{"id":67383,"date":"2018-10-15T00:01:25","date_gmt":"2018-10-14T22:01:25","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67383"},"modified":"2023-02-17T14:04:33","modified_gmt":"2023-02-17T13:04:33","slug":"tiempo-constructor-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tiempo-constructor-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Tiempo Constructor | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Tempo Constructor | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Construction time | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Capilla
Capilla de San Benedicto en Sumvitg, 1988, Peter Zumthor<\/span><\/figcaption><\/figure><\/p>\n

En 1998 Peter Zumthor<\/strong><\/a> concluy\u00f3 la construcci\u00f3n de la peque\u00f1a capilla de Sogn Benedetg<\/a>. El Edificio ven\u00eda a sustituir la iglesia barroca, construida en el pueblo suizo de Sumvitg que hab\u00eda sido destruida por una avalancha de nieve. La iglesia original sab\u00eda del riesgo al que se expon\u00eda por lo que uno de sus contrafuertes se hab\u00eda especializado en forma de proa para contrarrestar la fuerza de la ca\u00edda de la nieve. Un aparcamiento de nueva construcci\u00f3n sirvi\u00f3 de tobog\u00e1n artificial a la nieve acumulada y todo fue in\u00fatil.<\/p>\n

La nueva capilla adopta una forma que recuerda el v\u00e9rtice apuntado de la original. Zumthor construye la forma a partir de una lemniskata<\/em> y se vale por tanto de la funci\u00f3n matem\u00e1tica para resolver la geometr\u00eda de la planta y la contundente volumetr\u00eda. El volumen se presenta en la ladera con un revestimiento continuo en el que la puerta aparece como un elemento a\u00f1adido, tanto al exterior, como desde el interior donde dos pilares cortan el umbral de acceso anteponiendo la est\u00e1tica estructural al detalle particular del acceso.<\/p>\n

Pero adem\u00e1s Peter Zumthor<\/a> cuenta con un poderoso aliado para construir<\/a> el edificio, el tiempo<\/a>. El revestimiento de peque\u00f1as tiras de alerce no tiene ning\u00fan tratamiento, por lo que est\u00e1 expuesto con crudeza al clima de las monta\u00f1as suizas. La oxidaci\u00f3n natural de la madera y el paso del tiempo<\/a> han ido ti\u00f1endo de marrones oxidados y de colores plateados toda la superficie pero de manera irregular.<\/p>\n

\"Detalle
Detalle Capilla de San Benedicto en Sumvitg, 1988, Peter Zumthor<\/span><\/figcaption><\/figure>\n

La oxidaci\u00f3n depende de los rayos ultravioletas, de los vientos dominantes y de la zona m\u00e1s expuesta a la lluvia por lo que el tiempo, lento pero imparable constructor, ha ido esculpiendo una variedad de tonos que enriquecen la superficie del edificio, en funci\u00f3n de la orientaci\u00f3n. Si el norte est\u00e1 m\u00e1s expuesto al viento y la lluvia, el sur lo est\u00e1 a la erosi\u00f3n que provoca sobre la madera el sol.<\/p>\n

As\u00ed el envejecimiento ha ido creando una p\u00e1tina en la envolvente que realza la forma de la capilla, su lado curvo queda matizado por la gradaci\u00f3n de tono que adquieren all\u00ed las tejuelas de alerce matizando cada generatriz de la curva.<\/p>\n

En el lado opuesto, sobre la arista se encuentran de forma radical las dos orientaciones opuestas dejando all\u00ed en el contraste entre las piezas m\u00e1s y menos deterioradas el tiempo transcurrido y poniendo de manifiesto que el tiempo es quiz\u00e1s el mejor de los constructores.<\/p>\n

\"Detalle
Detalle Capilla de San Benedicto en Sumvitg, 1988, Peter Zumthor | Fotograf\u00eda: Rory Hyde <\/span><\/figcaption><\/figure>\n

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

[:gl]

\"Capilla
Capela de San Benedicto en Sumvitg, 1988, Peter Zumthor<\/span><\/figcaption><\/figure><\/p>\n

En 1998 Peter Zumthor<\/strong><\/a> conclu\u00edu a construci\u00f3n da pequena capela de Sogn Benedetg<\/a>. O Edificio vi\u00f1a substitu\u00edr a igrexa barroca, constru\u00edda no pobo su\u00edzo de Sumvitg que fora destru\u00edda por unha avalancha de neve. A igrexa orixinal sab\u00eda do risco ao que se expo\u00f1\u00eda polo que un dos seus contrafuertes especializouse en forma de proa para contrarrestar a forza da ca\u00edda da neve. Un aparcadoiro de nova construci\u00f3n serviu de tobog\u00e1n artificial \u00e1 neve acumulada e todo foi in\u00fatil.<\/p>\n

A nova capela adopta unha forma que lembra o v\u00e9rtice apuntado da orixinal. Zumthor constr\u00fae a forma a partir dunha lemniskata<\/em> e v\u00e1lese por tanto da funci\u00f3n matem\u00e1tica para resolver a xeometr\u00eda da planta e a contundente volumetr\u00eda. O volume pres\u00e9ntase na ladeira cun revestimento continuo no que a porta aparece como un elemento engadido, tanto ao exterior, como desde o interior onde dous alicerces cortan o limiar de acceso antepo\u00f1endo a est\u00e1tica estrutural ao detalle particular do acceso.<\/p>\n

Pero ademais Peter Zumthor<\/a> conta cun poderoso aliado para constru\u00edr<\/a> o edificio, o tempo<\/a>. O revestimento de pequenas tiras de alerce non ten ning\u00fan tratamento, polo que est\u00e1 exposto con crueza ao clima das monta\u00f1as su\u00edzas. A oxidaci\u00f3n natural da madeira e o paso do tempo<\/a> foron ti\u00f1endo de marr\u00f3ns oxidados e de cores prateadas toda a superficie pero de maneira irregular.<\/p>\n

\"Detalle
Detalle Capela de San Benedicto en Sumvitg, 1988, Peter Zumthor<\/span><\/figcaption><\/figure>\n

A oxidaci\u00f3n depende dos raios ultravioletas, dos ventos dominantes e da zona m\u00e1is exposta \u00e1 choiva polo que o tempo, lento pero imparable construtor, foi esculpiendo unha variedade de tons que enriquecen a superficie do edificio, en funci\u00f3n da orientaci\u00f3n. Se o norte est\u00e1 m\u00e1is exposto ao vento e a choiva, o sur estao \u00e1 erosi\u00f3n que provoca sobre a madeira o sol.<\/p>\n

As\u00ed o envellecemento foi creando unha p\u00e1tina na envolvente que realza a forma da capela, o seu lado curvo queda matizado pola gradaci\u00f3n de ton que adquiren al\u00ed as tejuelas de alerce matizando cada generatriz da curva.<\/p>\n

No lado oposto, sobre a aresta at\u00f3panse de forma radical as d\u00faas orientaci\u00f3ns opostas deixando al\u00ed no contraste entre as pezas m\u00e1is e menos deterioradas o tempo transcorrido e po\u00f1endo de manifesto que o tempo \u00e9 quizais o mellor dos construtores.<\/p>\n

\"Detalle
Detalle Capela de San Benedicto en Sumvitg, 1988, Peter Zumthor | Fotograf\u00eda: Rory Hyde <\/span><\/figcaption><\/figure>\n

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

[:en]

\"Capilla
San Benedicto’s chapel in Sumvitg<\/span><\/figcaption><\/figure><\/p>\n

In 1998 Peter Zumthor<\/strong><\/a> concluded the construction of Sogn Benedetg<\/a>‘s small chapel. The Building was coming to replace the baroque church constructed in the Swiss people of Sumvitg that had been destroyed by an avalanche of snow. The original church knew of the risk to which it was exposed for what one of his buttresses had specialized himself in the shape of prow to offset the force of the fall of the snow. A parking of new construction used as artificial slide to the accumulated snow and everything was useless.<\/p>\n

The new chapel adopts a form that remembers the pointed vertex of the original one. Zumthor constructs the form from a lemniskata<\/em> and uses therefore of the mathematical function to solve the geometry of the plant and the forceful volumetry. The volume appears in the hillside with a constant coating in which the door appears as an added element, so much on the outside, like from the interior where two props cut the threshold of access preferring the structural statics to the particular detail of the access.<\/p>\n

But in addition Peter Zumthor<\/a> possesses a powerful ally to construct<\/a> the building, the time<\/a>. The coating of small strips of larch does not have any treatment, for what is exposed by crudeness to the climate of the Swiss mountains. The natural oxidation of the wood and the passage of time<\/a>\u00a0they have gone ti\u00f1endo of rusty quoits and of silver colors the whole surface but in an irregular way.<\/p>\n

\"Detalle
Detail San Benedicto’s Chapel in Sumvitg, 1988, Peter Zumthor<\/span><\/figcaption><\/figure>\n

The oxidation depends on the ultraviolet beams, on the dominant winds and on the zone most exposed to the rain for what the time, slow but unstoppable construction, has gone esculpiendo a variety of tones that enrich the surface of the building, depending on the orientation. If the north is more exposed to the wind and the rain, the south it is to the erosion that provokes on the wood the Sun.<\/p>\n

This way the aging has been creating a patina in the surrounding one that heightens the form of the chapel, his curved side remains tinted by the gradation of tone that the tejuelas of larch acquire there tinting every generatrix of the curve.<\/p>\n

In the opposite side, on the edge they find of radical form both opposite orientations stopping there in the contrast between the pieces more and less spoilt the passed time and revealing that the time is probably the best of the builders.<\/p>\n

\"Detalle
Detail San Benedicto’s Chapel in Sumvitg, 1988, Peter Zumthor | Photography: Rory Hyde <\/span><\/figcaption><\/figure>\n

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

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

[:es] En 1998 Peter Zumthor concluy\u00f3 la construcci\u00f3n de la peque\u00f1a capilla de Sogn Benedetg. El Edificio ven\u00eda a sustituir la iglesia barroca, construida en el pueblo suizo de Sumvitg que hab\u00eda sido destruida por una avalancha de nieve. La iglesia original sab\u00eda del riesgo al que se expon\u00eda por lo que uno de sus […]<\/p>\n","protected":false},"author":31,"featured_media":67384,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[102,12448,143,2539,1512,812,7137,6949,150,12449,9922,357,1735,12456,2068,1787,1893,668,3002,691,4285,815,4985,7058,846,847,3255,865,977,9160,1021,1726,12466,1096,1120,1865,8661,5945,1258,3311,1278,1286,1288,1298,1335,8175],"class_list":["post-67383","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alvar-aalto","tag-arquitectura","tag-arquitectura-contemporanea","tag-arquitectura-del-paisaje","tag-arquitectura-en-la-memoria","tag-arquitectura-en-madera","tag-arquitectura-popular","tag-arquitectura-suiza","tag-arquitectura-tradicional","tag-arte","tag-brigitte-labs-ehlert","tag-conferencia","tag-disenador","tag-equipamiento-cultural","tag-escritos","tag-europa","tag-formacion","tag-historia","tag-identidad","tag-iglesia","tag-inigo-garcia-odiaga","tag-maestro","tag-marcelo-gardinetti","tag-materialidad","tag-medio","tag-medio-rural","tag-memoria","tag-mies-van-der-rohe","tag-paisaje","tag-paisaje-cultural","tag-pensamiento","tag-peter-zumthor","tag-pintura","tag-premio-pritzker","tag-publicacion","tag-reflexion","tag-santiago-carvajal-ochoa","tag-sergio-de-miguel","tag-suiza","tag-tecnica-tradicional","tag-teoria","tag-territorio","tag-texto","tag-tradicion","tag-vanguardia","tag-wassily-kandinsky"],"yoast_head":"\n[:es]Tiempo 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