{"id":72891,"date":"2019-07-22T00:01:46","date_gmt":"2019-07-21T22:01:46","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=72891"},"modified":"2022-03-17T09:29:33","modified_gmt":"2022-03-17T08:29:33","slug":"la-modernidad-distintiva-norman-foster-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-modernidad-distintiva-norman-foster-marcelo-gardinetti\/","title":{"rendered":"[:es]La modernidad distintiva de Norman Foster | Marcelo Gardinetti[:gl]A modernidade distintiva de Norman Foster | Marcelo Gardinetti[:en]The distinctive modernity of Norman Foster | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure><\/p>\n

Lejos del proceso de representaci\u00f3n ambiguo y controvertido promovido por la convulsi\u00f3n posmoderna que dominaba la escena arquitect\u00f3nica de principios de los 80, la obra de Norman Foster<\/strong>, alineada al pensamiento de Richard Rogers y Renzo Piano<\/strong>, se promulg\u00f3 en favor de una actualizaci\u00f3n tecnol\u00f3gica de la modernidad.<\/p>\n

Su trabajo pondera las analog\u00edas mec\u00e1nicas del movimiento moderno y afirma esos valores fundacionales atendiendo el car\u00e1cter natural de las formas a las necesidades estructurales y la luz natural. Asimismo, promueve una \u00e9tica de la funcionalidad mediante la aplicaci\u00f3n de geometr\u00edas rectil\u00edneas que fomentan el car\u00e1cter abstracto de su arquitectura, mediando la utilizaci\u00f3n de materiales de una tecnolog\u00eda atractiva y una invariable predilecci\u00f3n por el uso de sistemas sostenibles.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

El racionalismo tecnol\u00f3gico de Foster se define incitando la producci\u00f3n de ambientes unificados debajo de cubiertas ligeras, planos verticales transparentes, estructuras de perfiles sofisticados y detalles de un exhaustivo dise\u00f1o.<\/p>\n

En el proyecto para el Carr\u00e9e d\u2019Art de Nimes<\/strong>, esta depuraci\u00f3n resulta m\u00e1s trascendente debido a que el edificio se emplaza de manera perpendicular al lateral de la Maison Carr\u00e9e<\/strong>, un edificio rectangular elevado sobre un podio de 17 metros de altura que data del a\u00f1o 16 a.c. De este modo, el enfrentamiento entre la casa romana y el delicado edificio de Foster pone de manifiesto la ant\u00edtesis entre ambas tecnolog\u00edas y exalta la temporalidad de las dos arquitecturas.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

Para evitar la contaminaci\u00f3n visual del sitio con figuras hostiles, Foster ensambla una estructura de proporciones similares al edificio romano y pone bajo el nivel del suelo la mitad de la superficie del museo, necesario para cumplir con las exigencias del programa, que se distribuye en dos partes bien diferenciadas: por encima del nivel del suelo la biblioteca y la galer\u00eda de arte y en los subsuelos los archivos y un cine.<\/p>\n

Una serie de esbeltas columnas colocadas a intervalos regulares irrumpe en la superficie del centro para sostener una cubierta de perfil liviano que, en raz\u00f3n de su delgada contextura, se disuelve en la altura de los edificios linderos sin alterar la naturaleza del sitio.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

La planta est\u00e1 atravesada por un atrio que toma todas las alturas, coronado por un lucernario que realza el espacio con el ingreso de luz natural. Una escalera que desciende desde el extremo opuesto en direcci\u00f3n al templo formula una alegor\u00eda din\u00e1mica del patio romano, al tiempo que permite una visi\u00f3n cin\u00e9tica del edificio hist\u00f3rico.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

Foster enlaza su edificio a la trama hist\u00f3rica mientras compone una serie de gestos para mejorar las condiciones del sitio. Asimilando las terrazas caracter\u00edsticas de Nimes, eleva el podio de contemplaci\u00f3n por encima del flujo vehicular para que el transito urbano no interfiera la visi\u00f3n lateral del conjunto. Frente al acceso, la calle peatonal permite extender la terraza del museo e integrarla a la plaza del templo, mientras revitaliza la vida social mediante la instalaci\u00f3n de un caf\u00e9 y varios elementos de equipamiento urbano.<\/p>\n

\"\u00a9
\u00a9 Mary Ann Sullivan, 2007<\/span><\/figcaption><\/figure>\n

Desde cualquier \u00e1ngulo, el museo privilegia la contemplaci\u00f3n di\u00e1fana del templo. La escalera axial se transforma en una extensi\u00f3n de la plaza, mientras el uso de materiales transparentes y reflectantes permite la filtraci\u00f3n de luz natural a trav\u00e9s del edificio, pero adem\u00e1s promueve la exaltaci\u00f3n de la piedra desde el tratamiento visual.<\/p>\n

Consecuencia de un delicado equilibrio de formas y materiales, Foster concedi\u00f3 al Carr\u00e9 d\u2019Art de un car\u00e1cter distintivo, sutilmente abstracto y absolutamente racional. Sus formas leves avivan una interesante convivencia entre la actualidad y la antig\u00fcedad, o mejor dicho, entre la simplicidad elemental del edificio romano y la complejidad tecnol\u00f3gica de la contemporaneidad.<\/p>\n

\"\u00a9
\u00a9 Mary Ann Sullivan, 2007<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Argentina. Julio\u00a02019[:gl]

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure><\/p>\n

Lonxe do proceso de representaci\u00f3n ambiguo e controvertido promovido pola convulsi\u00f3n posmoderna que dominaba a escena arquitect\u00f3nica de principios dos 80, a obra de Norman Foster<\/strong>, ali\u00f1ada ao pensamento de Richard Rogers<\/strong> e Renzo Piano<\/strong>, promulgouse en favor dunha actualizaci\u00f3n tecnol\u00f3xica da modernidade.<\/p>\n

O seu traballo pondera as analog\u00edas mec\u00e1nicas do movemento moderno e afirma eses valores fundacionais atendendo o car\u00e1cter natural das formas \u00e1s necesidades estruturais e a luz natural. As\u00ed mesmo, promove unha \u00e9tica da funcionalidade mediante a aplicaci\u00f3n de xeometr\u00edas rectil\u00edneas que fomentan o car\u00e1cter abstracto da s\u00faa arquitectura, mediando a utilizaci\u00f3n de materiais dunha tecnolox\u00eda atractiva e unha invariable predilecci\u00f3n polo uso de sistemas sustentables.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

O racionalismo tecnol\u00f3xico de Foster def\u00ednese incitando a produci\u00f3n de ambientes unificados debaixo de cubertas lixeiras, planos verticais transparentes, estruturas de perf\u00eds sofisticados e detalles dun exhaustivo dese\u00f1o.<\/p>\n

No proxecto para o Carr\u00e9e d\u2019 Art de Nimes<\/strong>, esta depuraci\u00f3n resulta m\u00e1is transcendente debido a que o edificio se empraza de maneira perpendicular ao lateral da Maison Carr\u00e9e<\/strong>, un edificio rectangular elevado sobre un podio de 17 metros de altura que data do ano 16 a. c. Deste xeito, o enfrontamento entre a casa romana e o delicado edificio de Foster pon de manifesto a ant\u00edtese entre ambas as tecnolox\u00edas e exalta a temporalidade das d\u00faas arquitecturas.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

Para evitar a contaminaci\u00f3n visual do sitio con figuras host\u00eds, Foster ensambla unha estrutura de proporci\u00f3ns similares ao edificio romano e pon baixo o nivel do chan a metade da superficie do museo, necesario para cumprir coas esixencias do programa, que se distrib\u00fae en dous partes ben diferenciadas: por encima do nivel do chan a biblioteca e a galer\u00eda de arte e nos subsolos os arquivos e un cinema.<\/p>\n

Unha serie de esveltas columnas colocadas a intervalos regulares irrompe na superficie do centro para soster unha cuberta de perfil livi\u00e1n que, en raz\u00f3n da s\u00faa delgada contextura, dis\u00f3lvese na altura dos edificios linderos sen alterar a natureza do sitio.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

A planta est\u00e1 atravesada por un atrio que toma todas as alturas, coroado por un lucernario que realza o espazo co ingreso de luz natural. Unha escaleira que descende desde o extremo oposto en direcci\u00f3n ao templo formula unha alegor\u00eda din\u00e1mica do patio romano, \u00e1 vez que permite unha visi\u00f3n cin\u00e9tica do edificio hist\u00f3rico.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

Foster enlaza o seu edificio \u00e1 trama hist\u00f3rica mentres comp\u00f3n unha serie de xestos para mellorar as condici\u00f3ns do sitio. Asimilando as terrazas caracter\u00edsticas de Nimes, eleva o podio de contemplaci\u00f3n por encima do fluxo vehicular para que o transito urbano non interfira a visi\u00f3n lateral do conxunto. Fronte ao acceso, a r\u00faa peonil permite estender a terraza do museo e integrala \u00e1 praza do templo, mentres revitaliza a vida social mediante a instalaci\u00f3n dun caf\u00e9 e varios elementos de equipamento urbano.<\/p>\n

\"\u00a9
\u00a9 Mary Ann Sullivan, 2007<\/span><\/figcaption><\/figure>\n

Desde calquera \u00e1ngulo, o museo privilexia a contemplaci\u00f3n di\u00e1fana do templo. A escaleira axial transf\u00f3rmase nunha extensi\u00f3n da praza, mentres o uso de materiais transparentes e reflectores permite a filtraci\u00f3n de luz natural a trav\u00e9s do edificio, pero ademais promove a exaltaci\u00f3n da pedra desde o tratamento visual.<\/p>\n

Consecuencia dun delicado equilibrio de formas e materiais, Foster concedeu ao Carr\u00e9 d\u2019 Art dun car\u00e1cter distintivo, sutilmente abstracto e absolutamente racional. As s\u00faas formas leves avivan unha interesante convivencia entre a actualidade e a antig\u00fcidade, ou mellor devandito, entre a simplicidade elemental do edificio romano e a complexidade tecnol\u00f3xica da contemporaneidad.<\/p>\n

\"\u00a9
\u00a9 Mary Ann Sullivan, 2007<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Arquitecto
\nLa Plata. Arxentina. Xullo\u00a02019[:en]

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure><\/p>\n

Far from the process of ambiguous and controversial representation promoted by the postmodern convulsion that dominated the architectural scene of the early 80s, the work of Norman Foster<\/strong>, aligned with the thought of Richard Rogers<\/strong> and Renzo Piano<\/strong>, was promulgated in favor of a technological update of the modernity.<\/p>\n

His work ponders the mechanical analogies of the modern movement and affirms these foundational values taking into account the natural character of the forms, the structural needs and the natural light. It also promotes an ethic of functionality through the application of rectilinear geometries that promote the abstract nature of its architecture, mediating the use of attractive technology materials and an unwavering predilection for the use of sustainable systems.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

Foster’s technological rationalism is defined by encouraging the production of unified environments under light covers, transparent vertical planes, sophisticated profile structures and details of an exhaustive design.<\/p>\n

In the project for the Carr\u00e9e d’Art de Nimes,<\/strong> this purification is more important because the building is placed perpendicular to the side of the Maison Carr\u00e9e,<\/strong> a rectangular building raised on a podium 17 meters high dating back to the year 16 ac In this way, the confrontation between the Roman house and the delicate building of Foster shows the antithesis between both technologies and exalts the temporality of the two architectures.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

To avoid visual contamination of the site with hostile figures, Foster assembles a structure of proportions similar to the Roman building and puts half the surface of the museum under the floor level, necessary to meet the requirements of the program, which is divided into two well differentiated parts: above the ground level the library and the art gallery and in the subsoils the archives and a cinema.<\/p>\n

A series of slender columns placed at regular intervals bursts onto the surface of the center to support a light profile roof that, because of its thin texture, dissolves into the height of the surrounding buildings without altering the nature of the site.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

The plant is crossed by an atrium that takes all the heights, crowned by a skylight that enhances the space with the entrance of natural light. A staircase that descends from the opposite end in the direction of the temple formulates a dynamic allegory of the Roman courtyard, while allowing a kinetic view of the historic building.<\/p>\n

\"\u00a9
\u00a9 Norman Foster<\/span><\/figcaption><\/figure>\n

Foster links his building to the historical plot while composing a series of gestures to improve the conditions of the site. Assimilating the characteristic terraces of Nimes, it elevates the podium of contemplation above the vehicular flow so that the urban traffic does not interfere with the lateral vision of the whole. In front of the access, the pedestrian street allows to extend the museum’s terrace and integrate it into the temple plaza, while revitalizing social life through the installation of a caf\u00e9 and various elements of urban equipment.<\/p>\n

\"\u00a9
\u00a9 Mary Ann Sullivan, 2007<\/span><\/figcaption><\/figure>\n

From any angle, the museum privileges the diaphanous contemplation of the temple. The axial staircase becomes an extension of the square, while the use of transparent and reflective materials allows the filtering of natural light through the building, but also promotes the exaltation of the stone from the visual treatment.<\/p>\n

As a consequence of a delicate balance of forms and materials, Foster granted the Carr\u00e9 d’Art a distinctive character, subtly abstract and absolutely rational. Its slight forms encourage an interesting coexistence between the present and the antiquity, or rather, between the elementary simplicity of the Roman building and the technological complexity of contemporaneity.<\/p>\n

\"\u00a9
\u00a9 Mary Ann Sullivan, 2007<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti. Architect
\nLa Plata. Argentina. July 2019[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Lejos del proceso de representaci\u00f3n ambiguo y controvertido promovido por la convulsi\u00f3n posmoderna que dominaba la escena arquitect\u00f3nica de principios de los 80, la obra de Norman Foster, alineada al pensamiento de Richard Rogers y Renzo Piano, se promulg\u00f3 en favor de una actualizaci\u00f3n tecnol\u00f3gica de la modernidad. Su trabajo pondera las analog\u00edas mec\u00e1nicas […]<\/p>\n","protected":false},"author":4,"featured_media":72904,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[143,7446,147,6666,290,318,319,6942,486,12456,668,733,1801,12461,785,810,4985,2422,2497,1130,2447,3607],"class_list":["post-72891","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-contemporanea","tag-arquitectura-inglesa","tag-arquitectura-moderna","tag-arquitectura-racionalista","tag-centro-historico","tag-ciudad","tag-ciudad-contemporanea","tag-ciudad-historica","tag-equipamiento","tag-equipamiento-cultural","tag-historia","tag-intervencion","tag-intervencion-publica","tag-intervencion-urbana","tag-le-corbusier","tag-luz","tag-marcelo-gardinetti","tag-norman-foster","tag-posmodernismo","tag-racionalismo","tag-renzo-piano","tag-richard-rogers"],"yoast_head":"\n[:es]La modernidad distintiva de Norman Foster | Marcelo Gardinetti[:gl]A modernidade distintiva de Norman Foster | Marcelo Gardinetti[:en]The distinctive modernity of Norman Foster | Marcelo Gardinetti[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]La modernidad distintiva de Norman Foster | Marcelo Gardinetti[:gl]A modernidade distintiva de Norman Foster | Marcelo Gardinetti[:en]The distinctive modernity of Norman Foster | Marcelo Gardinetti[:]\" \/>\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\/la-modernidad-distintiva-norman-foster-marcelo-gardinetti\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]La modernidad distintiva de Norman Foster | Marcelo Gardinetti[:gl]A modernidade distintiva de Norman Foster | Marcelo 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