{"id":62030,"date":"2017-01-06T00:38:33","date_gmt":"2017-01-05T23:38:33","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=62030"},"modified":"2022-06-29T19:25:07","modified_gmt":"2022-06-29T17:25:07","slug":"moneo-desde-la-idea-fachada-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/moneo-desde-la-idea-fachada-marcelo-gardinetti\/","title":{"rendered":"[:es]Moneo, desde la idea de fachada | Marcelo Gardinetti[:gl]Moneo, dende a idea de fachada | Marcelo Gardinetti[:en]Moneo, from the idea of front | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"Moneo,
Moneo, desde la idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure><\/p>\n

Incorporada a una trama determinante de la identidad local, la intervenci\u00f3n de Rafael Moneo<\/a> para el ayuntamiento de Murcia logra su consonancia contextual mediante la observancia del protagonismo de los edificios<\/em> que componen el coraz\u00f3n hist\u00f3rico de la ciudad hasta alcanzar una complementaci\u00f3n sin fracturas.<\/p>\n

La operaci\u00f3n de Moneo<\/a> se focaliza en realzar las arquitecturas existentes, desarrollando un concepto que no pretende imponer la superioridad de un edificio sobre otro, sino que explora la relaci\u00f3n entre ambos expresando un compromiso de concordancia t\u00e1cita.<\/p>\n

El nuevo edificio del Ayuntamiento ocupa un lugar clave en la Plaza Belluga. Se enfrenta a la Catedral de Murcia, un edificio dise\u00f1ado por Jaime Bort y construido entre 1737 y 1764, que es portador de una fachada de exuberante car\u00e1cter barroco articulada a la manera de un retablo con grandes columnas corintias para generar movimiento a trav\u00e9s de las sombras. La catedral y el ayuntamiento representan el antiguo y el nuevo poder civil. Ambos ocupan extremos opuestos de una plaza que ofrece cuatro fachadas de diferente car\u00e1cter.<\/p>\n

\"Moneo,
Moneo, desde la idea de fachada | Fotograf\u00eda: Michael Moran<\/span><\/figcaption><\/figure>\n

Moneo<\/a> propone un edificio virtualmente generado a partir de la idea de fachada, <\/em>que se establece en funci\u00f3n de la enmarcaci\u00f3n visual de las arquitecturas existentes y la forma de relacionarse con el centro hist\u00f3rico, pero que tambi\u00e9n expresa la dignidad de la instituci\u00f3n.<\/em>1<\/sup><\/p>\n

Desde la plaza, el volumen se comprende como un estricto prisma regular que retrocede en su terreno para facilitar la conexi\u00f3n de las calles con la plaza. Pero no abre hacia ella, sino a un patio hundido que se encuentra en el lado derecho en un gesto que parece evitar entrar en competencia con la catedral.<\/p>\n

La fachada precisa como ver la ciudad desde el edificio. Preserva una idea renovada de retablo pero establecida a modo de pantalla, para facilitar la contemplaci\u00f3n de los hechos hist\u00f3ricos enmarcados en la secuencia de vanos, mediando alegor\u00edas que hienden la historia de la arquitectura.<\/p>\n

\"Moneo,
Moneo, desde la idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

El plano de fachada tiene el car\u00e1cter de una muralla, un perfil favorecido por la textura sedimentaria y el color amarillo f\u00f3sil de las piedras de Hell\u00edn. En su graf\u00eda asume un car\u00e1cter cl\u00e1sico al adoptar el concepto tripartito de un basamento denso, un desarrollo articulado y un remate ligero.<\/p>\n

Evitando una graf\u00eda abstracta, la prevalencia de la verticalidad se ve equilibrada por la progresi\u00f3n asim\u00e9trica de rect\u00e1ngulos de diferentes anchos entre de vigas de hormig\u00f3n armado que enmarcan en la fachada una sucesi\u00f3n de bandas horizontales.<\/p>\n

Estas perforaciones conceden una din\u00e1mica tensionada producida por la articulaci\u00f3n de luces y sombras, en un ritmo que recuerda el car\u00e1cter et\u00e9reo de las columnatas de los teatros romanos y al Danteum de Terragni.<\/p>\n

\"Moneo,
Moneo, desde la idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

El tama\u00f1o de las aberturas est\u00e1 concebido para teatralizar los monumentos hist\u00f3ricos que tiene alrededor, mediante una r\u00edtmica rememora las ondulatories <\/em>dise\u00f1adas por Le Corbusier y Xenakis en La Tourette.2<\/sup><\/p>\n

El balc\u00f3n adopta un car\u00e1cter determinante en la fachada. S\u00edmbolo del poder c\u00edvico, est\u00e1 ubicado a la misma altura que el piso principal del palacio del cardenal, y en su ventanal se ve reflejada la silueta de la catedral. Posteriormente, cuando recibe el encargo de repavimentar la plaza completa el trabajo contextual poniendo en un plano de igualdad la totalidad de los edificios de la plaza.3<\/sup><\/p>\n

Moneo<\/a> pone atenci\u00f3n en el espacio urbano sin obviar el car\u00e1cter representativo de su edificio, para el que asume un rol de espectador que no opaca el protagonismo del resto de los edificios. <\/em>Su trabajo se apuntala en los esquemas tradicionales del oficio arquitect\u00f3nico, mediando un procedimiento distintivo que no entiende el contexto como un suceso consumado, sino como un acontecimiento que requiere una interpretaci\u00f3n particular.<\/p>\n

\"Moneo,
Moneo, desde la idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

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

Notas:<\/p>\n

1<\/sup>. \u201cMe gusta trabajar en ciudades con car\u00e1cter propio, sin importar el tama\u00f1o. El Ayuntamiento de Murcia est\u00e1 virtualmente generado a partir de la idea de fachada. El dise\u00f1o de una fachada hermosa es una tarea que m\u00e1s pone en prueba a un arquitecto \u2026..Esta fachada necesitaba expresar la dignidad de la instituci\u00f3n y de ah\u00ed disponer un balc\u00f3n principal desde el que las autoridades se asomen a la plaza al mismo nivel que el balc\u00f3n del palacio del cardenal\u201d. Rafael Moneo, Elogio de la luz.<\/a><\/p>\n

2<\/sup>. \u201cEn el piso inferior, la sala de seminarios tiene pa\u00f1os de vidrio en toda la superficie exterior, dividido por montantes verticales de hormig\u00f3n que siguen una secuencia dise\u00f1ada por Xenakis. Esta modulaci\u00f3n que proviene del modulor y de ritmos musicales, en los pa\u00f1os fijos es denominada \u201condulatories\u201d, y en los m\u00f3viles \u201ca\u00e9rateurs\u201d. Marcelo Gardinetti, Los atributos de La Tourette<\/a>.<\/p>\n

2<\/sup>. \u201cDise\u00f1ando el suelo record\u00e9 lo aprendido en las plazas de Italia; una buena Piazza es rara vez plana, evita siempre la horizontalidad estricta\u201d. Rafael Moneo, Elogio de la luz<\/a>.<\/p>\n

[:gl]

\"Moneo,
Moneo, dende a idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure><\/p>\n

Incorporada a unha trama determinante da identidade local, a intervenci\u00f3n de Rafael Moneo<\/a> para o concello de Murcia logra a s\u00faa consonancia contextual mediante a observancia do protagonismo dos edificios<\/em> que compo\u00f1en o coraz\u00f3n hist\u00f3rico da cidade ata alcanzar unha complementaci\u00f3n sen fracturas.<\/p>\n

A operaci\u00f3n de Moneo<\/a> focal\u00edzase en realzar as arquitecturas existentes, desenvolvendo un concepto que non pretende impo\u00f1er a superioridade dun edificio sobre outro, sen\u00f3n que explora a relaci\u00f3n entre ambos expresando un compromiso de concordancia t\u00e1cita.<\/p>\n

O novo edificio do Concello ocupa un lugar crave na Praza Belluga. Enfr\u00f3ntase \u00e1 Catedral de Murcia, un edificio dese\u00f1ado por Jaime Bort e constru\u00eddo entre 1737 e 1764, que \u00e9 portador dunha fachada de exuberante car\u00e1cter barroco articulada \u00e1 maneira dun retablo con grandes columnas corintias para xerar movemento a trav\u00e9s das sombras. A catedral e o concello representan o antigo e o novo poder civil. Ambos ocupan extremos opostos dunha praza que ofrece catro fachadas de diferente car\u00e1cter.<\/p>\n

\"Moneo,
Moneo, dende a idea de fachada | Fotograf\u00eda: Michael Moran<\/span><\/figcaption><\/figure>\n

Moneo<\/a> pMoneo prop\u00f3n un edificio virtualmente xerado a partir da idea de fachada<\/em>, que se establece en funci\u00f3n da enmarcaci\u00f3n visual das arquitecturas existentes e a forma de relacionarse co centro hist\u00f3rico, pero que tam\u00e9n expresa a dignidade da instituci\u00f3n.<\/em>1<\/sup><\/p>\n

Desde a praza, o volume compr\u00e9ndese como un estrito prisma regular que retrocede no seu terreo para facilitar a conexi\u00f3n das r\u00faas coa praza. Pero non abre cara a ela, sen\u00f3n a un patio afundido que se atopa no lado dereito nun xesto que parece evitar entrar en competencia coa catedral.<\/p>\n

A fachada precisa como ver a cidade desde o edificio. Preserva unha idea renovada de retablo pero establecida a modo de pantalla, para facilitar a contemplaci\u00f3n dos feitos hist\u00f3ricos enmarcados na secuencia de vans, mediando alegor\u00edas que hienden a historia da arquitectura.<\/p>\n

\"Moneo,
Moneo, dende a idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

O plano de fachada ten o car\u00e1cter dunha muralla, un perfil favorecido pola textura sedimentaria e a cor amarela f\u00f3sil das pedras de Hell\u00edn. Na s\u00faa graf\u00eda asume un car\u00e1cter cl\u00e1sico ao adoptar o concepto tripartito dun basamento denso, un desenvolvemento articulado e un remate lixeiro.<\/p>\n

Evitando unha graf\u00eda abstracta, a prevalencia da verticalidad vese equilibrada pola progresi\u00f3n asim\u00e9trica de rect\u00e1ngulos de diferentes anchos entre de vigas de formig\u00f3n armado que enmarcan na fachada unha sucesi\u00f3n de bandas horizontais.<\/p>\n

Estas perforaci\u00f3ns conceden unha din\u00e1mica tensionada producida pola articulaci\u00f3n de luces e sombras, nun ritmo que lembra o car\u00e1cter et\u00e9reo das columnatas dos teatros romanos e ao Danteum de Terragni.<\/p>\n

\"Moneo,
Moneo, dende a idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

O tama\u00f1o das aberturas est\u00e1 concibido para teatralizar os monumentos hist\u00f3ricos que ten ao redor, mediante unha r\u00edtmica rememora as ondulatories<\/em> dese\u00f1adas por Lle Corbusier e Xenakis na La Tourette.2<\/sup><\/p>\n

O balc\u00f3n adopta un car\u00e1cter determinante na fachada. S\u00edmbolo do poder c\u00edvico, est\u00e1 situado \u00e1 mesma altura que o piso principal do palacio do cardeal, e na s\u00faa vent\u00e1 vese reflectida a silueta da catedral. Posteriormente, cando recibe o encargo de repavimentar a praza completa o traballo contextual po\u00f1endo nun plano de igualdade a totalidade dos edificios da praza.3<\/sup><\/p>\n

Moneo<\/a> pon atenci\u00f3n no espazo urbano sen obviar o car\u00e1cter representativo do seu edificio, para o que asume un rol de espectador que non opaca o protagonismo do resto dos edificios<\/em>. O seu traballo apont\u00f3ase nos esquemas tradicionais do oficio arquitect\u00f3nico, mediando un procedemento distintivo que non entende o contexto como un suceso consumado, sen\u00f3n como un acontecemento que require unha interpretaci\u00f3n particular.<\/p>\n

\"Moneo,
Moneo, dende a idea de fachada | Fotograf\u00eda: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

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

Notas:<\/p>\n

1<\/sup>. \u201cG\u00fastame traballar en cidades con car\u00e1cter propio, sen importar o tama\u00f1o. O Concello de Murcia est\u00e1 virtualmente xerado a partir da idea de fachada. O dese\u00f1o dunha fachada fermosa \u00e9 unha tarefa que m\u00e1is pon en proba a un arquitecto… Esta fachada necesitaba expresar a dignidade da instituci\u00f3n e de a\u00ed dispo\u00f1er un balc\u00f3n principal desde o que as autoridades se asomen \u00e1 praza ao mesmo nivel que o balc\u00f3n do palacio do cardeal\u201d. Rafael Moneo, Eloxio da luz<\/a><\/p>\n

2<\/sup>. \u201cNo piso inferior, a sala de seminarios ten panos de vidro en toda a superficie exterior, dividido por montantes verticais de formig\u00f3n que seguen unha secuencia dese\u00f1ada por Xenakis. Esta modulaci\u00f3n que prov\u00e9n do modulor e de ritmos musicais, nos panos fixos \u00e9 denominada \u201condulatories\u201d, e nos m\u00f3biles \u201ca\u00e9rateurs\u201d. Marcelo Gardinetti, Los atributos de La Tourette<\/a>.<\/p>\n

2<\/sup>. \u201cDese\u00f1ando o chan lembrei o aprendido nas prazas de Italia; unha boa Piazza \u00e9 de cando en cando plana, evita sempre a horizontalidad estrita\u201d. Rafael Moneo, Eloxio da luz<\/a>.<\/p>\n

[:en]

\"Moneo,
Moneo, from the idea of front | Photography: ntuliberalarts.net<\/span><\/figcaption><\/figure><\/p>\n

Incorporated into a determinant plot of the local identity, Rafael Moneo<\/a>‘s intervention for the town hall of Murcia achieves his contextual agreement by means of the observance of the protagonism of the buildings<\/em> that compose the historical heart of the city up to reaching a complementaci\u00f3n without fractures.<\/p>\n

The Moneo\u00b4s <\/a>operation around it is focused in heightening the existing architectures, developing a concept that does not try to impose the superiority of a building on other one, but he explores the relation between both expressing a commitment of tacit conformity.<\/p>\n

The new building of the Town hall occupies a key place in the Plaza Belluga. It faces the Cathedral of Murcia, a building designed by Jaime Bort and constructed between 1737 and 1764, which it is a carrier of a front of exuberant baroque character articulated like an altarpiece with big Corinthian columns to generate movement across the shades. The cathedral and the town hall represent the former one and the new civil power. Both occupy opposite ends of a square that offers four fronts of different character.<\/p>\n

\"Moneo,
Moneo, from the idea of front | Photography: Michael Moran<\/span><\/figcaption><\/figure>\n

Moneo<\/a> proposes a building virtually generated<\/em> from the idea of front<\/em>, which is established depending on the visual enmarcaci\u00f3n of the existing architectures and the way of relating to the historical center, but that also expresses the dignity of the institution.<\/em>1<\/sup><\/p>\n

From the square, the volume is understood as a strict regular prism that moves back in his area to facilitate the connection of the streets with the square. But it does not open towards her, but to a sunked court that one finds in the right side in a gesture that it seems to avoid to enter in competition with the cathedral.<\/p>\n

The front is necessary like to see the city from the building. It preserves an idea renewed of altarpiece but established like screen, to facilitate the contemplation of the historical facts placed in the sequence of vain, happening allegories that split the history of the architecture.<\/p>\n

\"Moneo,
Moneo, from the idea of front | Photography: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

The plane of front has the character of a wall, a profile favored by the sedimentary texture and the yellow fossil color of Hell\u00edn’s stones. In his graf\u00eda it assumes a classic character on having adopted the tripartite concept of a dense basement, an articulated development and a light auction.<\/p>\n

Avoiding an abstract graf\u00eda, the prevalencia of the uprightness meets balanced by the asymmetric progression of rectangles of different broad between of girders of reinforced concrete that frame in the front a succession of horizontal bands.<\/p>\n

These perforations grant a tensed dynamics produced by the joint of lights and shades, in a pace that remembers the ethereal character of the colonnades of the Roman theatres and to the Danteum de Terragni.<\/p>\n

\"Moneo,
Moneo, from the idea of front | Photography: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

The size of the openings is conceived for teatralizar the historical monuments that it has around, by means of the rhythmic one the ondulatories<\/em> recall designed by Le Corbusier and Xenakis in La Tourette.2<\/sup><\/p>\n

The balcony adopts a determinant character in the front. Symbol of the civic power, it is located to the same height that the principal floor of the palace of the cardinal, and in his large window the silhouette of the cathedral meets reflected. Later, when it receives the order of re-paving the square it completes the contextual work putting in a plane of equality the totality of the buildings of the square.3<\/sup><\/p>\n

Moneo<\/a> puts attention in the urban space without obviating the representative character of his building, for the one that assumes spectator’s role that does not darken the protagonism of the rest of the buildings<\/em>. His work is supported in the traditional schemes of the architectural trade, happening a distinctive procedure that does not understand the context as a perfect event, but as an event that needs a particular interpretation.<\/p>\n

\"Moneo,
Moneo, from the idea of front | Photography: ntuliberalarts.net<\/span><\/figcaption><\/figure>\n

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

Notes:<\/p>\n

1<\/sup>. \u201cI like to be employed at cities with own character, without importing the size. The Town hall of Murcia is virtually generated from the idea of front. The design of a beautiful front is a task that more puts in test an architect \u2026.. This front needed to express the dignity of the institution and there to arrange a principal balcony from which the authorities appear to the square to the same level that the balcony of the palace of the cardinal\u201d. Rafael Moneo, Elogio de la luz<\/a><\/p>\n

2<\/sup>. \u201cIn the low floor, the room of seminars has glass cloths in the whole exterior surface, divided by vertical amounts of concrete that follow a sequence designed by Xenakis. This modulation that comes from the modulor and from musical paces, in the fixed cloths is named \u201condulatories\u201d, and in the mobiles \u201ca\u00e9rateurs\u201d. Marcelo Gardinetti, Los atributos de La Tourette<\/a>.<\/p>\n

2<\/sup>. \u201cDesigning the soil I remembered the learned in the squares of Italy; a good Piazza is rarely flat, avoids always the strict horizontalidad\u201d. Rafael Moneo, Elogio de la luz<\/a>.<\/p>\n

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

[:es] Incorporada a una trama determinante de la identidad local, la intervenci\u00f3n de Rafael Moneo para el ayuntamiento de Murcia logra su consonancia contextual mediante la observancia del protagonismo de los edificios que componen el coraz\u00f3n hist\u00f3rico de la ciudad hasta alcanzar una complementaci\u00f3n sin fracturas. La operaci\u00f3n de Moneo se focaliza en realzar las […]<\/p>\n","protected":false},"author":4,"featured_media":62043,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[2631,6657,6656,10619,746,12686,8912,785,4985,9186],"class_list":["post-62030","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","tag-arquitectura-espanola","tag-arquitectura-italiana","tag-giuseppe-terragni","tag-iannis-xenakis","tag-italia","tag-jaime-bort","tag-jose-rafael-moneo-valles","tag-le-corbusier","tag-marcelo-gardinetti","tag-moneo-brock-studio"],"yoast_head":"\n[:es]Moneo, desde la idea de fachada | Marcelo Gardinetti[:gl]Moneo, dende a idea de fachada | Marcelo Gardinetti[:en]Moneo, from the idea of front | Marcelo Gardinetti[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Moneo, desde la idea de fachada | Marcelo Gardinetti[:gl]Moneo, dende a idea de fachada | Marcelo Gardinetti[:en]Moneo, from the idea of front | 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\/moneo-desde-la-idea-fachada-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Moneo, desde la idea de fachada | Marcelo Gardinetti[:gl]Moneo, dende a idea de fachada | Marcelo Gardinetti[:en]Moneo, from the idea of front | Marcelo Gardinetti[:] - 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