{"id":9263,"date":"2016-08-22T00:30:15","date_gmt":"2016-08-21T22:30:15","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=9263"},"modified":"2024-04-02T09:33:43","modified_gmt":"2024-04-02T07:33:43","slug":"faltas-de-fragmentacion-sergio-de-miguel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/faltas-de-fragmentacion-sergio-de-miguel\/","title":{"rendered":"Faltas de fragmentaci\u00f3n | Sergio de Miguel"},"content":{"rendered":"<p><figure id=\"attachment_53863\" aria-describedby=\"caption-attachment-53863\" style=\"width: 750px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/03\/museum-contemporary-art-sanaa2.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-53863\" title=\"Faltas de fragmentaci\u00f3n | Sergio de Miguel\" src=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/03\/museum-contemporary-art-sanaa2.jpg\" alt=\"Faltas de fragmentaci\u00f3n | Sergio de Miguel\" width=\"750\" height=\"663\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/03\/museum-contemporary-art-sanaa2.jpg 520w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2011\/03\/museum-contemporary-art-sanaa2-300x265.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\" \/><\/a><figcaption id=\"caption-attachment-53863\" class=\"wp-caption-text\"><span style=\"color: #888888;\">New Museum of Contemporary Art, New York, de Kazuyo Sejima y Ryue Nishizawa\/SANAA<\/span><\/figcaption><\/figure><\/p>\n<p style=\"text-align: justify;\">En la arquitectura reciente encontramos un recurso recurrente de transgresi\u00f3n figurativa. Su objetivo no es otro que poner en valor, enfatizar, los edificios que por su car\u00e1cter y finalidad han de destacar en su entorno.<\/p>\n<p style=\"text-align: justify;\">Es sabido que la principal virtud de la <a href=\"https:\/\/veredes.es\/blog\/tag\/sanaa\/\" target=\"_blank\" rel=\"noopener\">arquitectura<\/a> es controlar la <a href=\"https:\/\/dle-rae-es.webpkgcache.com\/doc\/-\/s\/dle.rae.es\/fragmentaci%C3%B3n\" target=\"_blank\" rel=\"noopener\">fragmentaci\u00f3n<\/a>. En definitiva, las cantidades. Existen numerosas leyes que vienen a definir las pautas frente a \u00e9sta cuesti\u00f3n b\u00e1sica.<\/p>\n<p style=\"text-align: justify;\">Los estilos, las modas, han podido desarrollarse gracias a determinadas actitudes frente al problema de la fragmentaci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">O la falta de ella.<\/p>\n<p style=\"text-align: justify;\">Y es que, como si de faltas de ortograf\u00eda se tratara, muchos edificios en los \u00faltimos tiempos han acudido a modificar intencionadamente el orden aprendido (y transmitido) de fragmentaci\u00f3n con el \u00fanico prop\u00f3sito de mostrarse diferentes. Con una presencia alterada.<\/p>\n<h6 style=\"text-align: justify;\"><strong>Para provocar el extra\u00f1amiento<\/strong><\/h6>\n<p style=\"text-align: justify;\">Es un procedimiento bastante eficaz pero, para tener \u00e9xito, ha de contemplar una gran dosis de pericia t\u00e9cnica.<\/p>\n<p style=\"text-align: justify;\">Hist\u00f3ricamente, la fragmentaci\u00f3n de la arquitectura ha venido de la mano de los sistemas t\u00e9cnicos utilizados. De los modos de construir. La fragmentaci\u00f3n de la piedra nada tiene que ver con la fragmentaci\u00f3n de la cer\u00e1mica, del hormig\u00f3n o del acero. Y, de modo m\u00e1s reciente, la inclusi\u00f3n de materiales compuestos ha dado como resultado un sin fin de nuevas alternativas.<\/p>\n<p style=\"text-align: justify;\">Construir un volumen extremadamente grande y continuo es complejo. No s\u00f3lo por cuestiones pr\u00e1cticas sino porque en realidad a nadie se le escapa que en realidad s\u00ed necesita una fragmentaci\u00f3n. Lo que sucede es que no se muestra. Es decir, supone conseguir un premeditado enga\u00f1o a la percepci\u00f3n.<\/p>\n<p style=\"text-align: justify;\">Del mismo modo, construir una pieza exageradamente fragmentada, supone un esfuerzo constructivo en resoluci\u00f3n de juntas un tanto inveros\u00edmil. Lo que hace entender, de nuevo, que no estamos ante una fragmentaci\u00f3n cierta sino ante una figurada.<\/p>\n<p style=\"text-align: justify;\">Por \u00e9sta raz\u00f3n en la mayor\u00eda de los casos se cruzan estas intenciones. Lo muy grande se conforma con un sumatorio incontable de piezas peque\u00f1as. Y viceversa, lo muy peque\u00f1o se consigue de manera pr\u00e1ctica con imperceptibles piezas grandes.<\/p>\n<p style=\"text-align: justify;\">La escala es siempre humana. Debe ser humana.<\/p>\n<p style=\"text-align: justify;\">Explorar los l\u00edmites es tarea de la buena arquitectura.<\/p>\n<p style=\"text-align: justify;\">Y la b\u00fasqueda de una \u00abnueva fragmentaci\u00f3n\u00bb es parte del juego&#8230;<\/p>\n<p>Sergio de Miguel, arquitecto<br \/>\nMadrid, marzo 2010<\/p>","protected":false},"excerpt":{"rendered":"<p>En la arquitectura reciente encontramos un recurso recurrente de transgresi\u00f3n figurativa. Su objetivo no es otro que poner en valor, enfatizar, los edificios que por su car\u00e1cter y finalidad han de destacar en su entorno. Es sabido que la principal virtud de la arquitectura es controlar la fragmentaci\u00f3n. En definitiva, las cantidades. Existen numerosas leyes [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":53863,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12448,143,3657,9132,12456,6361,770,12453,930,1985,2066,1865,2690,1206,5945],"class_list":{"0":"post-9263","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-articulos","8":"category-slider-principal","9":"tag-arquitectura","10":"tag-arquitectura-contemporanea","11":"tag-arquitectura-japonesa","12":"tag-arquitectura-norteamericana","13":"tag-equipamiento-cultural","14":"tag-escala","15":"tag-kazuyo-sejima","16":"tag-museo-arquitectura-arquitectura","17":"tag-new-york","18":"tag-pensar","19":"tag-proyectar","20":"tag-reflexion","21":"tag-ryue-nishizawa","22":"tag-sanaa","23":"tag-sergio-de-miguel"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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Profesor en la Universidad Polit\u00e9cnica de Madrid, (ETSAM) desde 1995.","sameAs":["http:\/\/www.hand-architecture.com\/","https:\/\/www.facebook.com\/sdmhand","https:\/\/www.instagram.com\/sdmhand\/","https:\/\/www.linkedin.com\/in\/sdmhandarchitecture\/","https:\/\/x.com\/https:\/\/twitter.com\/sdmhand"],"url":"https:\/\/veredes.es\/blog\/author\/sdem\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/9263","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=9263"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/9263\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/53863"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=9263"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=9263"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=9263"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}