Hans Scharoun - Ideas

(Soon to be Translated to English)

  

  La carrera de Hans Scharoun puede ser entendida como el puente de la arquitectura alemana de los años 20, Expresionismo, y estilos modernos, desarrollando el racionalismo; convirtiéndose en la máxima exponente de Neues Bauen (Nuevo Edificio) y en concreto Organisches Bauen (Arquitectura Orgánica); influenciada por la nueva Gemeinschaft (Comunidad) con promesas de armonía. Las mayores manifestaciones de preocupaciones sociales de Hans Scharoun son Las escuelas proyectadas a partir de la década del Cincuenta que son entendidas como lugares de aprendizaje de nuevos valores de civilidad y democracia. El proyecto de Scharoun se basa en un proceso educacional centrado en integrar el individui en la sociedad sin suprimir su individualidad.

     Las escuelas son el resultado del interés en conectar arquitectura y pedagogía que se manifiesta en Darmstädter Gespräch de 1951 que fue una serie de conferencias que tuvo lugar en un ritmo irregular en Darmstadt en el periodo 1950-197 que incluía a distintas disciplinas intelectuales , con el título de Mensch und Raum (El hombre y el espacio) en la que participaron tanto los arquitectos alemanes como Scharoun, Otto Bartning, Rudolf Schwarz como filósofos y sociólogos como Martin Heidegger y Alfred Weber. Por la razón del evento Scharoun proyecto una escuela para la ciudad de Darmstadt que fragmenta el edificio sobre el terreno organizando tres áreas con distintos tipos de aulas, con espacios libres asociados y "espacios de encuentro" según las edades. La respuesta de Scharoun para las necesidades de cada grupo de edades es diferente, un cuidado de padres para los lo más pequeños, disciplina impuesto para el grupo media y autodisciplina para mas mayores.

Scharoun que siempre en la posguerra tenía la democracia como comitente defino la escuela como “una Pequeña ciudad en el que la democracia, como Principio universal, debería realizarse”, una ciudad que tiene la función mediadora entre el individuo y la sociedad así como entre la familia y la ciudad, tanto que su sala de actos servía como un pequeño teatro, cine o sala de conciertos, como su gimnasio que estaba disponible a la gente por las tardes.  Este potencial del espacio común, similar a la experiencia de los espacios públicos en la ciudad, hizo que estos edificios escolares fueran un conjunto relativamente complejo, que comprendía distintas partes vinculadas realizar distintos tipos de eventos o relaciones aleatorias. Estas zonas abiertas eran unos espacios que permitían la gran reunión y la conversación privada. El irregular trazado posibilita no sólo un efecto de dinamismo espacial, sino que también contiene rincones, escalas distintas, es más, una calle que es un gran hall o corredor conector. Interacción y participación son elementos de un desarrollo psicosocial que se concreta en la metáfora urbana del espacio escolar de Scharoun.

“un edificio de escuela no debe ser un símbolo de poder político ni producto de la técnica y ni perfección artística. Como cualquier otro edificio, una escuela debe comunicar la idea de una manera de comprensivo de la vida al principio universal de la democracia.”

Un agradecimiento especial para  Jihyun Kim y Kwang Pil Koh Por Su Colaboración.

Crazy House

Coollective Barcelona or how to change the concept of university

Coollective Barcelona, an official student association of ” Escuela Técnica Superior de Arquitectura de Barcelona” is the result of fusion of two sides : Jovetsab and The Cool:lective.  Coollective as it define itself is “Born from the minds and hearts of architecture students with the proposal to share knowledge, experience and discuss projects. “  We all are familiar with how Architecture is taught in many different colleges around the world, theoretically, where the student at least for a good long time will not taste and understand what architecture is. His projects teachings will never pass from 2 dimension plans and 3 dimension models, made or designed, to a real life experience. Architecture is not biology to be taught at a class, architecture should be lived and experienced to be understood. That´s why when many architecture students finish their studies and start to work as an architect encounter many problems and find out that there are still many things they should learn and on their own. Coollective Barcelona is now changing this ancient practice. Collective Barcelona with organizing conferences for students is now making that they live a real life situation and share architect´s experiences that he had to learn alone. Furthermore Coollective by hosting debates is making the students care and participate in architectural subjects, to change the architecture career as what they study to what they live.

Modern or Classic

The German pavilion is a modern structure with a classic spirit. To me it has great resemblance to a Greek temple which it’s walls are moved away from each other and it’s stairs are moved to the other side while it still keeps it’s elevation’s symmetry. Instead of only one rectangle in the pavilion there many, emerged together to form a coherent space.  It’s rigidness and it’s being of no architecture (having no internal space) has been transformed to weightlessness and total work of architecture and as in the Greeks temples exist this question that between the walls and columns which one are a structural element and the other one a decorative one and there seems that these are the columns who does so in the pavilion also exist this question but he way around for in the pavilion these are walls that seem to keep the roof while the column become an decorative element. While in both of them still the podium is present and also the nature as in inseparable element. To me seems that in the mind of Mies Van Der Rohe the republic of Weimar was a republican society as the Greeks to who breathe to become a utopia something that is also very present in the classic Greek society. For this can be another sign that Mies Van Der Rohe was not a Nazi sympathizer for Nazis were clear admires of the Roman empire who conquered the Greeks. We may can call Mies Van Der Rohe a Neo– classist in his own way.

         

The German pavilion

                                                               The Spatial Question

The German Pavilion designed by Mies Van Der Rohe in 1928 for the Barcelona exposition of 29 was and is unique in the spatial perceptions. Although it had and has been criticized by many well known architects and critics and may some of those criticisms may be true but still we can not deny that the space created there is not space you would run into daylily and that is a space unlike any other. But as Martin Heidegger explains in his essay “Der Ursprung des Kunstwerkes” and as do the same Bruno Zevi says in his work “Saper vedere l’architettura” first to talk about the spatial question in the pavilion we should determine what is the space and what it is it’s essence. Is the space a thing? Are the walls and the roof in a building and the planes in the plans the space’s essence therefore the architecture? 

My answer to these questions is “No”. The essence of the space are not these but it’s essence is what is perceived by the viewer who is personally present in the pavilion and any other work of architecture, And the essence of the architecture itself is the space. It is true that they are defined by walls physically but they are nothing but constructive details. Those who try to see the pavilion as a thing, as a building, never reach the true meaning of it which is the sensations that the pavilion delivers to the viewers. Those who try to look instead of seeing, and to understand instead of perceive are those to whom the pavilion is seemed vulgar, normal and full of flaws.  

Now we try to analyze the space of the pavilion. In doing so we will try to concentrate also on the feelings each part of the pavilion transfers. Despite the pavilion’s unity and cohesion the pavilion is a conjunction of lesser spaces which are completely connected as it is a trajectory to follow. Each of these spaces transfers a different sensation.

The first space to be talked about will be the podium. It’s main function is to hide whole pavilion from the eyes of visitors. It has the same function of the entrance of the Acropolis of Athens which is a play of shadow and light. Here Mies Van Der Rohe has used an elevation to represent the pavilion in the second you go up the stairs, to take away the chance of you starting dialyzing and analyzing the pavilion unconsciously and stop perceiving the pavilion as whole thing. The first thing you will run into after coming up is the water pool where the surface of the shallow water nest to all the rocks at the end of pool create a material – immaterial Effect and weightlessness, A sensation which is present through all the pavilion and creates a silent infinite space which space flows from each part to another inside the pavilion and in the end out of the pavilion.

One of another elements of the pavilion are the steel columns which the mirroring effect obscures their actual presence and thanks to them the roof acquires a comparable floating quality which contributes to the sensation of it’s infinite space.

In the pavilion the verticality is challenged by the horizontality, making it limited and lesser in importance while in his later designs in United States we can see that this is the horizontality that is challenged by verticality as his skyscrapers are actually standing pavilions.

Another of characteristics of the pavilion and most of the Mies Van Der Rohe’s woks are the interactive relationship with nature that exists as the nature also is present in the pavilion as inseparable element of the pavilion used to create a sensation of relaxation and equilibrium. One of another elements of the pavilion are it’s great series of reflections, in the water, the steel columns and at last but not least in the windows. Intentions of each of these reflection are different, I the steel columns to hide them; in the windows to duplicate the space and show two views at the same time and in water to achieve a sensation of silence.

The symmetries in the pavilion are much debated in the pavilion. But those who criticize the symmetries in the pavilion consider once more wrongly the symmetry in a building as a principal element of a building while it is just an element which contributes to the visual aspects. In the pavilion exist both lateral and vertical symmetries.

Also in the façade exists a visual symmetry.

The walls of the pavilion are autonomous and flowing planes minimum thickness of 18 cm in section. It is easy to sea the influence of El Lissitzky’s paintings in the flowing walls of the pavilion. The last part of pavilion to be talked about here is the down which is a point of stillness and rest.

For resuming in the Pavilion exists an autonomous space which speaks of nothing else save itself.

Torre Girona

The former chapel of Torre Girona is where modernity and antiquity clash and surprisingly the result of this high contrast is an inspiring must see interior space. The clash of  thick beige stone walls, the Romanesque arches, the ornately carved wooden doors with the Iron, Steel and Glass. Torre Girona is where the Spain´s most powerful Supercomputer "MareNostrum" (In Latin : Our Sea) is located. The harmony that exists between the technology and architecture there amazes all the visitors. As it is said MareNostrum may not be the most powerful in the world but surly it is the most beautiful.

 

Western architecture banned in Iran !

City council of Tehran has banned the western architecture for controling more the architecture and urbannism of the capital. According to the vice chancellor of mayor of Tehran the use of western architecture for elevations of the new buildings is banned. This is not the first time that an organization in Iran is trying to do something similar in the past 10 years while for more than hundred years there had been an exchange of styles between West, East and Iran which has helped in the creation of many outstandings buildings all over the world.