{"id":72268,"date":"2020-02-14T00:01:21","date_gmt":"2020-02-13T23:01:21","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=72268"},"modified":"2022-04-22T18:40:19","modified_gmt":"2022-04-22T16:40:19","slug":"bajos-fondos-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/bajos-fondos-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Bajos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Baixos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Underworld | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Muros
Muros de apoyo del convento de La Tourette sobre las laderas de \u00c9veaux.<\/span><\/figcaption><\/figure><\/p>\n

La arquitectura como la sociedad tiene sus bajos fondos. Esos lugares oscuros y ocultos, en los que la vida discurre de manera diferente. El refinamiento el lujo y el boato se han perdido en esos espacios, para dar importancia exclusivamente a aquello que es imprescindible.<\/p>\n

En 1957, Le Corbusier<\/strong> construy\u00f3 Santa Mar\u00eda de La Tourette, un convento flotante sobre las laderas verdes de \u00c9veaux, en las afueras de Lyon. Las celdas, los espacios de servicio y las zonas de estudio de los frailes dominicos, conforman junto con el cuerpo de la capilla un claustro, cuyo jard\u00edn verde pasa por debajo de los edificios como un tapiz continuo. Le Corbusier<\/strong> dio a los monjes un espacio de silencio, paz y luz en los vol\u00famenes superiores y reserv\u00f3 la oscuridad para el contacto del edificio con el suelo. Los pilares y pantallas de hormig\u00f3n van absorbiendo las irregularidades del terreno respecto de los prismas elevados que resuelven los espacios del monasterio. All\u00ed en ese espacio en sombra y oculto, los muros se aligeran horad\u00e1ndose con arcos de trazo manual mostrando el car\u00e1cter terrenal de su posici\u00f3n y la deformaci\u00f3n causada por las cargas soportadas.<\/p>\n

\"Los
Los \u201cbajos fondos\u201d del Museo de Arte Contempor\u00e1neo Nadir Afonso obra de \u00c1lvaro Siza en Chaves, Portugal.<\/span><\/figcaption><\/figure>\n

El museo de arte contempor\u00e1neo Nadir Afonso<\/a><\/strong> tambi\u00e9n se separa del suelo, tanto que es necesario cruzar un peque\u00f1o puente de ligera pendiente para acceder al edificio. \u00c1lvaro Siza<\/strong> eleva el edificio sobre pantallas de hormig\u00f3n sensiblemente paralelas hasta dejar las salas de exposiciones fuera del hipot\u00e9tico nivel de inundaci\u00f3n del r\u00edo cercano. De nuevo, en ese mundo inferior las pantallas son perforadas y agujereadas, pero en este caso m\u00e1s que para conducir de forma ordenada las cargas estructurales como lo har\u00eda Le Corbusier, Siza abre los muros para dejar fluir la corriente del cauce en caso de subida. Mediante recortes geom\u00e9tricos que se superponen rememorando las ilustraciones expuestas en el museo, evita convertir en una presa ese nivel inferior de pantallas estructurales.<\/p>\n

Tanto la paz de La Tourette<\/strong>, como el arte de Nadir Afonso<\/a> necesitan y dependen de ese mundo oscuro y terrenal para sobrevivir. Por sobrios, austeros, m\u00ednimos y rudos que estos lugares sean, son de confianza porque respetan las reglas de los bajos fondos y nunca traicionar\u00e1n su labor de separar del suelo el resto del edificio, elev\u00e1ndolo hacia la luz y alej\u00e1ndolo de los peligros que caminan por la tierra.<\/p>\n

\"Los
Los \u201cbajos fondos\u201d del Museo de Arte Contempor\u00e1neo Nadir Afonso obra de \u00c1lvaro Siza en Chaves, Portugal.<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n. Febrero 2017[:gl]

\"Muros
Muros de apoio do convento de La Tourette sobre as lomas de \u00c9veaux.<\/span><\/figcaption><\/figure><\/p>\n

A arquitectura como a sociedade ten os seus baixos fondos. Eses lugares escuros e ocultos, nos que a vida discorre de maneira diferente. O refinamiento o luxo e o boato perd\u00e9ronse neses espazos, para dar importancia exclusivamente a aquilo que \u00e9 imprescindible.<\/p>\n

En 1957, Le Corbusier<\/strong> constru\u00edu Santa Mar\u00eda da Tourette, un convento flotante sobre as ladeiras verdes de *\u00c9veaux, nos arredores de Lyon. As celas, os espazos de servizo e as zonas de estudo dos frades dominicos, conforman xunto co corpo da capela un claustro, cuxo xard\u00edn verde pasa por baixo dos edificios como un tapiz continuo. Le Corbusier<\/strong> deu aos monxes un espazo de silencio, paz e luz nos volumes superiores e reservou a escuridade para o contacto do edificio co chan. Os alicerces e pantallas de formig\u00f3n van absorbendo as irregularidades do terreo respecto dos prismas elevados que resolven os espazos do mosteiro. Al\u00ed nese espazo en sombra e oculto, os muros alix\u00e9iranse horad\u00e1ndose con arcos de trazo manual mostrando o car\u00e1cter terreal da s\u00faa posici\u00f3n e a deformaci\u00f3n causada polas cargas soportadas.<\/p>\n

\"Los
Os \u201cbaixos fondos\u201d do Museo de Arte Contempor\u00e1neo Nadir Afonso obra de \u00c1lvaro Siza en Chaves, Portugal.<\/span><\/figcaption><\/figure>\n

O museo de arte contempor\u00e1nea Nadir Afonso<\/a><\/strong> tam\u00e9n se separa do chan, tanto que \u00e9 necesario cruzar unha pequena ponte de lixeira pendente para acceder ao edificio. \u00c1lvaro Siza<\/strong> eleva o edificio sobre pantallas de formig\u00f3n sensiblemente paralelas ata deixar as salas de exposici\u00f3ns fose do hipot\u00e9tico nivel de inundaci\u00f3n do r\u00edo pr\u00f3ximo. De novo, nese mundo inferior as pantallas son perforadas e furadas, pero neste caso m\u00e1is que para conducir de forma ordenada as cargas estruturais como o far\u00eda Lle Corbusier, Siza abre os muros para deixar flu\u00edr a corrente do leito en caso de subida. Mediante recortes xeom\u00e9tricos que se superpo\u00f1en rememorando as ilustraci\u00f3ns expostas no museo, evita converter nunha presa ese nivel inferior de pantallas estruturais.<\/p>\n

Tanto a paz da Tourette<\/strong>, como a arte de Nadir Afonso<\/a> necesitan e dependen dese mundo escuro e terreal para sobrevivir. Por sobrios, austeros, m\u00ednimos e rudos que estes lugares sexan, son de confianza porque respectan as regras dos baixos fondos e nunca traizoar\u00e1n o seu labor de separar do chan o resto do edificio, elev\u00e1ndoo cara \u00e1 luz e afast\u00e1ndoo dos perigos que cami\u00f1an pola terra.<\/p>\n

\"Los
Os \u201cbaixos fondos\u201d do Museo de Arte Contempor\u00e1neo Nadir Afonso obra de \u00c1lvaro Siza en Chaves, Portugal.<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n. Febreiro 2017[:en]

\"Muros
Walls of support of the convent of La Tourette on the slopes of \u00c9veaux.<\/span><\/figcaption><\/figure><\/p>\n

Architecture as a society has its low funds. These dark and hidden places, in which life goes differently. The refinement of luxury and pageantry have been lost in those spaces, to give importance exclusively to that which is essential.<\/p>\n

In 1957, Le Corbusier<\/strong> built Santa Maria de La Tourette, a floating convent on the green slopes of \u00c9veaux, on the outskirts of Lyon. The cells, the service spaces and the study areas of the Dominican friars, together with the chapel’s body, form a cloister, whose green garden passes under the buildings like a continuous tapestry. Le Corbusier<\/strong> gave the monks a space of silence, peace and light in the upper volumes and reserved the darkness for the contact of the building with the ground. The pillars and concrete screens absorb the irregularities of the terrain with respect to the elevated prisms that resolve the spaces of the monastery. There in that space in shadow and hidden, the walls are lightened hourly with hand-drawn arches showing the earthly character of their position and the deformation caused by the loads borne.<\/p>\n

\"Los
The \u00abbottoms\u00bb of the Museum of Contemporary Art Nadir Afonso, work of \u00c1lvaro Siza in Chaves, Portugal.<\/span><\/figcaption><\/figure>\n

The museum of contemporary art Nadir Afonso<\/a><\/strong> also separates from the ground, so much so that it is necessary to cross a small bridge with a slight slope to access the building. \u00c1lvaro Siza<\/strong> elevates the building on substantially parallel concrete screens to leave the exhibition halls outside the hypothetical flood level of the nearby river. Again, in this lower world the screens are perforated and pierced, but in this case, rather than to conduct the structural loads in an orderly manner as Le Corbusier would do, Siza opens the walls to let the current flow in case of rise. Through geometric cuts that overlap remembering the illustrations exhibited in the museum, avoid turning that lower level of structural screens into a dam.<\/p>\n

Both the peace of La Tourette<\/strong> and the art of Nadir Afonso<\/a> need and depend on that dark and earthly world to survive. Sober, austere, minimal and rude that these places are, they are trustworthy because they respect the rules of the underworld and will never betray their work of separating the rest of the building from the ground, elevating it towards the light and away from the dangers that walk through it. the earth.<\/p>\n

\"Los
The \u00abbottoms\u00bb of the Museum of Contemporary Art Nadir Afonso, work of \u00c1lvaro Siza in Chaves, Portugal.<\/span><\/figcaption><\/figure>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Architect
\nSan Sebasti\u00e1n. February 2017[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La arquitectura como la sociedad tiene sus bajos fondos. Esos lugares oscuros y ocultos, en los que la vida discurre de manera diferente. El refinamiento el lujo y el boato se han perdido en esos espacios, para dar importancia exclusivamente a aquello que es imprescindible. En 1957, Le Corbusier construy\u00f3 Santa Mar\u00eda de La […]<\/p>\n","protected":false},"author":31,"featured_media":72269,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[103,486,12456,12458,668,691,4285,785,12453,14015,3243,1865,1241,1278],"class_list":["post-72268","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alvaro-siza-vieira","tag-equipamiento","tag-equipamiento-cultural","tag-equipamiento-religioso","tag-historia","tag-iglesia","tag-inigo-garcia-odiaga","tag-le-corbusier","tag-museo-arquitectura-arquitectura","tag-nadir-afonso-rodriguez","tag-oscar-niemeyer","tag-reflexion","tag-sociedad","tag-teoria"],"yoast_head":"\n[:es]Bajos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Baixos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Underworld | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Bajos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Baixos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Underworld | \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\/bajos-fondos-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]Bajos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Baixos fondos | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Underworld | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - 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