2G N.26 Mathias Klotz (SIN COLECCION) - Tapa blanda

Allen, Stan; Torrent, Horacio

9788425219276: 2G N.26 Mathias Klotz (SIN COLECCION)

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ISBN 10: 8425219272 ISBN 13: 9788425219276

Editorial: Editorial Gustavo Gili, S.L., 2003

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Mathias Klotz (Vi�a del Mar, Chile, 1965) is the most international figure among the new generation of Chilean architects. His work has been published in specialised magazines the world over, especially since receiving the 2001 Borromini Prize for the best architect under forty for his well-known Altamira School in Santiago de Chile. Despite working in and from the peripheral situation of Chile, from a position that for the Western world is almost exotic, his oeuvre alludes more to the second generation of Modern Movement architects, particularly the work of Marcel Breuer in the USA, than to the historicist sentimentality and formal localism of his own country, this meaning that his buildings can be bracketed within the best of the world's contemporary architectural output. This issue contains two introductory texts by Stan Allen and Horacio Torrent which reflect on Mathias Klotz's architecture within the national and international architectural context, and ends with a short consideration of working conditions and design methods by the architect himself called "About My Work", plus an interview undertaken especially for this number by Hern�n Garfias.

Extracto. � Reimpreso con autorizaci�n. Reservados todos los derechos.:

Conversaci�n con Hern�n Garfias (extracto)

HG �Cu�l es tu relaci�n con la Bauhaus y Le Corbusier? Tu obra rechaza el devaneo posmoderno y la construcci�n inmobiliaria chilena de baja calidad, especialmente en la d�cada de los a�os ochenta.
MK Mi relaci�n con la modernidad est� atravesada por la posmodernidad, en el sentido de que estudi� en la d�cada de los ochenta en una escuela que estaba mayormente en contra del movimiento moderno y a favor del posmodernismo. Era un alumno bastante rebelde y me interesaba el movimiento moderno, m�s en la l�nea de los alemanes de la Bauhaus que en la de Le Corbusier. Mis primeras obras son bastante inconscientes al respecto, porque ni siquiera ten�a claro que estaba haciendo un trabajo serio, sino que trabajaba con encargos que no ve�a como arquitectura; no me hab�a planteado de qu� tipo de arquitectura se trataba ni nada parecido.

HG �Todav�a no hab�as acabado la carrera?
MK Mis primeras obras las hice justo cuando hab�a acabado la carrera, a los 22 a�os. Seis a�os m�s tarde tuve conciencia de lo que estaba haciendo con la primera publicaci�n de la Editorial Gustavo Gili (colecci�n GG Portfolio), donde vi todo mi trabajo junto por primera vez. Hab�a proyectos mejores y otros bastante peores, pero todos ten�an una l�nea que yo no ten�a te�ricamente definida. Me empezaron a encasillar como arquitecto de tradici�n moderna, algo que yo tampoco me hab�a planteado. M�s adelante, reflexionando m�s sobre estos proyectos, me di cuenta de que esas obras s� ten�an una ra�z moderna, pero, de alg�n modo, estaban atravesadas por la posmodernidad, en el sentido en que �sta plante� romper con toda una serie de mitos y reglas del movimiento moderno. Tom� esta ruptura en mis proyectos. Trabajaba con encargos y objetos arquitect�nicos sin un marco te�rico y sin lo estricto de ciertos aspectos del movimiento moderno. El movimiento moderno no admit�a contradicciones y, de alguna manera, el posmodernismo devuelve a la arquitectura cierta frescura y libertad. Creo que �sta es su aportaci�n, y as� la recojo yo.

HG Chile es un pa�s de paisajes extremos. �C�mo te planteas la naturaleza en la desolaci�n de Tongoy o en la exuberancia de Chilo�?
MK El fen�meno del paisaje es algo muy fuerte en Am�rica: el Nuevo Mundo. Cuando llega el movimiento moderno a Am�rica -con arquitectos como Mies van der Rohe o Marcel Breuer- se descubre un paisaje, una vastedad y unos materiales que antes no se hab�an utilizado. Pienso que la arquitectura moderna americana es muy distinta de la europea, en el sentido de la apropiaci�n del lugar, las texturas, los materiales y los colores y en el trabajo en relaci�n muy directa con el paisaje. Se enfrenta generalmente a algo vasto, inmenso y exuberante (sea a un entorno selv�tico, des�rtico o a ciudades tan dispersas como las nuestras).

HG Tu actitud de vanguardia est� renovando la mente arquitect�nica del sur del mundo. �C�mo la haces dialogar entre tanta arquitectura de moda? Una casa tuya puede estar en una calle de La Dehesa, junto a casas con teja chilena u otras de estilo georgiano. �C�mo te abstraes de todo eso?
MK Generalmente me ha tocado trabajar en contextos muy poco urbanos, de modo que la relaci�n con la producci�n en serie me ha sido sumamente sencilla, ya que casi no he tenido que relacionarme con ella. En los pocos casos en que s� me ha tocado abordarlos, he tratado de mantenerme dentro de ciertas volumetr�as, alturas y distancias, de modo que la obra construida no irrumpa en el entorno. Busco pasar desapercibido, representar en el lugar una posici�n discreta y sensible con la topograf�a y el entorno, porque, incluso en el contexto urbano, el entorno es muy fuerte. Como vivimos rodeados de monta�as, la naturaleza es m�s potente que lo construido. El entorno est� siempre presente por encima de lo dem�s.

HG �C�mo ves el futuro desarrollo de tu obra?
MK Es una pregunta muy dif�cil.

HG Empezaste muy joven con obras reales. Reci�n acabada la carrera ya estabas construyendo viviendas. Ahora tienes 38 a�os y si miras tu trayectoria en conjunto, hay mucho camino andado �C�mo ves tu proyecci�n como arquitecto en un futuro?
MK En este momento he dividido mi vida profesional, tengo dos proyectos respecto a la arquitectura: uno acad�mico como director de una escuela de arquitectura joven, y otro el de mi propio despacho.

HG Cuando te invitaron a hacerte cargo de la fundaci�n de la escuela de arquitectura, �pensaste que ibas a involucrarte con tanta fuerza? Hab�as sido ya profesor de proyectos, algo muy distinto a dirigir un proyecto acad�mico.
MK Aceptar la invitaci�n implicaba aceptar un proyecto serio que indicaba una cantidad importante de tiempo, no como algo eventual del momento. Para mi (grata) sorpresa el tipo de trabajo e instituci�n donde trabajo me ha dado mucha m�s confianza de lo que me hab�a imaginado y m�s libertad de la esperada. Por lo tanto, ha ido m�s all� del entusiasmo inicial. Por otro lado, la decisi�n de reducir mi despacho (hasta hace pocas semanas ten�a catorce personas y se ha reducido a ocho). En el futuro pienso trabajar en menos proyectos pero m�s concentradamente: "menos es m�s".

HG Volviendo al proyecto acad�mico. En un pa�s donde han florecido m�s escuelas de las que es capaz de absorber, �cu�l es la diferencia que marca tu escuela?
MK El inter�s es hacer una escuela que se preocupe por educar arquitectos sensatos. Esto, que puede parecer obvio, no lo es tanto. Creo que, en este momento, y no s�lo en Chile sino en el mundo entero, las escuelas de arquitectura est�n bastante alejadas de las necesidades reales. No se debe olvidar que la arquitectura es un servicio y el arquitecto est� al servicio de la sociedad. Creo que no tiene que ser una escuela que forme prime donne, y menos a�n en nuestro contexto. En este momento, la arquitectura tiene que preocuparse por la ciudad, un problema dram�tico en toda Am�rica, desde Canad� hasta la Patagonia. Debemos preocuparnos por cuidar este paisaje sublime y por estar al servicio de una porci�n mayoritaria de la poblaci�n a la que no se presta ning�n servicio en este momento.

Conversation with Hern�n Garfias (extract)

HG What's your relationship to the Bauhaus and to Le Corbusier? Your work rejects postmodern gibberish and low-quality Chilean real-estate building, especially in the 1980s.
MK My relationship to modernity is bisected by postmodernity, in the sense that in the 1980s I studied in a school that was largely against the Modern Movement and in favor of postmodernism. I was quite a rebellious student and what interested me was the Modern Movement, the Germans of the Bauhaus more than Le Corbusier. My first buildings are rather unconscious in that respect, since I wasn't even sure I was doing a serious job, given that I was working on assignments I didn't see as architecture. I didn't think about what kind of architecture was involved, or anything like that.

HG You still hadn't finished your training?
MK I did my first buildings just after I'd finished my training, at age 22. Six years later I became aware of what I was doing with the first book by Gustavo Gili in the "GG Portfolio" series, where I saw all my work together for the first time. Some designs were good and others rather poor, but they all had a line I hadn't defined theoretically. They began to pigeonhole me as an architect within the modern tradition, something I hadn't even thought about. Later on, thinking more about these designs, I realized that those buildings did have a modern origin, but that they were somehow bisected by postmodernity, in the sense that the latter set out to break with a whole series of myths and rules coming out of the Modern Movement. I assumed this rupture in my designs. I was working on assignments and architectural objects without a theoretical framework and without the strictness of certain aspects of the Modern Movement. The Modern Movement didn't admit contradictions, and in a way postmodernism restores a certain freshness and freedom to architecture. I think that this is its contribution, and I pick up on it that way.

HG Chile is a country of extreme landscapes. How do you address nature in the desolation of Tongoy or the exuberance of Chilo�?
MK The phenomenon of the landscape is something very strong in America: the New World. When the Modern Movement arrived in America with architects like Mies van der Rohe and Marcel Breuer it discovered a landscape, a vastness and various materials that hadn't been used before. I think that modern American architecture is very different from European in the sense of appropriating the site, textures, materials and colors and in working in direct rapport with the landscape. One generally confronts something vast, immense and exuberant (be it a jungle or desert environment, or cities as dispersed as ours).

HG Your avant-garde posture is renewing the architectural mindset of the Southern Hemisphere. How do you make it enter into dialogue among so much fashionable architecture? A house of yours may be in a street in La Dehesa, next to houses with a Chilean roof or others in a Georgian style. How do you stand back from all that?
MK Generally speaking I've been called on to work in minimally urban contexts, so that the relationship to mass-production has been extremely simple for me, since I've almost not had to relate myself to it. In the few instances where I've had to, I've tried to keep myself within certain volumetries, heights and distances, so that the built work doesn't irrupt into the environment. I try and pass unnoticed, and in the particular setting to express a discreet and sensitive position as to the topography and environment, because even in the urban context the environment is very strong. As we live surrounded by mountains, nature is more powerful than what is built. The environment is always more present than the rest.

HG How do you see the future development of your work?
MK That's a tough question.

HG You began very young with real buildings. Soon after graduating you were already building houses. Now you're 38 and if you look at your trajectory as a whole, a lot of ground's been covered. How do you see your projection as an architect in the future?
MK Right now I've divided my professional life in two, I have two projects in relation to architecture: one academic, as director of a young school of architecture, and the other my own office.

HG When they invited you to take charge of founding the architecture school, did you think you were going to involve yourself so emphatically? You'd already been projects professor, something very different to directing an academic project.
MK Accepting the invitation meant taking on a serious project that implied a lot of time, not something incidental to the moment. To my (pleasant) surprise the kind of work and institution where I work has given me much more confidence than I'd imagined and more freedom than was expected. So, it's outstripped any initial enthusiasm. Together with that, the decision to reduce my office-up to a few weeks ago it had fourteen people and now it's been reduced to eight. In the future I'm thinking of working on fewer projects, but in a more concentrated way: "less is more."

HGComing back to the academic project: in a country where more schools have sprung up than it's capable of absorbing, what sets your school apart?
MK The challenge is to create a school that gives priority to educating sensitive architects. While this may appear obvious, in fact it isn't so. I think that right now, and not only in Chile but all over the world, architecture schools are somewhat remote from real needs. One mustn't forget that architecture is a service and that the architect is at the service of society. I believe it shouldn't be a school that turns out prime donne, and even less so in our own context. Today, architecture has to concern itself with the city, a dramatic problem throughout America, from Canada to Patagonia. We have to concern ourselves with caring for this sublime landscape, and with being at the service of a major part of the population to whom no service is rendered at the moment.

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EditorialEditorial Gustavo Gili, S.L.
A�o de publicaci�n2003
ISBN 10 8425219272
ISBN 13 9788425219276
Encuadernaci�nTapa blanda
N�mero de edici�n1
N�mero de p�ginas144

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Mathias Klotz (2G: International Architecture Review Series, Band 26)

Allen, Stan, Horacio Torrent Paul Hammond u. a.:

Publicado por Editorial Gustavo Gili, S.L. (2003)

ISBN 10: 8425219272 ISBN 13: 9788425219276

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Descripci�n paperback. Condici�n: Sehr gut. 156 Seiten; 9788425219276.2 Sprache: Deutsch Gewicht in Gramm: 1. N� de ref. del art�culo: 560029

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2G N.26 Mathias Klotz (2G: International Architecture Review Series)

Allen, Stan; Torrent, Horacio

Publicado por Editorial Gustavo Gili, S.L. (2003)

ISBN 10: 8425219272 ISBN 13: 9788425219276

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Descripci�n Encuadernaci�n de tapa blanda. Condici�n: Como Nuevo. Estado de la sobrecubierta: Como Nuevo. 1� Edici�n. Mathias Klotz (Vi�a del Mar, 1965) is the most international figure among the new generation of Chilean architects. His work has been published in specialized magazines the world over, especially since receiving the 2001 Borromini Prize for the best architect under 40, for his well-known Altamira School in Santiago de Chile. Despite working in and from the peripheral situation of Chile, from a position that, for the Western world, is almost exotic, his oeuvre alludes more to the second generation of Modern Movement architects, particularly the work of Marcel Breuer in the USA, than to the historicist sentimentality and formal localism of his own country. This means that his buildings can be bracketed within the best of the world's contemporary architectural output. This issue contains two introductory texts by Stan Allen and Horacio Torrent, which reflect on Mathias Klotz's architecture within the national and international architectural context, N� de ref. del art�culo: ABE-1605887536534

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