{"id":62344,"date":"2016-11-07T00:16:44","date_gmt":"2016-11-06T23:16:44","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=62344"},"modified":"2023-01-03T19:21:29","modified_gmt":"2023-01-03T18:21:29","slug":"objet-trouve-06-stirling-la-veleta-del-florey-rodrigo-almonacid","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/objet-trouve-06-stirling-la-veleta-del-florey-rodrigo-almonacid\/","title":{"rendered":"[:es]Objet trouv\u00e9 [06] : Stirling y la veleta del Florey | Rodrigo Almonacid[:gl]Objet trouv\u00e9 [06] : Stirling e o catavento do Florey | Rodrigo Almonacid[:en]Objet trouv\u00e9 [06] : Stirling and the vane of the Florey | Rodrigo Almonacid[:]"},"content":{"rendered":"

[:es]

\"Vista
Vista del patio interior del Florey Building, con el escenario central elevado.<\/span><\/figcaption><\/figure><\/p>\n

En el momento de proyectar el edificio Florey<\/em> para el Queens College (St.Clements, Oxford, 1968-71), James Stirling ya hab\u00eda visto terminados dos de sus mejores obras: la Escuela de Ingenier\u00eda de la Universidad de Leicester (1959-63) y la biblioteca de la Facultad de Historia para la Universidad de Cambridge (1964-67). Los tres proyectos constituyen su ya m\u00edtica \u201cTrilog\u00eda Roja\u201d, nombre que los identifica como una serie de edificios construidos con ese color en apenas una d\u00e9cada.<\/p>\n

Una estructura de hormig\u00f3n de gran escala muy visible eleva y separa el cuerpo de apartamentos estudiantiles del nivel de calle. Una dura piel rojiza (de plaqueta cer\u00e1mica y no de ladrillo, como habitualmente se piensa) lo defiende y a\u00edsla del anodino exterior circundante, procurando una paz en el patio interior que no dista mucho de la de un claustro de los cl\u00e1sicos colleges<\/em> universitarios de la ciudad. Y unas amplias superficies acristaladas, de cualidades volum\u00e9tricas, evocan lejanamente con su transparencia y el despiece vertical de sus carpinter\u00edas al g\u00f3tico perpendicular ingl\u00e9s, pero en clave y costumbres contempor\u00e1neas1<\/sup>.<\/p>\n

Evidentemente, esta descripci\u00f3n simplificada reducir\u00eda notablemente la profundidad de su planteamiento arquitect\u00f3nico, pues supera con mucho a su mera (e interesant\u00edsima) materialidad. Sin entrar en su magistral composici\u00f3n en t\u00e9rminos formales y geom\u00e9tricos2<\/sup>, no cabe duda de que el maestro escoc\u00e9s quiso concluir esa trilog\u00eda con una pieza de marcado car\u00e1cter simb\u00f3lico, reforzado por un car\u00e1cter introspectivo que le viene muy bien al proyecto en su localizaci\u00f3n a la orilla del r\u00edo Cherwell.<\/p>\n

El edificio es extra\u00f1o, m\u00e1s a\u00fan entonces que ahora. Se retuerce sobre s\u00ed mismo, y no se conforma con achaflanar las esquinas como en Leicester o Cambridge sino que aqu\u00ed todo \u00e9l es una concatenaci\u00f3n de chaflanes enormes. Sugiere casi una traza ochavada incompleta, al que le faltan solo 3 de los 8 lados debido a un recorte dr\u00e1stico ante la presencia inminente del riachuelo que delimita el lado norte del solar. As\u00ed resuelto, a nivel tipol\u00f3gico responde m\u00e1s a un teatro griego que a ning\u00fan otro: su forma radial orienta el grader\u00edo (l\u00e9ase dormitorios) hacia el paisaje abierto de los meadows<\/em> que circundan la zona oriental de Oxford, y sit\u00faa su orchestra<\/em> en el centro del espacio c\u00f3ncavo donde se desarrollar\u00e1 la actividad humana, aunque en esta obra es realmente escasa3<\/sup>.<\/p>\n

\"Axonometr\u00eda
Axonometr\u00eda del proyecto y vista del patio desde uno de los apartamentos d\u00faplex del edificio Florey, con la veleta en su centro.<\/span><\/figcaption><\/figure>\n

El espacio del patio es rodeado por un muro ciego de ladrillo que anula las vistas desde la calle. De hecho, el nivel del patio est\u00e1 elevado respecto al pasillo perif\u00e9rico que discurre bajo el volumen de los dormitorios, limitando a\u00fan m\u00e1s la fluidez interna del recinto central. En el lado abierto del r\u00edo el patio se eleva a\u00fan m\u00e1s con 9 pelda\u00f1os configurando un \u201cescenario\u201d central al que se dirigen todas las miradas desde cada ventana del edificio. Y, simult\u00e1neamente, permite esconder debajo y disimuladamente el volumen del comedor y su cocina en un nivel intermedio entre el del patio y el del paseo fluvial.<\/p>\n

La ausencia de vida colectiva en el patio se compensa con la extra\u00f1a actividad de un elemento vertical de cierto car\u00e1cter antropom\u00f3rfico, que ocupa el v\u00e9rtice m\u00e1s adelantado del escenario elevado, un desconcertante objet trouv\u00e9<\/em><\/a>. Su presencia es tan notable que incluso curva el pelda\u00f1eado, convirti\u00e9ndolo en un pivote visual que concentra toda la atenci\u00f3n. Siguiendo la met\u00e1fora dram\u00e1tica se podr\u00eda decir que es una actriz en acci\u00f3n, pues, aunque incapaz de mover sus pies, no cesa de agitar sus brazos: se trata de una veleta, movida por acci\u00f3n directa del viento en el lugar o por la evacuaci\u00f3n de humos que contiene en su m\u00e1stil central (proveniente del techo de la cocina sobre la que se asienta). Sostiene un gran disco de intenso color verde, con lo que quiz\u00e1 pueda ser interpretado como una suerte de \u201c\u00e1rbol mec\u00e1nico\u201d, \u00fanico resquicio permitido por el arquitecto a la naturaleza4<\/sup> en esta \u00faltima obra de su serie roja. Su ir\u00f3nica presencia no es, pese a todo, excepcional pues ya en Leicester Stirling jug\u00f3 con una pareja de chimeneas para enfatizar sus v\u00ednculos con la ingenier\u00eda, y en Cambridge abati\u00f3 el artefacto para convertir a la g\u00f3ndola de limpieza del vidrio en una escultura constructivista en voladizo desafiando a la gravedad. Naturaleza y artificio, una dial\u00e9ctica no superada desde la Modernidad…<\/p>\n

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

Notas:<\/p>\n

1<\/sup>. Brown tambi\u00e9n alude al aspecto \u201cg\u00f3tico\u201d de la Escuela de Ingenieros de Leicester al analizar esa primera pieza de la \u201cTrilog\u00eda Roja\u201d de Stirling (revista Forum, abril de 1972).<\/p>\n

2<\/sup>. Rykwert <\/a>llega a decir al respecto que \u201caunque sea aparentemente su edificio m\u00e1s simple, es, por el contrario, el de composici\u00f3n m\u00e1s concienzuda\u201d (revista Domus, noviembre de 1972).<\/p>\n

3<\/sup>. Francesco dal Co<\/a> critic\u00f3 precisamente que en este edificio de Striling la vida comunitaria fuera reducida a su m\u00ednima expresi\u00f3n, y, por tanto, mostraba una cierta incoherencia entre la innovaci\u00f3n en el planteamiento formal y el \u201cpaso atr\u00e1s\u201d en t\u00e9rminos de uso colectivo del espacio.<\/p>\n

4<\/sup>. En los \u00faltimos a\u00f1os el pavimento cer\u00e1mico rojo del patio ha sido sustituido por c\u00e9sped, perdiendo esa idea de artificialidad que ten\u00eda en su origen el patio, quiz\u00e1 por problemas constructivos (siempre ha sido esta obra objeto de numerosas quejas de buena praxis constructiva y de funcionamiento) o, m\u00e1s probablemente a\u00fan, por su falta de uso.<\/p>\n

[Im\u00e1genes tomadas de la monograf\u00eda: ARNELL, P. y BICKFORD, T. (eds.): James Stirling. Obras y proyectos<\/em><\/a>. Barcelona: Ed. Gustavo Gili, 1985.]<\/p>\n

[:gl]

\"Vista
Vista do patio interior do Florey Building, co escenario central elevado.<\/span><\/figcaption><\/figure><\/p>\n

No momento de proxectar o edificio Florey<\/em> para o Queens College (St.Clements, Oxford, 1968-71), James Stirling xa vira terminados dous das s\u00faas mellores obras: a Escola de Enxe\u00f1er\u00eda da Universidade de Leicester (1959-63) e a biblioteca da Facultade de Historia para a Universidade de Cambridge (1964-67). Os tres proxectos constit\u00faen o seu xa m\u00edtica \u201cTrilox\u00eda Vermella\u201d, nome que os identifica como unha serie de edificios constru\u00eddos con esa cor en apenas unha d\u00e9cada.<\/p>\n

Unha estrutura de formig\u00f3n de gran escala moi visible eleva e separa o corpo de apartamentos estudant\u00eds do nivel de r\u00faa. Unha dura pel avermellada (de plaqueta cer\u00e1mica e non de ladrillo, como habitualmente p\u00e9nsase) def\u00e9ndeo e illa do anodino exterior circundante, procurando unha paz no patio interior que non dista moito da dun claustro dos cl\u00e1sicos colleges<\/em> universitarios da cidade. E unhas amplas superficies acristaladas, de calidades volum\u00e9tricas, evocan lejanamente coa s\u00faa transparencia e o despezamento vertical das s\u00faas carpinter\u00edas ao g\u00f3tico perpendicular ingl\u00e9s, pero en clave e costumes contempor\u00e1neas1<\/sup>.<\/p>\n

Evidentemente, esta descrici\u00f3n simplificada reducir\u00eda notablemente a profundidade da s\u00faa formulaci\u00f3n arquitect\u00f3nica, pois supera con moito \u00e1 s\u00faa mera (e interesant\u00edsima) materialidad. Sen entrar na s\u00faa maxistral composici\u00f3n en termos formais e xeom\u00e9tricos2<\/sup>, non cabe d\u00fabida de que o mestre escoc\u00e9s quixo conclu\u00edr esa trilox\u00eda cunha peza de marcado car\u00e1cter simb\u00f3lico, reforzado por un car\u00e1cter introspectivo que lle v\u00e9n moi ben ao proxecto na s\u00faa localizaci\u00f3n \u00e1 beira do r\u00edo Cherwell.<\/p>\n

O edificio \u00e9 estra\u00f1o, m\u00e1is a\u00ednda ent\u00f3n que agora. Retorcer sobre si mesmo, e non se conforma con achafranar as esquinas como en Leicester ou Cambridge sen\u00f3n que aqu\u00ed todo el \u00e9 unha concatenaci\u00f3n de chaflanes enormes. Suxire case unha traza ochavada incompleta, ao que lle faltan s\u00f3 3 dos 8 lados debido a un recorte dr\u00e1stico ante a presenza inminente do regato que delimita o lado norte do solar. As\u00ed resolto, a nivel tipol\u00f3gico responde m\u00e1is a un teatro grego que a ning\u00fan outro: a s\u00faa forma radial orienta a bancada (l\u00e9ase dormitorios) cara \u00e1 paisaxe aberta dos meadows<\/em> que circundan a zona oriental de Oxford, e sit\u00faa a s\u00faa orchestra<\/em> no centro do espazo c\u00f3ncavo onde se desenvolver\u00e1 a actividade humana, a\u00ednda que nesta obra \u00e9 realmente escasa3<\/sup>.<\/p>\n

\"Axonometr\u00eda
Axonometr\u00eda do proxecto e vista do patio dende un dos apartamentos d\u00faplex do edificio Florey, co catavento no seu centro.<\/span><\/figcaption><\/figure>\n

O espazo do patio \u00e9 rodeado por un muro cego de ladrillo que anula as vistas desde a r\u00faa. De feito, o nivel do patio est\u00e1 elevado respecto ao corredor perif\u00e9rico que discorre baixo o volume dos dormitorios, limitando a\u00ednda m\u00e1is a fluidez interna do recinto central. No lado aberto do r\u00edo o patio el\u00e9vase a\u00ednda m\u00e1is con 9 banzos configurando un \u201cescenario\u201d central ao que se dirixen todas as miradas desde cada xanela do edificio. E, simultaneamente, permite esconder debaixo e disimuladamente o volume do comedor e a s\u00faa coci\u00f1a nun nivel intermedio entre o do patio e o do paseo fluvial.<\/p>\n

A ausencia de vida colectiva no patio comp\u00e9nsase coa estra\u00f1a actividade dun elemento vertical de certo car\u00e1cter antropom\u00f3rfico, que ocupa o v\u00e9rtice m\u00e1is adiantado do escenario elevado, un desconcertante objet trouv\u00e9<\/em><\/a>. A s\u00faa presenza \u00e9 tan notable que mesmo curva o pelda\u00f1eado, convert\u00e9ndoo nun pivote visual que concentra toda a atenci\u00f3n. Seguindo a met\u00e1fora dram\u00e1tica poder\u00edase dicir que \u00e9 unha actriz en acci\u00f3n, pois, a\u00ednda que incapaz de mover os seus p\u00e9s, non cesa de axitar os seus brazos: tr\u00e1tase dun catavento, movida por acci\u00f3n directa do vento no lugar ou pola evacuaci\u00f3n de fumes que cont\u00e9n no seu mastro central (proveniente do teito da coci\u00f1a sobre a que se asenta). Sost\u00e9n un gran disco de intensa cor verde, co que quiz\u00e1 poida ser interpretado como unha sorte de \u201c\u00e1rbore mec\u00e1nica\u201d, \u00fanica f\u00edsgoa permitida polo arquitecto \u00e1 natureza4<\/sup> nesta \u00faltima obra da s\u00faa serie vermella. A s\u00faa ir\u00f3nica presenza non \u00e9, a pesar de todo, excepcional pois xa en Leicester Stirling xogou cunha parella de chemineas para salientar os seus v\u00ednculos coa enxe\u00f1er\u00eda, e en Cambridge abateu o artefacto para converter \u00e1 g\u00f3ndola de limpeza do vidro nunha escultura constructivista en voladizo desafiando \u00e1 gravidade. Natureza e artificio, unha dial\u00e9ctica non superada desde a Modernidade…<\/p>\n

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

Notas:<\/p>\n

1<\/sup>. Brown tam\u00e9n alude ao aspecto \u201cg\u00f3tico\u201d da Escola de Enxe\u00f1eiros de Leicester ao analizar esa primeira peza da \u201cTrilox\u00eda Vermella\u201d de Stirling (revista Forum, abril de 1972).<\/p>\n

2<\/sup>. Rykwert\u00a0<\/a>chega a dicir respecto diso que \u201ca\u00ednda que sexa aparentemente o seu edificio m\u00e1is simple, \u00e9, pola contra, o de composici\u00f3n m\u00e1is concienzuda\u201d (revista Domus, novembro de 1972).<\/p>\n

3<\/sup>. Francesco dal Co<\/a> criticou precisamente que neste edificio de Striling a vida comunitaria fose reducida \u00e1 s\u00faa m\u00ednima expresi\u00f3n, e, por tanto, mostraba unha certa incoherencia entre a innovaci\u00f3n na formulaci\u00f3n formal e o \u201cpaso atr\u00e1s\u201d en termos de uso colectivo do espazo.<\/p>\n

4<\/sup>. Nos \u00faltimos anos o pavimento cer\u00e1mico vermello do patio foi substitu\u00eddo por c\u00e9spede, perdendo esa idea de artificialidade que ti\u00f1a na s\u00faa orixe o patio, quiz\u00e1 por problemas construtivos (sempre foi esta obra obxecto de numerosas queixas de boa praxe construtiva e de funcionamento) ou, m\u00e1is probablemente a\u00ednda, pola s\u00faa falta de uso.<\/p>\n

[Imaxes tomadas da monograf\u00eda: ARNELL, P. y BICKFORD, T. (eds.): James Stirling. Obras e proxectos<\/em><\/a>. Barcelona: Ed. Gustavo Gili, 1985.]<\/p>\n

[:en]

\"Vista
Sight of the interior court of the Florey Building, with the central high scene.<\/span><\/figcaption><\/figure><\/p>\n

In the moment to project the building Florey<\/em> for the Queens College (St. Clements, Oxford, 1968-71), James Stirling already had seen finished two of his better works: the School of Engineering of the University of Leicester (1959-63) and the library of the Faculty of History for the University of Cambridge (1964-67). Three projects constitute his already mythical \u201cRed Trilogy\u201d, name that he them identifies as a series of buildings constructed with this color in only a decade.<\/p>\n

A structure of concrete of great very visible scale raises and separates the body of student apartments of the level of street. A hard reddish skin (of ceramic platelet and not of brick, since habitually it is thought) defends and isolates it of the bland surrounding exterior, trying a peace in the interior court that is not far much of that from a cloister of the classic university colleges<\/em> of the city. And a few wide glazed surfaces, of volumetric qualities, evoke distantly with his transparency and the vertical break-down of his carpentries to the perpendicular Gothic English, but in key and contemporary customs1<\/sup>.<\/p>\n

Evidently, this simplified description would reduce notably the depth of his architectural exposition, since it overcomes with much his mere one (and the most interesting) materiality. Without enter his magisterial composition formal and geometric terms, it does not fit doubt that the Scotch teacher wanted to conclude this trilogy with a piece of marked symbolic character2<\/sup>, reinforced by an introspective character that him comes very well to the project in his location to the shore of the river Cherwell.<\/p>\n

The building is strange, even more then that now. It is twisted on yes same, and does not agree to chamfer the corners as in Leicester or Cambridge but here quite it is a concatenation of enormous bevels. Almost a trace suggests ochavada incomplete, which lacks only 3 of 8 sides due to a drastic cut before the imminent presence of the creek that it delimits the north side of the lot. This way solved, to level tipol\u00f3gico answers more to a Greek theatre that to no other: his radial form orientates the grader\u00edo (bedrooms be read) towards the landscape opened of the meadows that they surround the oriental zone of Oxford, and places his orchestra in the center of the concave space where the human activity will develop, though in this work it is really scanty3<\/sup>.<\/p>\n

\"Axonometr\u00eda
Axonometr\u00eda of the project and sight of the court from one of the duplex apartments of the building Florey, with the vane in his center.<\/span><\/figcaption><\/figure>\n

The space of the court is surrounded by a blind wall of brick that annuls the sights from the street. In fact, the level of the court is raised with regard to the peripheral corridor that passes under the volume of the bedrooms, limiting furthermore the fluency hospitalizes of the central enclosure. In the side opened of the river the court rises furthermore with 9 steps forming a central \u201cscene\u201d to which all the looks go from every window of the building. And, simultaneously, it allows to hide below and discreet the volume of the dining room and his kitchen in an intermediate level between that of the court and that of the fluvial walk.<\/p>\n

The absence of collective life in the court is compensated by the strange activity of a vertical element of certain anthropomorphic character, which occupies the most anticipated vertex of the high scene, a disconcerting objet trouv\u00e9<\/em><\/a>. His presence is so notable that even curved the pelda\u00f1eado, turning it into a visual pivot that concentrates the whole attention. Following the dramatic metaphor it might say that she is an actress in action, so, though unable to move his feet, it does not stop waving his arms: it is a question of a vane moved by direct action of the wind in the place or for the evacuation of smokes that it contains in his central mast (from the ceiling of the kitchen on the one that one agrees). It supports a great disc of intense green color, with what probably it could be interpreted as a luck of \u201cmechanical tree\u201d, the only chink allowed by the architect to her naturaleza4 in the latter work of his red series. His ironic presence is not, despite everything, exceptional since already in Leicester Stirling it played with a pair of chimneys to emphasize his links with the engineering, and in Cambridge it brought down the appliance to turn to the gondola of cleanliness of the glass in a sculpture constructivista in projecting defying to the gravity. Nature and artifice, a dialectics not overcome from the Modernity…<\/p>\n

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

Notes:<\/p>\n

1<\/sup>. Brown also alludes to the \u00abGothic\u00bb aspect of the Engineers’ School of Leicester on having analyzed this first piece of the \u201cRed Trilogy\u201d Stirling’s (magazine Forum, April, 1972).<\/p>\n

2<\/sup>. Rykwert<\/a> manages to say in the matter that \u201cthough it is seemingly his simpler building, there is, on the contrary, that of more conscientious composition\u201d (a magazine Domus, in November, 1972).<\/p>\n

3<\/sup>. Francesco dal Co<\/a> criticized precisely that in this Striling’s building the community life was reduced to his simplest form, and, therefore, it was showing a certain incoherence between the innovation in the formal exposition and the \u201cstep backwards\u201d in terms of collective use of the space.<\/p>\n

4<\/sup>. In the last years the ceramic red pavement of the court has been replaced with lawn, losing this idea of artificialidad that had in his origin the court, probably for constructive problems (always it has been this work object of numerous complaints of good constructive practice and of functioning) or, more probably still, for his lack of use.<\/p>\n

[Images taken of the monograph: ARNELL, P. y BICKFORD, T. (eds.): James Stirling. Obras y proyectos<\/em><\/a>. Barcelona: Ed. Gustavo Gili, 1985.]<\/p>\n

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

[:es] En el momento de proyectar el edificio Florey para el Queens College (St.Clements, Oxford, 1968-71), James Stirling ya hab\u00eda visto terminados dos de sus mejores obras: la Escuela de Ingenier\u00eda de la Universidad de Leicester (1959-63) y la biblioteca de la Facultad de Historia para la Universidad de Cambridge (1964-67). Los tres proyectos constituyen 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