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Escola Tècnica Superior d’Arquitectura del Vallès
expressió gràfica quatre
processos gràfics en arquitectura
la relació entre arquitectura i lloc
professor coordinador: antonio millán gómez - catedràtic d'universitat
professors: alberto altés arlandis - prof. associat / francisco martínez mindeguía - profesor lector / juanjo zandundo sanjuan - prof. associat
E3 // GALERIA HEPWORTH EN WAKEFIELD, D. CHIPPERFIELD
expressió gràfica quatre_quadrimestre primavera_2008/2009
EGA4_QDP_0809_E3 // CONSTRUCCIÓN Y CONTENIDO FUNCIONAL/PLASTICO
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departament d’expressió gràfica arquitectònica
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“Todas mis primeras memorias son de formas y volúmenes y texturas. Al
moverme por el paisaje de West Riding en el coche de mi padre, las
montañas eran esculturas; las carreteras definían las formas”.
Barbara Hepworth
Propósito inicial : Wakefield , lugar natal de la escultura británica moderna.
Tanto Barbara Hepworth como Henry Moore – grandes artistas del siglo XX- nacieron en el área,
separados en el tiempo y el espacio por sólo cinco años y unas escasas millas. La idea inicial es que el
museo Hepworth_Wakefield celebre los vínculos de Hepworth y Moore con su lugar natal y la
inspiración obtenida del paisaje de Yorkshire. Cuando abra en 2010, la galería mostrará una
colección significativa de la obra de ambos, incluyendo esculturas y dibujos de las fases más
importantes de sus carreras. El núcleo será una colección importante de esculturas de Hepworth
nunca antes mostradas en público.
Junto a obras de Hepworth y Moore el museo mostrará su excepcional colección permanente, que
abarca desde el siglo XVI hasta hoy, con obras de los mejores artistas británicos (Ben Nicholson, Ivon
Hitchens, Graham Sutherland, Paul Nash, Jacob Epstein, Walter Sickert, Anthony Caro, LS Lowry y
David Hockney). Tales fondos permiten atraer el mejor arte contemporáneo a Yorkshire mediante un
ambicioso programa de intercambios en exposiciones temporales.
La Hepworth Wakefield se concibe como lugar para el disfrute, la inspiración, la relación social, el
aprendizaje y los negocios y, junto al Parque de Esculturas de Yorkshire y el Instituto de Leeds, hará de
Yorkshire un destino clave. El nuevo edificio en la ribera histórica de Wakefield ofrecerá un programa
de debates, viajes, talleres, proyecciones de películas y conciertos; allí se podrá descansar en un
elegante café- restorán con gastronomía local de temporada, y hojear impresos, publicaciones y
regalos en la tienda de la galería.
El diseño descrito por David Chipperfield Architects:
Como estudio nos interesa desarrollar ideas constructivas específicas de las condiciones concretas
del proyecto, tanto físicas como organizativas. El punto de partida par nuestro diseño de la Hepworth
Wakefield fue la galleria existente, una casa urbana rehabilitada de la época victoriana, que acogió la
colección de arte de la ciudad en 1834. En la agalería existente una sertie de pequeñas salas de una
vivienda proporcionaron el espacio expositivo. Mientras estas condiciones limitan las opciones para
mostrar obras de arte, proporcionan sin embargo un contexto íntimo, natural, adecuado a la pequeña
escala de la colección existente. La idea de un Nuevo hogar para la colección nos condujo a explorar
el concepto de salas claramente definidas para el arte, y que la composición de estas salas
determinase la forma externa del edificio. Mientras se mantenía un carácter consistente, estas salas
diferían en proporción y en la localización de sus aberturas; unos lucernarios proporcionarán luz
natural y las ventanas laterales permitirán vistas y orientación hacia el exterior.
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Los requisitos de conservación pueden conducir a una solución de “caja negra” para diseñar los
espacios de la galería. Aunque ideal para preservar las obras de arte, esto resulta a menudo en una
experiencia menos agradable para el visitante. En la Hepworth_Wakefield buscamos modos de
introducir luz natural en los espacios expositivos sin comprometer las condiciones de conservación.
Considerando con cuidado la localización y tamaño de las aberturas, se han podido incluir ventanas
en los espacios de la galería. Estas ventanas orientarán a los visitantes y les proporcionaran vistas de
río Calder y la cercana Chantry Chapel medieval –una de las cuatro capillas de su clase conservadas
en el Reino Unido. Además, “ventanas corridas” en la cubierta de la galería permitirán controlar la luz
diurna en los niveles altos de los espacios expositivos, animando los espacios sin distraer a los
visitantes de las obras de arte exhibidas en los niveles bajos.
La relación entre la experiencia espacial del interior de un edificio, su forma, y el contexto que le rodea
es fundamental para nuestra obra. Creemos que las decisiones arquitectónicas no pueden tomarse
aisladamente, y partimos de una lectura del contexto para informar nuestras propuestas de diseño.
La cabecera de terreno en el frente fluvial de Wakefield –prominente sin frente ni trasera- fue de
particular interés. Los edificios industriales que le rodean, su escala y forma y posición sobre el borde
del río, ofrecían una solución para la ubicación y las masas del edificio. Organizar la galería en una
serie de bloques más pequeños de alturas variables y cubiertas inclinadas complementará la escala
de los edificios existentes y permitirá a la galería presentar un número de cabeceras al río y a las
construcciones adyacentes.
La ubicación en el borde de la ribera permitirá aplicar nuevas formas de energía renovable al tener
una fuente para la mayor parte de su calefacción y acondicionamiento mediante el caudal del río
Calder.
La fachada se construirá de hormigón tintado, realizado in-situ. La intención es crear un acabado
continuo, refinado que permita a las cualidades naturales del material dar carácter a su apariencia
global. El hormigón es un material robusto, inherentemente fuerte, que tiene asociaciones con solidez
y durabilidad. Fabricar el hormigón “in situ” significa que es posible realizar muros y cubiertas que
enfaticen la cualidad escultórica del edificio. Añadir pigmentación crea una apariencia inusual, que
busca hacer la fachada igualmente interesante ya se vea de cerca o a una distancia.
La convicción de David Chipperfield Architects es que la arquitectura debiera ser familiar y extraña –
debemos desarrollar una arquitectura nueva que porta también ideas formales que responden a la
memoria y la experiencia.
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Desarrollo del ejercicio:
El estudiante puede apreciar una secuencia de desarrollo de la idea: Croquis - maquetas plantas/secciones – renders informáticos- proy. ejecutivo-obra. Esta secuencia la tomamos como
una realidad de hecho, de la que podemos aprender algo. Contraponemos el diseño de esta obra al
material publicado en 1937 por J.L. Martin, Ben Nicholson y Naum Gabo, recogido por Faber & Faber
en “Circle”, donde Barbara Hepworth y Henry Moore tienen un lugar destacado. Visto hoy, llama la
atención su frescura.
En paralelo, se han ido realizando exposiciones antológicas de escultores cuyas propuestas
espaciales son próximas al ámbito de la arquitectura (Oteiza, Hepworth-Moore, Anda), y las
secuencias de maquetas o sus escritos se adjuntan para información de cómo se entendían las artes
constructivas en el primer Movimiento Moderno y hoy.
En síntesis, el impulso creativo de estos autores plásticos y el de algunas propuestas recientes nos
parecen próximas. El ejercicio se transforma, por tanto, en una revisión de los orígenes, que pueden
seguirse en el material adjunto, desde las ideas formuladas en los escritos, desde las series de transformaciones mostradas en las exposiciones, desde la reformulación de ideas constructivas ahora
revisadas.
En las dos semanas que dedicaremos al ejercicio, esperamos una explicación gráfica del conjunto, de
algunos interiores (somos conscientes de la parquedad informativa sobre una obra que se está
ejecutando), y, en especial, de la idea sintética del conjunto, es decir, de sus intenciones.
OBJETIVOS Y CRITERIOS DE VALORACIÓN
Apreciar la arquitectura en su entorno, exterior e interior.
Asentamiento en el lugar. Memorias del territorio.
Establecimiento de fases en la elaboración del proyecto.
El fenómeno arquitectónico: compromiso entre conveniencia y plasticidad.
Diálogo entre museo y sus obras. Algunos ejemplos.
Relación entre arquitectura anónima y modernidad.
MATERIALES, TECNICAS GRAFIQUES Y FECHAS DE ENTREGA
- Papel para apuntes (papel de barba, papel BASIK o similar), tamaño DIN A-3
- Lápiz de grafito HB/F, bolígrafo o rotulador de punta fina i biselados.
-El ejercicio se recogerá el mismo día 20 de març. Pudiendo entregar material adicional hasta la
semana siguiente.
BIBLIOGRAFIA
AV 131
Architects' Journal, vol. 228, no. 7, 2008 Aug. 28, p. 16, 22-35. Wakefield can have the very best.
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SCULPTURE
By Barbara Hepworth
I
FULL sculptural expression is spatial—it is the three-dimensional realization of an idea, either
by mass or by space construction. The materials for sculpture are unlimited in their variety of quality,
tenseness and aliveness. But for the imaginative idea to be fully and freely projected into stone, wood or
any plastic substance, a complete sensibility to material—an understanding of its inherent quality and
character—is required. There must be a perfect unity between the idea, the substance and the
dimension : this unity gives scale. The idea—the imaginative concept—actually is the giving of life and
vitality to material ; but when we come to define these qualities we find that they have very little to do
with the physical aspect of the sculpture. When we say that a great sculpture has vision, power, vitality,
scale, poise, form or beauty, we are not speaking of physical attributes. Vitality is not a physical, organic
attribute of sculpture—it is a spiritual inner life. Power is not man power or physical capacity—it is an
inner force and energy. Form realization is notjust any three-dimensional mass—it is the chosen
perfected form, of perfect size and shape, for the sculptural embodiment of the idea. Vision is not
sight—it is the perception of the mind. It is the discernment of the reality of life, a piercing of the
superficial surfaces of material existence, that gives a work of art its own life and purpose and
significant power.
One of the most profound qualities of sculpture is scale—it can only be perceived intuitively
because it is entirely a quality of thought and vision. Sculpture does not gain or lose spiritual
significance by having more or less of physical attributes. A vital work has perfect co-ordination between
conception and realization; but actual physical contours do not limit a perfected idea.
It does not matter whether a sculpture is asymmetrical or symmetrical—it does not lose or
gain by being either: for instance, it can be said that an asymmetrical sculpture has more points of view.
But this is only one aspect of the sculptural entity—asymmetry can be found in the tension, balance,
inner vital impact with space and in the scale.
The fact that a plastic projection of thought can only live by its inner power and not by physical
content, means that the range for its choice of form is free and unlimited—the range of many forms to
one form, surprising depths and juxtapositions to the most subtle, very small to very large. All are equal,
and capable of the maximum of life according to the intensity of the vision.
Scale is not physical size, because a very small thing can have good scale or a very large
thing poor scale—though often large sculptures achieve good scale because the artist approaches their
conception with a greater seriousness and thought. Size can be emphasized by the juxtaposition of the
very large to the very small; but this is only one side of sculptural relationships. There is the sculpture
which has magnificent scale because of its precise and exact relationship between dimension and
idea—it creates space for itself by its own vitality. There are two main sculptural identities—one which
comes within the embrace of our hands and arms, and the other which stands free and unrelated to our
sense of touch. Both have their distinct and individual quality of scale which makes an expansion and
spaciousness in everything surrounding them. Scale is connected with our whole life—perhaps it is
even our whole intuitive capacity to feel life.
II
The most difficult and complicated form relationships do not necessarily give a sculpture the
fullest spiritual content. Very often, as the thought becomes more free the line is purified, and as
principles—the laws which contain lesser laws—are comprehended, the forms become simplified and
strengthened. In the physical world we can discover in the endless variations of the same form, the one
particular form which demonstrates the power and robustness of the simplified structure—the form is
clear and every part of it in precise unity with the whole. It is not the accidental or casual, but tlic regular
irregularity, the perfect sequence which gives the maximum expression of individual life. In the threedimensional realization there is always this exact form, or sequence of form—which can most fully15and
freely convey the idea. But there is no formula that can reveal the sequence; the premise is individual
and the logical sequence purely intuitive -the result of equilibrium between thought and medium.
The perception of these differences, imperfections and perfections help us to understand the
language the sculptor uses to convey the whole feeling and thought of his experience. It is the sculptor's
work fully to comprehend the world of space and form, to project his individual understanding of his own
life and time as it is related universally in this particular plastic extension of thought, and to keep alive
this special side of existence. A clear social solution can only be achieved when there is a full
consciousness in the realm of thought and when every section constitutes an inherent part of the whole.
The sculptural elements have long been neglected and unconsidered, the form consciousness
of people has become atrophied; but now much is being done by a more balanced and free education—
a greater co-ordination between hand and head—that will keep alive the intuitive form perceptions of
the child. A world without form consciousness would scarcely be alive at all. The consciousness and
understanding of volume and mass, laws of gravity, contour of the earth under our feet, thrusts and
stresses of internal structure, space displacement and space volume, the relation of man to a mountain
and man's eye to the horizon, and all laws of movement and equilibrium—these are surely the very
essence of life, the principles and laws which are the vitalization of our experience, and sculpture a
vehicle for projecting our sensibility to the whole of existence.
III
The whole life force is in the vision which includes all phantasy, all intuitive imagination, and
all conscious selection from experience. Ideas are born through a perfect balance of our conscious and
unconscious life and they are realized through this same fusion and equilibrium. The choice of one idea
from several, and the capacity to relate the whole of our past experience to the present idea is our
conscious mind: our sensitivity to the unfolding of the idea in substance, in relation to the very act of
breathing, is our unconscious intuition.
'Abstract' is a word which is now most frequently used to express only the type of the outer
form of a work of art; this makes it difficult to use it in relation to the spiritual vitality or inner life which is
the real sculpture. Abstract sculptural qualities are found in good sculpture of all time, but it is significant
that contemporary sculpture and painting have become abstract in thought and concept. As the
sculptural idea is in itself unfettered and unlimited and can choose its own forms, the vital concept
selects the form and substance of its expression quite unconsciously.
Contemporary constructive work does not lose by not having particular human interest,
drama, fear or religious emotion. It moves us profoundly because it represents the whole of the artist's
experience and vision, his whole sensibility to enduring ideas, his whole desire for a realization of these
ideas in life and a complete rejection of the transitory and local forces of destruction. It is an absolute
belief in man, in landscape and in the universal relationship of constructive ideas. The abstract forms of
his work are now unconscious and intuitive—his individual manner of expression. His conscious life is
bent on discovering a solution to human difficulties by solving his own thought permanently, and in
relation to his medium. If we had lived at-a time when animals, fire worship, myth or religion were the
deepest emotional aspects of life, sculpture would have taken the form, unconsciously, of a
recognizable god; and the formal abstract relationships in the representation would have been the
conscious way of vitalizing these ideas; but now, these formal relationships have become our thought,
our faith, waking or sleeping—they can be the solution to life and to living. This is no escapism, no ivory
tower, no isolated pleasure in proportion and space—it is an unconscious manner of expressing our
belief in a possible life. The language of colour and form is universal and not one for a special class
(though this may have been in the past)—it is a thought which gives the same life, the same expansion,
the same universal freedom to everyone.
The artist rebels against the world as he finds it because his sensibility reveals to him the
vision of a world that could be possible—a world idealistic, but practical—idealistic, inclusive of all
vitality and serenity, harmony and dynamic movement—a concept of a freedom of ideas which is allinclusive except to that which causes death to ideas. In his rebellion he can take either of two courses—
he can give way to despair and wildly try to overthrow all those things which seem to stand between16 the
world as it appears to be and the world as it could be—or he can passionately affirm and re-affirm and
demonstrate in his plastic medium his faith that this world of ideas does exist. He can demonstrate
constructively, believing that the plastic embodiment of a free idea—a universal truth of spiritual
power—can do more, say more and be more vividly potent, because it puts no pressure on anything.
A constructive work is an embodiment of freedom itself and is unconsciously perceived even
by those who are consciously against it. The desire to live is the strongest universal emotion, it springs
from the depths of our unconscious sensibility—and the desire to give life is our most potent,
constructive, conscious expression of this intuition.
QUOTATIONS
Henry Moore
1. I DISLIKE the idea that contemporary art is an escape from life. Because a work does not aim
at reproducing the natural appearance it is not therefore an escape from life—it may be a penetrating
into reality; not a sedative or drug, not just the exercise of good taste, the provision of pleasant shapes
and colours in a pleasing combination, not a decoration to life—but an expression of the significance of
life, a stimulation to greater effort in living.
2. Architecture and sculpture are both dealing with the relationship of masses. In practice
architecture is not pure expression but has a functional or utilitarian purpose, which limits it as an art of
pure expression. And sculpture, more naturally than architecture, can use organic rhythms. Aesthetically
architecture is the abstract relationship of masses. If sculpture is limited to this, then in the field of scale
and size architecture has the advantage; but sculpture, not being tied to a functional and utilitarian
purpose, can attempt much more freely the exploration of the world of pure form.
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THINK OF IT AS A FARM
The University of Bath's Building 6 East could be included in the canon of Conglomerate Ordering
because it was conceived before the notion crystalized. The building's mass, its ways, its servicing, Join
up with other buildings with which it shares its 'convention of use'; it is highly varied .... varied room
shapes, varied natural light sources, varied air sources; it puts heavy things at bottom, lighter things
on top; it has very thin walls and very thick walls. It addresses itself to what can be called
conglomerate concerns: for example: if mass is needed in certain places to act as sound protection,
can that same mass be managed so that it can support, provide wind bracing, act as a wind break or
store heat ?
Such scrutiny is no more than was normal when making a farm, or a fortress, or a bridge, in the past:
then, because of the effort, the hard work needed to make it, each part needed to perform and
encompass, many tasks; there had to be an interlock of actions, including the process of erection,
even subsequent alteration. But to think like this now demands a conscious set of mind, for it is no
longer normal; to think thus can overturn our accepted notions of the arrangement of spaces and of
the elements of support and servicing. To take obvious examples ...
many small rooms with their enclosing walls grouped together have a greater mass than a
few large rooms; to use that group-mass for thermal or acoustic reasons leads to certain decisions
about plan organisation, about building use
if more mass is required for support at the bottom of a building should not this 'support
mass' be used for 'heavy uses' ?
if less mass is required for support at the top, can there be apertures to let in more light and
the top be used for light-needing or upward-looking purposes ?
In this particular fabric the architects' personal concerns circle round the notion of'differences'.... 'that
for theJldl enjoyment of our territory we need a fabric which provides a wide range of 'differences" .... the
building has walls, ceilings, floors, that bend and crank and go up and down and curve around and
impact one upon another, giving different experiences of...
On its outer sides the building deploys three climate-difference response devices ...
running cornices
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breathing gutters
breathing ridges.
Taking these in reverse order .... breathing ridges: on seeing, from above.our first use of them in an
earlier building, some months after the completion of the works, when anxiety had settled somewhat
and a kind of objectivity had begun, there could be seen the possibility of a kind of ridge-spined roof
architecture; ridge-spines like the displayed vertebraes of those living bony-backed fishes or along the
backs of some kinds of dinosaurs: Building 6 East has high, breathing, ridge spines.
For the breathing gutters there is still the period ahead of the first few winters, of worry in high winds
of water getting from them into the volumes they are supposed to be keeping dry.
Trailing, running cornices and string-courses work as the looping cornices and string courses of
classical Bath work traversing the Bath topography, binding the forms together.
The stainless steel roofs respond to the sky, take on the sky's colour; the wide eaves cast the eyes
downwards, making the viewer more conscious of what lies before it, the immediate surrounding
parkland, less conscious of the edge-of-site distractions.
The outside walls are entirely self-coloured; fawnish stone, greyish concrete; darker wet than dry.
Inside the building is self-colour and white so as to build up the levels of reflectivity in what is really quite a
deep building. White, so that drawings, models, hangings, made by the users for their work will be well seen
and become the building's decoration. White, so that the workshops are safe. Seen empty, the grey and
white rooms are like those of an imagined rural palazzo to which twentieth century services have been
attached.
One month after completion of 6 East there was a period of quiet: in consequence there was time for lonely
walks in the empty, newly completed shell, at all hours during the day and late at night in the dark: the
building felt incomplete. If it is a conglomerate building, it should have felt incomplete; for if it is true that
architecture of a conglomerate building dies if its use falls outside its 'convention-of-use', what could be
further outside than no activity, emptiness? .... for a conglomerate building's principle of organisation is not
one of carefully composed shapes and volumes, but one of a much rougher assembly which needs its
imagined activities and the arts of occupation of those activities to complete it.
It was our intention ...
to confront what lay around
to look out
to look up
to navigate within securely
to let in the sky.
The effort to confront what lies around seems to have succeeded .... in the place where one thought it
would be possible to see high over Bath to Landsdowne, it is possible .... and the places from which one
can look out over the Avon valley to Broum's Folly - see the whole stretch of wooded slope from Bathford
to Conkwell Grange - are exactly as imagined. To 'let in’ certain parts of the sky has succeeded ....
seen from the building's top floor the winter sunsets over Bath are breathtaking.
Think of 6 East as a new farm building with old machines from the old farm being moved in .... but with
some few new machines for the processes that are changing; with the old workers moving in .... with
their ordinary worn things and their ordinary new supplies from the ordinary suppliers for the
'domestic' processes that are updated. The first person to settle in was a red robot; a worn hasp was
screwed to an immaculate new door: think of it as a farm; a yard, a front door for visitors ....
19
Links
A - F:
Art House, Wakefield
Barbara Hepworth - website of the Hepworth estate
Barbara Hepworth Museum & Sculpture Garden, St Ives
BEAM, Wakefield
British Waterways
Citys-online.com
CTP Ltd
CTP St James
David Chipperfield Architects
DIVA
English Heritage
Environment Agency
FaulknerBrowns Architects
Friends of Wakefield Art Gallery
G - L:
Henry Moore Foundation
Laing O'Rourke Northern Ltd
M - R:
Nigel Morgan
National Coal Mining Museum for England
S - Z:
Tate - St Ives, Cornwall
Tourist Information Centre, Wakefield
Turner Contemporary, Margate
Turner & Townsend Project Management
Twixt Aire & Calder
Wakefield Civic Society
Wakefield First
Wakefield Museum
Wakefield Theatre Royal & Opera House
Yorkshire Sculpture Park
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