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Guia2-Oriente.Pdf Facultad de Arquitectura UDELAR Montevideo | Uruguay GRUPO DE VIAJE 2013 ARQUITECTURA RIFA G06 EQUIPO DOCENTE Adriana Barreiro Jorge Casaravilla Gustavo Hiriart Pablo Kelbauskas Bernardo Martín Ximena Rodríguez Soledad Patiño Ernesto Spósito MÓDULO 02 ORIENTE DOCENTES MÓDULO 02 Adriana Barreiro Ernesto Spósito Ximena Rodríguez Nota importante: Las Guías de los Grupos de Viaje de la Facultad de Arquitectura de la Universidad de la República son el resultado del trabajo de sucesivos Equipos Docentes Directores y generaciones de estudiantes. En particular, el material contenido en las presentes Guías fue compilado por el Grupo de Viaje Generación 2005 y su Equipo Docente Director del Taller Danza, quienes realizaron su viaje de estudios en el año 2012. Este material ha sido editado y adaptado al proyecto académico del Grupo de Viaje Generación 2006, cuyo viaje de estudios se realizará en el año 2013. Facultad de Arquitectura UDELAR GRUPO DE VIAJE 2012 ARQUITECTURA RIFA G05 EQUIPO DOCENTE Taller Danza Marcelo Danza Lucía Bogliaccini Luis Bogliaccini Diego Capandeguy Marcos Castaings Martín Delgado Andrés Gobba Lucas Mateo Nicolás Newton Natalia Olivera Felipe Reyno Thomas Sprechmann Marcelo Staricco MÓDULO 02 ORIENTE DOCENTES MÓDULO 02 Tomás Sprechman Diego Capandeguy Nicolás Newton GRUPO DE TRABAJO Natalie Cordero Mariana García Etcheverry Bruno La Buonora Magdalena Ponce de León Katia Sei Fong Santiago Serrano Sofía Damiani Mariano García Patricia Izaurralde JAPÓN DatoS GENERALES: Superficie: 37.800 km2. (Con menos del 7% del suelo urbanizable) Población: 128 .100.000 (2010). (Es la décima más grande del mundo) Densidad de Población: 3.336 habitantes por km2 Territorio: Archipiélago, con cuatro islas principales que forman el 97% de la superficie total del país, y con 6.848 islas menores adyacentes. PBI per cápita: U$S 28.200 (Es de los más altos del mundo) Capital: Tokio. Área metropolitana de Tokio: 30 millones de habitantes. Idioma: Japonés. Religión: El sintoísmo y el budismo son las religiones mayoritarias.También hay confu- cianos, taoístas, y cristianos. 4 GUÍA DE VIAJE | GENERACIÓN 2006 LOS NUEVOS NÓMADES EN ASIA Diego Capandeguy Sentido e ilusión de este prólogo Esta Guía de Viaje constituye un instrumento facilitador del denominado Viaje de Arqui- tectura de Uruguay para un público–objetivo concreto. Se trata de jóvenes arquitectas y arquitectos contemporáneos, graduados o a punto de hacerlo. A ellos se dirige este prólogo. La guía es realizada gracias al trabajo cooperativo y voluntario de diversos estudiantes del Grupo, coordinado por algunos docentes. Es una “guía – amateur”, que capitaliza otras anteriores, que incorpora y desecha obras y locaciones, y que esencialmente selecciona, ubica e intenta dar pistas de sentido y de disfrute. Ciertamente es un “re- corte” intencionado para un viaje de turismo cultural cada vez más acelerado, acorde con el tiempo presente. El propio deambular en viaje exigirá una mayor elegibilidad e impregnación temática. La guía se asocia a itinerarios académicos sugeridos, en parte probados, con pequeñas innovaciones anuales y con algunos momentos de fractura. Su sentido es el de marcar “pisos mínimos” de “capturas” arquitectónicas, paisajísticas y culturales a ser tomadas, desechadas o superadas por las avanzadas de cada generación. Con ello se aspira a que este viaje de estudios se amplifique, se haga más intenso y pleno. Seguramente cada estudiante sólo podrá plantear su viaje en algunos focos. También lo hará deteniéndose en algunos puntos notables o Highlights, o impregnándose en atmósferas múltiples. Ello se asocia a un modelo de opciones, de bifurcaciones y del ejercicio de las libertades individuales de cara a la mejor concreción de cada Viaje de Arquitectura. Con este prólogo de esta Guía de Oriente se desea compartir algunas reflexiones de cara a una mayor potenciación del Viaje, explorando y mapeando estas u otras de sus geografías culturales. Así se construirá la territorialidad en Viaje de cada joven arquitecto, con sus rituales, sus anhelos y sus fantasías. Nómades del Sur El Grupo de Viaje de Arquitectura podría interpretarse como una singular experiencia nómade, o míticamente nómade. En efecto, los arquitectos y estudiantes generan colo- nizaciones temporales del territorio en el que se van desplazando. En Oriente se tratan de nómades del Sur desplazándose en tierras lejanas, con otras concepciones culturales y con otras filosofías de vida. Tales nómades se mueven en grupos numerosos o chicos que, de a momentos, se expanden o se aglutinan para la mejor captura real y simbólica de sus presas culturales. ¿Cómo sentir y ver en mundos tan lejanos y distantes a Occidente y más aún al Sur Latinoamericano? ¿Es ello posible? ¿No es una ilusión? ¿Cómo trascender una aparente incomunicación básica? Al respecto Roland Barthes, en su libro El Imperio de los signos de 1970, considera que en Japón el universo de los significantes excede la palabra, pu- diéndose generar ricos intercambios de signos por los gestos.1 Se trata de una experiencia intransferible y sutil que trasciende cierta opacidad de la lengua local. Del Voyage d’ Orient a una Asia Expandida El turismo es un fenómeno esencialmente moderno. Antes los viajantes fueron los conquistadores, los mercaderes y los exploradores, Marco Polo se encuentra entre estos últimos. Ellos se movían en un mundo de incógnitas y fantasmas. Estudiar y visitar las obras de arquitectura, las ciudades, y los paisajes sublimes, habilitan una fruición empática y una mayor práctica analítica, en apariencia sin mediaciones. 1 BARTES, Roland (1991). El Imperio de los signos. Madrid: Mondadori. 6 GUÍA DE VIAJE | GENERACIÓN 2006 En el Siglo XVIII, el Siglo de las Luces, Roma empieza a ser visitada por segmentos de las clases altas europeas, especialmente ingleses y franceses. Es la cuna de la Antigüedad. Eran los tiempos del Grand Tour. Luego surgió el denominado Viaje a Oriente, ciertamente definido desde una mirada muy europea y occidental. Este viaje se extendía al Mediterráneo Oriental, Grecia, Turquía y Egipto. Era el Cercano y Medio Oriente para esas aprehensiones. Le Corbusier, el gran autodidacta, realizará dos grandes viajes formativos: le Voyage d’ Italie, en 1907, y le Voyage d’ Orient, en 1911. Recorrió los países Balcánicos, Grecia, Turquía e Italia Meridional. Era la “historia sustantiva” de la época. Ello fue contemporáneo a una creciente sensibilidad por el Lejano Oriente. Esta fue in- tensa desde mediados del Siglo XIX. Entonces, eclecticismo y sincretismo se conjugaban en una mirada crecientemente universal. Dentro de estos registros, la sublimación de la arquitectura japonesa es crecientemente admirada desde Occidente. Así pues, Frank Lloyd Wright realizará su primer viaje a Japón en 1905. A partir de allí coleccionará diversos objetos artísticos, en especial sus grabados. Con los años escribirá un tratado sobre estos últimos. Wright, en su autobiografía, destaca del arte y la arquitectura de Japón “la eliminación de lo insignificante”…y, más tarde, su presunto carácter orgánico.”. Y reconoce a la “casa japonesa como un perfecto ejemplo de es- tandarización moderna”.2 Tres décadas después Bruno Taut, un vanguardista europeo exiliado, vivirá en Japón. Allí recorrerá e interpretará la arquitectura histórica japonesa desde su mirada moderna. Sus dibujos explicativos son categóricos: reconoce dos grandes líneas: una de calidad, en la que encadena del Santuario de Ise a la Villa Katsura la que destaca por sus valores. Y la otra vertiente, que nomina como kitsch, pasa por Nikko y otras construcciones, es soslayada en su ponderación.3 Luego de la Segunda Posguerra las miradas arquitectónicas universales se focalizaron nuevamente en un Japón que fue devastado. Un Neo Brutalismo Japonés y luego la gran experiencia del Metabolismo reposicionó a Japón en un concierto internacional. Kenzo Tange y sus epígonos marcarán el panorama. Más recientemente Tadao Ando, Toyo Ito, Kasuyo Sejima, ingresarán a un registro global. Para la cultura arquitectónica contemporánea, Oriente se abre y se complejiza. En es- pecial, China emerge como la gran potencia en morfogénesis. Rem Koolhaas indagará sobre sus nuevas territorialidades y sus simulaciones en el Delta del Río de las Perlas4, y celebrará la ideación y construcción de un rascacielos icónico excepcional: el CCTV. Luego Koolhaas saltará de locación a Dubai y los Emiratos Árabes Unidos, su nuevo foco. Aquí intentará evitar su fácil rechazo moral y tratará de comprender su significa- ción presente. La emergencia global de Asia Asia ha sufrido un creciente proceso de globalización, emergiendo actualmente como uno de los territorios de mayor gravitación global. En el Siglo XIX el colonialismo, el comercio internacional y una asimétrica modernización se infiltran en territorios con regímenes muy cerrados. A mediados del siglo XX se configuran algunos eventos y procesos muy fuertes como la Segunda Guerra Mundial y la trunca hegemonía territorial de Japón; un proceso de descolonización, la división bipolar de Asia y las Guerras de Corea y Vietnam, y el Maoismo en China. 2 WRIGHT, Frank Lloyd (1998). Autobiografía 1867- (1943). Madrid: El Croquis Editorial, p. 234 y ss. 3 AKADEMIE DER KÜNSTE (1980). Bruno Taut 1880-1938. Berlin: Akademie der Künste, p. 256. 4 Véase: HARVARD DESIGN SCHOOL PROJECT ON THE CITY / KOOLHAAS, Rem (dir.) (2001). Great Leap Forward. Köln: Taschen, (Project on the city v.2) y KOOLHAAS, Rem, HARVARD (Project on the city) et alt. (2001). Mutations. Bordeaux / Barcelona: Arc en Rêve Centre
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