In architecture there is love at first sight. It happens when an idea that is vaguely trying is encountered, mature and settled, in a work which he had watched only casually, but, at once, seems to embody all right: a meeting that opens the future.
If you consider the power of architecture in our South, you can assume a vital way for Italian designers might arise from the intersection of an asymmetrical composition that analytical procedures for fragments and for parades and a willingness to incorporate static internal space and the outer one in a fluid dynamic. An architecture that has the capacity to bring the public space through a game of cooperative shares and that it opens to nature by involving the pre-existing. The architecture also solid, heavy, made of stone materials that call our stones and our rocks but can incorporate inserts transparent, light, modern. Finally, an architecture that is neither mimetic plant to the landscape nor strictly opposed to artificial, but that evokes a strong and sacred (I say monumental, if we could use that word without being misunderstood) so that eschews high-tech engineers or neo-decorative knickknacks and enshrining of building the 'fundamental aspect: the seriousness of the commitment, the moral value of construction and all who are involved.
contains all these elements, the recent work of a Mexican architect, Abraham Zabludovsky. Who knows what great country knows that the name of Zabludovsky (which has long worked in partnership with Teodoro Gonzalez de Leon) can rightly be associated with the two great contemporaries Luis Barragan (1902-1988) and Ricardo Legorreta (b. '31), but his work is certainly still little known in our country even if there is some article was dedicated.
Zabludovsky, he moved to Mexico three years in his native Poland and graduated in architecture in the postwar period to the World University Nacional Autonoma de Mexico. In 1950 he opened a studio in the capital and started designing. In his career he has achieved far more 'of two hundred buildings and two fine monographs have been devoted by Paul Heyer, who has spread the knowledge in the United States. Zabludovsky began his career with a consistent approach to international modernism, and then, Le Corbusier, Walter Gropius, but also and Louis Sert. Produce mainly apartment buildings where a carefully defined planimetric features an image of the game follows the rhythmic structure is often treated in frames that give depth and chiaroscuro. Towers or satellite towns, patio houses, as the artist José Luis Cuevas, and bottlenecks. The turning point came in the seventies when making a work of great public importance, the College of Mexico to Ajusco in the territory of boundless capital. This is a research center inspired by the college in the UK or to the monasteries because it develops around a central space, but they distantissimo because the center is configured trapezoid, engages in the street instead of being fully closed and the buildings' cause in sections and articles on three interconnected levels. This work of 1975, which persist in the outer echoes of the brutal treatment of American Paul Rudolph, marks the beginning of the awareness that we have already called gauges. The compositions of the buildings have not only create value in the internal dynamic episodes, or composition of volumes under the light, but meeting the space between the buildings. Spaces that open and close, that accommodate the life of the inhabitants and visitors, organizing the flow but also the feel and contemplate.
Look to the concept of university teaching in the same locality but realized after four years: two cartons that carry zigzagging into the ground? that should appeal to a very as deconstructionist architect Daniel Libeskind? collecting patios and gardens and open landscape, nodes, paths to scale.
This awareness towards an open space formed by buildings is described and developed in subsequent projects, more and more 'successful. The volumes are often impressive, take on a sculptural quality, create the decisive game of shadows and light against the sky of Central America. But these volumes, in fact, often growing on elongated and dynamic platforms that terrace the ground, pierce like a sculpture by Henry Moore, are besieged by inclined planes of green: If one side can not but recall the great buildings of the past pre- colonial (but with a difference the "memories" fashion), the other playing with the medium value of life. In recent works such as the library of Mexico to the Cudadela, the Civic Theatre of Aguscalientes, the multipurpose auditorium of Celaya, spaces are created to mediate with the outside entrance of the large porches (especially that of the imposing City's National Auditorium Mexico with a mesh cover). Understanding the architectural sense of these spaces can only be done from within. Incidentally the strength of the Pantheon is not apparent by looking at the city through the huge columns?. In these works often are the mountains that come powerfully into the architecture., But the focus throughout the report to the Mexican interior and exterior, is also in the squares of entry in secret gardens, patios most of the works' small.
When a big lead? theater, auditorium, playground, reading room? is present in the program, the external volumes are soaring and even in contrast to find out the size of the void. The color is especially evident in the interior where the brown of the week contrasts with the glossy finish of the volumes and the presence of red or blue furnishings. The arts, and the assiduous with the artists of that country (including his brother Moisés), permeates the compositions and invigorating.
The walls, heavy, layered, strong are the matter before this architecture. Large areas of solid concrete, sometimes flat sometimes curved, refracting light through the inclusion of large aggregates or fragments of rocks and marble through a novel technique that has been progressively refined since 1968.
dwell on a work, emblematic of his way to work: the auditorium of the State of Guanajuato, capital of the homonymous. The city is of great nobility and architecture is so important that it is one of the sites under the protection of UNESCO world. The Auditorium, built on the heights surrounding the city, is home to almost two thousand viewers through a large room and a small two hundred people. The show, mostly by car, has been studied carefully. The curving road that leads to this kind of Acropolis stops under a huge portal (which marks the access to the work) and then descends into three terraced floors that house the parking. These terraces are the means, the plaintiff in the architecture, the pyramidal tract of land prerequisite to the emergence of large volumes free to shape the contact with the sky The portal of this auditorium is connected to a first porch with a roof painted in red , which leads to the Foyer closed on a curved line through the alternation of large area glass and concrete walls. Quote several open terraces in the foyer as one in the other connected by stairs and ramps, a true square blanket. The great hall of the Auditorium for 1800 admissions has resulted in concrete slabs? with large aggregates included, as in the outer walls, in the cast? separated from each other by vertical glass slots. But the touch of genius is in the balconies vibrate the cable and add an unusual and brave splash of color with a laminated coating of gold. Perhaps the same gold jewelry Maya or Aztecs who had dazzled the conquistador Cortez and predatory. But the Polish jew Zabludovsky enriches his work with the adopted land. It seems, above all, have understood and cultivated intelligence.
0 comments:
Post a Comment