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Construyendo Londres Dibujando Europa construyendo Londres dibujando Europa Manuel Trillo de Leyva construyendo Londres dibujando Europa Colegio Oficial de Arquitectos de Sevilla Fundación para la Investigación y COAS Difusión de la Arquitectura, Sevilla. Decano-Presidente FIDAS. Ángel Díaz del Río Hernando Secretario Antonio Mena Anisi Tesorero Juan Carlos Cordero Magariños Vocales Marcelino Sánchez Nario José María Gentil Baldrich Enrique Soler Arias Publicación “Construyendo Londres. Dibujando Europa” Dirección: Manuel Trillo de Leyva Coordinación: Amadeo Ramos Carranza Asesoramiento ortotipográfico y gramatical: María Elena de la Cova Morillo-Velarde Diseño gráfico y Maquetación: Víctor M. Montero Fernández. FIDAS Maquetación: Rafael Borondo García. FIDAS Impresión: Tecnographic s.l. “Construyendo Londres. Dibujando Europa” Curso de verano de la Universidad Internacional de Andalucía celebrado del 15 al 18 de septiembre de 2003 en Sevilla, impartido por los profesores del Aula Taller F del Departamento de Proyectos Arquitectónicos de la Universidad de Sevillla y con la organización de: Fundación para la Difusión de la Arquitectura, Sevilla Colegio Oficial de Arquitectos de Sevilla Dirección General de Arquitectura y Vivienda de C.O.P.T. de la Junta de Andalucía Grupo de Investigación HUM-632 “Proyecto, Progreso, Arquitectura” Dirección del curso: Manuel Trillo de Leyva Coordinación: José Luis Jiménez Sequeiros, Amadeo Ramos Carranza y Valentín Trillo Martínez. © de la edición FIDAS/COAS. © del texto pertenece a sus autores. © de las ilustraciones pertenece a sus autores, indicado en el capítulo de Créditos Fotográficos. Dirección: Manuel Trillo de Leyva Coordinación: Amadeo Ramos Carranza D.L.: SE-xxxx-xx I.S.B.N.: 84-933738-3-4 Investigación de carácter científico y académico Índice 9 Prólogo Londres revisitada Manuel Trillo de Leyva 13 Introducción Manuel Trillo de Leyva y Amadeo Ramos Carranza Trece ensayos para conocer Londres 19 01. Londres, reseña de lo urbano. Manuel Ramos Guerra 25 02. Isokon´s, Law Roads Flats. Wells Coates, 1929-34. Tomás Curbelo Ranero 39 03. Una obra de Sir Owen Williams: el “Pioneer Health Centre” en Peckham, Londres. 1933-35 Rosa María Añón Abajas 57 04. Edificio Highpoint I. Berthold Lubetkin & Tecton. 1933-35 José Ildefonso Rodríguez Galadí 71 05. Langham House Close. Viviendas colectivas en Ham Commom. James Stirling y James Gowan. 1955-58 Amadeo Ramos Carranza 89 06. Arne Jacobsen en Inglaterra: St. Catherine´s College in Oxford y Danish Embassy in London Francisco Daroca Bruño 99 07. Robin Hood Gardens. Alison & Peter Smithson. 1969-72 Antonio Estrella Lara 111 08. Terminal internacional de Waterloo en Londres. Nicholas Grimshaw & Partners.1991-93 Germán López Mena 121 09. Pesadilla de una noche de verano: una revisión desinhibida de la obra inglesa de David Chipperfield Guillermo Pavón Torrejón 133 10. Almacenes, máquinas, ruinas. Indagaciones sobre la Cúpula del Milenio de Richard Rogers y las relaciones con su obra y pensamiento. 1996-99 Miguel Ángel de la Cova Morillo-Velarde 06 145 11. El Ayuntamiento del nuevo Londres de Norman Foster Manuel Trillo de Leyva 161 12. Tate Modern - Herzog & de Meuron. Double Bind - Juan Muñoz Roberto Luna Fernández 167 13. Biblioteca y mediateca en Peckham, Londres. Alsop & Störmer, 2000 José Luis Jiménez Sequeiros Otras experiencias críticas 175 14. Silueta londinense de Sevilla Seville versus London. Nigel Coates Extra circular activities. Diana Cochrane Two days in Seville. Dickon Hayward The streets of London bring Carmen to life. Andrea Goeke Las Tres Mil Viviendas meet 1037 sites of the Feria the Abril. Suzi Winstanley The Bullring: Waterloo. Nicola Koller 187 15. Silueta sevillana de Londres Rosa María Añón Abajas, Valentín Trillo Martínez 197 16. Dos lugares y un material Fran Santos 203 17. Pequeño ciclo de largos y cortos. “La arquitectura londinense en el cine: 60-00” Miguel Ángel de la Cova Morillo-Velarde 207 18. Levantado el Este de Londres. Desarrollo urbanístico de Canary Wharf. La ausencia de Plan y sus consecuencias Carmen Peña de Urquía 215 19. Home Sweet Home Marta Suárez Ponce de León 223 Créditos Fotográficos 225 Bibliografía 07 Trece ensayos para conocer Londres 02. Isokon´s, Law Roads Flats. Wells Coates, 1929-34. Tomás Curbelo Ranero Antecedentes Cuando Manuel Trillo me pidió que trabajara sobre la vida y obra de Wells Coates, dentro de un lento y ambicioso traba- como hombre y arquitecto. Tanto, como cuando siendo un jo de investigación que él apadrinaba sobre la Arquitectura joven alumno suyo me hizo levantar, analizar y degustar, par- del Movimiento Moderno y Contemporáneo, como parte tiendo de unas casi ilegibles fotos en blanco y negro, la lim- del viaje de estudios a Londres de nuestra Aula Taller F de la pieza del bello bloque lineal de Mies en Stuttgart. Escuela de Arquitectura de Sevilla, pensé que me había sol- tado, en el expresivo lenguaje de los alumnos, ”un marrón”. Del Movimiento Moderno en el Imperio Británico Me hubiera parecido mejor, o al menos más fácil, hablar de S. Owen Williams, incluso del oscuro Joseph Emberton. Si alguna tierra era a principios del siglo XX, por cuestiones Sin duda me hubiera parecido mucho más atractivo hablar estructurales e ideológicas potencialmente estéril y refracta- de alguien a la moda, como B. Lubetkin y los del grupo Tec- ria a abrirse a las experiencias formales democratizadoras y ton, con sus rampas de pingüinos, o del siempre dialéctico socializantes del “racionalismo” arquitectónico, esta seria S. Chermayeff. sin duda el fuertemente jerarquizado, clasista y clasicista Imperio Británico. No olvidemos que era, bien allí, bien en De W. Coates poco sabía, tan solo que tenía aspecto en su su rival el imperio germánico, donde Marx pensaba que era juventud de galán de cine, que le gustaban los coches y los posible que surgiera su anunciada revolución comunista, aviones, que había hecho hacia los años 30 lo que me pare- ante las graves desigualdades sociales inducidas sobre gran- cía una elitista versión de la “unidad de habitación” del Cor- des masas proletarias por la conjunción de factores deriva- bu. Que había sido amigo y compañero de copas de los dos de la revolución industrial, el colonialismo y de una grandes y que su vida había sido no muy feliz. estructura política y de detentación del poder rígidamente Hoy, recordando un bello paseo con él y Manuel Ramos por clasista y excluyente. Hyde Park, mientras veíamos de soslayo, y con cierta envi- La arquitectura británica del XIX, y sobre todo sus paradig- dia, una fiesta de primavera con abundante champagne en mas londinenses, connota a ojos de cualquier espectador el efímero pabellón de O. Niemeyer en nuestro ultimo viaje actual iniciado la perfecta simbiosis entre el estado colonial para ver arquitectura, (nuestra común pasión), le agradezco con su estructura fuertemente clasista y normalizada de haberme familiarizado con Coates y con su integridad poder, y su expresión formal a través de su arquitectura áuli- 25 ca, reflejada a través de sus monumentales columnatas y Anda este difícil camino junto a personajes de la calidad de cúpulas y sus lenguajes neoclasicistas e historicistas. Al pun- Owen Williams, B. Lubetkin, J. Emberton, S. Chermayeff ... to, que para entender hoy las claves ideológicas y sociales del imperio colonial británico del XIX es básico sentir física- En la personalidad del arquitecto Wells Coates influye, junto mente su concreción formal arquitectónica. a su entorno familiar teológico y su educación fuertemente técnica, no olvidemos que se doctora en 1924 con una tesis Alguien proveniente de los territorios de la colonia; Coates sobre “los gases del motor diesel”, su vínculo emocional y nace en 1885 en Canadá, hijo de un matrimonio de cléri- vital con la arquitectura, que es para él biográficamente gos y educadores anglicanos que en su periplo docente- casi un destino preconcebido. misionero llegan a Japón, donde su padre el reverendo Har- per Havelock Coates imparte Filosofía y Religiones Compa- Una especie de “fatum”, o así le gustaba concebirlo al pro- radas en el Aoyama Theological College de Tokio; es uno pio Wells, quien citaba dos anécdotas respecto de tan inevi- de los pocos actores, siempre a contracorriente de la ideo- table determinismo entre su vida y su pasión por la arquitec- logía arquitectónica oficial del imperio, en esta difícil aven- tura. Por una parte evocaba una suerte de destino arquitec- tura de introducir el “racionalismo” arquitectónico del S. XX tónico iniciático prenatal, ya que su madre fue una de las en Inglaterra . pioneras en adentrarse en el mundo de la arquitectura. Lle- gando a trabajar mesa con mesa con un joven Frank Lloyd Wright en la oficina de Louis Sullivan y manteniendo esa amistad a lo largo de los años. Por otra, Wells Coates había sido señalado con el signo mesiánico que comportaba el reconocimiento de sus cualidades como arquitecto por el verdadero profeta del racionalismo. En efecto, como si se tratara de una estampa teológica revi- vida del “Reconocimiento de Jesús en su Presentación en el Templo”, Coates contaba a sus íntimos el episodio de su pri- mer encuentro con Le Corbusier: En 1925, cuando aún no había concretado su vocación arquitectónica, entrevista en París como reportero del Daily Express a Le Corbusier acer- ca de su Pavillion del Esprit Nouveau y de sus reflexiones sobre la “vivienda mínima” y “la machine á habiter”. Al finalizar la entrevista con Le Corbusier, éste le dice a Coa- tes un premonitorio: “ usted no es periodista, usted es arquitecto” La vida privada de Coates fue dolorosa, por la trágica enferme- dad de su mujer y por sus habituales problemas económicos. Figura 1: Wells Coates en 1933. 26 En una época en la que la formación tipo del arquitecto bri- Antes, en la Gran Guerra, abandona temporalmente sus tánico tendía a contemplar los valores de lo monumental y estudios y se enrola como piloto en lo que sería la RAF, lle- lo epidérmico, al eclecticismo histórico y a la composición gando a volar en misiones de combate al final de la guerra, Beaux Arts, Coates defendía su concepción técnica y funcio- cuyo celebrado armisticio le coge en París en el Hotel nal de la arquitectura en un paralelismo vital con su admira- Eduardo VII.
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