figure>\n

En cada edificio, el programa progresa contenido en la din\u00e1mica de una mutaci\u00f3n espacial perspicaz que estimula el car\u00e1cter ingr\u00e1vido de la arquitectura. Un ejercicio que bajo cualquier circunstancia dogmatiza la idea del hombre integrado a la comprensi\u00f3n absoluta del espacio que habita.<\/p>\n

\"Campus
Campus de la Academia Bezalel \u00a9SANAA<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Mayo 2016<\/p>\n

[:gl]

\"Centro
Centro Rolex \u00a9Rolex Learning Center<\/span><\/figcaption><\/figure><\/p>\n

Un trazo distintivo da obra de Kazuyo Sejima e Ryue Nishizawa \u00e9 a valoraci\u00f3n sen concesi\u00f3ns do espazo horizontal, entendendo que consente o movemento natural do home e facilita o seu campo de visi\u00f3n dun modo que permite unir a arquitectura co horizonte.<\/p>\n

Esta disposici\u00f3n, que ten como referencia o concepto de planta libre arraigado no movemento moderno, ax\u00fastase mediante diagramas que en cada caso proporcionan o sustento para resolver as m\u00faltiples condici\u00f3ns dun programa. Pero ademais, resulta de vital importancia para articular a idea embrionaria que os arquitectos xaponeses utilizan como estructurantes nos edificios de uso p\u00fablico: o concepto de parque urbano<\/em>. Un espazo onde se produce naturalmente o intercambio social e onde poden congregarse moitas persoas en actividades comunitarias ou individuais dentro dun status igualitario.<\/p>\n

\"Centro
Centro Rolex \u00a9Rolex Learning Center<\/span><\/figcaption><\/figure>\n

O esmero pola aplicaci\u00f3n destes conceptos d\u00e1 como resultado edificios onde os usuarios entenden con rapidez a totalidade da paisaxe constru\u00edda, resultado dunha narraci\u00f3n que afunde as s\u00faas ra\u00edces na obra de Mies van der Rohe, e as\u00edstese das novas tecnolox\u00edas para acentuar o car\u00e1cter et\u00e9reo da arquitectura mediante o uso de elementos de sost\u00e9n extremadamente esveltos. Desta forma, ofrece respostas \u00e1s necesidades funcionais sen limitar a articulaci\u00f3n espacial e a calidade lum\u00ednica e visual buscada.<\/p>\n

A partir destas premisas, cada traballo adquire modalidades espec\u00edficas que se establecen a partir do peso do lugar<\/em>, noci\u00f3n que resulta determinante para compo\u00f1er a natureza da s\u00faa arquitectura.<\/p>\n

\"Louvre
Louvre Lens | Fotograf\u00eda \u00a9Julien Lanoo<\/span><\/figcaption><\/figure>\n

Por exemplo, o dese\u00f1o do Louvre Lens presenta unha sucesi\u00f3n de caixas prism\u00e1ticas horizontais que seguen as ondulaciones do sitio. Entre estes volumes prod\u00facense inflexi\u00f3ns que distorsionan o car\u00e1cter dos espazos interiores e evitan que unha perspectiva libre dificulte o funcionamento do museo. Non existe un l\u00edmite f\u00edsico, pero os xiros das caixas limitan a visual ao espazo que se visita.<\/p>\n

No Centro R\u00f3lex inv\u00edstese o esquema e \u00e9 o edificio o que asente as ondulaciones sobre o terreo chairo para limitar de maneira f\u00edsica as diferentes \u00e1reas do centro sen entorpecer a continuidade visual. As l\u00e1minas horizontais inferior e superior adquiren unha din\u00e1mica que tipifica o singular car\u00e1cter do edificio. O l\u00edmite f\u00edsico \u00e9 interrompido polas ondulaciones, pero a visual \u00e9 ilimitada.<\/p>\n

\"Louvre
Louvre Lens | Fotograf\u00eda \u00a9Julien Lanoo<\/span><\/figcaption><\/figure>\n

As inflexi\u00f3ns do primeiro e as ondulaciones do segundo non distorsionan o car\u00e1cter de parque urbano<\/em>, pero articulan de diferentes maneiras o l\u00edmite.<\/p>\n

Na ampliaci\u00f3n da Serpentine Gallery e na obra para a Granxa Grace, as liberdades que ofrece a implantaci\u00f3n permiten que as l\u00e1minas horizontais liberen a s\u00faa forma. Os contornos son dominados por unha disposici\u00f3n de li\u00f1as libres que responden de maneira diferente en cada edificio. O pavill\u00f3n flota entre as \u00e1rbores, e o seu car\u00e1cter reflector permite que se fusione coa contorna e transf\u00f3rmese nunha extensi\u00f3n protexida do parque<\/em>. Na Granxa, o concepto mantense pero difiren as formas. A arquitectura percorre o terreo como o curso dun rio, fund\u00edndose coa natureza ata converterse nun compo\u00f1ente da paisaxe natural. En ambos os casos maxim\u00edzase o concepto de parque en sentido literal.<\/p>\n

\"Serpentine
Serpentine Galley | Fotograf\u00eda \u00a9Iwan Baan<\/span><\/figcaption><\/figure>\n

Cando SANAA act\u00faa en espazos urbanos limitados, o concepto res\u00f3lvese mediante apilamientos que seguen privilexiando os espazos horizontais, pero indagan a maneira de articularse en vertical. Os edificios mante\u00f1en o uso de peles transparentes ou trasl\u00facidas segundo o caso, para atenuar ou estender os l\u00edmites visuais.<\/p>\n

No museo de Arte Contempor\u00e1nea de Nova York o dese\u00f1o busca minimizar a masa constru\u00edda desprazando as caixas horizontais en altura, atendendo unha modalidade que acent\u00faa a ingravidez, pero \u00e1 vez que mellora as condici\u00f3ns de iluminaci\u00f3n, direcciona as visuais e resolve a autonom\u00eda funcional das \u00e1reas do museo.<\/p>\n

\"Serpentine
Granja Grace | Fotograf\u00eda \u00a9Paul Clemence<\/span><\/figcaption><\/figure>\n

No Campus para a Academia Bezalel, os planos horizontais superp\u00f3\u00f1ense irregularmente seguindo a pendente do terreo. Os parques se apilan e con\u00e9ctanse con ramplas e escaleiras para facilitar unha conexi\u00f3n flu\u00edda entre os diferentes niveis. Os desprazamentos fomentan a formaci\u00f3n de baleiros verticais que incentivan a conexi\u00f3n visual entre as \u00e1reas e terrazas, favorecendo diferentes puntos vistas no interior do edificio e cara \u00e1 cidade.<\/p>\n

A complexa variedade do traballo de SANAA libera a s\u00faa produci\u00f3n de encasillamientos estritos, pero a s\u00faa obra inscribe lineamientos que dun modo ou outro frecuentan metodicamente. A\u00ednda que alterne o uso de xeometr\u00edas estritas ou de figuras serpenteantes, ordenando apilamientos estritos ou irregulares, a s\u00faa arquitectura toma referencias do lugar e responde nese sentido, sublimando o car\u00e1cter natural do espazo horizontal e alentando transparencias que incitan a visi\u00f3n total ou fragmentada do espazo.<\/p>\n

\"Museo
Museo de arte contemporaneo de Nova Iork | Fotograf\u00eda \u00a9Dean Kaufman<\/span><\/figcaption><\/figure>\n

En cada edificio, o programa progresa contido na din\u00e1mica dunha mutaci\u00f3n espacial perspicaz que estimula o car\u00e1cter ingr\u00e1vido da arquitectura. Un exercicio que baixo calquera circunstancia dogmatiza a idea do home integrado \u00e1 comprensi\u00f3n absoluta do espazo que habita.<\/p>\n

\"Campus
Campus de la Academia Bezalel \u00a9SANAA<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Maio 2016<\/p>\n

[:en]

\"Centro
Rolex Center \u00a9Rolex Learning Center<\/span><\/figcaption><\/figure><\/p>\n

A distinctive feature of the work of Kazuyo Sejima and Ryue Nishizawa is the valuation extreme of the horizontal space, understanding that he consents the natural movement of the man and facilitates his field of vision of a way that allows to join the architecture with the horizon.<\/p>\n

This disposition, which takes as a reference the concept of free plant established in the modern movement, adjusts by means of graphs that in every case provide the sustenance to solve the multiple conditions of a program. But in addition, it ensues from vital importance to articulate the embryonic idea that the Japanese architects use like structuring in the buildings of public use: the concept of urban park.<\/em> A space where the social exchange takes place naturally and where many persons can congregate in community or individual activities inside an igalitarian status.<\/p>\n

\"Centro
Rolex Center \u00a9Rolex Learning Center<\/span><\/figcaption><\/figure>\n

The conscientiousness for the application of these concepts gives like proved buildings where the users understand with rapidity the totality of the landscape constructed, proved from a story that sinks his roots in the work of Mies Van Der Rohe, and is represented of the new technologies to accentuate the ethereal character of the architecture by means of the use of extremely slender elements of support. Of this form, it offers answers to the functional needs without limiting the spatial joint and the light quality and visual search.<\/p>\n

From these premises, every work acquires specific modalities that are established from the local weight<\/em>, notion that turns out to be determinant to compose the nature of his architecture.<\/p>\n

\"Louvre
Louvre Lens | Photography \u00a9Julien Lanoo<\/span><\/figcaption><\/figure>\n

For example, the design of the Louvre Lens presents a succession of prismatic horizontal boxes that follow the wavinesses of the site. Between these volumes there take place inflexions that distort the character of the interior spaces and prevent a free perspective from impeding the functioning of the museum. A physical limit does not exist, but the drafts of the boxes limit the visual one to the space that is visited.<\/p>\n

In the Center R\u00f3lex the scheme is invested and is the building the one that agrees the wavinesses on the flat area to limit in a physical way the different areas of the center without obstructing the visual continuity. The horizontal sheets low and top acquire a dynamics that typifies the singular character of the building. The physical limit is interrupted by the wavinesses, but the visual one is unlimited.<\/p>\n

\"Louvre
Louvre Lens | Photography \u00a9Julien Lanoo<\/span><\/figcaption><\/figure>\n

The inflexions of the first one and the wavinesses of the second one do not distort the character of urban park, but they articulate in different ways the limit.<\/p>\n

In the extension of the Serpentine Gallery and in the work for the Farm Grace, the freedoms that the implantation offers allow that the horizontal sheets should liberate his form. The contours are dominated by a disposition of free lines that answer in a different way in every building. The pavilion floats between the trees, and his character reflectante allows that it should fuse with the environment and transforms in an extension protected from the park.<\/em> In the Farm, the concept is kept but they defer the forms. The architecture crosses the area as the course of a river, fusing with the nature up to turning into a component of the natural landscape. In both cases the concept of park is maximized in literal sense.<\/p>\n

\"Serpentine
Serpentine Galley | Photography \u00a9Iwan Baan<\/span><\/figcaption><\/figure>\n

When SANAA acts in urban limited spaces, the concept solves by means of apilamientos that they continue favouring the horizontal spaces, but they investigate the way of being articulated in vertically. The buildings support the use of transparent or translucent skins according to the case, to attenuate or to extend the visual limits.<\/p>\n

In the museum of Contemporary Art of New York the design seeks to minimize the constructed mass displacing the horizontal boxes in height, attending to a modality that accentuates the weightlessness, but simultaneously that improves the conditions of lighting, direcciona the visual ones and solves the functional autonomy of the areas of the museum.<\/p>\n

\"Serpentine
Granja Grace | Photography \u00a9Paul Clemence<\/span><\/figcaption><\/figure>\n

In the Campus for the Academy Bezalel, the horizontal planes are superposed irregularly following the slope of the area. The parks are piled up and connect with ramps and stairs to facilitate a fluid connection between the different levels. The displacements promote the formation of vertical emptinesses that stimulate the visual connection between the areas and terraces, favoring different points dress inside the building and towards the city.<\/p>\n

The complex variety of SANAA’s work liberates his production of encasillamientos strict, but his work inscribes limits that of a way or other one they frequent methodically. Though it alternates the use of strict geometries or of figures serpenteantes, ordering apilamientos strict or irregular, his architecture takes local references and answers in this sense, sublimating the natural character of the horizontal space and encouraging transparencies that incite the total or fragmented vision of the space.<\/p>\n

\"Museo
Contemporany Art Museum of Nueva York | Photography \u00a9Dean Kaufman<\/span><\/figcaption><\/figure>\n

In every building, the program progresses contained in the dynamics of a spatial perspicacious mutation that stimulates the weightless character of the architecture. An exercise that under any circumstance dogmatizes the idea of the man integrated to the absolute comprehension of the space who lives.<\/p>\n

\"Campus
Bezalel Academy Campus \u00a9SANAA<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Architect
\nLa Plata, Argentina. Maio 2016<\/p>\n

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

[:es] Un rasgo distintivo de la obra de Kazuyo Sejima y Ryue Nishizawa es la valoraci\u00f3n a ultranza del espacio horizontal, entendiendo que consiente el movimiento natural del hombre y facilita su campo de visi\u00f3n de un modo que permite unir la arquitectura con el horizonte. 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