{"id":60681,"date":"2016-08-29T00:29:15","date_gmt":"2016-08-28T22:29:15","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=60681"},"modified":"2022-11-26T10:19:03","modified_gmt":"2022-11-26T09:19:03","slug":"ardor-intelectual-koolhaas-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/ardor-intelectual-koolhaas-marcelo-gardinetti\/","title":{"rendered":"[:es]El ardor intelectual de Koolhaas | Marcelo Gardinetti[:gl]O ardor intelectual de Koolhaas | Marcelo Gardinetti[:en]Koolhaas’s intellectual ardor | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"Fotograf\u00eda:
Fotograf\u00eda: Philippe Ruault<\/span><\/figcaption><\/figure><\/p>\n

El rasgo distintivo del pensamiento de Rem Koolhaas proviene de su convicci\u00f3n para proclamar la polifuncionalidad del hecho arquitect\u00f3nico, una declaraci\u00f3n que dogmatiza mediante la distribuci\u00f3n de los elementos del programa en capas independientes pero que aseguran entre s\u00ed estrategias de reciprocidad.<\/p>\n

Esta operaci\u00f3n es el corolario de un profundo an\u00e1lisis del programa y del contexto social en el que va a desarrollarse, y fecunda en la definici\u00f3n de la forma arquitect\u00f3nica, siempre influida por la formaci\u00f3n cin\u00e9fila de Koolhaas.<\/p>\n

La entidad as\u00ed producida propone una arquitectura de sensaciones r\u00e1pidas y de sorpresas que se revelan a cada paso, mediando formas abstractas que liberan el proyecto de cualquier cita ling\u00fc\u00edstica.<\/p>\n

Cuando Koolhaas fue convocado al concurso para la Casa de M\u00fasica, focaliz\u00f3 su an\u00e1lisis en dos prop\u00f3sitos que terminaron por forjar el car\u00e1cter del edificio. El primero era evitar que la forma de caja de zapatos de la sala, configuraci\u00f3n que ofrece la mejor ac\u00fastica, dominara el car\u00e1cter de la obra. El segundo consist\u00eda en mutar el concepto de edificio p\u00fablico por el de edificio para el p\u00fablico, haciendo participe al transe\u00fante externo de la actividad que se desarrolla en su interior.<\/p>\n

\"Casa
Casa Y2K<\/span><\/figcaption><\/figure>\n

Para afrontar ambas cuestiones, apela a un concepto arquitect\u00f3nico que hab\u00eda aplicado en otro programa y a otra escala, la casa Y2K. Se trata de un proyecto inconcluso para un cliente apegado al orden estricto, que exig\u00eda una sala de estar completamente liberada del resto de las actividades dom\u00e9sticas. Koolhaas respondi\u00f3 a esa demanda con el dise\u00f1o de un cuerpo tridimensional de formas facetadas que atraves\u00f3 de lado a lado con un t\u00fanel donde se desarrolla la vida social de la familia:<\/p>\n

\n

\u201ctodo lo que no era espacio central se convirti\u00f3 en un elemento o un cuerpo en el que todos los \u00f3rganos estaban en el exterior\u201d. 1 <\/sup>
\n<\/em><\/p>\n<\/blockquote>\n

Esa misma idea la despliega en el nuevo proyecto, pero a escala comunitaria: el \u201ct\u00fanel\u201d es ahora ocupado por la sala principal y en los espacios que la rodean ubica las \u00e1reas complementarias.<\/p>\n

El terreno donde se implanta la Casa de M\u00fasica est\u00e1 ubicado frente a una rotonda, entre el \u00e1rea hist\u00f3rica de la ciudad y un barrio de trabajadores. El edificio se emplaza en el centro del lote, aislado de los lados consolidados para exaltar la autonom\u00eda del volumen y romper la hegemon\u00eda de fachadas sobre la plaza. Su volumetr\u00eda se asienta sobre una alfombra de baldosas de travertino que mediante acertadas ondulaciones oculta debajo todas las actividades existentes que se encuentran dispersas en la plaza: la parada de autob\u00fas, una cafeter\u00eda y los accesos a las cocheras subterr\u00e1neas.<\/p>\n

\"Casa
Casa de M\u00fasica en Porto<\/span><\/figcaption><\/figure>\n

El dise\u00f1o de la Casa de M\u00fasica muestra indicios de un proyecto de posguerra para un teatro en Dakar, de Andr\u00e9 Bloc y Claudio Parent, semejanza que se manifiesta en su secci\u00f3n de perfil irregular, y en la ruptura entre el espacio esc\u00e9nico y la sala. Sus formas facetadas sobresalen en los lados de manera desigual y visto desde distintos \u00e1ngulos la figura parece carecer de equilibrio, pero frente a la plaza ofrece una fachada de aspecto formal y elegante que no contrasta en demas\u00eda con las otras edificaciones.<\/p>\n

La cascara de hormig\u00f3n blanco establece un punto de continuidad con las maneras abstractas del movimiento moderno, y fundamentalmente con la obra de Le Corbusier, un hecho que el propio Koolhaas manifiesta sin evasivas:<\/p>\n

\n

\u201ccomo arquitecto me planteo si hay que romper con una l\u00ednea de continuidad que viene del pasado, de la historia de la arquitectura, tanto de manera material como del concepto; si no hay que usar el hormig\u00f3n o el acero porque lo utilizaba Mies van der Rohe. Me siento orgulloso de seguir esa continuidad con el pasado, adem\u00e1s de aportar nuevas cosas a esa continuidad\u201d. 2<\/sup>
\n<\/em><\/p>\n<\/blockquote>\n

La escalera exterior apura la llegada al vest\u00edbulo, donde una abertura muestra una imagen din\u00e1mica de la ciudad. En ese espacio nace otra escalera que se desarrolla atendiendo un recorrido de funciones y espacios inesperados, una \u201caventura arquitect\u00f3nica\u201d <\/em>en derredor de la forma estricta de la sala principal. En el ascenso surgen habitaciones para diferentes usos, terciando una secuencia que culmina en la sala de reuniones informales ubicada en la parte superior.<\/p>\n

\"La
La sala principal de la Casa de M\u00fasica en Porto | Fotograf\u00eda: Philippe Ruault<\/span><\/figcaption><\/figure>\n

En esta sala concurren dos acontecimientos arquitect\u00f3nicos: un techo inclinado transparente ofrece una visi\u00f3n sesgada de la ciudad y el mar, y una terraza trapezoidal incrustada en un espacio sobrante de la envolvente sirve como expansi\u00f3n de la sala y mirador del paisaje urbano.<\/p>\n

La sala principal determina el acontecimiento distintivo. Su car\u00e1cter estricto revela una pureza in\u00e9dita en el edificio. Los \u201ctelones\u201d de vidrio ondulado en los extremos del \u201ct\u00fanel\u201d, revelan al exterior lo que acontece en la sala, y en el interior causan una sensaci\u00f3n de levedad absoluta, mientras la ciudad se impregna en las ondulaciones del vidrio para manifestar una imagen distorsionada y po\u00e9tica.<\/p>\n

Koolhaas agita el dise\u00f1o con su energ\u00eda intelectual y lo evoluciona en un elemento irreverente y sensorial, construyendo una graf\u00eda que exterioriza su rebeld\u00eda contra la pureza modernista. El recorrido interno es sometido a tensiones emocionales y sorpresas que se suceden una tras otra, hasta descansar en el espacio vigoroso de la sala, donde la simpleza de sus convenciones permite aliviar esas tensiones, mientras en los extremos del t\u00fanel se evoca la excitaci\u00f3n de la ciudad como un tel\u00f3n animado que subyuga la escena.<\/p>\n

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

Notas:<\/p>\n

1 <\/sup>OMA, Memoria descriptiva del proyecto. Ferran Bono, Entrevista a Rem Koolhaas<\/a>, El Pa\u00eds, 28\/10\/2005.<\/em><\/p>\n

2 <\/sup>Ib\u00eddem.<\/em><\/p>\n

 [:gl]

\"Fotograf\u00eda:
Fotograf\u00eda: Philippe Ruault<\/span><\/figcaption><\/figure><\/p>\n

O trazo distintivo do pensamento de Rem Koolhaas prov\u00e9n da s\u00faa convicci\u00f3n para proclamar a polifuncionalidad do feito arquitect\u00f3nico, unha declaraci\u00f3n que dogmatiza mediante a distribuci\u00f3n dos elementos do programa en capas independentes pero que aseguran entre si estratexias de reciprocidad.<\/p>\n

Esta operaci\u00f3n \u00e9 o corolario dunha profunda an\u00e1lise do programa e do contexto social no que vai desenvolverse, e fecunda na definici\u00f3n da forma arquitect\u00f3nica, sempre influ\u00edda pola formaci\u00f3n cin\u00e9fila de Koolhaas.<\/p>\n

A entidade as\u00ed producida prop\u00f3n unha arquitectura de sensaci\u00f3ns r\u00e1pidas e de sorpresas que se revelan a cada paso, mediando formas abstractas que liberan o proxecto de calquera cita ling\u00fc\u00edstica.<\/p>\n

Cando Koolhaas foi convocado ao concurso para a Casa de M\u00fasica, focalizou a s\u00faa an\u00e1lise en dous prop\u00f3sitos que terminaron por forxar o car\u00e1cter do edificio. O primeiro era evitar que a forma de caixa de zapatos da sala, configuraci\u00f3n que ofrece a mellor ac\u00fastica, dominase o car\u00e1cter da obra. O segundo consist\u00eda en mutar o concepto de edificio p\u00fablico polo de edificio para o p\u00fablico, facendo participe ao transe\u00fante externo da actividade que se desenvolve no seu interior.<\/p>\n

\"Casa
Casa Y2K<\/span><\/figcaption><\/figure>\n

Para afrontar ambas as cuesti\u00f3ns, apela a un concepto arquitect\u00f3nico que aplicara noutro programa e a outra escala, a casa E2K. Tr\u00e1tase dun proxecto inconcluso para un cliente apegado \u00e1 orde estrita, que esix\u00eda unha sala de estar completamente liberada do resto das actividades dom\u00e9sticas. Koolhaas respondeu a esa demanda co dese\u00f1o dun corpo tridimensional de formas facetadas que atravesou de lado a lado cun t\u00fanel onde se desenvolve a vida social da familia:<\/p>\n

\n

\u201ctodo o que non era espazo central converteuse nun elemento ou un corpo no que todos os \u00f3rganos estaban no exterior\u201d. 1 <\/sup>
\n<\/em><\/p>\n<\/blockquote>\n

Esa mesma idea despr\u00e9gaa no novo proxecto, pero a escala comunitaria: o \u201c<\/em>t\u00fanel\u201d<\/em> \u00e9 agora ocupado pola sala principal e nos espazos que a rodean sit\u00faa as \u00e1reas complementarias.<\/p>\n

O terreo onde se implanta a Casa de M\u00fasica est\u00e1 situado fronte a unha rotonda, entre a \u00e1rea hist\u00f3rica da cidade e un barrio de traballadores. O edificio empr\u00e1zase no centro do lote, illado dos lados consolidados para exaltar a autonom\u00eda do volume e romper a hexemon\u00eda de fachadas sobre a praza. O seu volumetr\u00eda as\u00e9ntase sobre unha alfombra de baldosas de travertino que mediante acertadas ondulaciones oculta debaixo todas as actividades existentes que se atopan dispersas na praza: a parada de autob\u00fas, unha cafeter\u00eda e os accesos \u00e1s cocheiras subterr\u00e1neas.<\/p>\n

\"Casa
Casa de M\u00fasica en Porto<\/span><\/figcaption><\/figure>\n

O dese\u00f1o da Casa de M\u00fasica mostra indicios dun proxecto de posguerra para un teatro en Dakar, de Andr\u00e9 Bloc e Claudio Parent, semellanza que se manifesta na s\u00faa secci\u00f3n de perfil irregular, e na ruptura entre o espazo esc\u00e9nico e a sala. As s\u00faas formas facetadas sobresaen nos lados de maneira desigual e visto desde distintos \u00e1ngulos a figura parece carecer de equilibrio, pero fronte \u00e1 praza ofrece unha fachada de aspecto formal e elegante que non contrasta en demas\u00eda coas outras edificaci\u00f3ns.<\/p>\n

A cascara de formig\u00f3n branco establece un punto de continuidade coas maneiras abstractas do movemento moderno, e fundamentalmente coa obra de Le Corbusier, un feito que o propio Koolhaas manifesta sen evasivas:<\/p>\n

\n

\u201ccomo arquitecto exp\u00f3\u00f1ome se hai que romper cunha li\u00f1a de continuidade que v\u00e9n do pasado, da historia da arquitectura, tanto de maneira material u o aceiro porque o utilizaba Mies van der Rocomo do concepto; se non hai que usar o formig\u00f3n ohe. Sinto orgulloso de seguir esa continuidade co pasado, ademais de achegar novas cousas a esa continuidade\u201d. 2<\/sup>
\n<\/em><\/p>\n<\/blockquote>\n

A escaleira exterior apura a chegada ao vest\u00edbulo, onde unha abertura mostra unha imaxe din\u00e1mica da cidade. Nese espazo nace outra escaleira que se desenvolve atendendo un percorrido de funci\u00f3ns e espazos inesperados, unha \u201c<\/em>aventura arquitect\u00f3nica\u201d<\/em> en derredor da forma estrita da sala principal. No ascenso xorden habitaci\u00f3ns para diferentes usos, terciando unha secuencia que culmina na sala de reuni\u00f3ns informais situada na parte superior.<\/p>\n

\"La
A sala principal da Casa de M\u00fasica en Porto | Fotograf\u00eda: Philippe Ruault<\/span><\/figcaption><\/figure>\n

Nesta sala concorren dous acontecementos arquitect\u00f3nicos: un teito inclinado transparente ofrece unha visi\u00f3n nesgada da cidade e o mar, e unha terraza trapezoidal incrustada nun espazo sobrante da envolvente serve como expansi\u00f3n da sala e miradoiro da paisaxe urbana.<\/p>\n

A sala principal determina o acontecemento distintivo. O seu car\u00e1cter estrito revela unha pureza in\u00e9dita no edificio. Os \u201cpanos\u201d de vidro ondulado nos extremos do \u201ct\u00fanel\u201d, revelan ao exterior o que acontece na sala, e no interior causan unha sensaci\u00f3n de levedad absoluta, mentres a cidade impr\u00e9gnase nas ondulaciones do vidro para manifestar unha imaxe distorsionada e po\u00e9tica.<\/p>\n

Koolhaas axita o dese\u00f1o coa s\u00faa enerx\u00eda intelectual e evoluci\u00f3nao nun elemento irreverente e sensorial, constru\u00edndo unha graf\u00eda que exterioriza a s\u00faa rebeld\u00eda contra a pureza modernista. O percorrido interno \u00e9 sometido a tensi\u00f3ns emocionais e sorpresas que se suceden unha tras outra, ata descansar no espazo vigoroso da sala, onde a simpleza das s\u00faas convenci\u00f3ns permite aliviar esas tensi\u00f3ns, mentres nos extremos do t\u00fanel ev\u00f3case a excitaci\u00f3n da cidade como un pano animado que subxuga a escena.<\/p>\n

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

Notas:<\/p>\n

1 <\/sup>OMA, Memoria descriptiva do proxecto. Ferran Bono, Entrevista a Rem Koolhaas<\/a>, El Pa\u00eds, 28\/10\/2005.<\/em><\/p>\n

2 <\/sup>Ib\u00eddem.<\/em><\/p>\n

 [:en]

\"Fotograf\u00eda:
Photography: Philippe Ruault<\/span><\/figcaption><\/figure><\/p>\n

The distinctive feature of the thought of Rem Koolhaas comes from his conviction to proclaim the polyfunctionality of the architectural fact, a declaration that dogmatizes by means of the distribution of the elements of the program in independent caps but that they assure between yes strategies of reciprocity.<\/p>\n

This operation is the corollary of a deep analysis of the program and of the social context in the one that is going to develop, and fertilizes in the definition of the architectural form, always influenced by the formation movie fan of Koolhaas.<\/p>\n

The entity like that produced proposes an architecture of rapid sensations and of surprises that are revealed to every step, happening abstract forms that liberate the project of any linguistic appointment.<\/p>\n

When Koolhaas was summoned for the contest for the Music House, it focused his analysis in two intentions that ended for forging the character of the building. The first one was to prevent that the form of box of shoes of the room, configuration that the best acoustic one offers, was dominating the character of the work. The second one was consisting of mutating the concept of public building for that of building for the public, doing inform the external transient of the activity who develops in his interior.<\/p>\n

\"Casa
Y2K House
<\/span><\/figcaption><\/figure>\n

To confront both questions, it appeals to an architectural concept that it had applied in another program and to another scale, the Y2K house. It is a question of an incomplete project for a client attached to the strict order, that it was required a room of being completely liberated of the rest of the domestic activities. Koolhaas answered to this demand with the design of a three-dimensional body of forms facetadas that it crossed from side to side with a tunnel where the social life of the family develops:<\/p>\n

\n

\u201cEverything what was not a central space turned into an element or a body in that all the organs were in the exterior\u201d. 1 <\/sup>
\n<\/em><\/p>\n<\/blockquote>\n

The same idea the despliega in the new project, but to community scale: the \u201ctunnel\u201d is occupied now by the principal room and in the spaces that surround it it locates the complementary areas.<\/p>\n

The area where the Music House is implanted is located opposite to a rotunda, between the historical area of the city and a workers’ neighborhood. The building is located in the center of the lot, isolated of the sides consolidated to exalt the autonomy of the volume and to break the hegemony of fronts on the square. One agrees his volumetry on a carpet of tiles of travertino that by means of guessed right wavinesses conceals below all the existing activities that are dispersed in the square: the stop of bus, a cafeteria and the accesses to the underground bus depots.<\/p>\n

\"Casa
Musi House in Porto<\/span><\/figcaption><\/figure>\n

The design of the House of Music shows indications of a project of postwar period for a theatre in Dakar, of Andr\u00e9 Bloc and Claudio Parent, similarity that demonstrates in his section of irregular profile, and in the break between the scenic space and the room. His forms facetadas stand out in the sides of a way unequal and I dress from different angles the figure it seems to lack balance, but opposite to the square it offers a front of formal and elegant aspect that does not contrast in excess with other buildings.<\/p>\n

The rind of white concrete establishes a point of continuity with the abstract ways of the modern movement, and fundamentally with the work of Le Corbusier, a fact that the own Koolhaas demonstrates without evasions:<\/p>\n

\n

\u201clike a architect I raise myself if it is necessary to break with a line of continuity that comes from the past, from the history of the architecture, both in a material way and from the concept; if it is not necessary to use the concrete or the steel because Mies van der Rohe was using it. I feel proud to follow this continuity with the past, beside contributing new things to this continuity\u201d. 2<\/sup>
\n<\/em><\/p>\n<\/blockquote>\n

The exterior stairs purifies the arrival to the foyer, where an opening shows a dynamic image of the city. In this space there is born another stairs that develops attending to a tour of functions and unexpected spaces, a \u201carchitectural adventure\u201d<\/em> in contour of the strict form of the principal room. In the ascent rooms arise for different uses, terciando one sequences that it culminates in the room of informal meetings located in the top part.<\/p>\n

\"La
The principal room of the Music House in Porto | Photography: Philippe Ruault<\/span><\/figcaption><\/figure>\n

In this room two architectural events meet: a sloping transparent ceiling offers a vision slanted of the city and the sea, and a trapezoidal terrace lodged in a remaining space of the surrounding one serves as expansion of the room and viewing-point of the urban landscape.<\/p>\n

The principal room determines the distinctive event. His strict character reveals an unpublished purity in the building. The \u201ccurtains\u201d of glass waved in the ends of the \u201ctunnel\u201d, they reveal on the outside what happens in the room, and in the interior they cause a sensation of absolute levity, while the city is impregnated in the wavinesses of the glass to demonstrate a distorted and poetical image.<\/p>\n

Koolhaas waves the design with his intellectual energy and evolves it in an irreverent and sensory element, constructing a graf\u00eda that expresses his rebelliousness against the modernist purity. The internal tour is submitted to emotional tensions and surprises that happen one after other one, up to resting in the vigorous space of the room, where the simplicity of his conventions allows to relieve these tensions, while in the ends of the tunnel the excitation of the city is evoked as an animated curtain that subdues the scene.<\/p>\n

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

Notes:<\/p>\n

1 <\/sup>OMA, Memoria descriptiva del proyecto. Ferran Bono, Interview to Rem Koolhaas<\/a>, El Pa\u00eds, 28\/10\/2005.<\/em><\/p>\n

2 <\/sup>Ib\u00eddem.<\/em><\/p>\n

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

[:es] El rasgo distintivo del pensamiento de Rem Koolhaas proviene de su convicci\u00f3n para proclamar la polifuncionalidad del hecho arquitect\u00f3nico, una declaraci\u00f3n que dogmatiza mediante la distribuci\u00f3n de los elementos del programa en capas independientes pero que aseguran entre s\u00ed estrategias de reciprocidad. Esta operaci\u00f3n es el corolario de un profundo an\u00e1lisis del programa y […]<\/p>\n","protected":false},"author":4,"featured_media":60683,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12563,143,2913,12564,785,4985,865,1021,1865,2173,1253,1278],"class_list":["post-60681","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-andre-bloc","tag-arquitectura-contemporanea","tag-arquitectura-holandesa","tag-claudio-parent","tag-le-corbusier","tag-marcelo-gardinetti","tag-mies-van-der-rohe","tag-pensamiento","tag-reflexion","tag-rem-koolhaas","tag-star-system","tag-teoria"],"yoast_head":"\n[:es]El ardor intelectual de Koolhaas | Marcelo Gardinetti[:gl]O ardor intelectual de Koolhaas | Marcelo Gardinetti[:en]Koolhaas's intellectual ardor | Marcelo Gardinetti[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]El ardor intelectual de Koolhaas | Marcelo Gardinetti[:gl]O ardor intelectual de Koolhaas | Marcelo Gardinetti[:en]Koolhaas's intellectual ardor | Marcelo Gardinetti[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/ardor-intelectual-koolhaas-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]El ardor intelectual de Koolhaas | Marcelo Gardinetti[:gl]O ardor intelectual de Koolhaas | Marcelo Gardinetti[:en]Koolhaas's intellectual ardor | Marcelo Gardinetti[:] - 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