14 hdm zumptor 2014
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Transcript of 14 hdm zumptor 2014
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Atmósferas y materialidad… ARQUITECTURAJaques Herzog & Pierre de Meuron – Peter Zumtor
“¿Por qué en arquitecturas recientes encuentra uno tan poca
confianza en las cosas primigenias que constituyen la
arquitectura? Cosas tales como el material, la construcción, lo
portante y lo portado, la tierra y el cielo, con poca confianza en
los espacios libres para que sean tales; espacios en los que se
procura su envolvente como configurador espacial que lo define,
la forma que lo excava, su vacío, su luz, su aire, su olor, su
capacidad de recepción y resonancia. ”
Peter Zumthor (2006, 33), Pensar la arquitectura
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Joseph Beuys
Beuys … y la MATERIALIDAD
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Transmutación – Superficie
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J. Herzog y P. de Meuron
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Casa en Plywood 1984-85
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Edificio de apartamentos
En shutenmaterstrasse, basilea, 1984-
1993
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Edificio de apartamentos
En Paris Rue des Suisses -1993
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Almacén Ricola 1986-87
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Deposito Ferroviario
1989 - 1995
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Centro de señales
Estación central de Basilea
1994 1998
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Pabellón Industrial Ricola
1992 1993
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Apolineo o Dionisiaco.
Nietzche. Semper
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Biblioteca Eberswalde
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Bodegas Dominus
1995 1997
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Tenerife espacio de las artes TEA
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Edificio forum
Barcelona 2004
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Museo Goya - Zaragoza
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Centro de danzas de Laban
Londres 2003
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Museo de
Young SF
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Museo Walker Mineapolis
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IKMBZ Cotubus
Alemania 2004
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Centro Ayohama Prada
2003
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Aliance Arena
Munich 2005
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Estadio olimpico de Beijing
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1986 Atelier Zumthor, Haldenstein, Graubünden, Switzerland.
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“Si quiero desarrollar y controlar personalmente los proyectos
que hago en mi oficina, no puedo tener muchos encargos ni
mucha gente trabajando. De lo contrario, solo puedo dirigir la
envolvente y así me convertiría en una suerte de Philippe Starck,
que es un gran diseñador, pero que principalmente tiene una
firma y un estilo. De este modo, cuando le piden un proyecto
para un hotel en Buenos Aires para dentro de dos días, él se lo
encarga de inmediato a su equipo, que rápidamente lo hace y es
grandioso, pero es siempre lo mismo. Esto en sí no es malo,
Coca-Cola es siempre igual y está bien, pero yo no soy como
ellos, ese no es mi mundo.”
Peter Zumthor (2009, 82), Summa
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“For me and others, Aldo Rossi introduced history into our
discipline, into designing, and this for the first time enlarged
modernism for me – because that was what he did –. He wrote
the Scientific Autobiography – his architecture as an
autobiographical experience. This was an eye-opener for me and
this is when I started to grow beyond my modernist education.
(…) So looking back, it was all unplanned, but it was a beautiful
education. Then I started to try to be myself.”
Peter Zumthor (2013), Peter Zumthor Interviewed
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1996 Therme Vals, Vals, Graubünden, Switzerland.
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“La presencia de determinados edificios tiene, para mí, algo
secreto. Parecen simplemente estar ahí. No se les depara
ninguna atención especial, pero sin ellos es casi imposible
imaginarse el lugar donde se erigen. Estos edificios parecen
estar fuertemente enraizados en el suelo. Dan la impresión de
ser una parte natural de su entorno, y parecen decir: “Soy como
tú me ves, y pertenezco a este lugar.” Despierta toda mi pasión
poder proyectar edificios que, con el correr del tiempo, queden
soldados de esta manera natural con la forma y la historia del
lugar donde se ubican.”
Peter Zumthor (2006, 17), Pensar la arquitectura
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“Ahí están los espacios, y allí me encuentro yo, y ellos me
mantienen en su ámbito espacial; no estoy de paso. Puede ser
que esté bien firme ahí, pero entonces algo me induce a ir hasta
la esquina, donde la luz cae aquí y allá, y me pongo a pasear
por ahí; tengo que decir que ese es uno de mis mayores
placeres: no ser conducido, sino poder pasear con toda libertad,
a la deriva, ¿sabéis? Me muevo como en un viaje de
descubrimientos. Como arquitecto, tengo que asegurarme que
eso no se convierta, acaso sin quererlo, en un verdadero
laberinto.”
Peter Zumthor (2003, 43), Atmósferas
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“Encuentro increíble que con la arquitectura arranquemos un
trozo de globo terráqueo y construyamos con él una pequeña
caja. De repente, nos encontramos, con un dentro y un afuera.
Estar dentro, estar afuera. Fantástico. Eso significa – algo
también fantástico –: umbrales, tránsitos, aquel pequeño
escondrijo, espacios imperceptibles entre interior y exterior, una
inefable sensación del lugar (…).”
Peter Zumthor (2003, 47), Atmósferas
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1997-2000 Swiss Pavilion EXPO 2000, Hannover, Germany.
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1986 Shelters for Roman archaeological
site, Chur, Graubünden, Switzerland.
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1997 Art Museum Bregenz, Bregenz,
Vorarlberg, Austria.
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1997-2000 Kolumba - Erzbischöfliches
Diözesanmuseum, Cologne (Köln), Germany.
Los ladrillos fueron diseñados y
fabricados especialmente para el
proyecto – por la empresa danesa
Petersen Tegl –; cocidos en hornos de
carbón que producen variaciones suaves
entre color miel y gris pálido. El
resultado es sereno, pero estimulante. El
estudio de este material llevó
aproximadamente diez años y requirió
de modelos a escala 1:1. Son ladrillos de
54 x 21,5 x 4 cm hechos en parte a
mano y bajo un proceso tan particular
que determinaron que el material se
llamaría “Kolumba-Stein” (“Piedra-
Kolumba”)
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“You can feel that this project was started from the inside, from
the art, and as I said before, from the place. It’s a great story that
from all the churches. This old one, that took a direct hit from a
bomb in 1943, the year I was born, was chosen to continue the
construction. When you are open for this, it leads to an
accumulation of historical events. And when you add the
fantastic half legendary story of the Kolumba, the holy Kolumba,
the possibilities become endless. And you can feel this and it has
nothing to do with marketing a city. The architecture just tried to
find the best solution possible.”
Peter Zumthor (2007), Vernissage TV
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En la primera planta, la naturaleza de la fachada de ladrillos
de planta baja se altera con perforaciones aleatorias. La
textura impermeable de la pared inferior se transforma en
una especie de velo o celosía del mismo material. Sobre la
primera planta, se retoma la textura impermeable de la
mampostería, aliviada por los paneles de cristal del piso
superior.
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En estos patios se ubican finos árboles
que crecen desde macetas enterradas,
rodeadas de gravilla gris que combinan
con el tono neutro de la fachada. El patio
principal se cierra por sus cuatro lados:
una de las paredes se compone
únicamente con los ladrillos grises que
caracterizan gran parte del cerramiento
exterior, otra se compone únicamente de
fragmentos del muro de piedra medieval
cuidadosamente preservado, y las dos
restantes son de hormigón, con una
textura áspera que pretende demostrar
que son “agregados”; como si formaran
parte de un estrato geológico distinto a los
demás. Zumthor utiliza este mismo recurso
con el hormigón en la “Capilla Bruder
Klaus” en Wachendorf
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Las galerías del primer piso no tienen ventanas – política de
curaduría del “Museo Kolumba” – ni siguen un esquema
organizacional obvio. De esta manera, se puede encontrar
una escultura renacentista de Cristo en madera al lado de
una serie de Andy Warhol. El objetivo es estimular la
contemplación y la búsqueda de nuevas perspectivas. El
espacio más intenso de este nivel es la tesorería, donde se
ubican relicarios de plata medievales y cruces con
incrustaciones de marfil y distintas piedras, entre otros
trabajos de joyería. En este espacio oscuro, las joyas se
ubican en vitrinas contiguas e individualmente iluminadas,
con muy poco espacio entre una y otra, que obligan
virtualmente al visitante a examinar cada una de ellas.
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“Nowadays we are used to the fact that a lot of museums are
part of a marketing campaign. For cities, the art plays a minor
role. They are interested that the architects come up with a
sensational shape that attracts people at least for a year or two,
maybe even five or seven. I don’t know. This is the famous
“Bilbao effect”, a worldwide phenomenon. But here – and you
can feel it –, it’s different, it’s the opposite meaning. It all started
with the art, the collection and its substance. Here people still
believe in the art, it’s not just a good investment. (…) Here
people believe in the inner values of art, the spiritual values, its
ability to make us think and feel.”
Peter Zumthor (2007), Vernissage TV