{"id":72260,"date":"2019-05-31T00:01:32","date_gmt":"2019-05-30T22:01:32","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=72260"},"modified":"2019-05-24T09:38:04","modified_gmt":"2019-05-24T07:38:04","slug":"arquitectura-bunkerizada-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitectura-bunkerizada-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Arquitectura bunkerizada | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitectura bunkerizada | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Bunkerized architecture | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Claude
Claude Parent – Paul Virilio, 1964\u00a0<\/span><\/figcaption><\/figure><\/p>\n

Paul Virilio<\/strong><\/a> naci\u00f3 en 1932 y creci\u00f3 en Nantes, donde a los ocho a\u00f1os presenci\u00f3 la llegada de los alemanes, y a los once la destrucci\u00f3n de la ciudad bajo una lluvia de bombas de los aliados. Al finalizar la guerra descubri\u00f3 el mar al mismo tiempo que la paz, ya que la costa debido a la presencia del muro atl\u00e1ntico era una zona de control militar, y el acceso a la misma en los pa\u00edses ocupados estaba prohibido.<\/p>\n

La l\u00ednea defensiva alemana est\u00e1 formada esencialmente por cerca de 12.000 construcciones de hormig\u00f3n, de 600 modelos diferentes, cada uno de ellos con una funci\u00f3n militar espec\u00edfica, adaptada a la topograf\u00eda local y a la posici\u00f3n estrat\u00e9gica. Fue Fritz Todt<\/a> el responsable inicial de la construcci\u00f3n del muro atl\u00e1ntico, si bien fue sustituido por Albert Speer<\/strong><\/a>, en 1942. La edificaci\u00f3n de esta l\u00ednea militar, congreg\u00f3 un elevad\u00edsimo n\u00famero de recursos. Desde materiales, t\u00e9cnicos y humanos hasta econ\u00f3micos y log\u00edsticos, y si bien su funcionalidad militar no fue muy sobresaliente, tal y como se demostr\u00f3 durante el desembarco aliado, su construcci\u00f3n sirvi\u00f3 a la propaganda nazi de cuartada para levantar el \u00e1nimo de una desilusionada poblaci\u00f3n alemana, haciendo hincapi\u00e9 en la impermeabilidad de las fronteras del Reich.<\/p>\n

En las playas Virilio se fascin\u00f3 con los b\u00fankers dejados por los combatientes, enigmas de una arquitectura b\u00e9lica que comenzaba a ser reciclada por la poblaci\u00f3n civil con otros fines. Con una c\u00e1mara Leica realiz\u00f3 un extenso inventario fotogr\u00e1fico<\/a>, iniciando lo que treinta a\u00f1os despu\u00e9s se convertir\u00eda en un ensayo arqueol\u00f3gico sobre la arquitectura de la guerra, Bunker Arch\u00e9ologie, 1975<\/a>.<\/p>\n

\"B\u00fanker
B\u00fanker del muro atl\u00e1ntico | Fotograf\u00eda: Paul Virilio, Bunker Arch\u00e9ologie, 1975.<\/span><\/figcaption><\/figure>\n

Sin lugar a dudas ha sido Paul Virilio la persona que m\u00e1s ha investigado en los valores est\u00e9ticos de estas construcciones, cuyo car\u00e1cter militar, est\u00e1 impreso en la gen\u00e9tica ingenieril, econ\u00f3mica y racional que las ha creado, lanzando un fuerte v\u00ednculo con lo que la arquitectura racionalista y brutalista de la postguerra defender\u00e1. Superada la lectura b\u00e9lica y militar del muro atl\u00e1ntico, resta a\u00fan plantear otra lectura posible del mismo artefacto, como es su condici\u00f3n est\u00e9tica y territorial, de elemento edificado en el paisaje despoblado de la costa, y que vigila el horizonte desde una postura que Virilio asemej\u00f3 a la de los mo\u00e1is de la isla de pascua.<\/p>\n

Un v\u00ednculo tambi\u00e9n inseparable tambi\u00e9n de la obra del propio Virilio, cuya trayectoria arquitect\u00f3nica y filos\u00f3fica posterior est\u00e1 totalmente influenciada por las construcciones del muro atl\u00e1ntico. Esta afirmaci\u00f3n se demuestra al contemplar la obra que su oficina, formada junto a Claude Parent<\/a> y en la que trabaj\u00f3 durante varios a\u00f1os Jean Nouvel<\/strong><\/a>, ha realizado durante la d\u00e9cada de los 60, entre la que destaca con gran intensidad la iglesia de Sainte Bernadette construida en Nevers. Su inmenso y masivo volumen de hormig\u00f3n armado se presenta con la rotundidad que Virilio hab\u00eda otorgado a los b\u00fankers o a las mastabas, es decir con la presencia caracter\u00edstica de los monumentos. La capacidad expresiva de esta masa p\u00e9trea, que carece de puertas o ventanas, que han sido sustituidas por grietas o huecos por los que entra la luz o se permite el acceso, se aprovecha al m\u00e1ximo al tratar con especial cuidado los acabados que la componen, dando un recital de precisi\u00f3n en cuanto a lo que supone el dominio de la t\u00e9cnica constructiva con hormig\u00f3n armado.<\/p>\n

\"\u00c9glise
\u00c9glise Sainte-Bernadette du Banlay, Nevers. Paul Virilio, Claude Parent. 1966<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n. Febrero 2017<\/p>\n

[:gl]

\"Claude
Claude Parent – Paul Virilio, 1964\u00a0<\/span><\/figcaption><\/figure><\/p>\n

Paul Virilio<\/strong><\/a> naceu en 1932 e creceu en Nantes, onde aos oito anos presenciou a chegada dos alem\u00e1ns, e aos once a destruci\u00f3n da cidade baixo unha choiva de bombas dos aliados. Ao finalizar a guerra descubriu o mar ao mesmo tempo que a paz, xa que a costa debido \u00e1 presenza do muro atl\u00e1ntico era unha zona de control militar, e o acceso \u00e1 mesma nos pa\u00edses ocupados estaba prohibido.<\/p>\n

A li\u00f1a defensiva alem\u00e1 est\u00e1 formada esencialmente por preto de 12.000 construci\u00f3ns de formig\u00f3n, de 600 modelos diferentes, cada un deles cunha funci\u00f3n militar espec\u00edfica, adaptada \u00e1 topograf\u00eda local e \u00e1 posici\u00f3n estrat\u00e9xica. Foi Fritz Todt<\/a> o responsable inicial da construci\u00f3n do muro atl\u00e1ntico, a\u00ednda que foi substitu\u00eddo por Albert Speer<\/strong><\/a>, en 1942. A edificaci\u00f3n desta li\u00f1a militar, congregou un elevad\u00edsimo n\u00famero de recursos. Desde materiais, t\u00e9cnicos e humanos ata econ\u00f3micos e lox\u00edsticos, e a\u00ednda que a s\u00faa funcionalidade militar non foi moi sobresaliente, tal e como se demostrou durante o desembarco aliado, a s\u00faa construci\u00f3n serviu \u00e1 propaganda nazi de cuartada para levantar o \u00e1nimo dunha desilusionada poboaci\u00f3n alem\u00e1, facendo fincap\u00e9 na impermeabilidad das fronteiras do Reich.<\/p>\n

Nas praias Virilio fascinouse cos b\u00fankers deixados polos combatentes, enigmas dunha arquitectura b\u00e9lica que comezaba a ser reciclada pola poboaci\u00f3n civil con outros fins. Cunha c\u00e1mara Leica realizou un extenso inventario fotogr\u00e1fico<\/a>, iniciando o que trinta anos despois converter\u00edase nun ensaio arqueol\u00f3xico sobre a arquitectura da guerra, Bunker Arch\u00e9ologie, 1975<\/a>.<\/p>\n

\"B\u00fanker
B\u00fanker do muro atl\u00e1ntico | Fotograf\u00eda: Paul Virilio, Bunker Arch\u00e9ologie, 1975.<\/span><\/figcaption><\/figure>\n

Sen d\u00fabida foi Paul Virilio a persoa que m\u00e1is investigou nos valores est\u00e9ticos destas construci\u00f3ns, cuxo car\u00e1cter militar, est\u00e1 impreso na xen\u00e9tica ingenieril, econ\u00f3mica e racional que as creou, lanzando un forte v\u00ednculo co que a arquitectura racionalista e brutalista da postguerra defender\u00e1. Superada a lectura b\u00e9lica e militar do muro atl\u00e1ntico, resta a\u00ednda expor outra lectura posible do mesmo artefacto, como \u00e9 a s\u00faa condici\u00f3n est\u00e9tica e territorial, de elemento edificado na paisaxe despoblado da costa, e que vix\u00eda o horizonte desde unha postura que Virilio asemellou \u00e1 dos mo\u00e1is da illa de pascua.<\/p>\n

Un v\u00ednculo tam\u00e9n inseparable tam\u00e9n da obra do propio Virilio, cuxa traxectoria arquitect\u00f3nica e filos\u00f3fica posterior est\u00e1 totalmente influenciada polas construci\u00f3ns do muro atl\u00e1ntico. Esta afirmaci\u00f3n dem\u00f3strase ao contemplar a obra que a s\u00faa oficina, formada xunto a Claude Parent<\/a>t e na que traballou durante varios anos Jean Nouvel<\/strong><\/a>l, realizou durante a d\u00e9cada dos 60, entre a que destaca con gran intensidade a igrexa de Sainte Bernadette constru\u00edda en Nevers. O seu inmenso e masivo volume de formig\u00f3n armado pres\u00e9ntase coa rotundidade que Virilio outorgara aos b\u00fankers ou \u00e1s mastabas, \u00e9 dicir coa presenza caracter\u00edstica dos monumentos. A capacidade expresiva desta masa p\u00e9trea, que carece de portas ou xanelas, que foron substitu\u00eddas por gretas ou ocos polos que entra a luz ou se permite o acceso, aprov\u00e9itase ao m\u00e1ximo ao tratar con especial coidado os acabados que a compo\u00f1en, dando un recital de precisi\u00f3n en canto ao que sup\u00f3n o dominio da t\u00e9cnica construtiva con formig\u00f3n armado.<\/p>\n

\"\u00c9glise
\u00c9glise Sainte-Bernadette du Banlay, Nevers. Paul Virilio, Claude Parent. 1966<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n. Febreiro 2017<\/p>\n

[:en]

\"Claude
Claude Parent – Paul Virilio, 1964\u00a0<\/span><\/figcaption><\/figure><\/p>\n

Paul Virilio<\/strong><\/a> was born in 1932 and grew up in Nantes, where at the age of eight he witnessed the arrival of the Germans, and at eleven the destruction of the city under a shower of bombs from the allies. At the end of the war he discovered the sea at the same time as peace, since the coast due to the presence of the Atlantic wall was a zone of military control, and access to it in the occupied countries was prohibited.<\/p>\n

The German defensive line consists essentially of about 12,000 concrete constructions, of 600 different models, each of them with a specific military function, adapted to the local topography and strategic position. Fritz Todt<\/a> was initially responsible for the construction of the Atlantic Wall, although he was replaced by Albert Speer<\/strong><\/a>\u00a0in 1942. The construction of this military line brought together a very large number of resources. From materials, technicians and humans to economic and logistical, and although its military functionality was not very outstanding, as was demonstrated during the Allied landing, its construction served Nazi headquarters propaganda to lift the spirits of a disillusioned German population , emphasizing the impermeability of the borders of the Reich.<\/p>\n

On the beaches Virilio was fascinated by the bunkers left by the combatants, enigmas of a war architecture that was beginning to be recycled by the civilian population for other purposes. With a Leica camera he made an extensive photographic inventory<\/a>, starting what thirty years later would become an archaeological essay on the architecture of war, Bunker Arch\u00e9ologie, 1975<\/a>.<\/p>\n

\"B\u00fanker
Atlantic wall bunker | Photography: Paul Virilio, Bunker Arch\u00e9ologie, 1975.<\/span><\/figcaption><\/figure>\n

Without a doubt, Paul Virilio has been the person who has researched the most in the aesthetic values of these constructions, whose military nature is imprinted in the engineering, economic and rational genetics that created them, launching a strong link with what architecture rationalist and brutalist of the postwar period will defend. Having overcome the military and military reading of the Atlantic wall, it is still necessary to propose another possible reading of the same artifact, such as its aesthetic and territorial condition, element built in the unpopulated landscape of the coast, and which watches the horizon from a position that Virilio resembled to that of the mo\u00e1is of Easter Island.<\/p>\n

A link also inseparable from the work of Virilio himself, whose subsequent architectural and philosophical trajectory is totally influenced by the constructions of the Atlantic wall. This affirmation is demonstrated when contemplating the work that his office, formed together with Claude Parent<\/a> and in which Jean Nouvel<\/strong><\/a> worked for several years, was carried out during the decade of the 60s, among which the Sainte Bernadette church built with great intensity stands out in Nevers. Its immense and massive volume of reinforced concrete appears with the rotundity that Virilio had granted to the bunkers or to the mastabas, that is to say with the characteristic presence of the monuments. The expressive capacity of this stone mass, which has no doors or windows, which have been replaced by cracks or holes through which light enters or access is allowed, is exploited to the maximum when treating with special care the finishes that compose it, giving a recital of precision as to what supposes the mastery of the constructive technique with reinforced concrete.<\/p>\n

\"\u00c9glise
\u00c9glise Sainte-Bernadette du Banlay, Nevers. Paul Virilio, Claude Parent. 1966<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Architect
\nSan Sebasti\u00e1n. February 2017<\/p>\n

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

[:es] Paul Virilio naci\u00f3 en 1932 y creci\u00f3 en Nantes, donde a los ocho a\u00f1os presenci\u00f3 la llegada de los alemanes, y a los once la destrucci\u00f3n de la ciudad bajo una lluvia de bombas de los aliados. Al finalizar la guerra descubri\u00f3 el mar al mismo tiempo que la paz, ya que la costa […]<\/p>\n","protected":false},"author":31,"featured_media":72264,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[4930,12448,7474,2539,12108,516,12460,668,4285,751,977,11215,1278,2048,1286],"class_list":["post-72260","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-albert-speer","tag-arquitectura","tag-arquitectura-brutalista","tag-arquitectura-del-paisaje","tag-claude-parent","tag-espacio-publico","tag-fotografia","tag-historia","tag-inigo-garcia-odiaga","tag-jean-nouvel","tag-paisaje","tag-paul-virilio","tag-teoria","tag-teoria-e-historia","tag-territorio"],"yoast_head":"\n[:es]Arquitectura bunkerizada | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitectura bunkerizada | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Bunkerized 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