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La Planta Miralles Representación Y Pensamiento En La Arquitectura De Enric Miralles

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La Planta Miralles Representación Y Pensamiento En La Arquitectura De Enric Miralles 2013 DPA - Departamento de Proyectos Arquitectónicos ETSAM - Escuela Técnica Superior de Arquitectura de Madrid LA PLANTA MIRALLES REPRESENTACIÓN Y PENSAMIENTO EN LA ARQUITECTURA DE ENRIC MIRALLES Autor: Javier Fernández Contreras, Arquitecto Director: José Manuel López Peláez, Doctor Arquitecto Índice 00 01 LA PLANTA MIRALLES REPRESENTACIÓN Y PENSAMIENTO EN LA ARQUITECTURA DE ENRIC MIRALLES ÍNDICE RESUMEN - ABSTRACT 2 0. INTRODUCCIÓN 4 0.1. Representación y pensamiento en la arquitectura de Enric Miralles 4 0.2. Definición de “planta Miralles”. Hipótesis 6 0.3. Estructura de la tesis 8 0.4. Método de investigación 10 1. LA PLANTA MIRALLES 1.1. GEOMETRÍA: DIBUJO EN PLANTA Y TIPO ARQUITECTÓNICO 14 1.1.1. Formación de Enric Miralles: el pensamiento gráfico 14 1.1.2. Miralles/Pinós. De la escuadra y cartabón a los planos croissant 26 1.1.3. Enric Miralles y EMBT. La planta como contorno, la maqueta como sección 48 1.1.C. Dibujo manual de Enric Miralles: la geometría soporte 78 1.2. DIÉDRICO: FRAGMENTACIÓN DE LA PLANTA Y COMPOSICIÓN POR PIEZAS 82 1.2.1. Planta matriz y planos parciales: concepto 82 1.2.2. Dos familias compositivas: yuxtaposición y superposición 84 1.2.3. Yuxtaposición: de la composición urbana a la fragmentación arquitectónica 86 1.2.4. Superposición: de la planta libre al plano de situación en altura 124 1.2.C. Autonomía y relatividad: el límite de una planta 141 2. CONSTRUCCIÓN EN PLANTA MIRALLES: LA REUNIÓN DE LOS FRAGMENTOS 144 2.1. Los proyectos de yuxtaposición: discontinuidades e intersticios 145 2.2. Los proyectos de superposición: la tectónica de lo aéreo 164 2.C. El pensamiento separativo: arquitectura de lo intersticial 178 3. UTRECHT: UN PROCESO DE TRABAJO EN PLANTA MIRALLES 180 3.1. El Ayuntamiento de Utrecht: historia 180 3.2. La propuesta del concurso 184 3.3. Evolución del proyecto 188 3.C. Dibujo y repetición: presencia manual en la planta de Utrecht 216 4. CONCLUSIONES 222 Conclusions 228 5. BIBLIOGRAFÍA Y DOCUMENTACIÓN 234 6. AGRADECIMIENTOS 242 RESUMEN - ABSTRACT ES capítulos como un corolario de las categorías enunciadas, explicando, en orden cronológico Resulta imposible disociar la evolución de la a través de los proyectos, la evolución de la arquitectura de Enric Miralles de lo que fue geometría, la utilización del diédrico, y el el desarrollo de un sistema de representación impacto de la falta de compacidad en la obra propio. Partiendo de una posición heredada construida. Mientras que estos capítulos son de su formación en la Escuela de Arquitectura globales, se refieren a la trayectoria de este de Barcelona y de su práctica en el estudio método en su totalidad, el cuarto y último Viaplana-Piñón, donde adquiere el gusto por es un estudio de detalle de su aplicación en la precisión en el dibujo técnico, la delineación un proyecto particular, el Ayuntamiento de sobre papel vegetal o el grafismo constituido Utrecht, a través de los dibujos originales de exclusivamente a base de líneas del mismo Miralles. Tanto en la explicación global como grosor, Miralles pronto evoluciona hacia un en el estudio de detalle de este sistema de método caracterizado por un personal uso del representación, la tesis pone de manifiesto sistema diédrico, vinculado a una concepción su instrumentalidad en el pensamiento de fragmentaria de la planta de arquitectura y del esta arquitectura, argumentando que ésta no espacio mismo. podría haber sido desarrollada sin la existencia del mismo. Miralles proyectará por fragmentos de planta, asignándoles una geometría característica La relación entre representación y pensamiento para diferenciarlos entre sí y desarrollar su es por tanto un tema capital para explicar espacialidad y sección con cierta autonomía, esta obra. No obstante, hasta la fecha, a través de planos y maquetas independientes. las referencias al mismo en la bibliografía Gran parte de la arquitectura que elabora con disponible no han pasado de ser una colección Carme Pinós, en solitario o con Benedetta de opiniones dispersas, incapaces de construir Tagliabue, estará compuesta por colecciones por sí mismas un cuerpo estructurado y de piezas heterogéneas herederas de los coherente de conocimiento. Se ha insistido fragmentos de la planta original, que encajan sobremanera en el análisis y contextualización entre sí no en base a esquemas clásicos de de los proyectos individuales, y poco en el integración subordinada o jerárquica, sino a estudio de la técnica proyectual utilizada para través de posiciones relativas de yuxtaposición o pensarlos y llevarlos a cabo. En definitiva, superposición, caracterizadas por una ausencia se han priorizado los resultados frente a los de compacidad en la solución de conjunto. procesos creativos, existiendo por tanto un inexplicable vacío teórico respecto a un tema Este sistema de representación se apoya de gran importancia. Este vacío es el marco por tanto en la geometría como mecanismo donde se inserta la necesidad de esta tesis de diferenciación por piezas, se basa en doctoral. la fragmentación del diédrico desde la fragmentación de la planta, y en la falta de La investigación que aquí se presenta explica el compacidad como soporte de pensamiento origen y evolución del sistema de representa- separativo. Un sistema que se define como ción de Enric Miralles, desde su etapa como “planta Miralles”, término que incluye todas estudiante en la Escuela de Arquitectura de las técnicas de representación empleadas por Barcelona hasta los últimos proyectos que - Abstract Resumen el arquitecto, desde planos a maquetas, pero elabora con Benedetta Tagliabue, así como que enfatiza la importancia estratégica de la el estudio de sus consecuencias en la obra planta como origen y guía del proyecto de construida. Termina concluyendo que su 02 arquitectura. desarrollo es paralelo al de la arquitectura de 03 Miralles, poniendo de manifiesto su vinculación La tesis se estructura en los tres primeros y mutua interdependencia. EN Miralles’ projects, the evolution of geometry, the customization of the dihedral system, and the It is impossible to dissociate the evolution of impact of the lack of compactness on the built the architecture of Enric Miralles from the work. While these three chapters are global, for development of his own system of representation. they refer to the overall evolution of this system, Starting from a position inherited from his the fourth and last one is a case study of its training at the Barcelona School of Architecture application to a particular project, the Utrecht and his practice at the office of Viaplana-Piñón, Town Hall, through Miralles’ original drawings. where he acquires a liking for precision in Both in the global and particular explanations drafting and a graphic style based exclusively of this system of representation, the thesis on lines of the same thickness, Miralles soon highlights its instrumentality in the process of moves into a method defined by a customized thinking this architecture, arguing that it could use of the dihedral system, connected to a not have been designed without its parallel fragmented conception of the floorplan and development. space itself. The relationship between thinking and Breaking up the floorplan into multiple representation is therefore a key issue to explain fragments, Miralles will design an architecture this architecture. However, to date, existing where each of them has a unique shape and references to it in the available literature have geometry, developing their sections and spatial not evolved from a collection of scattered qualities with a certain degree of autonomy opinions, unable to build for themselves a within the whole, through separate plans and structured and coherent body of knowledge. models. Many of the projects he designs with Great emphasis has been put on the critical Carme Pinós, individually or with Benedetta contextualization of this architecture through Tagliabue, will consist of collections of the analysis of the projects themselves, but little heterogeneous pieces, heirs of the original on the study of the design technique used to floorplan fragments, which do not fit together think and carry them out. Results have been according to classical principles of subordinate prioritized over creative processes, existing or hierarchical integration, but based on relative therefore an inexplicable theoretical void on positions of juxtaposition or superposition that an issue of great importance. This void is the lead to a lack of compactness in the overall conceptual framework where the need for this scheme. thesis is inserted. This system of representation is thus based on This research explains the origin and evolution the use of geometry as a way of differentiating of Enric Miralles’ system of representation, from architectural pieces, on the fragmentation of his time as student at the Barcelona School of the dihedral system from the fragmentation of Architecture to the last projects he designed with the floorplan, and on a lack of compactness Benedetta Tagliabue, as well as the study of its as a device of separative thinking. This system impact on the built work. It concludes that the is defined as “Miralles plan”, a term that development of this system runs parallel to that includes all techniques of representation used of the architecture it is used for, making it explicit by the architect, from plans to models, and its indissolubility and mutual interdependence. that emphasizes the particular importance of the floorplan as the guiding force of the design process. The first three chapters of the thesis have been structured as a corollary of these categories, explaining, in chronological order through 0. INTRODUCCIÓN “jeroglíficos repletos de ideas y significados ocultos.”1 Luis Burillo, quien fuera compañero 0.1. REPRESENTACIÓN Y PENSAMIENTO de docencia de Miralles en la ETSAB, recuerda: EN LA ARQUITECTURA DE ENRIC MIRALLES “El tema de la relación entre proyecto y dibujo era para Miralles en la Escuela casi como 2 La trayectoria profesional de Enric Miralles una obsesión.” Y Josep Miàs, uno de los recibió desde el principio de su carrera gran colaboradores más importantes de Miralles/ atención por parte de profesionales y medios Tagliabue, escribe sobre la posición de Miralles especializados.
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