Beruflich Dokumente
Kultur Dokumente
Autumn
O t o o
2015
arquitectura / paisaje / diseo / conversando / crtica _ architecture / landscape / design / conversation / critics
bARcElONA
CM
MY
CY
CMY
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EDITORES I PUBLISHERS
Xavier Alba Navarro
Octavio Mestre Aramendia
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REDACTOR I EDITOR
Irene Yal Prez
COLABORAN I CONTRIBUTION
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ngel Marcos
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PATROCINADORES I SPONSORS
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TRADUCCIN I TRANSLATION
Kelly Shimmin
PORTADA I COVER
Xavier Alba
CONTRAPORTADA I BACKCOVER
ngel Marcos
DEPSITO LEGAL
B-21950-2011
ISSN
2014-2145
EDICIN I EDITION
Associaci T-18 Magazine
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08172 Sant Cugat del Valls, BCN
Tel/Fax: +34 935 442 069
t18@t18magazine.com
www.t18magazine.com
17/182015
Autumn
Otoo
010
020
EDITORIAL
GUA DE BARCELONA
ARQUITECTURA / ARCHITECTURE
068
080
BAAs ARQUITECTURA
Alta Diagonal.
090
102
114
126
TALLER 9s ARQUITECTEs
Ludoteca y centro de recursos educativos
de Ciutat vella.
GRND82
81 Viviendas tuteladas para personas
mayores, 4 hogares con servicio de apoyo
y un centro cvico.
174
184
194
204
LOLA DOmNECH
Remodelacin paseo de sant joan f2
218
230
vORA ARQUITECTURA
Entorno mercado del Born
FOTOGRAFA / pHOTOGRApHy
242
NGEL mARCOs
Alrededor del sueo, Barcelona.
TDB ARQUITECTURA
Edificio de vivienda plurifamiliar en la calle
Inmaculada.
262
148
284
162
TONET sUNyER
Casa san Gervasio
310
138
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056
DIsEO / DEsIGN
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Octavio Mestre
Octavio Mestre
EdiTORiAl
EdiTORiAl
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The 1960s were the years of development, economic boom and mass construction, while the 1970s, the Pop years,
were bad for the profession (you need
look no further than the way architects
dressed in those days, with floral shirts
and flares the size of elephants feet),
with the exception of the PER studio and
a very few others, more because of their
audacious and playful spirit than from
a critical stance. Those years of political transition, of freedom without anger
(that is, with anger, but less of it) were
years of poor harvests, in the same way
as the 1980s were bad for poetry, according to a popular song of the movida era. But they were also exciting years
and of course they were the years when
our whole generation was young.
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Lleg, entonces, la democracia, la reconquista del espacio pblico, los concursos de las respectivas administraciones y un boom de una arquitectura que
pareca aletargada y que lleg a su
punto culminante con la celebracin de
los JJOO Algunos de mi generacin se
han quejado de que los de la precedente, a diferencia de lo que ha sucedido
en Madrid, no les ha dejado paso, pero
es que nadie deja nunca paso a nadie,
uno tiene que saberse ganar su propio
espacio y no siempre es fcil. Mejor dicho, nunca. Y qu hacer, despus de
los JJOO, sino reinventarse? Y as surgi
ese invento fallido que fue el Frum de
las Culturas del 2004, como una pataleta, una vez perdida la posibilidad de
ser capital europea de la cultura en el
2000 pero, con l, la posibilidad de
desarrollar el extremo de la Diagonal
que permitira despus una mayor velocidad da la hora de colmatar ese tejido que ha venido a conocerse como
22@ y que es hoy una zona experimental
con considerables buenos edificios No
querramos dejar de citar en esta lista a
arquitectos que tienen obras en la zona,
como los Josep Lluis Mateo (MAP), los
Brullet y de Luna, Albert de Pineda, Enric
Miralles, Joan Pascual, Carlos Ferrater,
TDA, y ya, entre los ms jvenes, a Jordi
Badia, Felipe Pich, Enric Riuz Geli o Enric
Massip y su Torre telefnica, hacindose
un hueco entre nuestros mayores.
The then came democracy: the re-conquest of public space, tenders put out by
the various administrations and a boom
of an architecture that had seemed
dormant, which reached its climax with
the celebration of the Olympic Games.
Some people from my generation have
complained that those from the previous
one wouldnt let them in, in contrast to
what happened in Madrid, but the truth
is that no-one gives way to anybody else
coming through; you have to know how
to win your own space and its not always
easy. In fact, its never easy. And what
was left to do after the Olympics but to
reinvent oneself? And this led to the failed
initiative of the Forum of Cultures in 2004,
which was like a temper tantrum after losing out on being European Capital of Culture in 2000. Yet with it came the chance
to develop the farthest end of the Diagonal Avenue that would then speed up the
completion of that area which became
known as 22@, today an experimental
district with a considerable number of
fine buildings. It would be remiss not to
mention the architects behind the buildings in this area such as Josep Lluis Mateo (MAP), the Brullets, de Luna, Albert
de Pineda, Enric Miralles, Joan Pascual,
Carlos Ferrater, TDA, and amongst the
younger ones, Jordi Badia, Felipe Pich,
Enric Riuz Geli and Enric Massip with his
Telefonica Tower, which has earned him
a place amongst the very best.
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Pero luego, poco despus, lleg la crisis y eso s fue, ya no un ralentizarse, sino
un despearse al vaco (y pensbamos
que la del 93 era grave) Y lleg la internacionalizacin, como cura a todos
los males para en muchos casos, como
dice un amigo, acabar haciendo ahora,
otra vez, cocinas y baos, como cuando
empezramos hace ms de 30 aos
Mario Corea, gran arquitecto donde los
haya, me dijo en un congreso que l y
yo nos internacionalizbamos pero los
jvenes emigraban... qu gran verdad.
But then, shortly afterwards, came the crisis which was not so much a slowdown as
a plunge into the abyss (and we though
the crisis in 1993 was bad). Then internationalization arrived like a cure for all ills,
only for it to end up in many cases, as a
friend of mine says, in kitchens and bathrooms again, just like when we started out
more than 30 years ago. Mario Corea,
as great an architect as you will find anywhere, once told me at a congress that
he and I internationalized ourselves but
the youngsters emigrated how very true.
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El nmero quiere apostar ms por nuevos arquitectos, gente no tan conocida que por
maestros o arquitectos ya consagrados. Por
eso, en vez de presentar obras de Bach y Mora
o de los Bach, padre e hijo (magnficas son
las viviendas de la calle Casp 74), preferimos
mostrar un interiorismo de Eugeni y Anna, su
mujer o en vez de mostrar la obra de aquel
que hace todos los restaurantes y locales de
moda, en estos momentos, la de Denise & von
Arend que nos parece un magnfico referente.
As, con este mismo espritu, entre los tres ejemplos de espacios pblicos que presentamos se
encuentra, una plaza dura (la del Born), la reforma de un paseo (la exquisita intervencin
de Lola Domenech en el P Sant Joan) y un
rea, la de las Glorias, que es nudo gordiano de la circulacin trasformado en parque.
De las dos bibliotecas que presentamos una
lo es de nueva planta, mientras la otra, recupera tramas y piedras gticas de la ciudad
De los tres edificios de oficinas una es un edificio de alquiler al que se le lava la cara de
los espacios comunes, otra un edifico de nueva planta frente del Hotel Me y, otra, la sede
de un colegio profesional, el de Economistas,
con vocacin de convertirse en plaza vertical.
Hay edificios singulares como el del IMO, por
aquello del seny i la rauxa y otros que conforman la tramaHay tambin vivienda de promocin pblica (junto a la Vall dHebrn), de
promocin privada e, incluso, vivienda unifamiliar, tipologa menos extraa a la ciudad de
lo que pudiera parecer en cuanto se deja su
centro (y aqu hemos querido rendir homenaje al desaparecido demasiado pronto, Tonet
Sunyer) De entre la obra de Jordi Badia, podramos haber escogido Can Framis (uno de
los mejores museos de la ciudad), pero el edificio Alta Diagonal es menos conocido (es curioso ver cmo los edificios nos representan
y as can Framis es elegante, sutil, cuidadoso y
sensible con su entorno y la historia, mientras
su vecino, el Mediatic es, adems de innovador, ampuloso, engredo y, si se me permite,
un tanto mentiroso) Podramos haber optado, en el caso de Pepe Llinas, por la Biblioteca Jaume Fuster, pero el IMO es ms reciente
y ms extremo en sus planteamientos Nos
gustan ms, en definitiva, los proyecto que son
precursores, los que abren nuevos caminos,
que los que son epgonos.
Also, in the section that every issue devotes to historical review, we reflect upon
another of the important figures who is
no longer with us, Enric Miralles, with
an article that I wrote at the time of his
death in 2000 commissioned by the Architects Association, an article that was
updated recently for Eduardo Almals
blog with a postscript that acts as a preface. Among the many figures we could
have featured, Miralles seemed to us to
be the best choice, despite the fact that
his premature departure barely gave
him time to leave examples of his work in
his native city, apart from the pergolas of
Avenida Icria (a nightmare following a
stormy night), the Archery Range facility
(a magnificent inhabited retaining wall),
his last house, La Clota (midway between Alvar Aaltos house in Muuratsalo
and Arte Povera), and the muscular Gas
Natural headquarters.
The interview with Javier Perez Andjar
acts as a counterpoint and a degreasing agent in respect of designer Barcelona; because if Barcelona is anything
at all it is (or should be), a city for people, regardless of this being a campaign
slogan for a party that we suspect did
not do quite all it could have done or
at least thats what the opposition say.
Now that the City Council is moving in
a new direction, talking to Javier allows
us to view the city from a different perspective, that of an ordinary citizen living
on its outskirts, as witnessed through his
books which are a genuine delight. In
the face of the new and admirable municipal mantras to work to make Barcelona self-sufficient, with productive neighbourhoods, living at a human speed at
the heart of a hyper-connected metropolis with zero emissions, there are other
simpler and more pressing realities, even
though they might be less media-friendly
and photogenic.
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OM
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Octavio Mestre
GUA BARCElONA
BARCElONA GUidE
The 14th and 15th centuries were for Barcelona one of its periods of greatest Importance, coinciding with the citys control of the trade routes to the Orient, a
fact which stimulated the expansion of
the local economy. In only two centuries
Barcelona built the last two walls around
her original Roman nucleus: the first running as far as the Rambla, at that time a
watercourse, and the second encircling
the Raval district, in which a number of religious houses had been established. The
cathedral (1) is inevitably the organizing
element in any Gothic city, and we therefore propose to start our visit there. Built in
the main during the 14th century, it has
three naves, all of more or less the same
height, which gives the whole a sense of
being a single space, quite different from
the effect produced by Gothic cathedrals
in northern Europe.
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On the other side of the harbour is the Barceloneta, a residential district constructed in the 18th century when the newly
installed Bourbon monarchy, after destroying the Ribera area, found it necessary to
rehouse the people that had been left
homeless. Since the recent demolition of
the old dockside warehouses on the Passeig Nacional the view of the skyline of the
historic city can be seen as never before.
The building by Coderch at no. 48 of the
same Passeig, (15) restored in the early 90s,
is worth a visit. The Bourbons also constructed a military citadel, which was viewed
from the start as a symbol of oppression
from the centre; when this was dismantled as a result of a petition by the citizens
it made way for the parkland which was
later to accommodate the Universal Exposition of 1888. The park includes several
buildings of importance, such as the Exposition Restaurant (16) by Domnech i Montaner, and now home to the citys Zoology
Museum, the Umbracle, the Hivernacle
and the Museu dArt Modern.
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Izquierda arriba / Up left: Drassanes.
Izquierda abajo / Down left:
Plaa de la Mer.
Derecha arriba / Up right:
Umbrculo / Umbracle.
Derecha abajo / Down right:
Maremagnum
Fotografas / Photography:
Octavio Mestre
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Si volvemos sobre nuestros pasos nos encontramos con el antiguo Mercat del
Born (17), exponente de la arquitectura
de hierro fundido de finales de siglo. Al
fondo, Santa Mara del Mar (18), una de
las ms sobrias e impresionantes muestras del gtico cataln remata la vista. A
sus pies nace la calle Montcada (19) que
fuera sede de la burguesa de los siglos
XIV al XVII. La casa Berenguer de Aguilar
-hoy Museo Picasso (20)-, la casa Cervell -hoy Fundacin Maeght- o los palacios Dalmases y del Marqus del Len,
sedes del Omnium cultural y el Museo
Rocamora, respectivamente, responden
a la tipologa del gtico civil cataln en
el que, tras el vestbulo, se abre un patio
a cielo abierto que da acceso a la escalera principal. La coleccin de arte precolombino Barber Mueller se ha instalado, en mayo del 97, en el Palau Nadal.
La visita puede completarse saliendo a
la Va Layetana -calle que se abriera a
travs del casco antiguo para conectar
el Ensanche con el puerto comercial, a
principios de siglo- desde la que se tendr una impresionante vista de la muralla romana del siglo III (21). Ms arriba, en
el n 50, est la Casa dels Velers (22),
clebre por su profusin de esgrafados.
Tras ella se encuentra el Palau de la Msica -Alta de San Pedro, 13- (23), obra
cumbre del modernista Domnech i
Montaner que ha sido brillantemente
restaurado por Oscar Tusquets y Carles
Daz.
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Photography:
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After the splendour of the Gothic period, Barcelona had to wait until the end
of the 19th century for the riches brought
back from the Americas and the wealth
created by the first industrial revolution
to give the impetus to a national resurgence in art and letters, the Renaixena, whose ultimate civic expression
was the demolition of the city walls and
the construction of the new Eixample.
Planned by Ildefons Cerd, the Eixample
scheme envisaged the construction of
a regular isotropic urban grid, on which
three main streets would stand out: the
Diagonal, the Gran Via and the Meridiana, which would all meet at the Plaa
de les Glries, intended to be the geographical centre of the new Barcelona.
In fact, however, this centre was never
to function as such, and remains empty
to this day, in that the bourgeoisie chose
to install themselves around the Passeig
de Grcia, with the working classes established in the neighbourhoods in the
east of the city, while the factories were
located close to the sea flanking the first
railway line to be laid in Spain, along the
coast between Barcelona and Matar.
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Ya en el n 8 del Paseo San Joan, el Palau Macaya (49) constituye una reinterpretacin modernista de la tipologa
del palacio gtico cataln. Tras visitar
la fbrica Myrurgia (50)-Mallorca, 351-,
obra de Puig i Gairalt, merece la pena
que nos acerquemos a la casa que Jujol
hiciera en la Diagonal, 332 (51). Jujol fue
el discpulo y fiel colaborador de Gaud
al que se atribuyen tanto el banco del
Park Guell como el trabajo de forja de
la Pedrera. Subiendo por Cerdea llegamos a la Sagrada Familia (52), el templo expiatorio que Gaud construyera
en paralelo con el resto de sus obras,
prcticamente durante toda su vida.
Gaud apenas alcanz a ver construida
la fachada del Nacimiento y parte del
bside. Hoy contrastan las esculturas figurativas que recubren la fachada del
Nacimiento con la geometrizada imagen que la catedral ofrece en su fachada de la Pasin. Existen otros edificios inacabados de Gaud que hacen pensar
el poco sentido que tiene, hoy en da,
la continuacin de tan ingente obra.
Uniendo la Sagrada Familia con el Hospital de San Pau (53), otra de las obras
de Domnech, la Avda. de Gaud pretende constituirse en la nueva rambla
de la zona.
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Proponemos empezar la visita por el Monasterio de Pedralbes (54) que fue fundado por Jaume II en 1326, segn el modelo oficial de la poca. En torno a una
Iglesia de nave nica y al claustro en
forma de U se agrupaban el resto de dependencias. En el claustro se superponen tres galeras porticadas, quedando
a modo de solana la superior. Hoy alberga la sede barcelonesa de la Coleccin
Thyssen Bornemisza. Algo ms abajo, en
la calle Sor Eulalia de Anzizu, se halla el
conjunto residencial Les Escales Park
(55), obra que Sert construir en Barcelona a mediados de los sesenta, todava
en su exilio americano. Los dplex de
piedra artificial y pavs de Bonet y Cirici
de la calle Tokio n 2 (56), estn entre las
arquitecturas destacables de la zona.
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El segundo de los recorridos que proponemos es intercambiable en varios puntos con el que acabamos de describir
y empezar y acabar en los edificios
Trade. Siguiendo por el cinturn de Ronda en direccin hacia el Colegio de las
Teresianas nos encontraremos con las
Cocheras de Sarri -Paseo Manuel Girona/Juan Bosco-(73). Concebido como
alternativa a los bloques lineales de la
poca, Coderch har del retranqueo
el leitmotiv del proyecto, creando esos
patios exteriores de transicin entre la
vivienda y la calle, en un intento de no
reconocer el entorno urbano. Enfrente,
al lado del Estadio del Espaol F.C. prximo a desaparecer, se halla un bloque
de viviendas y una magnfica gasolinera, ambos obra de Mitjans (74). Ms arriba nos encontramos con un ejemplo de
virtuosismo de falsa fachada, realizado
por Pepita Teixid dentro del programa
Barcelona posat guapa para disimular unas medianeras que el Cinturn
dej al descubierto (75), un bloque de
ladrillo de Luis Nadal en la calle Tres Torres n44 (76) y el magnfico Edificio Calatrava (77), de Llimona y Ruiz Valls, antes de llegar al Colegio de las Teresianas
de Gaud (78).
Cruzando la Va Augusta, nos encontramos con la manzana de Banco Urquijo -c. Raset, Freixa, Modolell y Vico(79), uno de los primeros conjuntos de
bloques en el que Coderch ensayar su
lenguaje de fachadas ciegas y ventanas-balcn en los ngulos, protegidas
por lamas de madera. La planta, con su
solucin de salas de estar dando tanto
al interior de la parcela como a la calle,
es magnfica. De ah, por la calle Modolell, podemos llegar a la plaza de San
Gregorio en la que se halla, en una de
sus esquinas, un bloque de obra vista de
Bofill (80) de gran expresividad, que anticipar con sus chimeneas lo que despus har en el barrio Gaud de Reus.
Subiendo por Juan Sebastin Bach, enel
n7 nos encontraremos con una obra
de Coderch (81) en la que destacaramos el tratamiento de la celosas de la
We can now move on to look at the building by Mitjans at c/ Amig, 76, (82) on our
way to the Sert building at the corner of
c/ Muntaner and Rector Ubach (83) in
which in 1930 he embodied the idea of
an apartment block composed of three
superimposed duplexes, with his own studio at the top. In the same neighbourhood
we can see two buildings by Esteve Bonell:
the Fregoli, (84) at c/ Madrazo, 54, from
the mid-seventies, and the slightly more
mannered building at c/ Brusi, 19 (85),
from the mideighties. The Mons jewelery
workshop at c/ Guillem Tell, 5 I, (86) and
the house-cum-studio which Coderch designed for Antoni Tpies at c/ Saragossa, 57
(87) -barely a hundred metres from each
other- are two of the finest works of 1960,
making use of the shutters as a hermetic
enclosure behind which to conceal their
various functions. We are now only a short
walk from the Casa Vicens in c/ Carolines,
(88) the first work that Gaud undertook for
a well-known ceramics manufacturer, in
which he used different types of tile in the
composition of the facade.
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fachada principal que crean un maravilloso espacio de transicin por donde toda la
casa respirar. Los forjados vistos, a la vez
que ritmarn la fachada, servirn de gua
a las correderas. La fachada que se abre
sobre el pasaje de acceso al inmueble es
antolgica. Coderch con edificios como
ste ayud a difundir entre la clase alta, el
empleo de la obra vista que despus se copiar hasta la saciedad.
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Arriba / Above: Parc del Clot.
Izquierda / Left: Parc Estaci del
Nord.
Izquierda arriba / Up left: Plaza
General Moragas.
Izquierda abajo / Down left:
Puente Bach de Roda-Felipe II /
Bach de Roda - Felipe II bridge.
Fotografas / Photography: Octavio Mestre
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Derecha / Right: Fossar de la Pedrera.
Arriba / Above: Palau Sant Jordi
Fotografas / Photography: Octavio Mestre
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ARQUITECTURA / ARCHITECTURE
104. iNSTiTUT
nombre
de la
dEobra.
MiCROCiRURGiA OCUlAR
www.web.com
dE
BARCElONA
Lugar / Place:
Ao / Year:
lugar
/ Place: Ronda
Superficie / Surface:
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Thus the conception and execution processes took a long time; in the first case
because of urban planning changes
that affected the shape of the plot and
in the second due to the complexity of
the location and the construction work.
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EMPLAZAMIENTO
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LOCATION
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Thus the building, being on the Collserola Park side, needed to take into
account these conditions and the totally different natural circumstances that
would have been encountered had it
been located on the city side. While
among the first alternatives explored the
option was to hide or camouflage the
building behind a little wood, in the later ones, when we were obliged to move
the building much closer to the Ronda
de Dalt, the options centred on using the
topography, in other words, the sites natural slopes, as an instrument for defining
the buildings morphology.
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Planta 3 / Floor 3
Planta 4 / Floor 4
B.
PROGRAMA
B.
PROJECT
The explanation of the use of the building, devoted to caring for the sight, led us to propose
a route from the street to the waiting rooms
with different roof coverings and protection
from the sun, in which the natural light that
seemed too strong and intense outside was
perceived as attenuated and comfortable
once in the waiting area.
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Planta 5 / Floor 5
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ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
ARQUITECTURA / ARCHITECTURE
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PLAZA VERTICAL
VERTICAL SQUARE
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COMUNICABILIDAD
COMMUNICABILITY
Los espacios de foyer, espera y circulacin de los diferentes niveles estn colocados a lo largo de las fachadas longitudinales, mirando a la plaza. Movimiento,
espera de los usuarios y transformaciones del espacio interior son la fachada
real de la pieza urbana. Con esta operacin, y aadiendo la transparencia
de la fachada de vidrio, aumentamos la
visibilidad de la institucin, estableciendo un dilogo entre la plaza y la ciudad.
Adems, estos espacios de foyer actuaran como cojn climtico y acstico,
protegiendo el programa de formacin
y difusin.
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CORAZN SOCIAL
SOCIAL HEART
The program of 3,000 m2 total is distributed over 6 main floors and 2 basement
floors. By grouping the functions in a double order, the building floors appear as
sequence of superimposed boxes. The
functions are divided into a classroom/
diffusion area and a deanery/administrative area. The program in its entirety
is organized into rooms: the classrooms
are rooms, the waiting halls are rooms,
as does the stairway
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Glass facade derived from reflection material quality: Silk screen glass print with
50% transparency on the outer skin and
100% transparency on the opaque facades. The building is sensible, changeable: during the day its surface reflects
subtle changes in light and the elements
that surround it; during the night one
can see the reflection of the interior elements, the foyer doubles by its dimension
because of the mirror effect.
Integration of architectural, building and
energy solutions to a single element: The
circulation element of the building is
also a space for meeting, image - communication of the Headquarters, and is
the thermal and light pad, heat of the
building. Each element of the project
responses on all requirements simultaneously: staircases, classrooms and hallways of the floor plan.
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Izquierda / Left: Fachada de vidrio serigrafiada / Silkscreened
glass facade. Fotografa / Photography: Marcel Erminy
Derecha / Right: Reflejos en
fachada / Faade reflections.
Fotografa / Photography: Miquel Darder
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Fotografa / Photography: Marcel Erminy
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ARQUITECTURA / ARCHITECTURE
BAAS ARQUITECTURA
Nombre Estudio / Arquitecto.
nombre
EdiFiCi
AlTA
de la
diAGONAl,
obra.
BARCElONA
www.web.com
www.baas.cat
Lugar / Place:
Arquitectura / Architecture: Jordi Badia
Ao / Year:
Responsable
de proyecto / Project leader:
Superficie / Surface:
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3 jardn
4 auditorio
plaza
1 entrada
2 cafetera
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diagonal
hall/lobby
jardn
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Fotografa / Photography: Pegenaute
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ARQUITECTURA / ARCHITECTURE
nombre de
EdiFiCiO
dE la
OFiCiNAS
obra. Y APARCAMiENTO EN BARCElONA d123
www.web.com
www.aia.cat
Lugar / Place:
Arquitectos / Architects: AIA Salazar - Navarro + DPA
Ao / Year:
Estructuras
/ Structures: Joan Carles Capilla, arq.
Superficie / Surface:
direccin
de las obras / Supervision of works: Joan Carles Navarro (A I A), Fabio Aurichio (A I A)
Texto / Text:
Interiorismo
Oficina piloto / Interior design Office show: CBRE
Imgenes / Images:
Arquitectos tcnicos / Technical architect: ID arquitectes tcnics
ingeniera de instalaciones / Facilities engineering: Jordi Fornells (A I A)
licencia ambiental / Environmental license: Xavi Martnez (A I A)
Promotor / Promoter: HINES
Constructora / Construction company: EDIFICA S.A.
Superficie / Surface: 19.601,13 m2
Superficie oficina / Office surface: 6.625,48 m2
Fotografa / Photography: Ariel Ramrez
Texto / Text: AIA Salazar - Navarro
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Con una altura de 51 metros y una superficie construida total de 19.600 m2,
la planta baja del edificio est ocupada por dos locales comerciales comunicados con el stano, y por el acceso y
vestbulo del ncleo de comunicaciones
verticales. Las doce plantas estn ntegramente destinadas a funcionar como
oficinas.
Plantas difanas de 800m2, con luces
de 14 metros, confieren al edificio una
ptima flexibilidad funcional y mltiples
posibilidades de distribucin. Esto ha
sido posible por la utilizacin de un sistema de forjado de hormign postensado
que ha permitido la creacin de unos
espacios totalmente abiertos y amplios.
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Arriba / Above: El funcionamiento bsico es el de dos ncleos
centrales de comunicacin
vertical, que contiene cuatro
ascensores y dos escaleras / Basic functioning depends on two
central vertical communication
cores, enclosing four lifts and
two stairways. Fotografa / Photography: Ariel Ramirez
En la otra pgina / Opposite: Las
doce plantas estn ntegramente destinadas a funcionar como
oficinas / All of the twelve upper
floors are set aside to be used as
offices. Fotografa / Photography: Ariel Ramirez
Basic functioning depends on two central vertical communication cores, enclosing four lifts and two stairways that
fulfil all requirements in terms of being
adapted for public use. On each side
of the stairways there are MEP services
that concentrate all of the specific services for each of the floors, along with
the stiles and air extraction conduits, as
well as the sanitary water installations for
each floor.
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Under the ground floor there are basement levels of 8,800 m2, taken up by car
parking space, established on the basis
of mezzanines, laid out on four different
levels, with a capacity for 248 vehicles.
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Fotografa / Photography: Ariel Ramirez
ARQUITECTURA
ARQUITECTURA // ARCHITECTURE
ARCHITECTURE
nombre
BiBliOTECA
de SANT
la obra.
GERVASi-JOAN MARAGAll
www.web.com
www.bcq.es
Lugar / Place:
Arquitectos / Architects: BCQ Arquitectura
Ao / Year:
mor,
Manel
Peribez, Maria Taltavull
Superficie
/ Surface:
Colaboradores
/ Partners: Alexandre Liberato, Mika Iitomi (paisaje/landscape),
Texto / Text:
Jordi
Snchez,
Vasco Mouro, Roser Mar, Jordi Rodrguez
Imgenes
/ Images:
instalaciones / installations: JG Ingenieros S.A.
Estructuras / Structures: Manuel Arguijo y Asociados S.L.
direccin integrada / integrated direction: IDP Enginyeria i Arquitectura
lugar / Place: Sarri - Sant Gervasi, Barcelona
Cliente / Client: Ajuntament de Barcelona - Sarri-Sant Gervasi; Barcelona
dInfraestructures Municipals - BIMSA
Ao / Year: 2014
Superfcie / Surface: 2.983 m2
Texto / Text: BCQ arquitectura barcelona
imgenes / images: Ariel Ramirez
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The building is shaped by light and silence patios and books and knowledge patios. The first, surrounded by
glass, light and ventilate the interior
while isolating the library from the street.
The second, solid prisms filled with books,
are part of the supporting structure of
the library.
Entre los patios y los volmenes se articulan los espacios interiores de lectura y
trabajo. Espacios que deben ser pequeos y que buscan dar una confortable
sensacin de domesticidad los usuarios.
The interior is solved easily with little textures; ceiling, floor, furniture and walls
are white in general, while the face that
hide concrete retaining walls and structures of the building are covered with
clay tiles. This porous material, sound
absorbent and warm, reminds us that it
is a half-buried building carved into the
earth.
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Planta -1 / Floor -1
Planta 0 / Floor 0
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Izquierda / Left: El edificio se
conforma mediante los patios
de luz y silencio y los patios
de libros y conocimiento. / The
building is shaped by light and
silence patios and books and
knowledge patios. Fotografa
/ Photography: Ariel Ramirez
Abajo / Above: Alzados / Faades
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Fotografa / Photography: Ariel Ramirez
ARQUITECTURA / ARCHITECTURE
Taller 9s arquitectes
Nombre Estudio / Arquitecto.
nombre deYla
lUdOTECA
CENTRO
obra.dE RECURSOS EdUCATiVOS dE CiUTAT VEllA
www.web.com
www.t9sarquitectes.com
Lugar / Place:
Arquitectura / Architecture:
Ao / Year:
Superficie / Surface:
lugar
/ Place: Barrio Gtico. Barcelona
Texto / Text:
Ao / Year:
2010
Imgenes
/ Images:
Superfcie / Surface: 1.055 m2
Texto / Text: Taller 9s arquitectes
imgenes / images: Adri Goula
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Reciclar Ciudad.
Recycling city.
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Arriba / Above: Las piedras gticas de la torre se convierten en el teln de fondo de los espacions interiores, su verdadera cuarta fachada. / The stones of the Gothic tower
become the backdrop of internal spaces, its real fourth facade.. Fotografa / Photography: Adri Goula
Izquierda / Left: Plantas / Floor plans
With the demolition of part of the existing building it is retrieved the Gothic bell
tower of the church of Santa Maria del
Pi, freeing it from the current tensions
and creating a patio at its feet.
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Un espejo de fachadas.
La fachada del nuevo cuerpo situada
enfrente de la torre se convierte en una
reinterpretacin contempornea del
antiguo gtico. La materia ptrea, masiva, se transmuta en una piel de lamas
semitransparente, las lnias de imposta
son ahora UPE metlicas
Aire y luz como bisagras.
Entre los cuerpos nuevo y antiguo, una
brecha de luz y aire relaciona visualmente todas las plantas y prolonga el
exterior hacia el interior. En el cuerpo
existente la planta baja se abre a la plaza, favoreciendo la proximidad entre el
espacio urbano contiguo y los nuevos
usos ciudadanos.
A mirror facades.
The facade of the new body which is
situated opposite the tower becomes a
contemporary reinterpretation of the old
Gothic. Stony walls, massive, are transmuted into a semi transparent skin of
vertical slats, the lines of imposts are now
metal profiles
Air and light as hinges.
Between the new and the old, a gap of
light and air links all floors and visually extends the outside to inside. The old part
on the ground floor overlooks the square
favouring close proximity between urban citizens and new uses.
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El entramado estructural se mont previamente a la deconstruccin del edificio, para arriostrar los edificios contiguos.
Una vez finalizado el derribo, se trabaj
simultneamente en la construccin de
las plantas superiores y en los trabajos de
arqueologa para rebajar el stano, reduciendo el plazo de la obra en 4 meses.
The structural framework was built before the deconstruction of the building
in order to hold the buildings nearby.
Afterwards it is been worked simultaneously on the finishing of the upper floors
and in the archaeological works on the
ground floor with the aim of lowering
a subterranean floor. This strategy allowed to shortening the period of works
4 months.
A Place, a construction.
Metal structure, ventilated facade, dry
partitions, panels of resins, rubber flooring, stucco traditional cal ... The building
systems are designed to meet both the
difficulties and the demands of the site
waste minimization, energy efficiency,
durability and the easy maintenance.
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Fotografa / Photography: Adri Goula
ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
ARQUITECTURA / ARCHITECTURE
GRND82
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The mixed program of housing and facilities was determined by high economic
restrictions that obliged us to maximize
the best part of the site: the spectacular
views of Barcelona and the ocean beyond. Orientation and topography defined the initial design. Facilities resolve
the topographic jump and become a
platform from which the south-facing
housing units rise in an L-shape.
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These terraces condense the life inhabiting them. They expose the domestic
activities of the users to the city beyond,
like the central courtyard of the houses
of the Algerian Kashba translated onto
the vertical plane. Each user makes the
space their own. The collection of actions and activities of the inhabitants
remains integrated in the volume of the
building through the interior position of
the terrace. The architecture is saturated
with daily life, and shows itself to the city
as such. White covers everything, from
the individual curtains to the faade as a
whole, unifying the building like the snow
on the distant horizon.
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Las terrazas funcionan como condensadores de vida. Es el lugar donde se producen las actividades domsticas y cvicas de los usuarios y se muestran hacia
la ciudad. Son como el patio central de
las casas de las Kashba argelinas pero
colocados en un plano vertical. Cada
usuario se apropia de ella de una manera diferente, la suya. El conjunto de todas las actuaciones y actividades de los
usuarios quedan integrados en el volumen del edificio para la posicin interior
de la terraza. La arquitectura es invadida por las actividades cotidianas de los
usuarios y se muestra en la ciudad. El color blanco hace de teln de fondo, unificando todo, como hace la nieve cada
sobre el paisaje.
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Fotografa / Photography: Jordi Castellano
ARQUITECTURA / ARCHITECTURE
TDB Arquitectura
Nombre Estudio / Arquitecto.
EdiFiCiO de
nombre
dE la
ViViENdA
obra. PlURiFAMiliAR
www.web.com
EN
lA CAllE iNMACUlAdA
Lugar / Place:
Ao / Year:
www.tdb-arquitectura.com
Superficie / Surface:
Texto
lugar/ Text:
/ Place: C/Inmaculada
Imgenes / Images:
44-46, Barcelona
Ao / Year: 2009
Superfcie / Surface area: 4,714.62 m2
Promotora / developer: Torrebonanova
Arquitecto / Architect: Juan Trias de Bes
Colaboradores / Partners: Mara Barcina Roda
Texto / Text: TDB Arquitectura
imgenes / images: Aleix Bagu
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El emplazamiento corresponde a un
sector con predominio de antiguas casas de veraneo del barrio de Sarri. En
el transcurso del tiempo, la evolucin de
los modelos sociales han provocado la
sustitucin de las antiguas casas aisladas unifamiliares por edificios plurifamiliares y equipamientos.
La zona mantiene claramente el trazado de Ciudad Jardn, alternando las volumetras originales ms pequeas, con
otras edificaciones de mayor dimensin,
que corresponden a grandes equipamientos. Entre stos, se encuentran las
Escuelas Pas de Sarri o la clnica Teknon, en los terrenos de la Antigua Torre
Vilana, situados muy cercana a la intervencin.
La intervencin se produce, por tanto,
en un sector en proceso de transformacin.
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Arriba / Above: La intervencin consiste en dos edificios
de 300m de planta cada uno. / The intervention consisted of two buildings of 300m each. Fotografa / Photography: Aleix Bagu.
Izquierda / Left: Plano de situacin / Site plan.
En la otra pgina / Opposite: Juan Trias de Bes / Mara
Barcina Roda.
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Izquieda / Left: El espacio libre, el movimiento, el asoleo, la dimensin... son aspectos considerados desde un
inicio. / The free space, the movement, the sunlight, the
dimensions... all these aspects were given careful consideration from the outset. Fotografa / Photography: Aleix
Bagu
Derecha / Right: Imagen y axonometrico de las terrazas.
/ Terraces image and axonometric. Fotografa / Photography: Aleix Bagu
Abajo / Down: Seccin por fachada. / Faade section.
As, se propone una volumetra de escala intermedia entre los grandes volmenes de equipamientos y la estructura
parcelaria original, ms fragmentada.
Right from the outset, the project was focused on finding the optimum solution
in terms of scale, dimensions, volume,
materials and character. We believe
that a transformation does not necessarily have to mean overriding or breaking
with pre-existing mores. A transformation
should be understood as a framework
for the citys evolution while maintaining
due consideration for its origins and respect for the character that informs the
location.
The proposition was thus for a volume of
intermediate scale between the large
volumes of the municipal facilities and
the more fragmented structure of the
original plot layout.
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The free space, the movement, the sunlight, the dimensions... all these aspects
were given careful consideration from
the outset.
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Fotografa / Photography: Aleix Bagu
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ARQUITECTURA / ARCHITECTURE
nombre
RESS.
liNTERES
de la obra.
COllECTiVE
www.web.com
www.resso.upc.edu
Lugar / Place:
Arquitectura
/ Architecture: 50 estudiantes de la
Ao
/ Year:
Superior / dArquitectura
del Valls (ETSAV-UPC),
Superficie
Surface:
Escola Tcnica
con la ayuda
de
unos
10
profesores
/
50
students
from
Escola
Tcnica
Superior
Texto / Text:
Imgenes
/
Images:
dArquitectura del Valls (ETSAV-UPC), with 10 professors helping
Ao / Year: 2015
Concurso / Competition: Solar Decathlon Europe 2014
Texto / Text: Ress
imgenes / images: Andrs Flajszer
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El proyecto RESS est diseado por
unos 50 estudiantes de la Escuela de Arquitectura del Valls (ETSAV-UPC) para
la competicin universitaria internacional Solar Decathlon Europe 2014 en Versalles durante el verano.
RESS es una estrategia de rehabilitacin urbana, energtica y social, adems de herramienta pedaggica.
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Arriba / Top: Planta Baja / Floor
plan
En medio / Middle: La estrategia
se inicia y se materializa como
una vivienda colectiva/ The
starting point and final use of
the project is a collective house
where people do quotidian activities Fotografa / Photography:
Andrs Flajszer
En la otra pgina / Opposite:
Planta primera/ First floor.
Since 2008 Spain is suffering an economical, social and environmental crisis. During the construction boom which
preceded the start of the crisis there
was much more construction demand
for housing. The result is a great stock of
empty, nearly new, buildings and no demand for them. All this housing is also very
energetically inefficient. Moreover European regulations of energy consumption and CO2 emissions make necessary
a transformation of the housing sector.
Considering these and the fact that right
now in Spain theres a lot of people who
cant afford to pay for the energy to live
in comfort we concluded that We dont
have to continue constructing; we have
to refurbish our cities.
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-Collector facades that manage radiation, create some insulation and work
as solar chimney: They have two layers
of polycarbonate, a thin polycarbonate
to the exterior and a thick one to the interior, separated by 30cm. They have 2
openings to the interior and 2 automatized openings to the exterior. One of
each type is located in the lower part
and the other two in the top of the facade. These openings allow a great
number of combinations depending on
moment and needs. It also has a curtain
to increase solar protection.
-North facades, Roof and Floor are highly isolated to decrease heat loose.
-Cross and natural ventilation. Also mechanical ventilation by some facade elements for pre-heating air in the winter.
-Light interior partitions, they allow a reduction of the volume to heat up in cold
moments
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De acuerdo con la idea de herramienta pedaggica, todos los elementos estn vistos y son fcilmente modificables.
Se quiere mostrar todo: para ensear
cmo funciona y para incentivar el auto-construccin y las mejoras en los propios hogares de los usuarios. Adems de
esta forma se ahorra material y dinero
innecesario para tapar elementos que
pueden ir vistos. No se quiere nada superfluo, todo lo que se ve es necesario.
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Fotografa / Photography: Andrs Flajszer
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ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
ARQUITECTURA / ARCHITECTURE
Tonet Sunyer
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Izquieda / Left: Detalle fachada
Norte. Un muro casi ciego de ladrillo en la fachada norte pone
nfasis en la unidad del volumen y acenta as el aspecto de
moderna fortaleza / An almost
blind brick wall on the northern
faade puts an emphasis on the
unity of volume and thus accentuates the impression of a modern fortress.
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The triple-height section acts as a reception area for the whole dwelling, bringing to mind the surprising spaces that
emerge when you pass through the discreet doorways of Arabian architecture.
This great empty space is the hub of all
the different routes passing through the
house between the various spaces, both
vertical and horizontal.
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Arriba e Izquieda / Above and
left: Este gran vaco queda separado de la parte delantera
por una pieza mueble que cruza
tanto a lo ancho como a lo alto
las tres plantas de la vivienda,
como un gran contenedor en
el que se sita la biblioteca a
doble altura as como todos los
armarios de la casa / This huge
empty space is separated from
the front part by a piece of furniture that crosses the whole width
as well as rising to the height of
the three floors of the dwelling,
like a huge container that houses the double-height library as
well as all the propertys storage
cupboards.
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ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
ARQUITECTURA / ARCHITECTURE
OAK SHOwROOM
www.annaeugenibach.com
Arquitectura / Architecture: Anna & Eugeni Bach, arquitectes
Colaboradores / Partners: Albert Cabrer
lugar / Place: c/ Numncia, 48. Barcelona
Ao / Year: 2013
Superfcie / Surface: 244 m2
Cliente / client: Oak 2000 SL
Texto / Text: Anna & Eugeni Bach
imgenes / images: Eugeni Bach
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Proyectar un showroom para una empresa constructora tiene como reto principal conseguir que el espacio resultante no sea un muestrario de materiales sin
relacin entre ellos, pero por otro lado,
y evidentemente, el objetivo principal
de la constructora es mostrar la mayor
gama de productos y soluciones posibles a sus futuros clientes.
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The goal in our project for the Oak Showroom has been to turn a space that was
originally thought to showcase lots of different materials into a space with an atmosphere, a place that can tell its future
clients that Oak is the right company to
chose for their projects.
The showroom is divided into the areas
that were required by the program:
kitchens, bathrooms, floors, etc.. But the
whole space is unified by an envelope
of wooden slats and closets that bring
a unity. The feeling once you are in the
showroom is that of being into a home;
with its kitchen, its bathroom, living room
and the company office spaces, that
are part of the showcase.
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At the end of the showroom, a more storage like area is placed, by painting the
whole space in black and building several boxes that showcase different type
of bathroom solutions as well as different
materials that the construction company can offer.
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Fotografa / Photography: Eugeni Bach
ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
DISEO / DESIGN
GEMS SHOwROOM
http://www.denysvonarend.com
lugar / Place: Balmes 172, Barcelona
Ao / Year: 2014
Superfcie construida / Constructed surface: 400 m2
Cliente / Client: Gems
Arquitectos / Architects: Denys & von Arend
Texto / Text: Denys & von Arend
imgenes / images: VICUGO (Victor Hugo Anton)
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The high-end furniture showroom is situated in the Centre of Barcelona. This was
located in a building from the beginning
of the 20th century. It presented a postwar conditions, but the walls and structures offered to a world of possibilities.
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Fotografa / Photography: VICUGO
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ARQUITECTURA
DISEO
/ DESIGN
/ ARCHITECTURE
nombre dE
ESTUdiO
de diSEO
la obra.
MUlTidiSCiPliNAR
www.web.com
www.josepferrando.com / www.romanortega.wordpress.com
Lugar / Place:
Ao
/ Year:
lugar
/ Place: Ensanche,
Superficie
/ Surface:
Ao / Year:
2010
Barcelona
Texto
/ Text: construida / Constructed surface: 320 m2
Superfcie
Imgenes
/ Images:
Arquitectos
/ Architects: Josep Ferrando, Roman Ortega
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Itinerario de entrada /
entrance itinerary
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Fotografa / Photography: Adri Goula
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ARQUITECTURA
PAISAJE / LANDSCAPE
/ ARCHITECTURE
Lola Domnech
Nombre Estudio / Arquitecto.
nombre
REMOdElACiN
de la obra.
PASEO dE SANT JOAN F2
www.web.com
www.loladomenech.com
Lugar / Place:
Arquitectos / Architects: Lola Domnech
Ao / Year:
Colaboradores
Superficie / Surface:/ Partners: Alex Flores, arq
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The concept behind the latest remodelling of this main thoroughfare is based on
two fundamental objectives: to prioritize
the pedestrian use of the Passeig and to
transform it into a new green urban corridor as far as Ciutadella Park.
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Firstly, it is vital to guarantee the continuity of the cross-section for the entire
length of its route.
The new section of the avenue is symmetrical and expands the current sidewalks
from 12.5 to 17 metres wide, conserving
the existing plane trees (which are over
one hundred years old) and supporting
them with two new rows of trees. The
continuity of the route is an essential factor to guarantee functional clarity along
the entire length of the thoroughfare.
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Abajo izquierda / Down left: La nueva seccin boulevard es simtrica y amplia las actuales
aceras de 12,5m a 17m de ancho, manteniendo los rboles centenarios existentes (plataneros) y acompandolos con dos nuevas alineaciones de rboles / The new section of the
avenue is symmetrical and expands the current sidewalks from 12.5 to 17 metres wide, conserving the existing plane trees (which are over one hundred years old) and supporting them
with two new rows of trees.
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The reduction in the number of traffic lanes, the leisure areas beneath the
trees and the creation of a separate bicycle lane are key elements in an urban
redevelopment that prioritizes pedestrian usage without sacrificing traffic functionality.
Abajo derecha / Down right: Pavimentos mixtos en el mbito arbolado / mixed surfaces in the
areas planted with trees. Fotografa / Photography: Adri Goula
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Por ello se incorporan dos nuevas alineaciones de rboles a ambos lados del arbolado existente, conformando as un
mbito de sombra natural que acoger las zonas de estar, juegos infantiles y
terrazas de bar. La incorporacin de un
sistema de arbustivas autctonas acompaando este arbolado contribuye a
enriquecer la biodiversidad y el subsuelo.
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Arriba / Up: El Passeig de Sant Joan ha recuperado su valor social / Passeig de Sant Joan has
recovered its social value. Fotografa / Photography: Adri Goula
Izquierda / Left: Carril bici / Bicycle lane. Fotografa / Photography: Adri Goula
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Fotografa / Photography: Adri Goula
ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
PAISAJE / LANDSCAPE
CANOPiA URBANA
www.agenceter.com / www.anacoello.es
lugar / Place: Plaza de las Glorias, Barcelona
Ao / Year: 2013-2018
Superfcie / Area: 15 Ha
Cliente / Client: Ajuntament de Barcelona
Autores / Authors: Agence Ter (Olivier Philippe) & Ana Coello de Llobet
Equipo (arquitectos y paisajistas) / Team (architects and landscape designers): Olivier Philippe (director Agence Ter, Ana Coello de Llobet (directora ACPA), Elena Fontal, Benoit Barnoud, Aldo Jimnez, Oihana Kerexeta,
Ariadna Vila, Franois Egreteau, Isabelle Costy, Alexandre Moret, Natalia Escar, Marina Daviu, Adrien Leduc.
Agronoma / Agronomy: Factors de Paisatge / Manuel Colominas
Ecologa y medio ambiente / Ecology and Environment: Estudi Xavier Mayor et al.
ingeniera e infraestructuras / Engineering and infrastructure: JG Ingenieros
Economa / Economy: Francesc Xair i associats SL
iluminacin / lighting: La invisible Lighting design studio
imgenes / images: Agence Ter & Ana Coello
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El cuarto principio consiste en la incorporacin de un dispositivo de intensificacin, representado por una constelacin de nodos que punta el espacio
del parque. De composicin eminentemente vegetal y organizacin vertical,
los nodos son de dos tipos: micro-nodos
y macro-nodos. Los micro-nodos, pequeos espacios inaccesibles al pblico, son refugios de biodiversidad, indispensables para la fauna y la flora. Los
macro-nodos dan acogida a mltiples
actividades y son lugares de referencia
en el parque.
The third principle proposes the installation of an extensive plant canopy, nestling within the density of the buildings of
Cerds Barcelona. This plant cover will
articulate the green public thoroughfares of the eastern part of the city (Trinitat - Sagrera - Ciutadella, Carretera de
Ribes - Clot, Rec Comtal and Diagonal),
serving as a powerful environmental corridor and climate regulator.
The fourth principle entails the incorporation of an intensification device, represented by a constellation of nodes that
punctuate the space of the park. Primarily composed of plants organized vertically, there will be two kinds of nodes:
micro-nodes and macro-nodes. The micro-nodes, small spaces inaccessible to
the general public, will be refuges for biodiversity, an essential haven for flora and
fauna. Meanwhile, the macro-nodes will
play host to numerous activities as the
main meeting places in the park.
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Finally, the continuity of the Diagonal Avenue at the Glories section is the last fundamental principle of this strategy.
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ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
PAISAJE / LANDSCAPE
Vora arquitectura
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La urbanizacin de las calles del entorno
del antiguo Mercat del Born forma parte
de una estrategia de regeneracin de
un sector de la Ciudad que durante muchos aos ha estado estancada por la
falta de uso continuado del mercado y
la falta de permeabilidad del Parc de la
Ciutadella.
El edificio del Mercat, que contiene un
inmenso trozo de Ciudad medieval derivada en 1714, ha reabierto puertas
como un equipamiento histrico-cultural. Una reapertura que, a nivel urbano,
ofrece un gran espacio pblico cubierto, a modo de gran porche, enmarcado
por una arquitectura de gran unidad, los
denominados porches Fontser.
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Conectividad y permeabilidad.
Se ha eliminado el trfico de la calle Comer en su tramo por delante del Mercat, desvindolo por el Passeig Picasso.
De esta manera se configura un espacio
de peatones en continuidad con el resto
del barrio hasta los lmites del Parc de la
Ciutadella.
Traffic has been eliminated in Calle Comer in front of the market, by diverting it
to the Passeig Picasso, creating a pedestrian area, connected with the rest of the
neighbourhood up to the edge of the
Parc de la Ciutadella.
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Centralidad y identidad.
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Izquierda / Left: Planta / Floor
plan.
En la otra pgina / Opposite: El
pavimento es el elemento de
conexin con la historia i la memoria del lugar / The paved surface provides a link to the sites
past history. Fotografa / Photography: Adri Goula
Flexibilidad y funcionalidad.
The project has been defined with multiplicity in use in mind. With the opening
of the BornCC current use will be intensified and new uses will emerge. The open
space and the platform-like character
of the square is meant to foster this multiplicity.
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Fotografa / Photography: Adri Goula
ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
FOTOGRAFA / PHOTOGRAPHY
ngel Marcos
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Ahora que estamos en poca de deshielo entre ambos pases, quizs los gringos reconocern que Yolanda no es
peor cancin que la mejor de entre las
mejores canciones de amor, en lengua
inglesa...o que El Playa Girn de Silvio
Rodriguez, compaeros poetas, teniendo en cuenta los ltimos sucesos me
urge no es menos patritica que cualquier himno del 4 de Julio O que la ltima noche que pas contigo, trasuda,
en clave sensual (tender is the night en
el Caribe), luce y destila la misma nostalgia hacia los tiempos pasados, la juventud perdida, que ese Where have all the
floewers gone de Pete Seeger, alegato
que fue el smbolo de toda una generacin, de cuando Amrica era an Amrica) La Habana y New York, ambas
ciudades mticas de las que ngel aporta su particular visin
Now that we are in a period when relations are thawing between the two
countries, maybe the gringos will acknowledge that Yolanda is no worse a
love song than the very best ones written in English... and that Playa Girn,
sung by Silvio Rodriguez, fellow poets,
is, I maintain, taking recent events into
account, no less patriotic than any anthem sung on the 4th of July... or that the
Cuban song la ltima noche que pas
contigo (the last night I spent with you)
exudes, transmits and distils in a sensual
way (tender is the night in the Caribbean) the same nostalgia for times gone by
as Where have all the flowers gone by
Pete Seeger, a lament that was a symbol
for a whole generation when America
was still America. Havana and New York,
both legendary cities to which ngel
contributes his personal vision...
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ngel tells me that he moved to Barcelona for six months to thoroughly immerse
himself in it before taking his first photo.
How, otherwise, would he reflect its soul?
Because the great thing about all photography is its use of form to reveal background and context. If it doesnt do that,
its not worth the effort.
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Thus ngel, using photos with long exposures, captures the swarm of people
bustling about the old town, on Carrer
Ferran and Carrer Argentera with Santa
Maria del Mar in the background, and
another swarm which is simply boats in
the harbour, bobbing in their silent sleep
in time to the lapping of the waves...
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ngel also deals with power, a power expressed by superimposed layers, and he
both explains and shows to me (I arrive
early at the exhibition to speak to him)
photos of the Palau de la Msica concert hall and the Palau de la Generalitat
(the home of the Catalan Government).
One of the curiosities of civic society in
Catalonia is that the Palau de la Msica
is always referred to simply as the Palau whereas the Government building
needs its full title in order to be properly
identified. And the power of the church
and of the banks; the tireless dark power
of money...
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Hablando de dinero, hace aos (debera de ser entorno al 89) cen en Paris
con la antigua directora de los transportes metropolitanos de lle de France y
me invit a un restaurante de negros,
un restaurante regentado por alguien
de las ex colonias, Gabn o Camern,
no recuerdo, en el que servan un pescado al coco delicioso. Catherine me dijo
que si no iba ahora, nunca ms podra
ir, porque el barrio estaba cambiando a
marchas forzadas, y todos esos pequeos lugares con encanto estaban afectados y condenados a desparecer bajo
la piqueta... porque, as lo dijo, nadie
poda luchar contra el precio del metro cuadrado Y as Paris se convierte,
cada vez ms, en una ciudad de viejos
o de yuppies adinerados. Vivir en segn
qu ciudades resulta prohibitivo, incluso
para los hijos que han nacido en ellas.
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I recall these words as I look at the magnificent photos of the district we know as
22@ in which, adjacent to the rammed
earth walls covered in graffiti, the
closed-down factories and abandoned
wasteland, the new icons of 21st century Barcelona emerge, ostentatious and
flamboyant like spontaneously-generated flowers: Torre Agbar (which will soon
no longer be an office block but yet another hotel) and the Hotel Me (the previous local government strongly supported a model of tourism which is what the
current City Council is trying to regulate).
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OM
OM
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Octavio Mestre
CONVERSANdO CON
JAViER PREZ ANdJAR
TAlKiNG wiTH
JAViER PREZ ANdJAR
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Octavio Mestre
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Entonces, la gente sudaba, pero tenamos botijo, ahora no sudas, cada vez nos parecemos
ms a los maniques Slo la adversidad es lo
que te hace verdadero. Y le cuento lo que
nos cont el arquitecto costarricense, afincado en Texas, Carlos Jimenez de cmo hoy
la gente en el trrido verano de Texas trabaja
en oficinas con aire acondicionado, sale del
garaje con el aire acondicionado del coche
a tope, llega a su casa en la que ha puesto
la climatizacin va telfono y, lo primero que
hace es poner la televisin para ver a cuntos
grados se haba llegado en el da.
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La gente nos aferramos a nuestro pasado Y le cuento cmo en Letonia (acabo de volver de formar parte del Jurado Internacional que dio los Premios de
Arquitectura del 2014) me contaron la
historia de un terrateniente (de hecho,
me la cont, l mismo) que quera mover una carretera estatal que pasaba
por sus terrenos. El problema era que
haba casas de antes de la Segunda
Guerra Mundial, sin agua corriente ni letrinas, que daban a la actual carretera
y a las que la ley les conceda no la propiedad, pero s el usufructo. El propietario se ofreca a regalarles a los vecinos,
a cambio, nuevas viviendas con todas
las comodidades, pero una de las viejecitas le deca que aqu haba criado
a sus hijos, que le tena cario al sitio y
que, adems, dnde tendra sus rosales en el nuevo apartamento?... Eso es la
vida. Cmo entiendo a ese viejecita El
unicornio azul que cantara Silvio Rodriguez...Yo solo quiero aquel.
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The apartment blocks in Bess that Javier is talking about are on the other side
of the river, opposite the neighbourhood
of La Mina, famous for drug trafficking
and shady dealings. This is how I come to
tell him about when the ELISAVA Design
Schools course work one year was a project on how to improve the neighbourhood
under the slogan Look at La Mina. I tell
him how we put together an exhibition
of the projects and how, for the April Fair,
we went to the La Mina Gypsy Association (which I would never have dreamed
of doing without the blessing of the gypsy
patriarch) and how last year we did some
work on behalf of the Arrels Foundation,
which takes in homeless people. It is astounding the number of people who give
their apartments free of charge to the Association to accommodate people living
on the streets! And I tell him how before I
had only ever been to the area to see the
Bess Park by the architects Viaplana and
Pin, beset by that fear that comes over
you when in hostile territory. We saw a guy
driving a van filled with mattresses (that we,
in our prejudice, assumed to be stolen), a
couple having sex in the square in broad
daylight, in full view of everyone living in
the surrounding apartment blocks, and we
took away with us an impression of a city of
savages (although later I would see a similar scene in the Eixample district: a couple
leaning up against a car, two blocks from
my home, at daybreak). Javier then tells
me about false morality, about the spirit
of Cultural Charity, about people knowing
Paris but not San Adri because, obviously, Paris offers much more. And I remember
what they told me when I used to live in the
USA, that what the Americans hate most
is racism and after that, people of colour.
Our obligation, he maintains, is not to go
to San Adri to get to know the humblest
neighbourhoods but to pay the taxes that
will help to improve them.
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I got to know Javier through his magnificent articles in the press; I read Walks
With My Mother avidly and then Catalanes Todos (Were all Catalan), a satire on the truths and lies of nationalism
and those who change the cut of their
cloth to adapt to any regime so that they
always end up in charge at the end of
the day, money is the real power. Every
year, for years now, I have bought about
twenty copies of the book I have most
enjoyed reading during the course of the
year and last Christmas Milagro en Barcelona (Miracle in Barcelona) was the
book I gave as a present to my friends
and acquaintances; a book with black
and white photos by Joan Guerrero and
articles by Javier. As a postscript, below,
are some of the latters reflections, ordered by subject matter. The words used
by Javier are curative (the words in italics
are his). The city of Javier Prez Andjar
is the real city.
OM
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pressing needs are no longer about falling in love or paying the rent, but saying
what I need to say) which means that
everything you manage to do is to the
detriment of so many other things you
dont get round to doing. If I am writing
these lines today it means I am not putting myself forward for a tender because
time is not infinite; theres no way round
it, you have to choose. And Javier, in
turn, tells me his feeling is that the pitch
hasnt changed just because hes playing the second half and he continues to
do the same things and live in the same
way as ever. Football, always understood as a metaphor. It makes me think
of what Andy Warhol said about whether as a rich and acclaimed artist or as
a poor immigrant from Eastern Europe,
he always maintained a similar lifestyle.
Maybe its because other things are also
important.
Sobre el Proletariado
On the Proletariat
- La ropa blanca tendida como capitulacin de los que viven en las casas.
- The white clothes hung out to dry represent the surrender of the people who live
in those houses...
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Sobre Andaluca
On Andalusia
- Andaluca es as, oriental y occidental
(Despeaperros es la Gran Muralla)
- la lengua materna se va a la cancin,
al refrn al acertijo, la paterna al silencio. Hablar es una forma pomposa de
llorar.
- Andalusia is like that, Eastern and Western (Despeaperros is the Great Wall)
- The mother tongue turns into song, the
proverb into a riddle, and the paternal
into silence. To speak is a pompous form
of crying.
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Sobre la Emigracin
On Migration
- Aprender la leccin del trabajo...tambin para eso los emigrantes. Para recordarnos lo que hemos sido, lo que somos,
lo que queremos borrar de las calles y
olvidar.
- El hasto es un artculo de lujo. La gente
pobre no se cansa de las cosas, solo se
harta quien ya tiene.
- El enemigo no viene en patera, viene
en limusina.
- Gentes llegadas de todos los rincones
del mundo para reemplazar a otras gentes, ya ancianas, que llegaron hace dcadas de todas partes de Espaa.
- La identidad es un chantaje la propia
palabra lo dice: la identidad es para
hacer idntica a la gente. O se es como
todos o no se existe, la identidad no diferencia sino que uniformiza.
- Un negro (iba a decir un subsahariano, pero ese sub los prefijos son vallas,
concertinas que se les colocan a las palabras).
- Migrants never recognize another migrant group or even dream about one
or see it coming. A migrant group only
recognizes itself because poverty is also
selfish. For that reason, the poor of one
generation despise those of the following one, because they hate poverty,
hate what they have suffered and detest
the life they have come from. A migrant
group does not recognize the following
one because it is very difficult to recognize yourself in someone elses mirror.
- Hombres y mujeres celebrando que estn juntos, ejerciendo el derecho inalienable de ser feliz por un rato.
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On Spanish Politics
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- Only the vanity that comes from the exercise of power explains such a view of life.
What life wants is more life, as all things aspire to more of the same, in the same way
as wealth attracts more wealth and poverty attracts more poverty... which is only
peripheral with respect to power.
- The rich dont exclude the poor; this is a
mistaken impression verging on self-pity.
The rich have excluded themselves from
poverty so as not to be tainted by it.
- The metaphor of the big wheel in its vertical loop.
- The three chimneys of Badalona have
been the Sagrada Familia of the proletariat.
- The Raval district is a convergence of extreme poverty and situations of need and
desperation with deluxe hotels and bar terraces. Cities dont understand people any
more, and fear that they will impose their
character because people are free and
unpredictable.
- The city is a place for engagement.
- What counts as an exchange in the plaza
is premature death on the Metro; travel is
liberating but commuting is a humiliation.
Post-industrial society has developed a
new form of alienation which is collective
transport.
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Sobre el Arte
On Art
- Un artista en un nio, alguien que vive
en lo invisible, que trabaja con lo invisible.
- The intensity, the contrast, the implacable dialectic of black and white.
Reflexiones varias
Miscellaneous thoughts
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ARQUITECTURA / ARCHITECTURE
nombre de la obra.
www.web.com
Lugar / Place:
Ao / Year:
Superficie / Surface:
Texto / Text:
Imgenes / Images:
Octavio Mestre
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OCTAViO MESTRE
REMEMORA A
ENRiC MiRAllES
OCTAViO MESTRE
REMEMBERS
ENRiC MiRAllES
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We are gathered here because of the massive impression that Enric left on Architecture (speaking of his work invites us to do so
in capital letters) yet even so, I insist on talking about him as a person. This is because,
as years go by and one gets older, and
except in specific cases, you always tend
to appreciate the person more than their
work, which is saying a lot when it comes
to Enrics work, as both are so very admirable. Yet my feelings towards works and their
creators do not always go hand-in-hand.
Many times I have been keen to know who
was behind certain works that impressed
me and have then been so disappointed
that I now agree with the Hungarian Artur
Koestler who could never understand why
people had to get to know the authors
they admired. He said it was like someone
liking foie and wanting to meet the duck in
person.
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Muro y detalle del Parlamento de Edimburgo, EMBT. Octavio Mestre, 2009 / Wall and detail of the Scottish Parliament
building, EMBT. Octavio Mestre, 2009.
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EMM a Torrent de Pareis por Octavio Mestre, 1984 / EMM at Torrent de Pareis, Octavio Mestre,
1984.
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Boda de Tito (Robert Pall) en Ronchamp. Entre otros arquitectos: Enric Miralles, Carme Pins, Josie Abascal, Ramn Muoz, Johnny Rodetja, Xisco Pizza y, del otro lado
de la foto, quien esto escribe, Octavio Mestre, en segunda
fila / Titos (Robert Pall) wedding in Ronchamp. Amongst
other architects: Enric Miralles, Carme Pios, Josie Abascal,
Ramn Muoz, Johnny Rodetja, Xisco Pizza and, on the
other side of the picture in the second row, the author of
this piece, Octavio Mestre.
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Intermittently, over a couple of years, I collaborated with drawings and models in the
practice he shared with Carme Pins. His
capacity for work was legendary. I remember that after three nights without sleep
working on the Algemesi Town Hall, having
come back from a lightning visit to explain
the project to the local authorities and
drinking a beer in Plaza Real, he brought
out the specifications for another tender
we had to start on the very next day.
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I especially remember the double interpretation of his thesis, which many of us took
to our hearts (I remember explaining to
his mother, bewildered by everything that
happened, just how much her son was
worth; the mother I would not see again
until the day of his funeral). I remember his
selection panel to become a full member
of the ETSAB (Higher Technical School of Architecture of Barcelona): an oral competition in which those being examined could
have been the examiners and vice-versa,
given the quality of them all, both candidates and jury.
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2. Obra y trayectoria
Todo palidece ante la obra del genio.
Josep Quetglas habla de la imposibilidad de describir su arquitectura precisamente, por eso, por ser arquitectura de
verdad, personal e intraducible a otro
lenguaje que no sea el que le es propio
y, por tanto, le pertenece. Enric tena
claro hasta donde llegaba la autora de
cada uno de sus trabajos. La arquitectura es personal e intransferible. Sin nimo
de darte lecciones, escribi a un reputado crtico, tras leer un artculo en el que
se obviaba su colaboracin en una fantstica plaza que inaugurara toda una
manera de hacer espacio pblico, en
nuestra ciudad. Hay quien se abre paso
a codazos y quien se destaca con poderosa zancada y as evita a los otros. Esa
fue siempre su condicin.
No vamos a glosar aqu una trayectoria
de la que dan cuenta libros y revistas.
Enric tena una enorme capacidad para
transformar la realidad. Una transformacin, no literaria, que le permita traducir
el Park Gell, y aderezarlo con la obra
de Richard Long en el cementerio de
Igualada, en el que hoy reposa; que le
permita integrar los gigantes de la mitologa catalana con su apuesta formal
ms novedosa; la visin fragmentaria
de Hockney, manteniendo una unidad
y coherencia absolutas o reinterpretar
el Arlequn no acabado de Picasso con
tantos de sus dibujos que insinan, cuando quieren insinuar, y afirman, cuando
as lo pretenden.
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We are not going to comment here on a career that is so well-documented in books and
magazines. Enric had an enormous capacity
for transforming reality. A transformation, not in
a literary sense, that would allow him to translate Park Gell and embellish it with the work
of Richard Long in the cemetery of Igualada,
in which he now lies; that would allow him to
integrate the giants of Catalan mythology with
his newest formal approach; the fragmentary
vision of Hockney, maintaining absolute unity
and consistency, or the reinterpretation of Picassos unfinished Harlequin with so many of
his drawings that insinuate when insinuation is
required and affirm when they need to.
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Enric viva ms rpido, viva a otra velocidad. Pareca mayor, porque haca
cosas de mayor. Cuando perdimos el
concurso de la ampliacin de la Casa
Golferichs tena 30 aos como Puig i Cadafalch cuando la construy. 31, apenas, cuando gan el concurso del cementerio. Los hay que luchan un da y
son buenos y los hay que luchan muchos
das y son mejores. Enric, como los imprescindibles de Brecht, luchaba todos
los das, era fiel todos los das, inclume,
de aquellos que reconstruyen el templo
en tres das y luchan por cambiar las cosas. Porque si bien podemos hablar hoy
del Ayuntamiento de Utrecht, del Parlamento de Escocia, de la Facolt di Archittetura di Venezia, de la Universidad
de Vigo o de la magnfica sede para
la Catalana de Gas, podemos hablar,
tambin, de los tantos concursos perdidos, de la otra cara que no se ve y que
son cimiento, como en los edificios, de
todo aquello cuanto s vemos. A veces
las mejores historias son las que pudieron
ser y no fueron De Enric aprendimos,
tambin, a ilusionarnos, manteniendo,
prudentes, las distancias, para no quemarse del todo.
3. On our elders
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3. de nuestros mayores
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When history passes over us with its steamroller of dust and oblivion, with respect to
20th century Catalan architecture, only
the names of Antoni Gaud, Jos Antonio
Coderch and maybe Enric Miralles, in that
order, will stand out as symbols of Modernism, of the recuperation of modernity following on from the (un-) Civil War and the
splendour of the glowing embers left by
the pageantry of the Olympics. And if not
history, then time. Because history tends to
simplify and therefore magnify the chosen few to the detriment of others, whether due to personal charisma or to historical opportunism. Perhaps Josep Lluis Sert
might also be added to this triad, although
to me Sert has always seemed more of a
good disciple than a master, lacking that
unique personal voice that characterizes
the great creators. Only a second more
detailed examination allows us to recognize the myriad architects from the rich cultural melting pot that Catalonia has always
been, in which there are some extraordinary examples of professional work. Genius
is often (and nearly always is) the product
of social class and environment, but that
takes nothing away from its merit.
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Izquierda / Left: Michelangelo
Buonarroti, La Piedad del Vaticano o Piet, 1498-99. Wikipedia/
Michelangelo Buonarroti, La Piet in the Vatican, 1489-99. Wikipedia.
Derecha / Right: Michelangelo
Buonarroti, Piet Rondanini, 156164. Epdlp / Michelangelo Buonarroti, Rondanini Piet, 1561-64.
Epdlp.
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4. El funeral
4. The funeral
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Enric Miralles observando las columnas de la Cripta de la Colonia Gell. Enric Miralles. Obras y
proyectos. Electa, 1996 / Enric
Miralles looking at the columns of
the Gell Colony Crypt. Enric Miralles. Work and Projects. Electa,
1996.
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5. El futuro
5. The future
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Sergio Aguilar.
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BAR.CEl.ONA
BAR.CEl.ONA
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Todays citizens are finally able to embrace the city and feel that it represents
a fount of opportunities and sensations;
a place which, in spite of its increasingly
cosmopolitan nature, has managed to
perpetuate its history and renew it on a
daily basis, reinterpreting everything necessary for contemporary life without, at
least up until now, losing its identity in doing so.
La ciudad y sus conciudadanos mantienen una relacin dinmica, se retoalimentan permanentemente en un proceso de intercambio que permite una
estrecha cohesin entre ambos, y a la
vez el crecimiento comn de voluntades, propuestas y preocupaciones.
La arquitectura, representada en primera instancia por su ncleo gtico histrico, Gaud y toda la escuela modernista,
y posteriormente por el aporte Racionalista de sus arquitectos y la Escuela
de Barcelona con su propuesta urbana
para las olimpiadas, han sido el alma
que poco a poco ha ido transformando
la ciudad, y lo que es ms importante
impregnando a sus ciudadanos de un
carcter comunitariamente urbano, que
desemboca en ese permanente inters
por mejorar la calidad de vida de la ciudad mediante la herramienta urbana y
la calidad de sus edificaciones pblicas
y privadas.
../
Desde esa explosin que supusieron las
Olimpiadas de 1992 la ciudad fue tornndose cada vez ms cosmopolita a la
vez que el mundo conocido entraba en
la senda de la globalizacin occidental.
Now, in its second phase of internationalization, the city has established itself
in the club of the top European cities to
visit and live in, one of the few cities that,
despite not being the national capital,
has fully embraced the culture of globalization, luxury and consumption with
a reputation that has made it a Mediterranean Mecca. Since embracing this
new status as a showcase city, its identifying features have started to become
blurred amidst interlayered markets and
the beach and leisure offering.
It is not that Barcelona has lost its own
character, forged over centuries of Catalan culture and history, but rather that
modern trends lean towards cultural
standardization and, as a consequence,
undermine and caricature its own cultural roots over the years.
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Las grandes ciudades del mundo occidental, todas ellas con grandes atractivos culturales, han sufrido el embate
conmovedor de la globalizacin, que es
en s misma una cultura transversal que
tiende a generar masas homogneas
con gustos, demandas y consumos similares, que solo varan cambindoles el
fondo, ya sea el Empire State, el Big Ben
o la La Pedrera. Esto se traduce en invasiones tursticas que van demandando
necesidades universales y retroalimentan
una nueva economa local vinculada a
la transformacin de algunos usos, costumbres y espacios, contrapuestos muchas veces con el carcter local.
Tenemos en Barcelona un ejemplo precoz de los parques temticos, exponente de la banalizacin de las culturas
populares en virtud de una propuesta
unificadora de mayor alcance, el Pueblo Espaol, una forma resumida de
simplificar valores identitarios, mermando
su individualidad en virtud de un orden
mayor, de ms amplio espectro, y por lo
mismo menos autntico.
Parece todava un futuro lejano, pero
conociendo las propuestas para replicar
la cueva de Altamira, o algunos sectores
de Venecia, en aras de proteger los originales, no parece muy lejano el da que
Mickey Mouse, ataviado con montera y
capote, llegue a Barcelona en olor de
multitudes extranjeras.
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A pesar del gran nombre de la arquitectura catalana, la globalizacin trajo tambin otras arquitecturas a la ciudad, y la
mayor informacin y disponibilidad del
conocimiento instantneo abri las puertas a conocer de forma ms accesible la
excelente calidad arquitectnica contempornea de otras latitudes. Quiz
en ese sentido es posible redescubrir los
valores del diseo conceptual mediterrneo de la Escuela de Barcelona, pero
por otro lado tambin descubrir la fragilidad, muchas veces, de su resolucin
constructiva, que pasada la brillantez
original le cuesta perdurar en el tiempo.
Las propuestas de los pases nrdicos,
Holanda, Alemania, entre otros, presentan soluciones constructivas y materiales
excepcionalmente bien resueltos, son arquitecturas que, en mi opinin, partiendo de la eficacia constructiva han evolucionado hacia un excepcional diseo
de vanguardia, que acaba fortalecido
con el adecuado funcionamiento y envejecimiento de la obra.
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If there is a single element to which Barcelona owes the affirmation of its identity
and to which it should reaffirm itself as a
guarantee of preserving its culture and
success, it is the Mediterranean, which
forges the character of the nations it
bathes.
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EDITORES I PUBLISHERS
Xavier Alba Navarro
Octavio Mestre Aramendia
REDACCIN I EDITORIAL
Irene Yal Prez
DEPSITO LEGAL
B-21950-2011
ISSN
2014-2145
EDICIN I EDITION
Associaci T-18 Magazine
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08172 Sant Cugat del Valls, BCN
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