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La Casa De Norman Y Wendy Foster En Hampstead Tecnología Y Domesticidad Entre Los Años 1960 Y 1980

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La Casa De Norman Y Wendy Foster En Hampstead Tecnología Y Domesticidad Entre Los Años 1960 Y 1980 Universidad Politécnica de Madrid Escuela Técnica Superior de Arquitectura LA CASA DE NORMAN Y WENDY FOSTER EN HAMPSTEAD TECNOLOGÍA Y DOMESTICIDAD ENTRE LOS AÑOS 1960 Y 1980 Tesis Doctoral Carlos Solé Bravo, arquitecto 2016 Departamento de Proyectos Arquitectónicos Escuela Técnica Superior de Arquitectura de Madrid LA CASA DE NORMAN Y WENDY FOSTER EN HAMPSTEAD TECNOLOGÍA Y DOMESTICIDAD ENTRE LOS AÑOS 1960 Y 1980 Carlos Solé Bravo, arquitecto Director: Emilio Tuñón Álvarez, Catedrático de Proyectos Arquitectónicos 2016 RESUMEN Abstract LA CASA DE NORMAN Y WENDY FOSTER EN HAMPSTEAD. THE NORMAN AND WENDY FOSTER RESIDENCE IN HAMPSTEAD. TECHNOLOGY TECNOLOGÍA Y DOMESTICIDAD ENTRE LOS AÑOS 1960 Y 1980 AND DOMESTICITY BETWEEN THE 1960s AND THE 1980s La casa del arquitecto tiene la virtud de descubrirnos An architect’s house has the value of containing his universe: his el universo de su autor: sus referentes, sus pasiones references, his passions and his y sus sueños. Tal vez esto baste para comprender dreams. Perhaps this is reason enough to understand the interest el interés suscitado por la casa que, entre 1978 y inspired by the house designed by 1979, Norman y Wendy Foster proyectaron en el barrio Norman and Wendy Foster in the London neighborhood of Hampstead, londinense de Hampstead. between 1978 and 1979. The choice of site reveals a desire La elección del emplazamiento revela la voluntad de for privacy. Enclosed by high privacidad de sus ocupantes. Flanqueado por altos muros walls that obstruct the view of the house from the street, it is an que impiden la visión de la casa desde la calle, es el ideal setting for an experimental HVFHQDULRLGyQHRSDUDXQDHGL¿FDFLyQH[SHULPHQWDOVLQ building, detached from any context and unconstrained by any concesiones formales a una determinada ubicación ni a neighboring architecture. la arquitectura circundante. 7KHSURMHFWLVDQDWWHPSWWRIXO¿O the utopian idea prophesized by El proyecto intenta cristalizar esa utopía profetizada architects like Cedric Price and en los años sesenta por arquitectos como Cedric Price y the Archigram group in the sixties —tested after the Second World War el grupo Archigram —ya esbozada tras la Segunda Guerra by the Eames and Jean Prouvé—, Mundial por los Eames y Jean Prouvé—, que es la casa of a house conceived as a kit of FRPSRQHQWV D OLJKW DQG ÀH[LEOH concebida como un kit de componentes: un contenedor container able to adapt and to OLJHURÀH[LEOHFDSD]GHDGDSWDUVH\FUHFHUHQIXQFLyQ grow according to the needs of its occupants. de las necesidades de sus usuarios. The choice to abandon all façade La renuncia a la composición de las fachadas y la composition and to make all components interchangeable, make intercambiabilidad de sus componentes, la convierten this house an unprecedented work en una obra sin precedentes en la producción del within the practice. Its envelope, conceived as a system, results estudio, cuya envolvente, concebida como un sistema, from the adequate response to the surge como la respuesta adecuada a las necesidades de users’ needs at any given time. sus habitantes en cada momento. Inspired by the prefabricated capsules of Buckminster Fuller Inspirados por las cápsulas prefabricadas de Buckminster and by the mobile components of the Maison de Verre in Paris, the Fuller y por los componentes móviles de la Maison de Fosters bring the kit of components’ 9HUUHHQ3DUtVORV)RVWHUOOHYDURQDOH[WUHPRODLGHD idea to its logical extreme: the III depth of the envelope, determined del kit de componentes. Así, el espesor de la fachada, by the depth of the structural determinado por el del armazón estructural, permite frame, allow a wide range of capsules containing the service “enchufar” diversos tipos de cápsulas que albergan spaces of the house to be plugged las zonas de servicio de la vivienda. La estructura in. Thus, the external aluminium structure becomes a framework for H[WHULRUL]DGDHQDOXPLQLRFRQVWLWX\HXQVRSRUWHSDUD the change. A support for movable el cambio, permitiendo el acoplamiento de componentes façade components, interchangeable service capsules and all kinds of de cerramiento, cápsulas de servicio y demás aparataje technological gadgetry. tecnológico. Thus the ideas explored by the )RVWHUV LQ WKHLU ¿UVW LQGXVWULDO 'H HVWH PRGR ODV LGHDV H[SORUDGDV SRU ORV )RVWHU buildings are hereby applied, for en sus primeras obras industriales son trasladadas, WKH ¿UVW WLPH WR WKH GRPHVWLF realm. That is the functional, por primera vez, al ámbito doméstico. Se trata de HFRQRPLFDODQGH๲FLHQWDUFKLWHFWXUH ODDUTXLWHFWXUDIXQFLRQDOHFRQyPLFD\H¿FLHQWHTXH that Reyner Banham referred to as the “well-serviced shed”, born Reyner Banham bautizó como la “nave bien servida”, from the application of concepts fruto del uso de la “tecnología adecuada” y de la such as “appropriate technology” and systems integration. aplicación de la integración de sistemas como principal But the Fosters’ house project in estrategia proyectual. Hampstead is in fact a culmination of several projects: the vast and Pero el proyecto de los Foster en Hampstead es, en mostly unpublished documentation realidad, muchos proyectos: la abundante documentación, surviving in the Foster + Partners archives in London and the testimony HQ VX PD\RUtD LQpGLWD H[LVWHQWH HQ ORV DUFKLYRV GH of its main protagonists through Foster + Partners, y el testimonio directo de sus a series of conversations, allow the reconstruction of the working principales protagonistas a través de conversaciones, process. Far from following a permiten reconstruir un proceso de diseño que, lejos OLQHDUSURFHVVGL๱HUHQWOLQHVRI exploration evolve in parallel to GHVHUOLQHDODEUHYtDVVLPXOWiQHDVGHH[SORUDFLyQTXH the architecture of the practice, evolucionan en paralelo a la trayectoria del estudio, nourishing by it and, at the same time, contaminating it. In this nutriéndose de ella y, al mismo tiempo, contaminándola. respect, the house also becomes a Así, el proyecto constituye un banco de pruebas en test rig in which to test ideas for their future implementation in el que ensayar ideas para su posterior aplicación en larger projects. proyectos de mayor entidad. If, as Deyan Sujdic wrote, all the Norman Foster houses were 6LFRPRD¿UPD'H\DQ6XMGLFWRGDVODVFDVDVGH1RUPDQ FDUHIXOO\ GHVLJQHG WR UHÀHFW WKH )RVWHUIXHURQFXLGDGRVDPHQWHGLVHxDGDVSDUDH[SUHVDU kind of architect that he wanted to be at various points in his life, el tipo de arquitecto que quería ser en distintos the Hampstead house is, above all, momentos de su vida, la casa en Hampstead es, ante the house of an aesthete of the machine. The home of an architect todo, la casa de un esteta de la máquina. El hogar de un fascinated by the “aesthetics arquitecto fascinado por la “estética de lo necesario” of necessity” appropriate to airplanes, bicycles, space ships propia de aviones, bicicletas, naves espaciales y and other technological products demás productos tecnológicos, a los que, más allá de IV VXFRQGLFLyQGHSDUDGLJPDVGHH¿FLHQFLD)RVWHUSDUHFH which he seems to admire not only IRU EHLQJ SDUDGLJPV RI H๲FLHQF\ DGPLUDU FRPR H[SUHVLRQHV SXUDV GHO HVStULWX GH VX but rather as pure expressions of época. their era. As the project evolves, it becomes A medida que avanza, la casa va impregnándose de un impregnated with a technological H[SUHVLRQLVPR WHFQROyJLFR HQ HO TXH LGHDV IRUPDOHV expressionism in which formal ideas prevail over functional prevalecen sobre consideraciones funcionales. Así, el considerations. The development desarrollo del proyecto, en sus múltiples variantes, of the project, in its multiple variations, becomes a mirror UHÀHMDODHYROXFLyQGHODREUDGHOHVWXGLRGHVGHOD to the evolution of the work of DUTXLWHFWXUDH¿FLHQWHGHOD³QDYHELHQVHUYLGD´KDVWD WKH SUDFWLFH IURP WKH H๲FLHQW architecture of the “well-serviced OD JORUL¿FDFLyQ WHFQROyJLFD SURSLD GHO PRYLPLHQWR shed” to the technological High-Tech. JORUL¿FDWLRQ RI WKH +LJK7HFK movement. Pero tras doce meses de intenso trabajo, durante el que se But after twelve months of intense elaboraron múltiples opciones con sus correspondientes work, having developed multiple options through sketches, drawings, bocetos, planos, maquetas y prototipos estructurales models and structural prototypes y, habiéndose iniciado su construcción, el proyecto es and after having initiated construction, the project is misteriosamente abandonado. mysteriously abandoned. Como todo proyecto no construido, la casa de los Foster Like any unbuilt project, the Hampstead house project hides the HQFLHUUDODKLVWRULDGHXQDIUXVWUDFLyQHVODH[SUHVLyQ story of a frustration, it is the GHXQIUDFDVR(VXQUHÀHMRGHODVFRQWUDGLFFLRQHVGH expression of a failure. It serves DVDUHÀHFWLRQRIWKHFRQWUDGLFWLRQV una obra que, debatiéndose entre la producción en masa of a project that debates between y la artesanía industrial, se encuentra en permanente mass production and industrial craftsmanship, in a permanent FRQÀLFWRHQWUHODWHFQRORJtDHQWHQGLGDFRPRXQPHGLR\ FRQÀLFW EHWZHHQ WHFKQRORJ\ DV D ODWHFQRORJtDFRPRXQ¿QHQVtPLVPR means and technology as an end in itself. El abandono del sueño de la casa tecnológica representa, The abandonment of the dream HQGH¿QLWLYDHOLQHYLWDEOHIUDFDVRGHXQDDUTXLWHFWXUD of the technological house illustrates the inevitable failure TXHLQYRFDQGRODUHWyULFDGHODH¿FLHQFLDDVSLUDD of an architecture that invocates emular la estética de los productos industriales. Una WKH UKHWRULF RI H๲FLHQF\ ZKLOH trying to emulate the aesthetics arquitectura que, traicionando sus propios principios, of industrial production. An HQFXHQWUD HQ OD JORUL¿FDFLyQ GH OD WHFQRORJtD VX architecture which, betraying LWV
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