{"id":69732,"date":"2018-07-09T00:01:47","date_gmt":"2018-07-08T22:01:47","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=69732"},"modified":"2022-04-21T08:42:30","modified_gmt":"2022-04-21T06:42:30","slug":"proyectar-la-naturaleza-guido-cimadomo","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/proyectar-la-naturaleza-guido-cimadomo\/","title":{"rendered":"[:es]Proyectar con la naturaleza | Guido Cimadomo[:gl]Proxectar ca natureza | Guido Cimadomo[:en]Projecting with nature | Guido Cimadomo[:]"},"content":{"rendered":"

[:es]

\"Tamburine
Tamburine Mountain, Queensland | Fotograf\u00eda: Guido Cimadomo<\/span><\/figcaption><\/figure><\/p>\n

Cada vez encuentro m\u00e1s inter\u00e9s en sumergirme en la naturaleza que en visitar los \u00faltimos ejemplos de arquitectura de autor. En un reciente viaje a Australia un arquitecto europeo se maravillaba de que no tuviera pensado visitar la \u00d3pera de Sydney. Pese a las distancias del continente australiano, parec\u00eda escandalizado en mi inter\u00e9s por la naturaleza, por los bosques de la \u00e9poca del Holoceno o por anteponer la barrera coralina a una obra maestra del siglo XX.<\/p>\n

Estoy plenamente convencido que en mi pr\u00f3xima visita a las ant\u00edpodas, la obra de Utzon<\/a> seguir\u00e1 all\u00ed, incluso con nuevos descubrimientos, como el tapiz de Le Corbusier<\/a> para el vest\u00edbulo, colocado solo recientemente en el lugar para el cual fue pensado<\/a>,1<\/sup>\u00a0mientras que las forestas milenarias o los arrecifes de coral se habr\u00e1n reducido o habr\u00e1n perdido parte de su car\u00e1cter \u00fanico, por muchos esfuerzos que se realicen para su salvaguarda.<\/p>\n

Pocos se sorprender\u00e1n que uno de los textos que marcaron mi formaci\u00f3n fue Genius Loci<\/em>, de Christian Norberg Schulz<\/a>, pero el inter\u00e9s que los arquitectos dedican a la naturaleza es recurrente. Citar\u00eda solamente a Careri<\/a>\u00a0y el colectivo Stalker<\/a>, que reconocen la pr\u00e1ctica muy situacionista de vagar por los paisajes perif\u00e9ricos de las ciudades, y el Manifiesto del tercer paisaje de Gilles Cl\u00e9ment,1<\/sup>\u00a0ambos m\u00e1s centrados en los espacios marginales, abandonados por las presiones edificatorias contempor\u00e1neas, pero que al igual que los paisajes emblem\u00e1ticos, ofrecen una catarsis reconciliadora con el mundo en el cual vivimos.<\/p>\n

Creo firmemente que esta relaci\u00f3n con la naturaleza fomenta una mejor comprensi\u00f3n de las necesidades proyectuales, ayuda a entender los valores de permanencia y de cambio a los que hace referencia Pallasmaa,2<\/sup>\u00a0y a proyectar con la necesaria atenci\u00f3n que exigen los valores naturales, culturales, sociales del entorno en el cual nos situamos. El trabajo de Alberto Campo Baeza<\/a> y de RCR<\/a>, solo para citar algunos ejemplos que estar\u00e1n en la memoria e imaginario de cualquier lector, ahondan en esta aproximaci\u00f3n.<\/p>\n

Una aproximaci\u00f3n fenomenol\u00f3gica que no es exclusiva a la arquitectura, en una \u00e9poca dominada por las herramientas virtuales y de fabricaci\u00f3n digital, y que nos permite volver a respetar la tierra y el paisaje que son el origen de nuestra subsistencia, pese a los continuos intentos de huir de las obligaciones ecologistas buscando soluciones alternativas<\/a>.\u00a0<\/sup><\/p>\n

Permitir\u00eda tambi\u00e9n entender la arquitectura como parte de un desarrollo global en el cual la sostenibilidad ambiental, econ\u00f3mica y social juega un papel relevante frente a muchos monumentos al despilfarro entendidos como objetos medi\u00e1ticos m\u00e1s que como herramientas de desarrollo realizados en las \u00faltimas d\u00e9cadas.<\/p>\n

Guido Cimadomo, Doctor Arquitecto
\nSevilla, Julio 2018<\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Gilles Cl\u00e9ment, Manifiesto del tercer paisaje<\/a>, Gustavo Gili m\u00ednima, Barcelona, 2007.<\/p>\n

2<\/sup>\u00a0Juhani Pallasmaa<\/a>, Los ojos de la piel,<\/a> Gustavo Gili, Barcelona, 2006.<\/p>\n

[:gl]

\"Tamburine
Tamburine Mountain, Queensland | Fotograf\u00eda: Guido Cimadomo<\/span><\/figcaption><\/figure><\/p>\n

Cada vez atopo m\u00e1is interese en mergullarme na natureza que en visitar os \u00faltimos exemplos de arquitectura de autor. Nunha recente viaxe a Australia un arquitecto europeo marabill\u00e1base de que non tivese pensado visitar a \u00d3pera de Sydney. A pesar das distancias do continente australiano, parec\u00eda escandalizado no meu interese pola natureza, polos bosques da \u00e9poca do Holoceno ou por antepo\u00f1er a barreira coralina a unha obra mestra do s\u00e9culo XX.<\/p>\n

Estou plenamente convencido que na mi\u00f1a pr\u00f3xima visita \u00e1s ant\u00edpodas, a obra de Utzon<\/a> seguir\u00e1 al\u00ed, mesmo con novos descubrimentos, como o tapiz de Le Corbusier<\/a> para o vest\u00edbulo, colocado s\u00f3 recentemente no lugar para o cal foi pensado<\/a>,1<\/sup> mentres que as forestas milenarias ou os arrecifes de coral reduc\u00edronse ou perder\u00edan parte do seu car\u00e1cter \u00fanico, por moitos esforzos que se realicen para o seu salvagarda.<\/p>\n

Poucos se sorprender\u00e1n que un dos textos que marcaron a mi\u00f1a formaci\u00f3n foi Xenius Loci<\/em>, de Christian Norberg Schulz<\/a>, pero o interese que os arquitectos dedican \u00e1 natureza \u00e9 recorrente. Citar\u00eda soamente a Careri<\/a> e o colectivo Stalker<\/a>, que reco\u00f1ecen a pr\u00e1ctica moi situacionista de vagar polas paisaxes perif\u00e9ricas das cidades, e o Manifesto da terceira paisaxe de Gilles Cl\u00e9ment,1<\/sup> ambos os m\u00e1is centrados nos espazos marxinais, abandonados polas presi\u00f3ns edificatorias contempor\u00e1neas, pero que do mesmo xeito que as paisaxes emblem\u00e1ticas, ofrecen unha catarse reconciliadora co mundo no cal vivimos.<\/p>\n

Creo firmemente que esta relaci\u00f3n coa natureza fomenta unha mellor comprensi\u00f3n das necesidades proyectuales, axuda a entender os valores de permanencia e de cambio aos que fai referencia Pallasmaa,2 e a proxectar coa necesaria atenci\u00f3n que esixen os valores naturais, culturais, sociais da contorna no cal nos situamos. O traballo de Alberto Campo Baeza<\/a> e de RCR<\/a>, s\u00f3 para citar alg\u00fans exemplos que estar\u00e1n na memoria e imaxinario de calquera lector, profundan nesta aproximaci\u00f3n.<\/p>\n

Unha aproximaci\u00f3n fenomenol\u00f3gica que non \u00e9 exclusiva \u00e1 arquitectura, nunha \u00e9poca dominada polas ferramentas virtuais e de fabricaci\u00f3n dixital, e que nos permite volver respectar a terra e a paisaxe que son a orixe da nosa subsistencia, a pesar dos continuos intentos de fuxir das obrigaci\u00f3ns ecoloxistas buscando soluci\u00f3ns alternativas<\/a>.\u00a0<\/sup><\/p>\n

Permitir\u00eda tam\u00e9n entender a arquitectura como parte dun desenvolvemento global no cal a sustentabilidade ambiental, econ\u00f3mica e social xoga un papel relevante fronte a moitos monumentos ao malgasto entendidos como obxectos medi\u00e1ticos m\u00e1is que como ferramentas de desenvolvemento realizados nas \u00faltimas d\u00e9cadas.<\/p>\n

Guido Cimadomo, Doutor Arquitecto
\nSevilla,Xullo 2018<\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Gilles Cl\u00e9ment, Manifesto da terceira paisaxe<\/a>, Gustavo Gili m\u00ednima, Barcelona, 2007.<\/p>\n

2<\/sup>\u00a0Juhani Pallasmaa<\/a>, Os ollos da pel,<\/a> Gustavo Gili, Barcelona, 2006.<\/p>\n

[:en]

\"Tamburine
Tamburine Mountain, Queensland | Photography: Guido Cimadomo<\/span><\/figcaption><\/figure><\/p>\n

Every time I find more interest in immersing myself in nature than in visiting the latest examples of author architecture. On a recent trip to Australia, a European architect marveled that he had not planned to visit the Sydney Opera House. Despite the distances of the Australian continent, seemed scandalized in my interest for nature, for the forests of the Holocene era or to put the coral barrier before a masterpiece of the twentieth century.<\/p>\n

I am fully convinced that in my next visit to the antipodes, the work of Utzon<\/a> will continue there, even with new discoveries, such as the Le Corbusier<\/a> tapestry for the vestibule, placed only recently in the place for which it was intended<\/a>,1<\/sup>\u00a0 while the Millenary forests or coral reefs will have been reduced or they will have lost part of their unique character, no matter how many efforts are made to safeguard them.<\/p>\n

Few will be surprised that one of the texts that marked my formation was Genius Loci<\/em>, by Christian Norberg Schulz<\/a>, but the interest that architects dedicate to nature is recurrent. I would cite only Careri<\/a> and the Stalker<\/a> collective, who recognize the very situationist practice of roaming the peripheral landscapes of cities, and Gilles Cl\u00e9ment’s Third Landscape Manifesto,1 <\/sup>both more focused on marginal spaces, abandoned by contemporary building pressures , but that, like the emblematic landscapes, offer a catharsis reconciling with the world in which we live.<\/p>\n

I firmly believe that this relationship with nature fosters a better understanding of project needs, helps to understand the values of permanence and change to which Pallasmaa refers, 2 and to project with the necessary attention required by natural, cultural and social values. of the environment in which we situate ourselves. The work of Alberto Campo Baeza<\/a> and RCR<\/a>, just to cite some examples that will be in the memory and imagination of any reader, delve into this approach.<\/p>\n

A phenomenological approach that is not exclusive to architecture, in an era dominated by virtual tools and digital manufacturing, and that allows us to return to respect the land and the landscape that are the origin of our subsistence, despite the continuous attempts of flee from environmental obligations seeking alternative solutions<\/a>.<\/p>\n

It would also allow understanding architecture as part of a global development in which environmental, economic and social sustainability plays an important role in front of many wasteful monuments understood as media objects rather than as development tools made in recent decades.<\/p>\n

Guido Cimadomo,\u00a0PhD Architect
\nSevilla, July 2018<\/p>\n

Notes:<\/p>\n

1<\/sup>\u00a0Gilles Cl\u00e9ment, Manifesto of the third landscape<\/a>, Gustavo Gili m\u00ednima, Barcelona, 2007.<\/p>\n

2<\/sup>\u00a0Juhani Pallasmaa<\/a>, The eyes of the skin,<\/a> Gustavo Gili, Barcelona, 2006.<\/p>\n

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

[:es] Cada vez encuentro m\u00e1s inter\u00e9s en sumergirme en la naturaleza que en visitar los \u00faltimos ejemplos de arquitectura de autor. En un reciente viaje a Australia un arquitecto europeo se maravillaba de que no tuviera pensado visitar la \u00d3pera de Sydney. Pese a las distancias del continente australiano, parec\u00eda escandalizado en mi inter\u00e9s por […]<\/p>\n","protected":false},"author":61,"featured_media":69739,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3428,12448,2539,2556,9790,13718,2397,3291,13717,13716,12676,749,4369,1541,2774,785,920,977,9160,5443,1286],"class_list":["post-69732","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alberto-campo-baeza","tag-arquitectura","tag-arquitectura-del-paisaje","tag-arquitectura-sostenible","tag-christian-norberg-schulz","tag-colectivo-stalker","tag-diseno-sostenible","tag-etica-de-la-sostenibilidad","tag-francesco-careri","tag-gilles-clement","tag-guido-cimadomo","tag-jardineria","tag-jose-farina-tojo","tag-juhani-pallasmaa","tag-jorn-utzon","tag-le-corbusier","tag-naturaleza","tag-paisaje","tag-paisaje-cultural","tag-rcr-arqiitectes","tag-territorio"],"yoast_head":"\n[:es]Proyectar con la naturaleza | Guido Cimadomo[:gl]Proxectar ca natureza | Guido Cimadomo[:en]Projecting with nature | Guido Cimadomo[:] - 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