Flatiron Building JUAN CALATRAVA

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Flatiron Building JUAN CALATRAVA 03minv07_Rascacielos.qxd 15/1/08 18:00 Página 13 CBA EL FUTURO DEL RASCACIELOS 13 Flatiron Building JUAN CALATRAVA Pese a ser ampliamente superado en altura Pero el Flatiron representa igualmente otra por muchos de los rascacielos del siglo xx, el evolución: la de las tentativas por dar forma a Flatiron, con sus 22 pisos y sus relativamen- esta nueva tipología. En efecto, casi desde el te modestos 87 metros, sigue siendo hoy uno principio se deja notar un cierto desasosiego de los iconos insustituibles de Nueva York. ante la indefinición de estos edificios aparen- Fotografiado por Stieglitz o Steichen, filma- temente informes, sin límites, multiplicables do en multitud de películas, comentado por hasta el infinito. Para muchos arquitectos for- viajeros y escritores ilustres (como H. G. mados en la estética Beaux-Arts, los rascacie- Wells, que afirmaba haber tenido la revela- los debían ser un vehículo para la reintroduc- ción del poder de Nueva York sólo contem- ción del Arte y de la Belleza en la metrópolis. plando el Flatiron al atardecer), elegido en Louis Sullivan definió este anhelo en su escri- una portada de Life como el rascacielos con- to de 1896 The tall office building artistically tra el que chocaba el trineo de Santa Claus, considered, mientras que Daniel Burnham y ese extraño edificio triangular continúa atra- otros alumbraban, a partir del hito que supu- yendo, cien años después de su construcción, so la Exposición Colombina de Chicago de unas miradas para las que los rascacielos ya 1893, la idea de la City Beautiful: la combina- no son ninguna novedad. ción de la más moderna tecnología construc- En ello tiene mucho que ver su ubicación tiva con las formas del arte del pasado. urbana y el muy especial solar sobre el que se Con el Flatiron, Daniel Burnham daba asienta, una excepción dentro de la rigurosa cuerpo a la dualidad esencial de esa ciudad ortogonalidad de la trama de Nueva York, Jekyll-Hyde, una dualidad que enseguida definida desde el plan de 1811 como una encontraría continuidad en Nueva York en malla en la que el cruce de las avenues (N-S) edificios como el Metropolitan Life Insuran- y las streets (E-W) hacía surgir una serie uni- ce Building de Napoleon Le Brun (con su forme de manzanas rectangulares. Sólo algu- rememoración del campanile de Venecia) o nos elementos preexistentes introducían el neogótico del Woolworth Building de Cass variaciones en este esquema, y uno de ellos Gilbert y que el propio Burnham intentaría era Broadway, una antigua senda india que elevar a escala urbana con su Plan para Chi- corre en sentido SE-NW. Su presencia crea, cago de 1909. en el punto donde se cruza con la Quinta El Flatiron asume deliberadamente, como Avenida a la altura de las calles 22 y 23, una ya había pedido Sullivan, la evocación tran- estrecha parcela triangular en la que, en quilizadora de la forma de una columna, con 1902, se culminó, sobre proyecto de Daniel su basa de dos pisos, su fuste y su remate- Burnham, el edificio Fuller, enseguida bau- capitel (veinte años más tarde, en su proyec- tizado como Flatiron por su parecido con las to «dórico» de 1922 para la sede del Chicago planchas domésticas de la época. Tribune, Adolf Loos llevaría hasta sus últi- El Flatiron representa la introducción en mos límites esta idea del rascacielos como Nueva York de una tipología arquitectónica, el columna). Su estructura metálica, en la que se skyscraper, que había sido puesta a punto en emplearon más de 3.500 toneladas de acero, el Chicago de los últimos treinta años del siglo se conjuga con un cerramiento de piedra cali- xix (sobre todo después del gran incendio de za revestido a su vez de terracota. Esta piel 1871). Avances constructivos como la estruc- exterior recibe una decoración con motivos tura de esqueleto metálico, el muro cortina, que evocan la prestigiosa arquitectura clasi- las nuevas cimentaciones (el Chicago caisson) cista (hasta el punto de que se ha hablado de o los ascensores se habían combinado para un Burnham Baroque) y que, además, se super- producir el modelo de edificio que los centros ponen al muro con una ondulación que apor- terciarios de las metrópolis americanas exi- ta movimiento a las fachadas y encamina la gían y que ahora, en el umbral del nuevo siglo, mirada hacia el vértice del triángulo. se exportaba a Nueva York. La distribución interior tuvo que hacer frente a los problemas derivados de una for- ma triangular que, en el vértice redondeado, ofrecía una anchura de tan sólo dos metros. Burnham dio aquí la medida de toda su expe- FLATIRON BUILDING / FULLER BUILDING riencia como constructor de edificios de ofi- PROYECTO ARQUITECTÓNICO DANIEL H. BURNHAM cinas en Chicago. Aunque no era este aspecto EMPRESA CONSTRUCTORA THE FULLER CONSTRUCTION el que tenían en mente Stieglitz, H. G. Wells LOCALIZACIÓN 175 FIFTH AVENUE CON BROADWAY, o el anónimo autor de la portada de Life... MANHATTAN, NUEVA YORK DIMENSIONES PLANTAS 21 • ALTURA 87 M CRONOLOGÍA PROYECTO 1901 • FINALIZACIÓN DE LA CONSTRUCCIÓN 1902.
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