{"id":64921,"date":"2017-07-06T00:05:34","date_gmt":"2017-07-05T22:05:34","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=64921"},"modified":"2023-08-29T17:04:29","modified_gmt":"2023-08-29T15:04:29","slug":"domohomo-arquitectos-%c2%b7-diseno-mobiliario","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/domohomo-arquitectos-%c2%b7-diseno-mobiliario\/","title":{"rendered":"[:es]domohomo arquitectos \u00b7 Dise\u00f1o de mobiliario[:gl]domohomo arquitectos \u00b7 Dese\u00f1o de mobiliario[:en]domohomo arquitectos \u00b7 Forniture design[:]"},"content":{"rendered":"

[:es]

\"Elena
Elena L\u00f3pez y Xulio Turnes, domohomo arquitectos<\/span><\/figcaption><\/figure><\/p>\n

A lo largo de la historia los grandes maestros de la arquitectura profundizaron en el dise\u00f1o de mobiliario, incluso algunos de ellos llegaron empresas destinadas al dise\u00f1o y la fabricaci\u00f3n.<\/p>\n

Por eso hoy nos desplazamos a Santiago de Compostela para conocer el trabajo que realizan en domohomo<\/strong><\/a>. Estudio de arquitectura y dise\u00f1o que nace en 2011 en Santiago de Compostela de la mano de Elena L\u00f3pez y Xulio Turnes, ambos arquitectos licenciados en 2005 por la Escuela de Arquitectura de A Coru\u00f1a.<\/p>\n

Elena inici\u00f3 su carrera profesional colaborando con estudios de arquitectura, y luego como arquitecta en una empresa constructora de \u00e1mbito nacional.<\/p>\n

A Xulio le pierde la madera, probablemente porque creci\u00f3 viendo a su padre trabajar este material, carpintero-ebanista de oficio. Para ampliar su formaci\u00f3n en materiales y t\u00e9cnicas tradicionales curs\u00f3 el M\u00e1ster en renovaci\u00f3n urbana y rehabilitaci\u00f3n por la Universidad de Santiago de Compostela, conocimientos que aplic\u00f3 en los proyectos desarrollados en CosmoArquitectura entre 2006 y 2011.<\/p>\n

domohomo <\/strong><\/a>es la combinaci\u00f3n de Xulio y Elena, de sus experiencias vitales y profesionales, dando como resultado una manera de trabajar que ha sido reconocida con numerosos\u00a0premios<\/a>.<\/p>\n

M\u00e1s recientemente, han sido reconocidos por sus trabajos en el campo del dise\u00f1o de producto, tanto en colecciones de autoedici\u00f3n, como para particulares o administraci\u00f3n.<\/p>\n

Sin m\u00e1s pre\u00e1mbulos, os dejamos con la charla que hemos tenido, esperamos que disfrut\u00e9is tanto como nosotros.<\/p>\n

\"Silla
Silla Muros<\/span><\/figcaption><\/figure>\n

Aparte de la labor \u201cm\u00e1s tradicional\u201d del arquitecto, desde hace unos a\u00f1os dedic\u00e1is una parte de vuestro trabajo al dise\u00f1o de mobiliario \u00bfc\u00f3mo y cu\u00e1ndo surge el camino?<\/strong><\/p>\n

Surgi\u00f3 fruto de un proyecto<\/a> de rehabilitaci\u00f3n en la villa de Muros. Entramos a colaborar como arquitectos directores de obra, por petici\u00f3n de una buena amiga nuestra que, en aquel entonces, por circunstancias profesionales, no se\u00a0 pod\u00eda hacer cargo de la direcci\u00f3n. La obra result\u00f3 bastante complicada, ya que era un edificio en ruina y no se hab\u00eda podido hacer un levantamiento exhaustivo. As\u00ed que, a cada paso, se ten\u00eda que ir dando una respuesta espec\u00edfica a cada situaci\u00f3n que se encontraba.<\/p>\n

En ese sentido, la madera, que hab\u00eda sido elegida como material principal, permit\u00eda adaptarse perfectamente a cada contingencia. En nuestro af\u00e1n de seguir experimentando con dicho material, concretamente, con la madera de casta\u00f1o surgi\u00f3 la silla Muros<\/a>, pero tambi\u00e9n movidos por el deseo de legarle un peque\u00f1o testimonio a nuestra amiga, Alba, que nos hab\u00eda permitido ser part\u00edcipes de este proyecto.<\/p>\n

Algunas facetas de la profesi\u00f3n han sido denostadas \u00bfpor qu\u00e9 hab\u00e9is enfocado parte de la labor de vuestro estudio a esta rama?<\/strong><\/p>\n

Como coment\u00e1bamos, surgi\u00f3 casualmente. Sin embargo, nuestros dise\u00f1os empezaron a gustar y aparecieron encargos. Dado que el nivel de encargos profesionales, m\u00e1s t\u00edpicamente de arquitectos no abundan, no nos cost\u00f3 nada apostar por esta l\u00ednea.<\/p>\n

De todos los materiales disponibles en el mercado, os hab\u00e9is decantando por trabajar exclusivamente en madera \u00bfPor qu\u00e9?<\/strong><\/p>\n

En absoluto, no renunciamos, a priori, a trabajar con otros materiales. De hecho, trabajar con otros materiales lo vemos como una oportunidad para seguir experimentando, ya que cada material tiene sus particularidades, propiedades, formas, etc. y conocer esa esencia siempre es un est\u00edmulo para ir m\u00e1s all\u00e1.<\/p>\n

No obstante, la madera es un material que abunda en nuestra regi\u00f3n y sigue existiendo una amplia red de carpinteros-artesanos que hace m\u00e1s f\u00e1cil poder ejecutar nuestros dise\u00f1os. Contar con estos profesionales es, sin duda, un valor y ser\u00eda una l\u00e1stima no aprovecharlo.<\/p>\n

\u00bfCu\u00e1les son vuestras referencias?<\/strong><\/p>\n

Sin ir m\u00e1s lejos, podr\u00edamos mencionar la figura de Arturo \u00c1lvarez y de todo su equipo, nos parece un ejemplo.<\/p>\n

\"2W
2W chair<\/span><\/figcaption><\/figure>\n

\u00bfC\u00f3mo es proceso de dise\u00f1o, desarrollo y comercializaci\u00f3n de vuestros productos?<\/strong><\/p>\n

Tenemos dos l\u00edneas bien diferenciadas. Por un lado, seguimos con dise\u00f1os de autoedici\u00f3n, proyectos totalmente personales en los que ahondamos en temas que nos interesan y de forma muy libre, ver nuestra \u00faltima creaci\u00f3n 2W chair<\/a>.<\/p>\n

Por otro lado, encargos personales en los que debemos dar respuesta a lo demandado, ya sea por parte de particulares ver serie Brigantium (I<\/a> y II<\/a>) o por parte de la administraci\u00f3n, ver marquesinas<\/a> para la Xunta. Cualquiera de las dos l\u00edneas nos gusta y esperemos poder sumar pronto una tercera, dirigida a la industria.<\/p>\n

\u00bfA qu\u00e9 segmento de clientes os dirig\u00eds?<\/strong><\/p>\n

Respuesta en la anterior: particulares y administraci\u00f3n, esperemos que pronto industria.<\/p>\n

\u00bfCu\u00e1les son los encargos m\u00e1s demandados?<\/strong><\/p>\n

Por el momento, los encargos han sido muy variados y, precisamente, esa heterogeneidad nos estimula, ya que cada proyecto se presenta como una oportunidad nueva de experimentar. Nos gusta definir nuestros dise\u00f1os como lugares de experimentaci\u00f3n<\/em>. A diferencia de la arquitectura, los tiempos son mucho m\u00e1s cortos; uno dise\u00f1a y enseguida ve una materializaci\u00f3n.<\/p>\n

\u00bfC\u00f3mo utiliz\u00e1is las nuevas tecnolog\u00edas? \u00bfLa \u201cred\u201d ha facilitado vuestra labor?<\/strong><\/p>\n

Ha sido muy impactante ver como gente de Nueva York, Mil\u00e1n o Madrid se ha interesado por nuestros dise\u00f1os, y todo, gracias a internet. Sin duda, sin este medio nunca hubi\u00e9ramos llegado a tanta gente. No obstante, no deja de ser un arma de doble filo, ya que, si bien es cierto que nos proyecta a un p\u00fablico muy amplio, no es menos cierto que nos obliga a \u201ccompetir\u201d, en pie de igualdad, con un sinf\u00edn de otros dise\u00f1adores; aunque no deja de ser atractivo.<\/p>\n

\"Brigantium\"
Brigantium<\/span><\/figcaption><\/figure>\n

La arquitectura, tiene abiertos muchos frentes de batalla (LSP, Bolonia, paro, precariedad laboral, COAs, ETSAs, emigraci\u00f3n, comunicaci\u00f3n, etc), \u00bfno ser\u00e1n demasiados para la polarizaci\u00f3n existente dentro de la misma?<\/strong><\/p>\n

La arquitectura ha sufrido una \u00e9poca muy convulsa, a ella se le ha sumado un sinf\u00edn de circunstancias que han dificultado a\u00fan m\u00e1s su pr\u00e1ctica, como son los casos que citas. Es parad\u00f3jico ver c\u00f3mo, por un lado, se ha des-regularizado la actividad, pero, en cambio, se ha sobre-regularizado su marco legal a todos los niveles, convirtiendo la profesi\u00f3n m\u00e1s en una tarea jur\u00eddica que propiamente arquitect\u00f3nica. Un simple vistazo a ejemplos centroeuropeos, tal vez nos ayudara a recuperar el foco.<\/p>\n

\u00bfC\u00f3mo veis el futuro de la arquitectura? \u00bfY el de la profesi\u00f3n?<\/strong><\/p>\n

La arquitectura suele ser un ejercicio de imaginar, crear o articular algo donde no lo existe\u2026<\/p>\n

El arquitecto suele ser el profesional mejor dotado para dicha acci\u00f3n, por lo tanto, creemos que estamos, en un momento, donde m\u00e1s que nunca debemos sacar provecho de esa cualidad.<\/p>\n

\u00bfQu\u00e9 mejoras cre\u00e9is que son fundamentales y que deber\u00edan ser puestas en marcha de forma inmediata?<\/strong><\/p>\n

Sol\u00eda plantearnos, un profesor nuestro, la siguiente tesitura:<\/p>\n

\n

Ante una operaci\u00f3n de vida o muerta, en manos de qu\u00e9 m\u00e9dico nos gustar\u00eda estar, \u00bfdel mejor o del m\u00e1s barato?<\/p>\n<\/blockquote>\n

Nos parece muy perjudicial para el ejercicio de la profesi\u00f3n que ante cualquier concurso p\u00fablico prime, preferentemente, el factor econ\u00f3mico y nunca el de calidad. Sin llegar al dramatismo del caso del paciente ante una operaci\u00f3n de vida o muerte, deber\u00edamos reflexionar sobre el alcance de nuestro trabajo. La actuaci\u00f3n sobre un espacio\/edificio p\u00fablico tiene unas consecuencias importantes para la sociedad. Por un lado, porque va a ser seguramente un trabajo que perdure en el tiempo, es decir, independientemente de que una intervenci\u00f3n sea buena o mala va a afectar al conjunto de la sociedad durante un largo per\u00edodo.<\/p>\n

Por otro lado, nuestros proyectos ata\u00f1en a gran parte de la sociedad, eso nos lleva a dos reflexiones; uno, la sociedad deber\u00eda tener mayor voz a la hora de elegir un proyecto y, dos, la sociedad, en general, como usuaria de esa intervenci\u00f3n deber\u00eda poder expresar la pertinencia de un proyecto u otro, m\u00e1s all\u00e1 del aspecto econ\u00f3mico.<\/p>\n

Adem\u00e1s, existe una gran perversi\u00f3n entorno a este sistema, ya que las contrataciones se inician en unos t\u00e9rminos y luego se concluyen con otros bien distintos, v\u00e9anse todos los sobrecostes de obras p\u00fablicas\u2026 Por no hablar de la amplia terminolog\u00eda que surge ante los concursos: concursos restringidos, por invitaci\u00f3n, fraccionados (para no superar x cantidad de dinero) etc.<\/p>\n

\"Marquesina
Marquesina Xunta<\/span><\/figcaption><\/figure>\n

\u00bfQu\u00e9 opin\u00e1is de los arquitectos que \u201cemprenden\u201d<\/em> en nuevos campos?<\/strong><\/p>\n

La palabra \u201cemprender\u201d se ha pervertido hasta l\u00edmites inimaginables y, a veces, s\u00f3lo esconde mera subsistencia. Nos quedar\u00edamos mejor con la palabra \u201cilusi\u00f3n\u201d. Cualquier camino iniciado desde ese principio puede ser maravilloso.<\/p>\n

\u00bfEst\u00e1is contentos con la trayectoria realizada hasta ahora? \u00bfQu\u00e9 proyectos de futuro os esperan?<\/strong><\/p>\n

Todos nuestros trabajos nos han servido de aprendizaje, pero, al mismo tiempo, en todos ellos nos hubiera gustado ir m\u00e1s all\u00e1, profundizar m\u00e1s. Uno siempre convive con un cierto grado de insatisfacci\u00f3n. El futuro, \u00bfqui\u00e9n sabe?<\/p>\n

Para acabar, \u00bfqu\u00e9 les aconsejar\u00edais a los actuales estudiantes y futuros profesionales de arquitectura?<\/strong><\/p>\n

Que se apasionen mucho por lo que hacen y que, en la medida de lo posible, exploren \u201cterritorios\u201d desconocidos.<\/p>\n

\"Silla
Silla Muros<\/span><\/figcaption><\/figure>\n

domohomo arquitectos \u00b7 Dise\u00f1o de mobiliario <\/strong><\/a>
\nJulio\u00a02017<\/p>\n

Entrevista realizada por Ana Barreiro Blanco y Alberto Alonso Oro. Agradecer a Elena y Xulio su tiempo y predisposici\u00f3n con este peque\u00f1o espacio.<\/em><\/p>\n

[:gl]

\"Elena
Elena L\u00f3pez e\u00a0Xulio Turnes, domohomo arquitectos<\/span><\/figcaption><\/figure><\/p>\n

Ao longo da historia os grandes mestres da arquitectura profundaron no dese\u00f1o de mobiliario, mesmo alg\u00fans deles chegaron empresas destinadas ao dese\u00f1o e a fabricaci\u00f3n.<\/p>\n

Por iso hoxe despraz\u00e1monos a Santiago de Compostela para co\u00f1ecer o traballo que realizan en domohomo<\/strong><\/a>. Estudo de arquitectura e dese\u00f1o que nace en 2011 en Santiago de Compostela da man de Elena L\u00f3pez e Xulio Turnes, ambos os arquitectos licenciados en 2005 pola Escola de Arquitectura da Coru\u00f1a.<\/p>\n

Elena iniciou a s\u00faa carreira profesional colaborando con estudos de arquitectura, e logo como arquitecta nunha empresa construtora de \u00e1mbito nacional.<\/p>\n

A Xulio p\u00e9rdelle a madeira, probablemente porque creceu vendo ao seu pai traballar este material, carpinteiro-ebanista de oficio. Para ampliar a s\u00faa formaci\u00f3n en materiais e t\u00e9cnicas tradicionais cursou o M\u00e1ster en renovaci\u00f3n urbana e rehabilitaci\u00f3n pola Universidade de Santiago de Compostela, co\u00f1ecementos que aplicou nos proxectos desenvolvidos en CosmoArquitectura entre 2006 e 2011.<\/p>\n

domohomo<\/strong><\/a>. \u00e9 a combinaci\u00f3n de Xulio e Elena, das s\u00faas experiencias vitais e profesionais, dando como resultado unha maneira de traballar que foi reco\u00f1ecida con numerosos premios<\/a>.<\/p>\n

M\u00e1is recentemente, foron reco\u00f1ecidos polos seus traballos no campo do dese\u00f1o de produto, tanto en colecci\u00f3ns de autoedici\u00f3n, como para particulares ou administraci\u00f3n.<\/p>\n

Sen m\u00e1is pre\u00e1mbulos, deix\u00e1mosvos coa charla que tivemos, esperamos que gocedes tanto como n\u00f3s.<\/p>\n

\"Silla
Cadeira Muros<\/span><\/figcaption><\/figure>\n

\u00c1 parte do labor \u201cm\u00e1is tradicional\u201d do arquitecto, desde hai uns anos dedicades unha parte do voso traballo ao dese\u00f1o de mobiliario como e cando xorde o cami\u00f1o?<\/strong><\/p>\n

Xurdiu froito dun proxecto<\/a> de rehabilitaci\u00f3n na vila de Muros. Entramos a colaborar como arquitectos directores de obra, por petici\u00f3n dunha boa amiga nosa que, naquel ent\u00f3n, por circunstancias profesionais, non se pod\u00eda facer cargo da direcci\u00f3n. A obra resultou bastante complicada, xa que era un edificio en ru\u00edna e non se puido facer un levantamento exhaustivo. As\u00ed que, a cada paso, t\u00ed\u00f1ase que ir dando unha resposta espec\u00edfica a cada situaci\u00f3n que se atopaba.<\/p>\n

Nese sentido, a madeira, que fora elixida como material principal, permit\u00eda adaptarse perfectamente a cada continxencia. No noso af\u00e1n de seguir experimentando co devandito material, concretamente, coa madeira de casti\u00f1eiro xurdiu a cadeira Muros<\/a>, pero tam\u00e9n movidos polo desexo de legarlle un pequeno testemu\u00f1o \u00e1 nosa amiga, Alba, que nos permit\u00eda ser part\u00edcipes deste proxecto.<\/p>\n

Algunhas facetas da profesi\u00f3n foron deostadas por que enfocastes parte do labor do voso estudo a esta rama?<\/strong><\/p>\n

Como comentabamos, xurdiu casualmente. Con todo, os nosos dese\u00f1os empezaron a gustar e apareceron encargos. Dado que o nivel de encargos profesionais, m\u00e1is tipicamente de arquitectos non abundan, non nos custou nada apostar por esta li\u00f1a.<\/p>\n

De todos os materiais dispo\u00f1ibles no mercado, vos habedes decantando por traballar exclusivamente en madeira Por que?<\/strong><\/p>\n

En absoluto, non renunciamos, a priori, a traballar con outros materiais. De feito, traballar con outros materiais v\u00e9molo como unha oportunidade para seguir experimentando, xa que cada material ten as s\u00faas particularidades, propiedades, formas, etc. e co\u00f1ecer esa esencia sempre \u00e9 un est\u00edmulo para ir m\u00e1is al\u00f3.<\/p>\n

Con todo, a madeira \u00e9 un material que abunda na nosa rexi\u00f3n e segue existindo unha ampla rede de carpinteiros-artes\u00e1ns que fai m\u00e1is f\u00e1cil poder executar os nosos dese\u00f1os. Contar con estes profesionais \u00e9, sen d\u00fabida, un valor e ser\u00eda unha m\u00e1goa non aproveitalo.<\/p>\n

Cales son as vosas referencias?<\/strong><\/p>\n

Sen ir m\u00e1is lonxe, poderiamos mencionar a figura de Arturo \u00c1lvarez e de todo o seu equipo, par\u00e9cenos un exemplo.<\/p>\n

\"2W
2W chair<\/span><\/figcaption><\/figure>\n

Como \u00e9 proceso de dese\u00f1o, desenvolvemento e comercializaci\u00f3n dos vosos produtos?<\/strong><\/p>\n

Temos d\u00faas li\u00f1as ben diferenciadas. Por unha banda, seguimos con dese\u00f1os de autoedici\u00f3n, proxectos totalmente persoais nos que profundamos en temas que nos interesan e de forma moi libre, ver a nosa \u00faltima creaci\u00f3n 2W chair<\/a>.<\/p>\n

Doutra banda, encargos persoais nos que debemos dar resposta ao demandado, xa sexa por parte de particulares ver serie Brigantium (I<\/a>\u00a0e\u00a0II<\/a>) ou por parte da administraci\u00f3n, ver marquesi\u00f1as<\/a> para a Xunta. Calquera das d\u00faas li\u00f1as g\u00fastanos e esperemos poder sumar pronto unha terceira, dirixida \u00e1 industria.<\/p>\n

A que segmento de clientes dirix\u00eddesvos?<\/strong><\/p>\n

Resposta na anterior: particulares e administraci\u00f3n, esperemos que pronto industria.<\/p>\n

Cales son os encargos m\u00e1is demandados?<\/strong><\/p>\n

Polo momento, os encargos foron moi variados e, precisamente, esa heteroxeneidade estim\u00falanos, xa que cada proxecto pres\u00e9ntase como unha oportunidade nova de experimentar. G\u00fastanos definir os nosos dese\u00f1os como lugares de experimentaci\u00f3n<\/em>. A diferenza da arquitectura, os tempos son moito m\u00e1is curtos; un dese\u00f1a e enseguida ve unha materializaci\u00f3n.<\/p>\n

Como utilizades as novas tecnolox\u00edas? A \u201cred\u201d facilitou o voso labor?<\/strong><\/p>\n

Foi moi impactante ver como xente de Nova York, Mil\u00e1n ou Madrid interesouse polos nosos dese\u00f1os, e todo, grazas a internet. Sen d\u00fabida, sen este medio nunca cheg\u00e1semos a tanta xente. Con todo, non deixa de ser unha arma de dobre f\u00edo, xa que, a\u00ednda que \u00e9 certo que nos proxecta a un p\u00fablico moi amplo, non \u00e9 menos certo que nos obriga a \u201ccompetir\u201d, en p\u00e9 de igualdade, cunha infinidade doutros dese\u00f1adores; a\u00ednda que non deixa de ser atractivo.<\/p>\n

\"Brigantium\"
Brigantium<\/span><\/figcaption><\/figure>\n

A arquitectura, ten abertos moitas frontes de batalla (LSP, Bolonia, paro, precariedade laboral, COAs, ETSAs, emigraci\u00f3n, comunicaci\u00f3n, etc), non ser\u00e1n demasiados para a polarizaci\u00f3n existente dentro da mesma?<\/strong><\/p>\n

A arquitectura sufriu unha \u00e9poca moi convulsa, a ela sum\u00f3uselle unha infinidade de circunstancias que dificultaron a\u00ednda m\u00e1is a s\u00faa pr\u00e1ctica, como son os casos que citas. \u00c9 paradoxal ver como, por unha banda, se ha deas-regularizado a actividade, pero, en cambio, hase sobre-regularizado o seu marco legal a todos os niveis, convertendo a profesi\u00f3n m\u00e1is nunha tarefa xur\u00eddica que propiamente arquitect\u00f3nica. Unha simple ollada a exemplos centroeuropeos, talvez axud\u00e1senos a recuperar o foco.<\/p>\n

Como vedes o futuro da arquitectura? E o da profesi\u00f3n?<\/strong><\/p>\n

A arquitectura adoita ser un exercicio de imaxinar, crear ou articular algo onde non o existe…<\/p>\n

O arquitecto adoita ser o profesional mellor dotado para a devandita acci\u00f3n, por tanto, cremos que estamos, nun momento, onde m\u00e1is que nunca debemos sacar proveito desa calidade.<\/p>\n

Que melloras creedes que son fundamentais e que deber\u00edan ser postas en marcha de forma inmediata?<\/strong><\/p>\n

Adoitaba expornos, un profesor noso, a seguinte tesitura:<\/p>\n

\n

Ante unha operaci\u00f3n de vida ou morta, en mans de que m\u00e9dico gustar\u00edanos estar, do mellor ou do m\u00e1is barato?<\/p>\n<\/blockquote>\n

Par\u00e9cenos moi prexudicial para o exercicio da profesi\u00f3n que ante calquera concurso p\u00fablico prime, preferentemente, o factor econ\u00f3mico e nunca o de calidade. Sen chegar ao dramatismo do caso do paciente ante unha operaci\u00f3n de vida ou morte, deberiamos reflexionar sobre o alcance do noso traballo. A actuaci\u00f3n sobre un espazo\/edificio p\u00fablico ten unhas consecuencias importantes para a sociedade. Por unha banda, porque vai ser seguramente un traballo que perdure no tempo, \u00e9 dicir, independentemente de que unha intervenci\u00f3n sexa boa ou mala vai afectar ao conxunto da sociedade durante un longo per\u00edodo.<\/p>\n

Doutra banda, os nosos proxectos incumben a gran parte da sociedade, iso l\u00e9vanos a d\u00faas reflexi\u00f3ns; un, a sociedade deber\u00eda ter maior voz \u00e1 hora de elixir un proxecto e, dous, a sociedade, en xeral, como usuaria desa intervenci\u00f3n deber\u00eda poder expresar a pertinencia dun proxecto ou outro, m\u00e1is al\u00f3 do aspecto econ\u00f3mico.<\/p>\n

Ademais, existe unha gran perversi\u00f3n contorna a este sistema, xa que as contrataci\u00f3ns in\u00edcianse nuns termos e logo concl\u00faense con outros ben distintos, v\u00e9xanse todos os sobrecustos de obras p\u00fablicas? Por non falar da ampla terminolox\u00eda que xorde ante os concursos: concursos restrinxidos, por invitaci\u00f3n, fraccionados (para non superar x cantidade de di\u00f1eiro) etc.<\/p>\n

\"Marquesina
Marquesi\u00f1a Xunta<\/span><\/figcaption><\/figure>\n

Que opinades dos arquitectos que \u201cemprenden\u201d<\/em> en novos campos?<\/strong><\/p>\n

A palabra \u201cemprender\u201d hase pervertido ata l\u00edmites inimaxinables e, \u00e1s veces, s\u00f3 esconde mera subsistencia. Quedariamos mellor coa palabra ?ilusi\u00f3n?. Calquera cami\u00f1o iniciado desde ese principio pode ser marabilloso.<\/p>\n

Estades contentos coa traxectoria realizada ata agora? Que proxectos de futuro esp\u00e9ranvos?<\/strong><\/p>\n

Todos os nosos traballos serv\u00edronnos de aprendizaxe, pero, ao mesmo tempo, en todos eles gust\u00e1senos ir m\u00e1is al\u00f3, profundar m\u00e1is. Un sempre convive cun certo grao de insatisfacci\u00f3n. O futuro, quen sabe?<\/p>\n

Para acabar, que lles aconsellariades aos actuais estudantes e futuros profesionais de arquitectura?<\/strong><\/p>\n

Que se apaixonen moito polo que fan e que, na medida do posible, exploren \u201cterritorios\u201d desco\u00f1ecidos.<\/p>\n

\"Silla
Cadeira Muros<\/span><\/figcaption><\/figure>\n

domohomo arquitectos \u00b7 Dese\u00f1o de mobiliario <\/strong><\/a>
\nXullo\u00a02017<\/p>\n

Entrevista realizada por Ana Barreiro Branco e Alberto Alonso Ouro. Agradecer a Elena e Xulio o seu tempo e predisposici\u00f3n con este pequeno espazo.<\/em><\/p>\n

[:en]

\"Elena
Elena L\u00f3pez and\u00a0Xulio Turnes, domohomo arquitectos<\/span><\/figcaption><\/figure><\/p>\n

Along the history the big teachers of the architecture penetrated into the design of furniture, enclosed some of them there came companies destined for the design and the manufacture.<\/p>\n

Because of it today we move to Santiago de Compostela to know the work that they realize in domohomo<\/strong><\/a>. Study of architecture and design that it is born in 2011 in Santiago de Compostela of the hand of Elena Lopez and Xulio Turnes, both architects licensed in 2005 by the School of Architecture of A\u00a0Coru\u00f1a.<\/p>\n

Elena initiated his professional career collaborating with studies of architecture, and then like arquitecta in a construction company of national area.<\/p>\n

To Xulio it loses the wood, probably because it grew seeing his father this material working, carpenter – cabinet-maker of trade. To extend his formation in materials and traditional technologies it dealed the M\u00e1ster in urban renovation and rehabilitation for the University of Santiago de Compostela, knowledge that it applied in the projects developed in CosmoArquitectura between 2006 and 2011.<\/p>\n

domohomo<\/strong><\/a> is the combination of Xulio and Elena, of his vital and professional experiences, giving like proved a way of working that has been recognized by numerous prizes.<\/strong><\/a><\/p>\n

More recently, they have been recognized by his works in the field of the design of product, so much in collections of autoedition, since for individuals or administration.<\/p>\n

Ado preambles, we leave you with the chat that we have had, hope that you enjoy so much as us.<\/p>\n

\"Silla
Muros Chair<\/span><\/figcaption><\/figure>\n

Apart from the \u201cmore traditional\u201d labor of the architect, for a few years you dedicate a part of your work to the design of furniture how and when does way arise?<\/strong><\/p>\n

There arose fruit of a project<\/a> of rehabilitation in the villa of Walls. We begin to collaborate as architects the directors of work, for request of a good friend of ours that, in those days, for professional circumstances, it was not possible to take charge of the direction. The work turned out to be complicated enough, since it was a building in ruin and one could not have done an exhaustive raising. So, to every step, it had to go away giving a specific response to every situation that one was finding.<\/p>\n

In this sense, the wood, which had been chosen as principal material, was allowing to adapt perfectly to every contingency. In our zeal to continue experimenting with the above mentioned material, concretely, with the wood of chestnut-tree the Muros chair<\/a> aroses, but also moved by the desire to bequeath a small testimony to our friend, Alba, who had allowed us to be participants of this project.<\/p>\n

Some facets of the profession have been insults why have you focused part of the labor of your study on this branch?<\/strong><\/p>\n

As we were commenting, it arose by chance. Nevertheless, our designs started pleasing and orders appeared. Provided that the level of professional orders, more typically in architects they do not abound, it was not difficult anything to us to bet for this line.<\/p>\n

Of all the available materials on the market, you are praising for being employed exclusively at wood why?<\/strong><\/p>\n

By no means, we do not give up working, a priori, with other materials. In fact, to work with other materials we see it as an opportunity to continue experimenting, since every material has his particularities, properties, forms, etc. And to know this essence always is a stimulus to go beyond.<\/p>\n

Nevertheless, the wood is a material that abounds in our region and there continues existing a carpenter – craftsmen’s wide network that it makes easier to be able to execute our designs. To possess these professionals is, undoubtedly, a value and it would be a shame not to take advantage of it.<\/p>\n

Which are your references?<\/strong><\/p>\n

Without going beyond, we might mention the figure of Arturo \u00c1lvarez and of all his equipment, it looks like to us an example.<\/p>\n

\"2W
2W chair<\/span><\/figcaption><\/figure>\n

How is it process of design, development and commercialization of your products?<\/strong><\/p>\n

We have two differentiated well lines. On the one hand, we continue with designs of autoedition, totally personal projects in which we go deeply into topics in that we are interested and of very free form, to see our last creation 2W chair. <\/a><\/p>\n

On the other hand, personal orders in which we must give response to the demanded, already be on the part of individuals to see series Brigantium (I<\/a> and the II<\/a>nd) or on the part of the administration, to see marquees<\/a> for the Autonomous government of Galicia. Any of two lines we like and let’s expect to be able to add soon third one, directed the industry.<\/p>\n

To what clients’ segment do you go?<\/strong><\/p>\n

Response in the previous one: individuals and administration, let’s wait that prompt industry.<\/p>\n

Which are the orders more defendants?<\/strong><\/p>\n

For the present time, the orders have been very varied and, precisely, this heterogeneity stimulates us, since every project appears as a new opportunity to experiment. We like to define our designs as places of experimentation<\/em>. Unlike the architecture, the times are much more short; he designs one and immediately it sees a materialization.<\/p>\n

How do you use the new technologies? Has \u201cnetwork\u201d facilitated your labor?<\/strong><\/p>\n

It has been very striking to see as people of New York, Milan or Madrid has been interested for our designs, and everything, thanks to Internet. Undoubtedly, without this way we had never come to so many people. Nevertheless, it does not stop being an arma de doble filo, since, though it is true that it us projects to a very wide public, it is not less true than us binds to \u201ccompeting\u201d, in foot of equality, with an endless number of other designers; though it does not stop being an attraction.<\/p>\n

\"Brigantium\"
Brigantium<\/span><\/figcaption><\/figure>\n

The architecture, it has opened many fronts of battle (LSP, Bologna, unemployment, labor precariousness, Spades, ETSAs, emigration, communication, etc), will not they be too much for the existing polarization inside the same one?<\/strong><\/p>\n

The architecture has suffered a very convulsed epoch, to her there has added an endless number of circumstances that have impeded furthermore his practice, since they are the cases that you mention. It is paradoxical to see how, on the one hand, there is des – regularized the activity, but, on the other hand, there is on regularized his legal frame to all the levels, turning the profession more into a task juridical that properly architectural. A simple glimpse to Central European examples, maybe was helping us to recover the area.<\/p>\n

How do you see the future of the architecture? And that of the profession?<\/strong><\/p>\n

The architecture is in the habit of being an exercise of imagining, creating or articulating something where it it does not exist\u2026<\/p>\n

The architect is in the habit of being the professional best endowed for the above mentioned action, therefore, we think that we are, in a moment, where more that we must never extract profit of this quality.<\/p>\n

What improvements you believe that they are fundamental and that they should be started of immediate form?<\/strong><\/p>\n

It was in the habit of raising us, our teacher, the following attitude:<\/p>\n

\n

Before an operation of life or died, in hands of what doctor we would like to be, of the best or of the cheapest?<\/p>\n<\/blockquote>\n

It seems to us to be very harmful to the exercise of the profession that before any public contest never gives priority, preferably, to the economic factor and that of quality. Without coming to the dramatic quality of the case of the patient before an operation of life or death, we should think about the scope of our work. The action on a public space \/ building has a few important consequences for the company. On the one hand, because it is going to be surely a work that lasts in the time, that is to say, independently of that an intervention is good or bad it is going to concern the set of the company during a long period.<\/p>\n

On the other hand, our projects concern great part of the company, it takes us to two reflections; one, the company should have major voice at the moment of choosing a project and, two, the company, in general, since usuaria of this intervention it should be able to express the relevancy of a project or other one, beyond the economic aspect.<\/p>\n

In addition, a great perversion exists I half-close to this system, since the contractings begin in a few terms and then they conclude with different well others, there be seen all the extra charges of public works \u2026 For not speaking about the wide terminology that arises before the contests: restricted contests, for invitation, divided (not to overcome x quantity of money) etc.<\/p>\n

\"Marquesina
Xunta Marquee<\/span><\/figcaption><\/figure>\n

What do you think of the architects who \u201cundertake\u201d<\/em> in new fields?<\/strong><\/p>\n

The word to \u201cundertake\u201d has been perverted up to unimaginable limits and, sometimes, only he hides mere subsistence. We would remain better with the word \u201cillusion\u201d. Any way initiated from this beginning can be wonderful.<\/p>\n

Are you satisfied with the path realized till now? What projects of future do wait?<\/strong><\/p>\n

All our works have used us as learning, but, at the same time, in all of them we had liked to go beyond, to penetrate more. One always coexists with a certain degree of dissatisfaction. The future, who does know?<\/p>\n

To finish, what would you advise the current students and future professionals of architecture?<\/strong><\/p>\n

That apasionen much for what they do and that, as far as possible, explore unknown \u201cterritories\u201d.<\/p>\n

\"Silla
Muros Chair<\/span><\/figcaption><\/figure>\n

domohomo arquitectos \u00b7 Forniture design\u00a0<\/strong><\/a>
\nJuly 2017<\/p>\n

Interview realized by Ana Barreiro Blanco and Alberto Alonso Oro. To be grateful for Elena and Xulio his time and predisposition with this small space.<\/em><\/p>\n

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

[:es] A lo largo de la historia los grandes maestros de la arquitectura profundizaron en el dise\u00f1o de mobiliario, incluso algunos de ellos llegaron empresas destinadas al dise\u00f1o y la fabricaci\u00f3n. Por eso hoy nos desplazamos a Santiago de Compostela para conocer el trabajo que realizan en domohomo. Estudio de arquitectura y dise\u00f1o que nace […]<\/p>\n","protected":false},"author":85,"featured_media":64927,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[9430,5951],"tags":[12273,12275,812,2631,5865,145,12449,1769,12477,12470,4503,431,5354,10475,484,521,561,619,708,737,4798,1564,1103,12464,3686,1916,1209,1231,3311,4144],"class_list":["post-64921","post","type-post","status-publish","format-standard","has-post-thumbnail","category-baliza","category-slider-principal","tag-alberto-alonso-oro","tag-ana-barreiro-blanco","tag-arquitectura-espanola","tag-arquitectura-gallega","tag-arquitectura-industrial","tag-arte","tag-artesania","tag-baliza","tag-diseno","tag-diseno-de-mobiliario","tag-diseno-industrial","tag-domohomo-arquitectos","tag-elena-lopez-fernandez","tag-espana","tag-fabrica","tag-galicia","tag-industrializacion","tag-investigacion","tag-modelo-profesional","tag-objeto","tag-profesion","tag-rehabilitacion","tag-rehabilitar","tag-rehabitar","tag-santiago-de-compostela","tag-silla","tag-tecnica-tradicional","tag-xulio-turnes-vieito"],"yoast_head":"\n[:es]domohomo arquitectos \u00b7 Dise\u00f1o de mobiliario[:gl]domohomo arquitectos \u00b7 Dese\u00f1o de mobiliario[:en]domohomo arquitectos \u00b7 Forniture design[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]domohomo arquitectos \u00b7 Dise\u00f1o de mobiliario[:gl]domohomo arquitectos \u00b7 Dese\u00f1o de mobiliario[:en]domohomo arquitectos \u00b7 Forniture design[:]\" \/>\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\/domohomo-arquitectos-\u00b7-diseno-mobiliario\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]domohomo arquitectos \u00b7 Dise\u00f1o de mobiliario[:gl]domohomo arquitectos \u00b7 Dese\u00f1o de mobiliario[:en]domohomo arquitectos \u00b7 Forniture design[:] - veredes\" \/>\n<meta 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