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Libro De Ponencias Y Comunicaciones LIBRO DE PONENCIAS Y COMUNICACIONES XXXIV CONGRESO NACIONAL DE PARQUES Y JARDINES PÚBLICOS MELILLA ABRIL DE 2007 1/228 2/2282 PONENCIAS MIERCOLES 18 EL JARDÍN, UN MODO DE EXPRESIÓN EL JARDÍN MODERNISTA Y SU Carmen Farré Arana ENTORNO Licenciada en Ciencias Biológicas p. 7 Paisajista CONCEPTO DEL ARTE EN EL PAISAJE Sidónio Pardal EN LOS PROYECTOS DE JARDINERÍA Arquitecto Paisajista y Urbanista p. 12 Profesor de la Universidad Técnica de Lisboa DIMENSIÓN SOCIAL DEL JARDÍN. Jar- Dr. Miquel Pros Casas dín terapéutico de Villa Florida Licenciado en Medicina p. 18 Especialista en Medicina Natural JUEVES 19 JARDINERÍA EN ZONAS ÁRIDAS, AGUA, LUZ Y SOMBRA JARDINES EN ZONAS DEL LITORAL Ernesto Huertas Villarroya MERIDIONAL Ingeniero Técnico Agrícola p. 21 EL AGUA EN LOS JARDINES ÁRIDOS Luis Vallejo García-Mauriño COMO ELEMENTO DE DISEÑO Paisajista no hay ponencia SOMBRAS Y LUCES EN LA Alberto Juan y Seva San Martín COMPOSICIÓN Ingeniero Técnico Agrícola p. 37 Secretario de la AEPJP DISEÑAR EN ZONAS ÁRIDAS Ximena Nazal p. 77 Ingeniero Agrónomo. Paisajista. Gerente de Desarrollo del Vivero San Gabriel. Chile VIERNES 20 LA PALMERA EN LA CIUDAD DISEÑAR CON PALMERAS Rocío Castro de Celis p. 82 Ingeniero Agrónomo. Paisajista. PODA Y TRASPLANTE DE PALMERAS Santiago Orts Peret EJEMPLARES Licenciado en Ciencias Biológicas. p. 104 Viveros Huerto del Cura. Elche. PROBLEMAS FITOSANITARIOS DE LA Susi Gómez Vives PALMERA Licenciada en Ciencias Biológicas p. 110 Jefe de Laboratorio de Control Biológico de la Estación Phoenix. Ayto. de Elche. 3/2283 COMUNICACIONES EL JARDÍN DEL PALACIO DEL CONDE Rocío del Pilar Cano Carrión DE CASTILLEJA DE GUZMÁN (SEVILLA) Ing. Técnico Agrícola p. 116 Rafael Fernández Cañero Ing. Agrónomo. Dpto. de Ciencias Agroforesta- les. Universidad de Sevilla DEPURACIÓN BIOLÓGICA COMO AL- Laura Galán Ortiz TERNATIVA AL DESARROLLO SOSTE- Ing. Técnico Agrícola. Riegos Iberia Regaber, NIBLE DE LOS PARQUES Y S.A. Departamento de Jardinería. Emilio Ramírez Juidías JARDINES ESPAÑOLES Ing. Agrónomo. Departamento de Ingeniería p. 131 Gráfica. Universidad de Sevilla POTENCIAL FORMATIVO DE ESCENA- Enriqueta Molina Ruiz RIOS EXTERIORES AL AULA. APORTA- Profesora titular de la Universidad de Granada CIONES AL APRENDIZAJE DEL CURRICULO ESCOLAR p. 138 LA INTRODUCCIÓN EN ESPAÑA DE José Manuel Sánchez de Lorenzo-Cáceres NUEVAS ESPECIES Ingeniero Técnico Agrícola DE PALMERAS CON FINES ORNAMENTALES p. 147 INTRODUCCIÓN DEL MANEJO INTE- Arturo Estébanez Rubio GRADO DE PLAGAS EN LOS VIVEROS Ing. Técnico Agrícola MUNICIPALES DEL AYUNTAMIENTO Javier Spalla Poveda DE MADRID Ing. de Montes. p. 163 ENSAYOS DE PLANTAS DE TEMPORA- Arturo Estébanez Rubio DA EN EL AYUNTAMIENTO DE MADRID Ing. Técnico Agrícola p. 171 Javier Spalla Poveda Ing. de Montes. Enrique Muñoz de la Nava Calleja Adolfo Martín Argos Ing. Técnico Agrícola EL JARDÍN DEL RANA Mª del Mar Verdejo Coto p. 187 Ingeniero Técnico Agrícola EL JARDÍN HISTÓRICO “FINCA SANTA Mª del Mar Verdejo Coto ISABEL” Ingeniero Técnico Agrícola p. 196 COMPLEJO PAISAJÍSTICO CULTURAL Pedro José Cifuentes Rosso DEL PARQUE TORRES Y PARQUE DE Ingeniero Técnico Agrícola LAS CORNISAS Jefe de Servicio FCC. Cartagena. p. 204 4/2284 ESTUDIO DEL USO ORNAMENTAL DEL Rafael Fernández Cañero AGUA EN LOS JARDINES HISTÓRICOS Ing. Agrónomo DE SEVILLA Gloria Fariñas Vera p. 216 Dpto. de Ciencias Agroforestales. Universidad de Sevilla Pedro Torrent Chocarro Servicio Parques y Jardines. Ayto. de Sevilla DESARROLLO DE UN SISTEMA DE Emilio Ramírez Juidías INFORMACIÓN GEOGRÁFICA EN EL Ing. Agrónomo. Departamento de Ingeniería ÁMBITO DE LA JARDINERÍA Gráfica. Universidad de Sevilla p. 226 Laura Galán Ortiz Ing. Técnico Agrícola. Riegos Iberia Regaber, S.A. Departamento de Jardinería. 5/2285 6/2286 EL JARDÍN MODERNISTA Y SU ENTORNO Carme Farré Arana Época de grandes cambios A finales del siglo XIX los rápidos cambios naturales y los espacios cultivados. Y que que surgen en las técnicas, las ciencias, la este sistema constituye una parte fundamental economía y las revoluciones sociales, se refle- del tejido urbano y que como tal hay que pla- jan en la arquitectura, la decoración, el arte, la nificarlo. La inclusión sistemática de las zonas literatura y evidentemente en el paisajismo. El ajardinadas, tanto el espacio público como en Modernismo (Art Déco, Art Nouveau, Modern el espacio privado, caracteriza a la ciudad Style, Style Liberty,...) es la corriente nueva moderna. Sin embargo a principios del siglo que identifica la época. Se caracteriza por una XXI todavía no se ha establecido un sistema depuración de las líneas, la introducción de urbano que responda a las necesidades re- las formas geométricas y la vivacidad de los ales, como nos recuerda Michel Ragon: colores que impregnaron las artes y las técni- cas desde 1910. Sin embargo, no es hasta “Durante el período que incluye los diez últi- 1920 que esta influencia se manifiesta en los mos años del siglo XIX y el primer decenio del jardines. siglo XX, la ciencia empezó a sustituir a la ideología en lo que respecta a las intervencio- A pesar de que desde la época barroca el nes en el entorno urbano y en la vivienda. Las jardín se manifiesta rotundamente como la recientes teorías urbanísticas y las técnicas prolongación natural de la vivienda hacia el arquitectónicas nuevas acabaron unificándose exterior, no es hasta el siglo XIX cuando por y dieron lugar a la ciudad moderna. Por lo primera vez se refleja en la teoría y en la pla- menos sobre el papel, ya que ciudades real- nificación urbana y territorial la consideración mente modernas, todavía no las hemos visto del conjunto de espacios libres, formados por en ninguna parte”. Ragon, M., Histoire de un sistema que comprende los paseos, las l’architecture et de l’urbanisme modernes, vol. avenidas, los jardines, los parques, las zonas 2, p. 9, Casterman Paris 1986 El Art Déco en Francia En algunos países Europeos, desde principios en que se halla la vivienda, los trazados recti- del siglo XX se dan varias tendencias aparen- líneos, la preferencia por las superficies pla- temente opuestas: una vuelta al clasicismo nas, el uso de los efectos de la perspectiva. que se manifiesta en Francia por una revalori- Las novedades consistieron en una simplifica- zación del jardín clásico francés, el retorno al ción de los diseños para facilitar el manteni- estilo de Le Nôtre y como consecuencia la miento (los clientes ya no eran unos pocos restauración de los grandes parques y jardi- nobles si no la pujante clase burguesa), hasta nes “a la francesa” (Henri y Achille Duchêne llegar a un grado de depuración y simplicidad restauran el parque del castillo de Champs- muy característico de muchas obras de la sur-Marne, Vaux-le-Vicomte), después que época. Y sobre todo es el empleo y la experi- durante el último siglo gobernaran los cáno- mentación con nuevos materiales, como el nes marcados por el estilo paisajista inglés. Y hormigón armado, un uso distinto del color de forma paralela se desarrolla una tendencia que va desde las combinaciones de colores opuesta que llevó a los diseñadores de jardi- simples hasta el uso de manchas monocro- nes a inspirarse en los movimientos artísticos mas, materiales brillantes, la búsqueda de de vanguardia como el cubismo y el fauvismo. texturas nuevas, los espejos (André y Paul Véra y Jean-Charles Moreux en el jardín de El tipo de jardín inspirado en la corriente clási- Noailles en París). ca denominado también jardín de arquitectura se caracteriza por la recuperación de los cá- El jardín inspirado en las corrientes artísticas nones que marcaron el arte de los jardines del más novedosas es el jardín cubista represen- siglo XVIII, como la simetría alrededor del eje tado por la obra del arquitecto de origen ar- 7/2281 menio Gabriel Guévrékian, como el Jardín de En el espacio público también los nuevos Agua y de Luz presentado en la exposición de jardines y parques se construyen bajo los las Artes Decorativas de 1925, representando cánones del modernismo: el Parque Keller- a Austria, y el jardín cubista de la Villa Noai- mann de Jacques Gréber inaugurado en 1937, lles en Hyères de 1927. El triángulo, una for- que se inscribe en la acusada topografía del ma muy poco utilizada en los jardines, sirve cauce del riachuelo de la Bièvre cuando este para construir un cuadro abstracto en tres entraba en París y en los terrenos que ocupa- dimensiones y con elementos vivos y natura- ban las antiguas fortificaciones que rodeaban les. Y con la aplicación de los recientes des- y limitaban la ciudad. cubrimientos sobre la teoría del color consigue los mismos efectos ópticos que en la pintura abstracta. Figura 1. Entrada al parque Kellemann con parterres y alineación de Tilos mostrando una acusada geometría de las formas. Un poco más al norte y también en el antiguo la calle con un muro que limita el parque al cauce de la Bièvre el jardín René-Le-Gall, de que se accede a través de escaleras o una Jean-Charles Moreux salva el desnivel desde gran rampa. Figura 2. Planta del jardín René-Le-Gall, rodeado de viviendas y equipamientos públicos: escuelas, pistas deportivas, ... 8/2282 Figura 3. Sección del jardín René-Le-Gall mostrando la relación del parque con la calle Croulebarbe, la alinea- ción de plátanos de la calle y los árboles de parque se integran formando una única masa vegetal , enfatizan- do el efecto del jardín que de éste modo se expande hacia las zonas habitadas. El pequeño jardín Suzanne Buisson, en el de esos jardines públicos de proximidad, de popular barrio de Montmartre representa uno carácter casi íntimo. Figura 4. Vista de la pista de petanca rodeada de un banco de hormigón, en el jardín Art Déco, Suzanne Buis- son. El Modernismo en España En España también son los cambios econó- el Parque Güell.
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