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Otra Arquitectura La Composición Del Jardín Clasico

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Otra Arquitectura La Composición Del Jardín Clasico UNIVERSIDAD POLITECNia DE MADRID ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA OTRA ARQUITECTURA LA COMPOSICIÓN DEL JARDÍN CLASICO 1 MIGUEL ÁNGEL ANIBAHRO RODRÍGUEZ -^.0.^<SG UNIVERSIDAD POLITÉCNICA DE MADRID ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA OTRA ARQUITECTURA LA COMPOSICIÓN DEL JARDÍN CLASICO MIGUEL ÁNGEL ANIBARRO RODRÍGUEZ TESIS DOCTORAL DIRIGIDA POR: GUILLERMO CABEZA ARNAIZ PROFESOR TITULAR DE ESTÉTICA Y COMPOSICIÓN MADRID 1987 ÍNDICE Introducción 1 Notas 14 I . LA TRATADISTICA 1. La génesis teórica del nuevo jardín 2P 1.1. La herencia del jardín antiguo. Vitrubio y las villas de Plinio 27 1.2. Alberti y la reinvención del jardín clásico 48 1.3. La presencia de la tradición medieval 66 1.4. Filarete: medievalismo o invención utópica 76 1.5. Francesco di Giorgio: jardín palacial y parque de caza 83 Notas 97 2. Difusión de las experiencias. La opción véneta 128 2.1. Serlio: la propagación de los primeros resultados 130 2.2. Palladlo y la villa agrícola. La villa Bárbaro 148 2.3. Scamozzi: la nostalgia de un jardín irrealizable 169 Notas 212 II . EL JARDÍN DE TERRAZAS 3. La formación de un espacio perspectivo 246 3.1. El asentamiento de la villa en la ladera 247 3.2. Axialidad, gradación y escalonamiento 260 3.3. La organización de las terrazas en profundidad: pers­ pectiva estática y perspectiva dinámica 279 iroiCE II 3.4. Villa bloqueada y compartimentación espacial 295 3.5. Villa abierta y dispersión del jardín 311 Notas 333 4. La definición del tipo 354 4.1. Unificación perspectiva y despliegue bidireccional 356 4.2. Duplicación del casino y continuidad espacial 384 4.3. Inversión del orden y recomposición de las piezas 401 4.4. La excepción de Bomarzo 420 Notas 424 5. Crisis y reestructuración espacial 443 5.1. La crisis del espacio perspectivo 445 5.2. Resistematización y monumentalidad 469 5.3. Escalonamiento redundante y fragmentación espacial 497 Notas 508 III. EL JARDÍN LLANO 6. El jardín en la ciudad 525 6.1. El jardín cuatripartito del palacio urbano 533 6.2. Autonomía del jardín y desarrollo de la malla ortogonal 547 6.3. Cuestiones de trazado y de borde. Inclusiones espaciales 563 6.4. Dominio de la ortogonalidad e imitación del espacio ur baño 584 Notas 602 7. Crecimiento de la villa y síntesis de los trazados 624 7.1. Malla unificadora o esqueleto cruciforme 625 7.2. Extensión y focalización. La analogía urbana 639 7.3. Integración de entramados y sistematización espacial 662 7.4. Aumento de escala y armazón estructurante 682 Notas 712 APÉNDICES: I. TRATADOS Marco Vitrubio Pollón: 'De Architectura libris decem' 735 Alberto Magno: 'De vegetabilibus' 745 Pietro Crescenzi da Bologna: 'Opus/Liber ruralium commodorum' 748 León Battista Alberti : 'De re aedificatoria' 753 Filarete: 'Trattato di architettura' 791 ÍNDICE III Francesco di Giorgio Martini: 'Trattati di architettura in- gegneria e arte militare' 808 Sebastiano Serlio: 'I sette libri dell'Architettura' 819 Andrea Palladlo: 'I quattro libri dell'Architettura' 856 Vincenzo Scamozzi: 'L'Idea della Architettura universale' 875 APÉNDICES: II. DESCRIPCIONES Villa Laurentina. Plinio el Joven: II.XVII. Carta a Galo 944 Villa Toscana. Plinio el Joven: V.VI. Carta a Apolinar 949 Giovanni Boccaccio: 'Decamerón'. Tercera jornada 956 Villa Rucellai en Quaracchi. Giovanni Rucellai: 'II Zibaldo ne Quaresimale' 959 Palacio Piccolomini en Pienza. Eneas Silvio Piccolomini: 'Pii Secundi Pont. Max. Comentarii' 962 Belvedere. Giorgio Vasari: 'Vita di Bramante da Urbino' 967 Villa Belvedere. Relación de un embajador veneciano 970 La Farnesina. Egidio Gallo: 'De viridario Augustini Chigii senensis 971 Los jardines de la Farnesina. Blosio Palladlo: 'Suburbanum Augustini Chisii' 973 Villa Madama. Rafael Sanzio: Carta 974 Michel de Montaigne: 'Journal de voyage en Italie' 981 Villa Lante en Bagnaia. Fabio Arditio: 'Viaggio di Gregorio XIII alia Madonna della Quercia' 991 Villa Médicis en Castello. Giorgio Vasari: 'Vita di Niccoló detto 11 Tribolo' 994 Villa Médicis en Pratolino. John Evelyn: 'Diary' 1006 Las grutas de Pratolino: Bernardo Sgrilli: 'Descrizione del la regia villa, fontane e fabbriche di Pratolino 1008 Isola Bella. Descripción del obispo Burnet 1014 Villa Pamphili. Francesco Borromini: Memoria de su proyecto 1016 BIBLIOGRAFÍA 1. Bibliografía general 1020 1.1. Tratadística 1020 1.2. Historia de la arquitectura 1022 1.3. Teoría de la arquitectura 1025 1.4. Arquitectura y ciudad 1029 1.5. Psicología de la percepción 1030 1.6. Otros textos citados 1032 2. Bibliogred'ía específica 1033 2.1. Fuentes literarias 1033 2.2. Fuentes gráficas 1035 2.3. Historia general del jardín 1037 ÍNDICE IV 2.4. Historia del jardín en Italia 1038 2.5. Biografías y estudios temáticos y regionales 1038 2.6. Estudios monop^ráficos sobre jardines, palacios y vi­ llas 1041 2.7. El jardín clásico en otros países 1043 2.8. Otros textos citados 1046 INTRODUCCIÓN "Por fortuna, el sitio que yo tengo necesitaba desespera­ damente un hito. Tenía un estanque... con un aire bastante vacío. Hacía falta algo Interesante que se pudiera mirar des de la casa. En sentido inverso, hacía falta un sitio a donde ir caminando desde la casa para poder mirarla desde allí. Estas 'necesidades' tienen, como es obvio, sentido única­ mente si asumimos que los 'jardines' constituyen una parte vital de la arquitectura. Al decir 'jardines' no me refiero a lugares para criar flores, sino a paisajes con forma y a- conteciraiento, del mismo modo que un espacio interior de im­ portancia debe tener forma y acontecimiento... En este senti^ do, los 'jardines' son, como obras de arquitectura, más im­ portantes, mayores y más significativos incluso que los más importantes espacios interiores. Las grandes ¿pocas sabían esto. Tanto Le N8tre en Francia como los románticos ingleses del siglo XVIII lo sabían. No­ sotros, en cambio, lo ignoramos; ¿qué necesidad tenemos de ser ignorantes en una época que, según nos dicen, es de a- fluencia? Sea lo que fuere, ya es hora de que alguien empie­ ce a volver a hacer arquitectura de exteriores" (Ph. Johnson 1963) (1). Podemos afirmar sin errar en exceso, como el mismo Philip Johnson declara, que el jardín ha sido un tema olvidado en la arquitectura del mo­ vimiento moderno. Ejemplos como los de la casa Mendelsohn en Berlín, cons truida para sí mismo por el propio arquitecto, con su jardín en ladera, la terraza del ático Beistegui en París de Le Corbusier o el jardín del palacio del Gobernador en Chandigarh, los patios ajardinados de algunas mansiones wrightiaijas como la Martin o la Coonley, los tratamientos de en­ torno de las casas Kaufmann o Tremaine de Neutra, las arboledas con estan­ ques del Instituto Salk o del museo Kimbell de Kahn, y la casa del propio Johnson en New Canaan a la que se refieren las palabras iniciales, que se­ rían seguramente los más destacados y a los cuales muy pocos cabría aña­ dir, resultan más bien excepcionales en el contexto de la arquitectura con temporánea, y apenas tendrían en cuanto tales jardines peso específico al­ guno en un balance global de la misma. Síntoma claro de tal estado de co- irfTRODUCCION sas es que el esfuerzo más notable, por no decir el único consistente, pa­ ra perfilar los términos de un jardín contemporáneo haya de asignarse a un artista plástico en origen, el brasileño Roberto Burle Marx, quien, to­ mando como punto de partida no los principios de la nueva eirquitectura, sino ciertas imágenes pictóricas de las vanguardias de entreguerras, ha logrado concretar una refinada versión del paisajismo adaptada al clima y al ambiente de su país. El desconocimiento generalizado de su obra entre los arquitectos, viene a confirmar la condición ajena al ámbito de nues­ tra disciplina comúnmente atribuida al jardín (2). Sin embargo, la importancia del papel teóricamente asignado a jardi­ nes y parques en la ciudad funcional era enorme, quizás desmesurada. Está escrito en 'Hacia una arquitectura': "Esas torres, levantadas a gran dis­ tancia las unas de las otras, dan en altura lo que hasta aquí se daba en superficie; dejan vastos espacios libres que alejan de ellas las calles laterales llenas de ruido y de una circulación más veloz. Al pie de las torres están los parques: el verdor se extiende por toda la ciudad" (3). y así había de ser hasta el punto de que el suelo ocupado por los edifi­ cios debía recuperarse en las terrazas-jardín, como Gropius sugiere en 'La nueva arquitectura y la Bauhaus': "La utilización de las cubiertas planas como 'terrenos' aprovechables nos brinda la posibilidad de readaptar la naturaleza en los desiertos de piedra de nuestras grandes ciudades. Los terrenos que éstas habían perdido con la construcción de edificios se re­ cuperarán a otro nivel, a una altura más elevada. Desde el cielo los teja­ dos verdes de las ciudades del futuro parecerán una sarta interminable de jardines colgantes" (4). Los parques llegarían hasta el mismo centro de la ciudad que, según se dice en 'Espacio, tiempo y arquitectura', habría de levantarse en medio de ellos: "En las grandes ciudades de hoy debe fun­ cionar un Centro ciudadano, una plaza pública que, como el agora de Ate­ nas, el foro de Roma y la explanada ante las catedrales del Medievo, sea el punto focal de la colectividad y de la afluencia popular. Dadas las exi gencias en extremo distintas de la vida social contemporánea, este Centro habrá de ser instalado en elevados edificios dispuestos libremente en es­ pacios abiertos, circundados y limitados por zonas verdes" (5). Conclusión INTRODUCCIÓN lógica de todo ello es la conversión del conglomerado urbano en una ciu dad-parque, tal como se manifiesta en la Carta de Atenas: "Los volúmenes edificados estarán íntimamente amalgamados a las superficies verdes que habrán de rodearlos. Las zonas construidas y las zonas plantadas estarán repartidas teniendo en cuenta un tiempo razonable para ir de unas a otras.
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