ARQUITECTURAReseñas

Buenos Aires: escenarios flotantes, diseños surreales

Kajosevic-Buenoa-Aires-tecnne

Observatorio Museo de Arte Buenos Aires, Margot Krasojevic

El trabajo de Margot Krasojevic se afianza en la concepción subjetiva de la arquitectura, en tanto sus instantáneas reflejan el espacio como un elemento en transición que no se cristaliza en una imagen definida, sino en la estratificación de iconografías que interactúan de un modo dinámico. Las transiciones espaciales y los efectos de montaje de su arquitectura son el resultado de una fragmentación cualitativa del objeto, donde la geometría y la escala son manipuladas para alterar cualquier orden tipológico previo, en uso de las posibilidades que ofrecen las nuevas tecnologías.

De este modo, la apropiación del espacio en un contexto determinado resulta una experiencia teatral, dominada por la transitoriedad de una permanente búsqueda de nuevas prácticas. Este escenario ilustra una de las inquietudes de Lebbeus Woods quien propuso dibujar “lo que la arquitectura podría ser”. Woods formuló una arquitectura impía para manifestar su rechazo a un modelo opresivo de vida urbana. Al igual que Superstudio, no propuso soluciones arquitectónicas; su tarea estuvo dedicada a plantear interrogantes sin preocuparse por establecer nuevos edificios.

De estas fuentes se impregna la obra de Krasojevic. Su diseño experimental para el Observatorio Museo de Arte de Buenos Aires afirma esa experiencia perceptiva no lineal. Propuesto a orillas del Río de La Plata, en la zona portuaria cercana a la reserva natural de la ciudad, el diseño conjuga elementos yuxtapuestos con formas dinámicas que sugieren espacios indeterminados sin referencias urbanas. En tal sentido, el observatorio museo no está planteada como un punto de integración entre la zona portuaria y la reserva natural, sino como un nuevo elemento que, ajeno a las características del entorno, se suma al collage urbano. Sus dibujos afirman una intención coreográfica que responde a leyes autónomas, en un ejercicio que diluye los límites del espacio palpable para intentar fusionarlo con las piezas que se exponen en el museo. Al respecto, Woods escribe:

“Las imágenes de Margot Krasojevic son para mí tan convincentes como la mayoría de las que he encontrado en la actual avalancha. Lo que las distingue no es su estilo o carácter, tienen el mismo aspecto anónimo y mecánico que la mayoría de los dibujos producidos digitalmente, y no su accesibilidad espacial, nunca nos adentramos en las formas representadas, otra característica común de tales dibujos. Más bien, el atractivo de sus dibujos se encuentra en su divertido pero refinado lenguaje tectónico, que nos ofrece grandes formas generalizadas y una ráfaga de fragmentos que o bien habitan las grandes formas, o se mueven en oposición a ellas. Es un enfoque dialéctico que ella maneja de una manera muy arquitectónica, abarcando varias escalas diferentes y hablando de la necesidad de que la arquitectura afirme su presencia hasta en los más pequeños detalles1.”

El proyecto de Krasojevic para Buenos Aires soslaya cualquier jerarquía espacial. Los componentes formales se diluyen en múltiples apariencias sumidos con más fuerza a la imaginación que a la tectónica. Sin embargo, el método constructivo no fue descuidado en este proyecto. Krasojevic propone el uso de la misma tecnología que utilizan los fabricantes de barcos, una estructura semi-monocasco de aluminio montada in situ, compuesta por secciones de tres metros de ancho que están soldadas entre si y pintadas de color blanco.

La estructura de soporte de esta figura se establece en el eje circulatorio, mediante una serie de rampas que se amarran al muelle sobre la superficie del rio, para conectar la sala principal con el resto de la intervención. Los paños transparentes integrados a la carcasa se inclinan a veinticinco grados para evitar el reflejo de la luz solar y el resplandor del agua del río.

Una abertura ubicada en la parte superior permite recoger el agua de lluvia para canalizarla por medio de un sistema de exclusas hasta plataformas inferiores que en caso de necesidad se inundan para mantener el nivel de la sala principal. Aunque el observatorio se asemeja a un cuerpo anfibio, la dinámica de su silueta promueve una eficiente sensación de ingravidez del objeto sobre la superficie del agua.

Volviendo a Wood, en uno de sus escritos se pregunta: ¿Podríamos habitar estos diseños, si fueran construidos? ¿Están destinados a ser construidos y habitados en su totalidad, o podría tener otro propósito para ellos?  «…» La respuesta al “por qué” -dibújalo o constrúyelo- se vuelve obvia: realmente no tenemos otra opción. (Woods, 2012)

Krasojevic compone un montaje mediando superposiciones que evitan establecer espacios objetivos ó límites definidos. Sus diseños exaltan la estratificación y las transiciones de escala, hasta componer un modelo que, lejos de buscar un resultado efectista, acredita la virtud de indagar en la forma arquitectónica.

Marcelo Gardinettijulio de 2013©

“El formulario no tiene ninguna jerarquía espacial, creando una precense etérea, la antítesis de la monumentalidad y la especificidad del lugar material. El gesto arquitectónico es el de un vistazo, un collage de espacios superpuestos, sin principio ni fin, sin límite definido, ya que se experimentan como una animación editada”. Margot Krasojevic.

Notas:

1 Lebbeus Woods, “Krasojevic unbound” Sitio web del autor (2012) 

[www.lebbeuswoods.wordpress.com/2012/02/21/krasojevic-unbound/]

Imágenes: ©Margot Krasojevic

TECNNE | Arquitectura y contextos


 

Actualizado en mayo de 2020

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