{"id":62588,"date":"2017-02-03T00:20:01","date_gmt":"2017-02-02T23:20:01","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=62588"},"modified":"2022-05-16T09:00:11","modified_gmt":"2022-05-16T07:00:11","slug":"la-distensiones-del-espacio-zaha-hadid-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-distensiones-del-espacio-zaha-hadid-marcelo-gardinetti\/","title":{"rendered":"[:es]La distensi\u00f3nes del espacio en Zaha Hadid | Marcelo Gardinetti[:gl]A distensi\u00f3nes do espazo en Zaha Hadid | Marcelo Gardinetti[:en]The distensi\u00f3nes of the space in Zaha Hadid | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"The
The Peak | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure><\/p>\n

En t\u00e9rminos de indagaci\u00f3n metodol\u00f3gica, los primeros trabajos de Zaha Hadid fueron los m\u00e1s fruct\u00edferos. En ellos explora y reformula b\u00fasquedas de las vanguardias de principio de siglo XX abortadas por las condiciones pol\u00edticas de aquellos a\u00f1os.<\/p>\n

La ra\u00edz gen\u00e9tica de esas obras abreva en el lenguaje suprematista de Kazimir Mal\u00e9vich. El tr\u00e1nsito por la obra del artista ruso se inici\u00f3 en su propuesta para su tesis de estudio, un complejo hotelero sobre el r\u00edo T\u00e1mesis. El proyecto adapta la morfolog\u00eda de los \u201carquitectones\u201d. Su finalidad no era retomar iconograf\u00edas del movimiento moderno, sino forjar una estrategia para desvelar nuevos campos constructivos <\/em>a partir de esos trabajos.<\/p>\n

\"The
The Peak | \u00a9 Zaha Hadid<\/span><\/figcaption><\/figure>\n

Seg\u00fan describe Hal Foster<\/a>,<\/p>\n

\n

\u201cla pintura suprematista fue vista alguna vez como un achatamiento radical del plano pict\u00f3rico; Hadid la utiliza como una irrupci\u00f3n dram\u00e1tica en un espacio-tiempo infinito, en un intento por \u201cabrir a la fuerza\u201d sus objetos, por \u201ccomprimir y expandir\u201d sus espacios, por intensificar y liberar sus estructuras, todo al mismo tiempo\u201d.<\/em>1<\/sup><\/p>\n<\/blockquote>\n

La no figuraci\u00f3n y la negaci\u00f3n a cualquier asociaci\u00f3n insustancial con el color, Hadid las convierte en nuevas experiencias. Los planos retra\u00eddos o cercanos en la planitud de una perspectiva abolida, se comprimen y se expanden para generar espacialidad. Multiplica los elementos, utiliza rotaciones y ejes combados para construir im\u00e1genes de gran dinamismo visual. Manipula las perspectivas para que sus dise\u00f1os adquieran car\u00e1cter pict\u00f3rico y gocen de una sugestiva ingravidez. Y para ello se asiste de los nuevos programas para graficar de una manera propia su arquitectura.<\/p>\n

El sustento tect\u00f3nico a esas figuras complejas, se nutre del constructivismo. La arquitectura constructivista tiende a ser escenogr\u00e1fica se expresa con audaces soluciones formales que respald\u00f3 en su idoneidad para experimentar las nuevas tecnolog\u00edas. Hadid usa esos recursos para generar espacios tan extravagantes como espont\u00e1neos. La funci\u00f3n se supedita a convenciones que est\u00e1n en permanente tensi\u00f3n. Lo vertical y lo horizontal se funden en acuerdos novedosos y a veces arbitrarios.<\/p>\n

\"Tomigaya
Tomigaya | \u00a9 Zaha Hadid Architects
<\/span><\/figcaption><\/figure>\n

Los planos y vol\u00famenes que resultan de estas operaciones desaf\u00edan la verticalidad para construir precisas y cambiantes distensiones.<\/p>\n

Cuando concibe el proyecto ganador del concurso para el club deportivo The Peak en Hong Kong, todas estas especulaciones gr\u00e1ficas se transforman en un proyecto concreto. El edificio deb\u00eda construirse en la ladera de un pico monta\u00f1oso ubicado en un extremo de la estructura urbana de la ciudad. Hadid propone una \u201cgeolog\u00eda suprematista\u201d<\/em><\/strong>: planos horizontales con distintos \u00e1ngulos que emergen de la ladera en diferentes direcciones y se confunden en el espacio como extensi\u00f3n de la propia monta\u00f1a. El conjunto asume formas libres, poco cohesivas y desafiantes de la gravedad. Un contraste axiom\u00e1tico con las r\u00edgidas estructuras construidas ladera abajo.<\/p>\n

\"Tomigaya
Tomigaya | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

Esas cualidades se repiten en el edificio Tomigaya, donde propone un pabell\u00f3n de cristal por encima de un vac\u00edo. El plano superior curvo y las columnas de sost\u00e9n inclinadas establecen nuevamente una imagen din\u00e1mica e ingr\u00e1vida, aunque para alcanzar esta figura las funciones principales se relegan a una plataforma inferior.<\/p>\n

En la estaci\u00f3n de Bomberos Vitra, Hadid reafirma la intensidad de su b\u00fasqueda geom\u00e9trica, pero la materializaci\u00f3n del edificio deja expuestas sus limitaciones. El dise\u00f1o destaca vigorosos planos que evocan la din\u00e1mica suprematista y las aspiraciones de velocidad futurista. Sin embargo, la abundancia de l\u00edneas y capas superpuestas no impide que las cualidades perceptivas del hormig\u00f3n atenten contra la sensaci\u00f3n vol\u00e1til de sus dibujos. El conjunto irrumpe vigoroso, pero no alcanza la ingravidez extrema de sus aspiraciones gr\u00e1ficas.<\/p>\n

\"vitra
vitra fire station | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

En a\u00f1os posteriores, la idea arquitect\u00f3nica de Hadid empieza a acercarse al expresionismo, y aunque no abandona la influencia suprematista, sus dise\u00f1os pierden la levedad que hab\u00eda imbuido a sus trabajos anteriores. Sin embargo, la apertura metodol\u00f3gica de esos proyectos incita a la investigaci\u00f3n y el tratamiento de nuevas relaciones entre diferentes convenciones formales.<\/p>\n

Hadid confirma que es posible progresar el car\u00e1cter de la arquitectura desde las m\u00e1s variadas expresiones art\u00edsticas. O, en todo caso, que es posible rescatar indagaciones arquitect\u00f3nicas abortadas en la historia reciente y progresarlas al contexto socio cultural actual.<\/p>\n

\"vitra
vitra fire station | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

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

Notas:<\/p>\n

1<\/sup>. Foster, Hal. 2013, El complejo arte-arquitectura<\/a>, Editorial Turner Noema[:gl]

\"The
The Peak | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure><\/p>\n

En termos de indagaci\u00f3n metodol\u00f3xica, os primeiros traballos de Zaha Hadid foron os m\u00e1is frut\u00edferos. Neles explora e reformula procuras das vangardas de principio de s\u00e9culo XX abortadas polas condici\u00f3ns pol\u00edticas daqueles anos.<\/p>\n

A ra\u00edz xen\u00e9tica desas obras abebera na linguaxe suprematista de Kazimir Mal\u00e9vich. O tr\u00e1nsito pola obra do artista ruso iniciouse na s\u00faa proposta para a s\u00faa tese de estudo, un complexo hostaleiro sobre o r\u00edo T\u00e1mesis. O proxecto adapta a morfolox\u00eda dos \u201carquitectones\u201d. A s\u00faa finalidade non era retomar iconograf\u00edas do movemento moderno, sen\u00f3n forxar unha estratexia para desvelar novos campos construtivos<\/em> a partir deses traballos.<\/p>\n

\"The
The Peak | \u00a9 Zaha Hadid<\/span><\/figcaption><\/figure>\n

Segundo describe Hal Foster<\/a>,<\/p>\n

\n

\u201ca pintura suprematista foi vista algunha vez como un achatamiento radical do plano pict\u00f3rico; Hadid util\u00edzaa como unha irrupci\u00f3n dram\u00e1tica nun espazo-tempo infinito, nun intento por \u201cabrir \u00e1 forza\u201d os seus obxectos, por \u201ccomprimir e expandir\u201d os seus espazos, por intensificar e liberar as s\u00faas estruturas, todo ao mesmo tempo\u201d.<\/em>1<\/sup><\/p>\n<\/blockquote>\n

A non figuraci\u00f3n e a negaci\u00f3n a calquera asociaci\u00f3n insustancial coa cor, Hadid conv\u00e9rteas en novas experiencias. Os planos retra\u00eddos ou pr\u00f3ximos na planitud dunha perspectiva abolida, compr\u00edmense e exp\u00e1ndense para xerar espacialidad. Multiplica os elementos, utiliza rotaci\u00f3ns e eixos combados para constru\u00edr imaxes de gran dinamismo visual. Manipula as perspectivas para que os seus dese\u00f1os adquiran car\u00e1cter pict\u00f3rico e gocen dunha suxestiva ingravidez. E para iso as\u00edstese dos novos programas para graficar dunha maneira propia a s\u00faa arquitectura.<\/p>\n

O sustento tect\u00f3nico a esas figuras complexas, n\u00fatrese do constructivismo. A arquitectura constructivista tende a ser escenogr\u00e1fica expr\u00e9sase con audaces soluci\u00f3ns formais que apoiou na s\u00faa idoneidade para experimentar as novas tecnolox\u00edas. Hadid usa eses recursos para xerar espazos tan extravagantes como espont\u00e1neos. A funci\u00f3n suped\u00edtase a convenci\u00f3ns que est\u00e1n en permanente tensi\u00f3n. O vertical e o horizontal f\u00fandense en acordos novos e \u00e1s veces arbitrarios.<\/p>\n

\"Tomigaya
Tomigaya | \u00a9 Zaha Hadid Architects
<\/span><\/figcaption><\/figure>\n

Os planos e volumes que resultan destas operaci\u00f3ns desaf\u00edan a verticalidad para constru\u00edr precisas e cambiantes distensi\u00f3ns.<\/p>\n

Cando concibe o proxecto ga\u00f1ador do concurso para o club deportivo The Peak en Hong Kong, todas estas especulaci\u00f3ns gr\u00e1ficas transf\u00f3rmanse nun proxecto concreto. O edificio deb\u00eda constru\u00edrse na ladeira dun pico monta\u00f1oso situado nun extremo da estrutura urbana da cidade. Hadid prop\u00f3n unha \u201cgeolog\u00eda suprematista\u201d<\/em><\/strong>: planos horizontais con distintos \u00e1ngulos que emerxen da ladeira en diferentes direcci\u00f3ns e conf\u00fandense no espazo como extensi\u00f3n da propia monta\u00f1a. O conxunto asume formas libres, pouco cohesivas e desafiantes da gravidade. Un contraste axiom\u00e1tico coas r\u00edxidas estruturas constru\u00eddas ladeira abaixo.<\/p>\n

\"Tomigaya
Tomigaya | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

Esas calidades rep\u00edtense no edificio Tomigaya, onde prop\u00f3n un pavill\u00f3n de cristal por encima dun baleiro. O plano superior curvo e as columnas de sost\u00e9n inclinadas establecen novamente unha imaxe din\u00e1mica e ingr\u00e1vida, a\u00ednda que para alcanzar esta figura as funci\u00f3ns principais rel\u00e9ganse a unha plataforma inferior.<\/p>\n

Na estaci\u00f3n de Bombeiros Vitra, Hadid reafirma a intensidade da s\u00faa procura xeom\u00e9trica, pero a materializaci\u00f3n do edificio deixa expostas as s\u00faas limitaci\u00f3ns. O dese\u00f1o destaca vigorosos planos que evocan a din\u00e1mica suprematista e as aspiraci\u00f3ns de velocidade futurista. Con todo, a abundancia de li\u00f1as e capas superpostas non impide que as calidades perceptivas do formig\u00f3n atenten contra a sensaci\u00f3n vol\u00e1til dos seus debuxos. O conxunto irrompe vigoroso, pero non alcanza a ingravidez extrema das s\u00faas aspiraci\u00f3ns gr\u00e1ficas.<\/p>\n

\"vitra
vitra fire station | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

En anos posteriores, a idea arquitect\u00f3nica de Hadid empeza a achegarse ao expresionismo, e a\u00ednda que non abandona a influencia suprematista, os seus dese\u00f1os perden a levedad que imbu\u00edra aos seus traballos anteriores. Con todo, a apertura metodol\u00f3xica deses proxectos incita \u00e1 investigaci\u00f3n e o tratamento de novas relaci\u00f3ns entre diferentes convenci\u00f3ns formais.<\/p>\n

Hadid confirma que \u00e9 posible progresar o car\u00e1cter da arquitectura desde as m\u00e1is variadas expresi\u00f3ns art\u00edsticas. Ou, en todo caso, que \u00e9 posible rescatar indagaci\u00f3ns arquitect\u00f3nicas abortadas na historia recente e progresalas ao contexto socio cultural actual.<\/p>\n

\"vitra
vitra fire station | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

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

Notas:<\/p>\n

1<\/sup>. Foster, Hal. 2013, O complexo arte-arquitectura<\/a>, Editorial Turner Noema[:en]

\"The
The Peak | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure><\/p>\n

In terms of methodological investigation, the Zaha Hadid’s first works were the most fruitful. In them it explores and re-formulates searches of the forefronts of beginning of 20th century aborted by the political conditions of those years.<\/p>\n

The genetic root of these works waters in the language suprematista of Kazimir Mal\u00e9vich. The traffic for the work of the Russian artist began in his offer for his thesis of study, a hotel complex on the river Thames. The project adapts the morphology of the \u201carquitectones\u201d. His purpose was not to take again iconographies of the modern movement, but a strategy forged for revealing new constructive fields<\/em> from these works.<\/p>\n

\"The
The Peak | \u00a9 Zaha Hadid<\/span><\/figcaption><\/figure>\n

As Hal Foster<\/a> describes,<\/p>\n

\n

\u201cthe painting suprematista was seen at some time as a radical flattening of the pictorial plane; Hadid uses it as a dramatic irruption in an infinite space-time, in an attempt for \u201copening by force\u201d his objects, for \u201ccompressing and to expand\u201d his spaces, for intensifying and to liberate his structures, everything at the same time\u201d.<\/em>1<\/sup><\/p>\n<\/blockquote>\n

Not imagination and the denial to any unsubstantial association with the color, Hadid turns them into new experiences. The retiring or nearby planes in the planitud of an abolished perspective, control themselves and expand to generate espacialidad. It multiplies the elements, uses rotations and axes curved to construct images of great visual dynamism. It manipulates the perspectives in order that his designs acquire pictorial character and enjoy a suggestive weightlessness. And for it his architecture is represented of the new programs for graficar in an own way.<\/p>\n

The tectonic sustenance to these complex figures, is nourished of the constructivismo. The architecture constructivista tends to be escenogr\u00e1fica express with bold formal solutions that it endorsed in his suitability to experience the new technologies. Hadid uses these resources to generate spaces so extravagant as spontaneous. The function is subordinated to conventions that are in permanent tension. The vertical thing and the horizontal thing are founded on new and sometimes arbitrary agreements.<\/p>\n

\"Tomigaya
Tomigaya | \u00a9 Zaha Hadid Architects
<\/span><\/figcaption><\/figure>\n

The planes and volumes that ensue from these operations defy the uprightness to construct precise and changeable expansions.<\/p>\n

When The Peak conceives the winning project of the contest for the sports club in Hong Kong, all these graphical speculations transform in a concrete project. The building had to be constructed in the hillside of a mountainous beak located in an end of the urban structure of the city. Hadid proposes a \u201cgeology suprematist<\/em><\/strong>\u201d<\/em><\/strong>: horizontal planes with different angles that emerge of the hillside in different directions and get confused in the space as extension of the own mountain. The set assumes free, slightly cohesive and challenging forms of the gravity. An axiomatic contrast with the rigid constructed structures hillside below.<\/p>\n

\"Tomigaya
Tomigaya | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

These qualities repeat themselves in the building Tomigaya, where he proposes a pavilion of crystal over an emptiness. The top curved plane and the sloping columns of support establish again a dynamic and weightless image, though to reach this figure the principal functions are relegated to a low platform.<\/p>\n

On the Vitra Firemen’s station, Hadid reaffirms the intensity of his geometric search, but the materialization of the building makes his limitations exposed. The design emphasizes vigorous planes that evoke the dynamics suprematista and the aspirations of futurist speed. Nevertheless, the abundance of lines and superposed caps does not prevent that the perceptive qualities of the concrete commit an outrage against the volatile sensation of his drawings. The set irrumpe vigorous, but it does not reach the extreme weightlessness of his graphical aspirations.<\/p>\n

\"vitra
vitra fire station | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

In the later years, Hadid’s architectural idea starts approaching the expressionism, and though it does not leave the influence suprematista, his designs lose the levity that it had imbued to his previous works. Nevertheless, the methodological opening of these projects incites to the investigation and the treatment of new relations between different formal conventions.<\/p>\n

Hadid confirms that it is possible to progress the character of the architecture from the most varied artistic expressions. Or, in any case, that is possible to rescue architectural investigations aborted in the recent history and them progresses to the context cultural current partner.<\/p>\n

\"vitra
vitra fire station | \u00a9 Zaha Hadid Architects<\/span><\/figcaption><\/figure>\n

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

Notes:<\/p>\n

1<\/sup>. Foster, Hal. 2013, The complex art-architecture<\/a>, Editorial Turner Noema[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] En t\u00e9rminos de indagaci\u00f3n metodol\u00f3gica, los primeros trabajos de Zaha Hadid fueron los m\u00e1s fruct\u00edferos. En ellos explora y reformula b\u00fasquedas de las vanguardias de principio de siglo XX abortadas por las condiciones pol\u00edticas de aquellos a\u00f1os. La ra\u00edz gen\u00e9tica de esas obras abreva en el lenguaje suprematista de Kazimir Mal\u00e9vich. El tr\u00e1nsito por […]<\/p>\n","protected":false},"author":4,"featured_media":62592,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[143,12449,155,424,12775,7010,4985,3659,12466,4444,1253,1278,1574,6600],"class_list":["post-62588","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-contemporanea","tag-arte","tag-arte-contemporaneo","tag-dibujo","tag-harold-foss-foster","tag-kazimir-malevich","tag-marcelo-gardinetti","tag-perspectiva","tag-pintura","tag-s-xx","tag-star-system","tag-teoria","tag-zaha-hadid","tag-zaha-hadid-architects"],"yoast_head":"\n[:es]La distensi\u00f3nes del espacio en Zaha Hadid | Marcelo Gardinetti[:gl]A distensi\u00f3nes do espazo en Zaha Hadid | Marcelo Gardinetti[:en]The distensi\u00f3nes of the space in Zaha Hadid | Marcelo Gardinetti[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]La distensi\u00f3nes del espacio en Zaha Hadid | Marcelo Gardinetti[:gl]A distensi\u00f3nes do espazo en Zaha Hadid | Marcelo Gardinetti[:en]The distensi\u00f3nes of the space in Zaha Hadid | 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\/la-distensiones-del-espacio-zaha-hadid-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]La distensi\u00f3nes del espacio en Zaha Hadid | Marcelo Gardinetti[:gl]A distensi\u00f3nes do espazo en Zaha Hadid | Marcelo Gardinetti[:en]The distensi\u00f3nes of the space in Zaha Hadid | Marcelo Gardinetti[:] - 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