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| Mientras que los planos de los apartamentos en las 5 torres son todos ligeramente diferentes, comparten una organización característica similar que fue un tema recurrente en los proyectos residenciales de Coderch de las décadas de 1950 y 60. En estos ejemplos, los espacios de vida forman una zona de sala de estar abiertas atendidas por una cocina y un área doméstica, abiertas a una piscina o un jardín al aire libre, con las habitaciones que se extienden como una organización de elementos repetitivos, como elementos escalonados, cada uno con una ventana en esquina. La casa Uriach (1961) y la Casa Rozes (1961) son ejemplos de este tipo. El edificio Girasol puede ser visto como 5 Casas Uriachs colocadas juntas, con lo que resulta una organización escalonada de repetición similar. Coderch también aplicó esta idea en proyectos de apartamentos posteriores en Barcelona, losl 6 Bloques y Las Cocheras (1967 y 1968), y otros proyectos no construidos de la década de 1970. | | Mientras que los planos de los apartamentos en las 5 torres son todos ligeramente diferentes, comparten una organización característica similar que fue un tema recurrente en los proyectos residenciales de Coderch de las décadas de 1950 y 60. En estos ejemplos, los espacios de vida forman una zona de sala de estar abiertas atendidas por una cocina y un área doméstica, abiertas a una piscina o un jardín al aire libre, con las habitaciones que se extienden como una organización de elementos repetitivos, como elementos escalonados, cada uno con una ventana en esquina. La casa Uriach (1961) y la Casa Rozes (1961) son ejemplos de este tipo. El edificio Girasol puede ser visto como 5 Casas Uriachs colocadas juntas, con lo que resulta una organización escalonada de repetición similar. Coderch también aplicó esta idea en proyectos de apartamentos posteriores en Barcelona, losl 6 Bloques y Las Cocheras (1967 y 1968), y otros proyectos no construidos de la década de 1970. |
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| The typical Girasol apartment is large and well planned reinforcing the idea that these are really large private houses adapted to a multi-family living pattern. A long interior hallway connecting the bedroom on the street façade and the domestic quarters overlooking the interior of the perimeter block reinforce the extreme length of the dwelling. The deep cutout of the west façade and the arrangement of terraces admits daylight deeply into interior rooms. Even the entry vestibule located virtually in the center of the plan receives some natural light. A generous suite of living spaces opening to exterior terraces and equipped with a fireplace, and the suite of service spaces that open to the interior of the block. A distinct Coderch genre results from the way materials are used, steel frame, terra cotta brick walls, floor to ceiling glass, and wooden jealousies. The defined volume of each apartments is about 45’ x 90 ’ and the actual enclosed area is about 4,000 square feet in size. The bedrooms, baths, and service spaces are organized along the long undulating wall that separates units, and the recesses in the street façade admit light to the living room and its terraces and to the stepped bedroom terraces. An elevator and stair connect to a vestibule more-or-less in the center of the plan. The stepped form is essential to getting day lighting deep into the dwelling where rooms have full height windows and doors that open to terraces that have glass balustrades. A system of awnings, roll down blinds and pivoting wooden jalousies are used to control the sun. The blank walls of the master bedroom form the vertical surfaces along the street facade The façade along calle de José Ortega u Gasset has few windows, a measure of protection from the sun.
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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.
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| ==Planos== | | ==Planos== |