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[[Archivo:Edificio Girasol (Madrid) 01.jpg|right|300px]] | [[Archivo:Edificio Girasol (Madrid) 01.jpg|right|300px]] | ||
El '''Edificio Girasol''' construido en 1966 | El '''Edificio Girasol''' construido en 1966, es una de las pocas obras de [[José Antonio Coderch]] realizadas en Madrid. | ||
Situado en una parcela en esquina en el barrio de Salamanca de Madrid, un distrito de edificios de viviendas, este edificio de siete plantas entre medianeras combina el uso residencial y el comercial. El edificio en realidad consta de 5 torres estrechas que se organizan diagonalmente a la trama urbana, una medida que adopta para captar más luz solar desde la fachada de la calle. Las cinco torres están separadas por largas paredes ondulantes que tienen estrecha fachada curva a lo largo de la calle de Lagasca en el oeste, una terraza a lo largo de la calle Jose Ortega de Gasset en el sur y una estrecha zona de terrazas que se abren al este al interior del bloque. | |||
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The individual towers are organized with one very large dwelling per floor. Elevators, stairs, and service spaces are located on the interior of the site. The apartments are organized into two parallel zones, a narrow zone of smaller rooms along one wall and wider zone of open living spaces along the other. These spaces all open to terraces that step back from the street façade and the distinctive curved wall of the master bedroom. This deep erosion of the west façade creates an alternating rhythm of solid and void along calle de Lagasca. The repetitive, petal-like composition of the plans and the spatial explosion to the south seem to be the source of the sunflower metaphor. While the expression of a steel structural frame is obvious in the cantilevered terraces and open structure of the two bottom floors, the alternating rhythm and use of brick walls are a gesture to the vernacular context of the neighborhood. | The individual towers are organized with one very large dwelling per floor. Elevators, stairs, and service spaces are located on the interior of the site. The apartments are organized into two parallel zones, a narrow zone of smaller rooms along one wall and wider zone of open living spaces along the other. These spaces all open to terraces that step back from the street façade and the distinctive curved wall of the master bedroom. This deep erosion of the west façade creates an alternating rhythm of solid and void along calle de Lagasca. The repetitive, petal-like composition of the plans and the spatial explosion to the south seem to be the source of the sunflower metaphor. While the expression of a steel structural frame is obvious in the cantilevered terraces and open structure of the two bottom floors, the alternating rhythm and use of brick walls are a gesture to the vernacular context of the neighborhood. | ||
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Perhaps the most remarkable aspect of Coderch’s work is the architect’s attitude about solar climatic issues. In the early houses, while siting strategies were important, solar control was achieved primarily with various exterior window accessories, screens, blinds, and awnings. Coderch’s use of these window elements for security and solar control were entirely consistent with a long tradition of Mediterranean window details. Coderch’s use of solar elements evolved in various ways from full-height sliding wooden, louvered panels in some of the early houses, to control details like roll blinds and built-in awnings, or the continuous adjustable horizontal wooden jalousie systems such as those used in the Barcelonetta housing and the calle Bach apartments of 1958. Painted wooden louvers always presented a maintenance problem and the vertical jealousies that were introduced with Girasol seem to be made of hardwood and were, therefore, easier to maintain. In addition to localized control at the window, however, Coderch was also experimenting with building forms, organization, and siting as ways of achieving solar efficiency. A well-known block of apartments in Madrid designed by Secundino Zuazo in 1931, the Casa de las Flores, may have inspired Coderch’s interest in the terrace as the instrument of solar design. It seems that Coderch actually worked in the Zuazo studio in 1941 but, in any event, he was living in Madrid during this time. It was called the ‘House of the Flowers” because of the cantilevered metal terraces that supported flower planters along the terraces at the corners of the building. While the corner balconies were applied to an otherwise quite conventional perimeter apartment block, they suggested a modern attitude about the relationship between solar control and the actual building form, that the building shape could be derived from the need for solar protection. Coderch was experimenting with solar responsive building forms from the early part of his career; overhangs, cantilevered terraces, canted walls, and stepped building forms. Girasol represents the most developed application of these principles with the plans canted for better building orientation, deep-set terraces and overhangs to shade glass, and the positioning of windows for better solar orientation. With Girasol, climatic design was not just limited to window protection and treatment, but was the generative raison d’etre for the whole building. Clever design response to solar issues was having a dynamic impact on the organization of the plan, the shape of the building, the siting, and the position and details of the windows. | Perhaps the most remarkable aspect of Coderch’s work is the architect’s attitude about solar climatic issues. In the early houses, while siting strategies were important, solar control was achieved primarily with various exterior window accessories, screens, blinds, and awnings. Coderch’s use of these window elements for security and solar control were entirely consistent with a long tradition of Mediterranean window details. Coderch’s use of solar elements evolved in various ways from full-height sliding wooden, louvered panels in some of the early houses, to control details like roll blinds and built-in awnings, or the continuous adjustable horizontal wooden jalousie systems such as those used in the Barcelonetta housing and the calle Bach apartments of 1958. Painted wooden louvers always presented a maintenance problem and the vertical jealousies that were introduced with Girasol seem to be made of hardwood and were, therefore, easier to maintain. In addition to localized control at the window, however, Coderch was also experimenting with building forms, organization, and siting as ways of achieving solar efficiency. A well-known block of apartments in Madrid designed by Secundino Zuazo in 1931, the Casa de las Flores, may have inspired Coderch’s interest in the terrace as the instrument of solar design. It seems that Coderch actually worked in the Zuazo studio in 1941 but, in any event, he was living in Madrid during this time. It was called the ‘House of the Flowers” because of the cantilevered metal terraces that supported flower planters along the terraces at the corners of the building. While the corner balconies were applied to an otherwise quite conventional perimeter apartment block, they suggested a modern attitude about the relationship between solar control and the actual building form, that the building shape could be derived from the need for solar protection. Coderch was experimenting with solar responsive building forms from the early part of his career; overhangs, cantilevered terraces, canted walls, and stepped building forms. Girasol represents the most developed application of these principles with the plans canted for better building orientation, deep-set terraces and overhangs to shade glass, and the positioning of windows for better solar orientation. With Girasol, climatic design was not just limited to window protection and treatment, but was the generative raison d’etre for the whole building. Clever design response to solar issues was having a dynamic impact on the organization of the plan, the shape of the building, the siting, and the position and details of the windows. | ||
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En la planta general, Coderch realiza tres operaciones de interés: por un lado, organiza las viviendas en espina de pez, en diagonal a las fachadas, para sacar todo el partido posible al solar, lograr la necesaria privacidad entre unas viviendas y otras, y buscar las mejores orientaciones; en segundo lugar, singulariza enormemente cada vivienda, separando rotundamente unas de otras con un muro largo y sinuoso, y dándoles casi un valor de vivienda unifamiliar: el edificio se podría entender como suma de bloques de unifamiliares, hasta el punto que cada bloque -hay cinco- tiene su propia escalera y ascensor; por último, Coderch se lleva los patios a los extremos, o mejor, saca los patios a fachada convirtiéndolos en grandes y profundas terrazas. | |||
Las viviendas que se abren a Lagasca se distinguen de las que se asoman a José Ortega y Gasset. Tanto unas como otras funcionan correctísimamente, se basan en el mismo esquema de vivienda unifamiliar y en todas hay un empeño notable por separa las zonas públicas de las privadas; pero las primeras (alargadas y con las grandes terrazas-patio) son más interesantes que las segundas, mayores en superficie y quizá más convencionales. | |||
La fachada de la calle Lagasca se resuelve con enormes paños ondulados como banderas, rematados con celosías de madera que -además de lograr privacidad en las terrazas y matizar la luz- aligeran el final del plano y lo desmaterializan. En cambio la fachada de Lista es pesada y menos sutil: indudablemente correcta, pero no de primerísima. La otra, en cambio, sí que lo es. El material utilizado (plaqueta cerámica colocada en vertical) unifica el exterior. | |||
Toda la planta baja, desdoblada en dos alturas y destinada a locales comerciales, es muy diáfana y se configura como un pasaje permeable abierto al público. La estructura metálica y el uso de colores claros contribuyen, sin duda, a la ligereza de los bajos del edificio, que quiere flotar por encima de la calle. | |||
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==Planos== | ==Planos== | ||
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{{Situación2|40.430752|-3.68458|19|15}} | {{Situación2|40.430752|-3.68458|19|15}} | ||
==Referencias== | |||
* http://www.housingprototypes.org/project?File_No=E006 | |||
Revisión del 12:05 27 ago 2013
_01.jpg)
El Edificio Girasol construido en 1966, es una de las pocas obras de José Antonio Coderch realizadas en Madrid.
Situado en una parcela en esquina en el barrio de Salamanca de Madrid, un distrito de edificios de viviendas, este edificio de siete plantas entre medianeras combina el uso residencial y el comercial. El edificio en realidad consta de 5 torres estrechas que se organizan diagonalmente a la trama urbana, una medida que adopta para captar más luz solar desde la fachada de la calle. Las cinco torres están separadas por largas paredes ondulantes que tienen estrecha fachada curva a lo largo de la calle de Lagasca en el oeste, una terraza a lo largo de la calle Jose Ortega de Gasset en el sur y una estrecha zona de terrazas que se abren al este al interior del bloque.
++++++++++++++++
++++
En la planta general, Coderch realiza tres operaciones de interés: por un lado, organiza las viviendas en espina de pez, en diagonal a las fachadas, para sacar todo el partido posible al solar, lograr la necesaria privacidad entre unas viviendas y otras, y buscar las mejores orientaciones; en segundo lugar, singulariza enormemente cada vivienda, separando rotundamente unas de otras con un muro largo y sinuoso, y dándoles casi un valor de vivienda unifamiliar: el edificio se podría entender como suma de bloques de unifamiliares, hasta el punto que cada bloque -hay cinco- tiene su propia escalera y ascensor; por último, Coderch se lleva los patios a los extremos, o mejor, saca los patios a fachada convirtiéndolos en grandes y profundas terrazas.
Las viviendas que se abren a Lagasca se distinguen de las que se asoman a José Ortega y Gasset. Tanto unas como otras funcionan correctísimamente, se basan en el mismo esquema de vivienda unifamiliar y en todas hay un empeño notable por separa las zonas públicas de las privadas; pero las primeras (alargadas y con las grandes terrazas-patio) son más interesantes que las segundas, mayores en superficie y quizá más convencionales.
La fachada de la calle Lagasca se resuelve con enormes paños ondulados como banderas, rematados con celosías de madera que -además de lograr privacidad en las terrazas y matizar la luz- aligeran el final del plano y lo desmaterializan. En cambio la fachada de Lista es pesada y menos sutil: indudablemente correcta, pero no de primerísima. La otra, en cambio, sí que lo es. El material utilizado (plaqueta cerámica colocada en vertical) unifica el exterior.
Toda la planta baja, desdoblada en dos alturas y destinada a locales comerciales, es muy diáfana y se configura como un pasaje permeable abierto al público. La estructura metálica y el uso de colores claros contribuyen, sin duda, a la ligereza de los bajos del edificio, que quiere flotar por encima de la calle.
