{"id":65563,"date":"2017-11-13T00:03:18","date_gmt":"2017-11-12T23:03:18","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=65563"},"modified":"2023-01-13T16:25:35","modified_gmt":"2023-01-13T15:25:35","slug":"mundo-alternativo-lebbeus-woods-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/mundo-alternativo-lebbeus-woods-marcelo-gardinetti\/","title":{"rendered":"[:es]El mundo alternativo de Lebbeus Woods | Marcelo Gardinetti[:gl]O mundo alternativo de Lebbeus Woods | Marcelo Gardinetti[:en]Lebbeus Woods’s alternative world | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"Berlin
Berlin Free Zone, 1988 \u00a9Lebbeus Woods<\/span><\/figcaption><\/figure><\/p>\n

Durante su vida profesional, Lebbeus Wood<\/a>s bosquej\u00f3 pensamientos. Las im\u00e1genes que produjo incorporan atisbos de un futuro improbable. Se desplaza sobre ideas sugerentes que no est\u00e1n sometidas a las reglas de la sociedad. Por el contrario, las cuestiona.<\/p>\n

Sus representaciones, habitantes de un territorio inh\u00f3spito, personifican su singular ontolog\u00eda. Estructuras flotantes y construcciones m\u00f3viles que componen un relato cargado de sugerencias que reinterpretan el caos urbano.<\/p>\n

\"DMZ
DMZ desmitarizad-zone 1988 \u00a9Lebbeus-Woods<\/span><\/figcaption><\/figure>\n

Su compromiso filos\u00f3fico prioriza la gr\u00e1fica por encima de la construcci\u00f3n para evitar ser v\u00edctima de las proposiciones de sus clientes. Para Woods, el espacio de la arquitectura futura es la indagaci\u00f3n permanente. Pero por sobre todo, representa una posici\u00f3n declamatoria sobre la barbarie de la sociedad.<\/p>\n

En tiempos de Alemania dividida por el muro, visiona una ciudad subterr\u00e1nea debajo de Berl\u00edn. Proyecta colocar n\u00facleos de circulaci\u00f3n vertical en diferentes puntos de la ciudad para que sus habitantes, orientales y occidentales, desciendan a un espacio p\u00fablico com\u00fan ajeno a las condicionantes pol\u00edticas existentes en la superficie.<\/p>\n

\"Sarajevo
Sarajevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

Su plan para la reconstrucci\u00f3n de Sarajevo prev\u00e9 construir sobre las ruinas, porque considera que ofrecen un sustrato de informaci\u00f3n que debe permanecer latente. \u00a0Plantea nuevos flujos circulatorios sobre el paisaje urbano derruido por las metrallas como una manera de evolucionar la ciudad.<\/p>\n

Dise\u00f1a estructuras m\u00f3viles para instalar en lugares s\u00edsmicos. Explora la ca\u00f3tica realidad urbana con im\u00e1genes incisivas. Intuye la reconstrucci\u00f3n de territorios devastados por acciones b\u00e9licas multiplicando espacios mediante la superposici\u00f3n de capas en diferentes niveles. Condena la violencia dejando visibles sus secuelas. Responde al caos con un nuevo orden ajustado a su imaginaci\u00f3n. Impone su po\u00e9tica de manera sugestiva.<\/p>\n

\"Sarajevo
Sarajevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

La arquitectura de Lebbeus Woods es una investigaci\u00f3n fascinante que edifica escenas fant\u00e1sticas de un mundo alternativo. El alegato que se aferra en la ligereza estructural y la din\u00e1mica circulatoria para desplegar una figuraci\u00f3n propia.<\/p>\n

Su inventiva no est\u00e1 sugestionada por la fuerza de gravedad, y esa liberaci\u00f3n intelectual le permite invadir el vac\u00edo con soltura e impregnarlo de fantas\u00eda.<\/p>\n

\"Sarajevo
Sarajevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Argentina. Noviembre 2017<\/p>\n

[:gl]

\"Berlin
Berlin Free Zone, 1988 \u00a9Lebbeus Woods<\/span><\/figcaption><\/figure><\/p>\n

Durante a s\u00faa vida profesional, Lebbeus Wood<\/a>s bosquej\u00f3 pensamentos. As imaxes que produciu incorporan indicios dun futuro improbable. Despr\u00e1zase sobre ideas suxestivas que non est\u00e1n sometidas \u00e1s regras da sociedade. Pola contra, cu\u00e9stionaas.<\/p>\n

As s\u00faas representaci\u00f3ns, habitantes dun territorio inh\u00f3spito, personifican a s\u00faa singular ontolox\u00eda. Estruturas flotantes e construci\u00f3ns m\u00f3biles que compo\u00f1en un relato cargado de suxesti\u00f3ns que reinterpretan o caos urbano.<\/p>\n

\"DMZ
DMZ desmitarizad-zone 1988 \u00a9Lebbeus-Woods<\/span><\/figcaption><\/figure>\n

O seu compromiso filos\u00f3fico prioriza a gr\u00e1fica por encima da construci\u00f3n para evitar ser v\u00edtima das proposici\u00f3ns dos seus clientes. Para Woods, o espazo da arquitectura futura \u00e9 a indagaci\u00f3n permanente. Pero por sobre todo, representa unha posici\u00f3n declamatoria sobre a barbarie da sociedade.<\/p>\n

En tempos de Alema\u00f1a dividida polo muro, visiona unha cidade subterr\u00e1nea debaixo de Berl\u00edn. Proxecta colocar n\u00facleos de circulaci\u00f3n vertical en diferentes puntos da cidade para que os seus habitantes, orientais e occidentais, descendan a un espazo p\u00fablico com\u00fan alleo \u00e1s condicionantes pol\u00edticas existentes na superficie.<\/p>\n

\"Sarajevo
Saraxevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

O seu plan para a reconstruci\u00f3n de Saraievo prev\u00e9 constru\u00edr sobre as ru\u00ednas, porque considera que ofrecen un substrato de informaci\u00f3n que debe permanecer latente. \u00a0Exp\u00f3n novos fluxos circulatorios sobre a paisaxe urbana derruido polas metrallas como unha maneira de evolucionar a cidade.<\/p>\n

Dese\u00f1a estruturas m\u00f3biles para instalar en lugares s\u00edsmicos. Explora a ca\u00f3tica realidade urbana con imaxes incisivas. Int\u00fae a reconstruci\u00f3n de territorios devastados por acci\u00f3ns b\u00e9licas multiplicando espazos mediante a superposici\u00f3n de capas en diferentes niveis. Condena a violencia deixando visibles as s\u00faas secuelas. Responde ao caos cunha nova orde axustada \u00e1 s\u00faa imaxinaci\u00f3n. Imp\u00f3n a s\u00faa po\u00e9tica de maneira suxestiva.<\/p>\n

\"Sarajevo
Saraxevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

A arquitectura de Lebbeus Woods \u00e9 unha investigaci\u00f3n fascinante que edifica escenas fant\u00e1sticas dun mundo alternativo. A alegaci\u00f3n que se aferra na lixeireza estrutural e a din\u00e1mica circulatoria para despregar unha figuraci\u00f3n propia.<\/p>\n

A s\u00faa inventiva non est\u00e1 sugestionada pola forza de gravidade, e esa liberaci\u00f3n intelectual perm\u00edtelle invadir o baleiro con soltura e impregnalo de fantas\u00eda.<\/p>\n

\"Sarajevo
Saraxevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata, Arxentina. Novembro 2017<\/p>\n

[:en]

\"Berlin
Berlin Free Zone, 1988 \u00a9Lebbeus Woods<\/span><\/figcaption><\/figure><\/p>\n

During his professional life, Lebbeus Wood<\/a>s sketched thoughts. The images that it produced incorporate observations of an improbable future. It moves on suggestive ideas that are not submitted to the rules of the company. On the contrary, it questions them.<\/p>\n

His representations, inhabitants of an inhospitable territory, personify his singular ontology. Floating structures and mobile constructions that compose a statement loaded with suggestions that reinterpret the urban chaos.<\/p>\n

\"DMZ
DMZ desmitarizad-zone 1988 \u00a9Lebbeus-Woods<\/span><\/figcaption><\/figure>\n

His philosophical commitment prioritizes the graph over the construction to avoid to be a victim of the propositions of his clients. For Woods, the space of the future architecture is the permanent investigation. But for especially, it represents a declamatory position on the barbarism of the company.<\/p>\n

In times of Germany divided by the wall, it views an underground city under Berlin. It plans to place cores of vertical traffic in different points of the city in order that his inhabitants, oriental and western, descend to a public common space foreign to the determining existing policies in the surface.<\/p>\n

\"Sarajevo
Sarajevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

His plan for the reconstruction of Sarajevo foresees to construct on the ruins, because he thinks that they offer a substratum of information that must remain latent. It raises new circulatory flows on the urban landscape demolished by the grapeshots as a way of evolving the city.<\/p>\n

He designs mobile structures to install in seismic places. He explores the chaotic urban reality with incisive images. He feels the reconstruction of territories devastated by warlike actions multiplying spaces by means of the overlapping cap in different levels. He condemns the violence making his sequels visible. It answers to the chaos with a new exact order to his imagination. It imposes his poetics of a suggestive way.<\/p>\n

\"Sarajevo
Sarajevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

Lebbeus Woods’s architecture is a fascinating investigation that builds fantastic scenes of an alternative world. The allegation that sticks in the structural lightness and the circulatory dynamics to open an own imagination.<\/p>\n

His inventiveness is not influenced by the force of gravity, and this intellectual liberation allows him to invade the emptiness with fluency and to impregnate it with fantasy.<\/p>\n

\"Sarajevo
Sarajevo from War and Architecture, 1993<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Architect
\nLa Plata, Argentina. November 2017<\/p>\n

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

[:es] Durante su vida profesional, Lebbeus Woods bosquej\u00f3 pensamientos. Las im\u00e1genes que produjo incorporan atisbos de un futuro improbable. Se desplaza sobre ideas sugerentes que no est\u00e1n sometidas a las reglas de la sociedad. Por el contrario, las cuestiona. Sus representaciones, habitantes de un territorio inh\u00f3spito, personifican su singular ontolog\u00eda. Estructuras flotantes y construcciones m\u00f3viles […]<\/p>\n","protected":false},"author":4,"featured_media":65568,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6575,6573,6282,6572,6369,3843,318,9520,3344,4935,12868,12467,580,12869,631,668,698,12871,5726,6847,12726,11426,4985,4522,898,5158,1021,3452,1651,4346,11052,1278,2048],"class_list":["post-65563","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-albert-einstein","tag-anos-40","tag-anos-60","tag-anos-70","tag-arquitectura-parametrica","tag-ciencia","tag-ciudad","tag-ciudad-alegorica","tag-ciudad-ideal","tag-complejidad","tag-elba-del-carmen-riera","tag-ensayo","tag-filosofia","tag-francois-ascher","tag-geometria","tag-historia","tag-ilustracion","tag-ilya-prigogine","tag-jane-jacobs","tag-jose-ballesteros","tag-lebbeus-woods","tag-manuel-gausa","tag-marcelo-gardinetti","tag-miquel-lacasta","tag-movimiento-moderno","tag-parametricismo","tag-pensamiento","tag-personaje","tag-peter-eisenman","tag-robert-venturi","tag-stan-allen","tag-teoria","tag-teoria-e-historia"],"yoast_head":"\n[:es]El 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