{"id":67377,"date":"2018-06-25T00:03:36","date_gmt":"2018-06-24T22:03:36","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67377"},"modified":"2024-05-08T09:10:18","modified_gmt":"2024-05-08T07:10:18","slug":"nada-africa-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/nada-africa-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]At all up to Africa | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Nada
Can Lis, 1972, J\u00f8rn Utzon<\/span><\/figcaption><\/figure><\/p>\n

Cuentan que a J\u00f8rn Utzon<\/strong><\/a> le gustaba exclamar<\/p>\n

\n

\u201cNada hasta \u00c1frica\u201d,<\/p>\n<\/blockquote>\n

mientras observaba el mar desde lo alto de los acantilados donde se sit\u00faa su primera casa en Can Lis<\/a><\/strong>, Mallorca. Tal vez sea esta expresi\u00f3n la mejor forma de describir el paisaje en el que se sit\u00faa la casa, ya que aunque aquellos que la han visitado saben que se llega a la casa cruzando el peque\u00f1o barrio residencial de Porto Petro, el contexto de la casa es el acantilado y el mar, adem\u00e1s del tiempo.<\/p>\n

Un tiempo ancestral, primitivo, casi primigenio, un tiempo contradictoriamente atemporal. Utzon utiliz\u00f3 los materiales del lugar, bloques p\u00e9treos extra\u00eddos de las canteras cercanas, vigas y dinteles de hormig\u00f3n armado y baldosas de arcilla acompa\u00f1ando las losas de piedra del suelo. Al fin y al cabo utiliz\u00f3 materiales comprados en los almacenes de construcci\u00f3n locales, pero que en las manos del maestro se convirtieron en arquitectura.<\/p>\n

Su proyecto es en esa doble vertiente una s\u00edntesis del lugar, de un lugar amplio que engloba el paisaje, la artesan\u00eda, los materiales y la cultura del mediterr\u00e1neo. La casa parece la de un pastor de la Grecia cl\u00e1sica y al mismo tiempo es un templo cretense, una ruina descubierta en un yacimiento y una atalaya para ver el horizonte. Es todas esas cosas y ninguna de ellas.<\/p>\n

Pero s\u00ed es una m\u00e1quina para ver el Mediterr\u00e1neo, que juega con la luz del mar que se queda atrapada en las ranuras que la sierra abri\u00f3 en las piedras al ser cortadas y que Utzon no dej\u00f3 a los alba\u00f1iles lijar para mantener esa honestidad de la antig\u00fcedad.<\/p>\n

\"Auditorio
Auditorio en Llinars del Vall\u00e8s, Alvaro Siza<\/span><\/figcaption><\/figure>\n

Es una decisi\u00f3n que puede acercarse a la tomada por \u00c1lvaro Siza<\/a> en el auditorio<\/a> de Llin\u00e1s<\/a> del Vall\u00e9s, donde sus los ladrillos han sido colocados al rev\u00e9s mostrando su reverso, con el c\u00f3digo de fabricaci\u00f3n y las marcas de la extrusionadora.<\/p>\n

La textura gana a la abstracci\u00f3n industrial, remarcando lo vivo del material y su proceso de fabricaci\u00f3n, a pesar de las m\u00e1quinas, cercano al adobe primitivo. Y es por esa naturalidad por lo que la casa de Utzon es a un mismo tiempo antigua y moderna, atemporal, como lo es el mediterr\u00e1neo y la propia \u00c1frica.<\/p>\n

\"Nada
Can Lis, 1972, J\u00f8rn Utzon<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n.\u00a0Febrero 2016<\/p>\n

[:gl]

\"Can
Can Lis, 1972, J\u00f8rn Utzon<\/span><\/figcaption><\/figure><\/p>\n

Contan que a J\u00f8rn Utzon<\/strong><\/a> gust\u00e1balle exclamar<\/p>\n

\n

\u201cNada\u00a0ata \u00c1frica\u201d,<\/p>\n<\/blockquote>\n

mentres observaba o mar desde o alto dos cant\u00eds onde se sit\u00faa a s\u00faa primeira casa en Can Lis<\/a><\/strong>, Mallorca. Talvez sexa esta expresi\u00f3n a mellor forma de describir a paisaxe no que se sit\u00faa a casa, xa que a\u00ednda que aqueles que a visitaron saben que se chega \u00e1 casa cruzando o pequeno barrio residencial de Porto Petro, o contexto da casa \u00e9 o cantil e o mar, ademais do tempo.<\/p>\n

Un tempo ancestral, primitivo, case primigenio, un tempo contraditoriamente atemporal. Utzon utilizou os materiais do lugar, bloques p\u00e9treos extra\u00eddos das canteiras pr\u00f3ximas, vigas e dinteles de formig\u00f3n armado e baldosas de arxila acompa\u00f1ando as laxas de pedra do chan. \u00c1 fin e ao cabo utilizou materiais comprados nos almac\u00e9ns de construci\u00f3n locais, pero que nas mans do mestre convert\u00e9ronse en arquitectura.<\/p>\n

O seu proxecto \u00e9 nesa dobre vertente unha s\u00edntese do lugar, dun lugar amplo que engloba a paisaxe, a artesan\u00eda, os materiais e a cultura do mediterr\u00e1neo. A casa parece a dun pastor da Grecia cl\u00e1sica e ao mesmo tempo \u00e9 un templo cretense, unha ru\u00edna descuberta nun xacemento e unha atalaia para ver o horizonte. \u00c9 todas esas cousas e ningunha delas.<\/p>\n

Pero si \u00e9 unha m\u00e1quina para ver o Mediterr\u00e1neo, que xoga coa luz do mar que queda atrapada nas ranuras que a serra abriu nas pedras ao ser cortadas e que Utzon non deixou aos albaneis lijar para manter esa honestidade da antig\u00fcidade.<\/p>\n

\"Auditorio
Auditorio en Llinars del Vall\u00e8s, Alvaro Siza<\/span><\/figcaption><\/figure>\n

\u00c9 unha decisi\u00f3n que pode achegarse \u00e1 tomada por \u00c1lvaro Siza<\/a> no auditorio de Llin\u00e1s<\/a> do Vall\u00e9s, onde os seus os ladrillos foron colocados ao rev\u00e9s mostrando o seu reverso, co c\u00f3digo de fabricaci\u00f3n e as marcas da extrusionadora.<\/p>\n

A textura ga\u00f1a \u00e1 abstracci\u00f3n industrial, remarcando o vivo do material e o seu proceso de fabricaci\u00f3n, a pesar das m\u00e1quinas, pr\u00f3ximo ao adobe primitivo. E \u00e9 por esa naturalidade polo que a casa de Utzon \u00e9 a un mesmo tempo antiga e moderna, atemporal, como o \u00e9 o mediterr\u00e1neo e a propia \u00c1frica.<\/p>\n

\"Can
Can Lis, 1972, J\u00f8rn Utzon<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n.\u00a0Febreiro 2016<\/p>\n

[:en]

\"Can
Can Lis, 1972, J\u00f8rn Utzon<\/span><\/figcaption><\/figure><\/p>\n

They tell that it liked to exclaim J\u00f8rn Utzon<\/strong><\/a><\/p>\n

\n

\u201cAt all up to Africa\u201d,<\/p>\n<\/blockquote>\n

while it was observing the sea from the top of the cliffs where his first house places in Can Lis<\/a><\/strong>, Majorca. Maybe it is this expression the best way of describing the landscape in the one that places the house, since though those who have visited her know that it comes near to the house crossing the small residential neighborhood of I Carry Petro, the context of the house is the cliff and the sea, besides the time.<\/p>\n

An ancient, primitive, almost original time, a time contradictory atemporal. Utzon used the local materials, stony blocks extracted from the nearby quarries, girders and lintels of reinforced concrete and tiles of clay accompanying the slabs of stone of the soil. In the end it used materials bought in the local stores of construction, but that in the hands of the teacher turned into architecture.<\/p>\n

His project is in this double slope a local synthesis, of a wide place that includes the landscape, the crafts, the materials and the culture of the Mediterranean one. The house looks like it of a shepherd of the classic Greece and at the same time it is a Cretan temple, a ruin discovered in a deposit and a watchtower to see the horizon. It is all these things and none of them.<\/p>\n

But yes it is a machine to see the Mediterranean, which plays with the light of the sea that remains caught in the grooves that the saw opened in the stones on having been cut and that Utzon did not leave the bricklayers to sand to support this honesty of the antiquity.<\/p>\n

\"Auditorio
Public Auditorium\u00a0in Llinars del Vall\u00e8s, Alvaro Siza<\/span><\/figcaption><\/figure>\n

It is a decision that can approach the seizure for \u00c1lvaro Siza<\/a> in Llin\u00e1s del Vall\u00e9s’s audience, where his bricks have been placed upside-down showing his back, with the code of manufacture and the brands of the extrusionadora.<\/p>\n

The texture wins to the industrial abstraction, noticing the alive of the material and his manufacturing process, in spite of the machines, near to the primitive adobe. And it is for this naturalness for what Utzon’s house is to the same time ancient and modern, atemporal, since it it is the Mediterranean one and the own Africa<\/p>\n

\"Can
Can Lis, 1972, J\u00f8rn Utzon<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Architect
\nSan Sebasti\u00e1n.\u00a0February 2016<\/p>\n

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

[:es] Cuentan que a J\u00f8rn Utzon le gustaba exclamar \u201cNada hasta \u00c1frica\u201d, mientras observaba el mar desde lo alto de los acantilados donde se sit\u00faa su primera casa en Can Lis, Mallorca. Tal vez sea esta expresi\u00f3n la mejor forma de describir el paisaje en el que se sit\u00faa la casa, ya que aunque aquellos […]<\/p>\n","protected":false},"author":31,"featured_media":67379,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[103,8679,143,7203,147,5819,3262,668,4285,5511,2774,815,1961,977,1021,1278,2048,1286],"class_list":["post-67377","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alvaro-siza-vieira","tag-arquitectura-clasica","tag-arquitectura-contemporanea","tag-arquitectura-danesa","tag-arquitectura-moderna","tag-arquitectura-portuguesa","tag-grecia","tag-historia","tag-inigo-garcia-odiaga","tag-josep-llinas","tag-jorn-utzon","tag-maestro","tag-oficio","tag-paisaje","tag-pensamiento","tag-teoria","tag-teoria-e-historia","tag-territorio"],"yoast_head":"\n[:es]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]At all up to Africa | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]At all up to Africa | \u00cd\u00f1igo Garc\u00eda Odiaga[:]\" \/>\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\/nada-africa-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Nada hasta \u00c1frica | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]At all up to Africa | \u00cd\u00f1igo Garc\u00eda 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