{"id":72273,"date":"2019-04-26T00:01:40","date_gmt":"2019-04-25T22:01:40","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=72273"},"modified":"2019-04-26T09:35:16","modified_gmt":"2019-04-26T07:35:16","slug":"equilibrio-inestable-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/equilibrio-inestable-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Equilibrio inestable | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Equilibrio inestable | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Unstable equilibrium | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Museo
Museo de la mina de Almannajuvet (Noruega).<\/span><\/figcaption><\/figure><\/p>\n

Se dice que la escultura cl\u00e1sica griega lleg\u00f3 a su m\u00e1ximo esplendor cuando comenz\u00f3 a usar el contrapposto<\/em>. Este t\u00e9rmino italiano podr\u00eda definirse como la relaci\u00f3n que las distintas partes del cuerpo establecen al iniciar el movimiento. El peso del cuerpo descansa principalmente en una pierna, por lo que la cadera correspondiente se eleva respecto de la otra, el tronco se estabiliza compensando con el peso de los hombros esa inestabilidad y el cuerpo comienza a desplazarse.<\/p>\n

La escultura congela de ese modo una postura en equilibrio inestable, que el cuerpo mantiene fugazmente entre un paso y otro del caminar. Es tal la tensi\u00f3n muscular que incluso los bloques de m\u00e1rmol necesitan refuerzos y en muchas de las piezas cl\u00e1sicas los personajes aparecen apoyados o recostados sobre troncos, peque\u00f1as columnas o rocas figuradas que ayudan a estabilizar el cuerpo humano.<\/p>\n

Este realismo din\u00e1mico parece tambi\u00e9n guiar la \u00faltima obra del arquitecto Peter Zumthor<\/strong><\/a>, el museo de las minas de zinc de Almannajuvet<\/a>. El museo se divide en cuatro peque\u00f1os pabellones, cuatro edificios que incluyen un peque\u00f1o museo, una cafeter\u00eda, un refugio y un edificio de servicio, cada uno ofreciendo una visi\u00f3n diferente del paisaje aislado. Tanto el museo como la cafeter\u00eda se alzan sobre las fuertes laderas del paisaje, equilibrados por sendas mallas de soportes de madera. Cerca, el edificio de servicio se ancla sobre el cortado del r\u00edo, aferr\u00e1ndose a un gran muro de piedra que contiene la carretera y un peque\u00f1o parking.<\/p>\n

\"Museo
Museo de la mina de Almannajuvet (Noruega).<\/span><\/figcaption><\/figure>\n

Esta constelaci\u00f3n de edificios de Almannajuvet, es tambi\u00e9n una respuesta al largo proceso de m\u00e1s de 12 a\u00f1os que ha llevado la redacci\u00f3n y construcci\u00f3n del proyecto. En este sentido la contaminaci\u00f3n del proyecto con otros que habitaron el estudio del arquitecto durante esos a\u00f1os es m\u00e1s que evidente. La estructura de bastidores de madera para el secado de pescado que hab\u00eda inspirado su proyecto en Vardo<\/a>, parece reinterpretarse aqu\u00ed.<\/p>\n

Del mismo modo el revestimiento de tela asf\u00e1ltica que emple\u00f3 en el pabell\u00f3n de la Serpentine Gallery<\/a> londinense, reviste las distintas edificaciones sustituyendo al material azul cobalto de las propuestas iniciales. Por otro lado la materialidad final de las cuatro piezas alude a la temporalidad, improvisaci\u00f3n y modestia del asentamiento minero inicial, que con materiales industriales, cubiertas de chapa ondulada, tableros y piezas de madera propias del t\u00fanel de la mina, formalizaban los recintos que quedaban suspendidos sobre la ladera.<\/p>\n

Pero para colocar sobre el granito de Sauda, cubierto de musgo, las nuevas piezas que se alzar\u00e1n sobre la empinada ladera de la monta\u00f1a, Zumthor dise\u00f1\u00f3 una haza\u00f1a de ingenier\u00eda estructural compleja que da luga r a vistas dram\u00e1ticas, que tensionan el paisaje. El andamio de madera que resuelve la estructura toca el suelo con m\u00e1xima tensi\u00f3n, las piezas met\u00e1licas se adaptan a la pendiente de la roca, en una geometr\u00eda que en cualquier momento podr\u00eda deslizar.<\/p>\n

Los pies de madera tocan el suelo como lo hace una bailarina de ballet de puntillas, es decir, con gran esfuerzo muscular pero con la elegancia que ese equilibrio inestable le otorga al parecer un ser rebosante de dinamismo. Un gesto similar al del\u00a0contrapposto <\/em>de las esculturas griegas, que a pesar de estar condenadas a la quietud al igual que las estructuras de Zumthor parecen en disposici\u00f3n de andar un nuevo camino.<\/p>\n

\"Museo
Museo de la mina de Almannajuvet (Noruega).<\/span><\/figcaption><\/figure>\n

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

[:gl]

\"Museo
Museo de la mina de Almannajuvet (Noruega).<\/span><\/figcaption><\/figure><\/p>\n

Dise que a escultura cl\u00e1sica grega chegou ao seu m\u00e1ximo esplendor cando comezou a usar o contrapposto<\/em>. Este termo italiano poder\u00eda definirse como a relaci\u00f3n que as distintas partes do corpo establecen ao iniciar o movemento. O peso do corpo descansa principalmente nunha perna, polo que a cadeira correspondente el\u00e9vase respecto da outra, o tronco estabil\u00edzase compensando co peso dos ombreiros esa inestabilidade e o corpo comeza a desprazarse.<\/p>\n

A escultura conxela dese modo unha postura en equilibrio inestable, que o corpo mant\u00e9n fugazmente entre un paso e outro do cami\u00f1ar. \u00c9 tal a tensi\u00f3n muscular que mesmo os bloques de m\u00e1rmore necesitan reforzos e en moitas das pezas cl\u00e1sicas os personaxes aparecen apoiados ou recostados sobre troncos, pequenas columnas ou rocas figuradas que axudan a estabilizar o corpo humano.<\/p>\n

Este realismo din\u00e1mico parece tam\u00e9n guiar a \u00faltima obra do arquitecto Peter Zumthor<\/strong><\/a>, o museo das minas de zinc de Almannajuvet<\/a>. O museo div\u00eddese en catro pequenos pavill\u00f3ns, catro edificios que incl\u00faen un pequeno museo, unha cafeter\u00eda, un refuxio e un edificio de servizo, cada un ofrecendo unha visi\u00f3n diferente da paisaxe illada. Tanto o museo como a cafeter\u00eda \u00e1lzanse sobre as fortes ladeiras da paisaxe, equilibrados por senllas mallas de soportes de madeira. Preto, o edificio de servizo anc\u00f3rase sobre o cortado do r\u00edo, aferr\u00e1ndose a un gran muro de pedra que cont\u00e9n a estrada e un pequeno parking.<\/p>\n

\"Museo
Museo de la mina de Almannajuvet (Noruega).<\/span><\/figcaption><\/figure>\n

Esta constelaci\u00f3n de edificios de Almannajuvet, \u00e9 tam\u00e9n unha resposta ao longo proceso de m\u00e1is de 12 anos que levou a redacci\u00f3n e construci\u00f3n do proxecto. Neste sentido a contaminaci\u00f3n do proxecto con outros que habitaron o estudo do arquitecto durante eses anos \u00e9 m\u00e1is que evidente. A estrutura de bastidores de madeira para o secado de peixe que inspirara o seu proxecto en Vardo<\/a>, parece reinterpretarse aqu\u00ed.<\/p>\n

Do mesmo xeito o revestimento de tea asf\u00e1ltica que empregou no pavill\u00f3n da Serpentine Gallery<\/a>\u00a0londiniense, reviste as distintas edificaci\u00f3ns substitu\u00edndo ao material azul cobalto das propostas iniciais. Doutra banda a materialidad final das catro pezas alude \u00e1 temporalidade, improvisaci\u00f3n e modestia do asentamento mineiro inicial, que con materiais industriais, cubertas de chapa ondulada, taboleiros e pezas de madeira propias do t\u00fanel da mina, formalizaban os recintos que quedaban suspendidos sobre a ladeira.<\/p>\n

Pero para colocar sobre o granito de Sauda, cuberto de bri\u00f3n, as novas pezas que se alzar\u00e1n sobre a empinada ladeira da monta\u00f1a, Zumthor dese\u00f1ou unha faza\u00f1a de enxe\u00f1er\u00eda estrutural complexa que d\u00e1 luga r a vistas dram\u00e1ticas, que tensionan a paisaxe. A estada de madeira que resolve a estrutura toca o chan con m\u00e1xima tensi\u00f3n, as pezas met\u00e1licas ad\u00e1ptanse \u00e1 pendente da roca, nunha xeometr\u00eda que en calquera momento poder\u00eda deslizar.<\/p>\n

Os p\u00e9s de madeira tocan o chan como o fai unha bailarina de ballet no bico dos p\u00e9s, \u00e9 dicir, con gran esforzo muscular pero coa elegancia que ese equilibrio inestable out\u00f3rgalle ao parecer un ser rebosante de dinamismo. Un xesto similar ao do contrapposto<\/em>\u00a0das esculturas gregas, que a pesar de estar condenadas \u00e1 quietude do mesmo xeito que as estruturas de Zumthor parecen en disposici\u00f3n de andar un novo cami\u00f1o.<\/p>\n

\"Museo
Museo da mina de Almannajuvet (Noruega).<\/span><\/figcaption><\/figure>\n

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

[:en]

\"Museo
Museum of the Almannajuvet mine (Norway).<\/span><\/figcaption><\/figure><\/p>\n

It is said that the classical Greek sculpture reached its maximum splendor when it began to use the contrapposto<\/em>. This Italian term could be defined as the relation that the different parts of the body establish when initiating the movement. The weight of the body rests mainly on one leg, so that the corresponding hip rises with respect to the other, the trunk is stabilized compensating with the weight of the shoulders that instability and the body begins to move.<\/p>\n

The sculpture freezes in this way a position in unstable equilibrium, which the body maintains fleetingly between one step and another of the walk. The muscular tension is such that even the marble blocks need reinforcements and in many of the classic pieces the characters appear supported or recostados on trunks, small columns or figured rocks that help to stabilize the human body.<\/p>\n

This dynamic realism also seems to guide the last work of the architect Peter Zumthor<\/strong><\/a>, the museum of the zinc mines of Almannajuvet<\/a>. The museum is divided into four small pavilions, four buildings that include a small museum, a cafeteria, a shelter and a service building, each offering a different view of the isolated landscape. Both the museum and the cafeteria stand on the strong slopes of the landscape, balanced by wooden meshes. Nearby, the service building is anchored on the cut of the river, clinging to a large stone wall that contains the road and a small parking lot.<\/p>\n

\"Museo
Museum of the Almannajuvet mine (Norway).<\/span><\/figcaption><\/figure>\n

This constellation of Almannajuvet buildings is also a response to the long process of more than 12 years that has taken the drafting and construction of the project. In this sense, the contamination of the project with others who inhabited the architect’s studio during those years is more than evident. The structure of wooden racks for drying fish that had inspired his Vardo<\/a> project <\/a>seems to be reinterpreted here.<\/p>\n

In the same way, the asphalt coating used in the pavilion of the Serpentine Gallery<\/a> in London, covers the different buildings replacing the cobalt blue material of the initial proposals. On the other hand, the final materiality of the four pieces alludes to the temporality, improvisation and modesty of the initial mining settlement, which with industrial materials, covered with corrugated sheet metal, boards and pieces of wood from the mine tunnel, formalized the remaining enclosures suspended on the slope.<\/p>\n

But to place on the granite of Sauda, covered with moss, the new pieces that will rise on the steep slope of the mountain, Zumthor designed a feat of structural engineering complex that gives rise to dramatic views, which stress the landscape. The wooden scaffolding that solves the structure touches the ground with maximum tension, the metal pieces adapt to the slope of the rock, in a geometry that could slide at any time.<\/p>\n

The wooden feet touch the ground like a ballet dancer on tiptoe, that is to say, with great muscular effort but with the elegance that this unstable equilibrium gives him, apparently, a being brimming with dynamism. A gesture similar to that of the contrapposto<\/em> of the Greek sculptures, which despite being condemned to stillness like the structures of Zumthor seem ready to walk a new path.<\/p>\n

\"Museo
Museum of the Almannajuvet mine (Norway).<\/span><\/figcaption><\/figure>\n

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

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

[:es] Se dice que la escultura cl\u00e1sica griega lleg\u00f3 a su m\u00e1ximo esplendor cuando comenz\u00f3 a usar el contrapposto. Este t\u00e9rmino italiano podr\u00eda definirse como la relaci\u00f3n que las distintas partes del cuerpo establecen al iniciar el movimiento. El peso del cuerpo descansa principalmente en una pierna, por lo que la cadera correspondiente se eleva […]<\/p>\n","protected":false},"author":31,"featured_media":72274,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[102,12448,143,2539,45,1512,812,7137,6949,150,12449,155,9922,357,424,1735,12456,2068,508,1787,1893,668,3002,691,4285,3356,815,4985,7058,846,847,3255,865,12453,977,9160,1021,1726,12466,1096,1120,1865,8661,5945,1258,3311,1278,1286,1288,1298,1335,8175],"class_list":["post-72273","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alvar-aalto","tag-arquitectura","tag-arquitectura-contemporanea","tag-arquitectura-del-paisaje","tag-arquitectura-efimera","tag-arquitectura-en-la-memoria","tag-arquitectura-en-madera","tag-arquitectura-popular","tag-arquitectura-suiza","tag-arquitectura-tradicional","tag-arte","tag-arte-contemporaneo","tag-brigitte-labs-ehlert","tag-conferencia","tag-dibujo","tag-disenador","tag-equipamiento-cultural","tag-escritos","tag-escultura","tag-europa","tag-formacion","tag-historia","tag-identidad","tag-iglesia","tag-inigo-garcia-odiaga","tag-intervencion-efimera","tag-maestro","tag-marcelo-gardinetti","tag-materialidad","tag-medio","tag-medio-rural","tag-memoria","tag-mies-van-der-rohe","tag-museo-arquitectura-arquitectura","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]Equilibrio 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