Monday, January 3, 2011

Toys For Aquatic Turtles


the middle of last month I had to make a trip to the Canaries. A quick thing: a day in Tenerife and one in Gran Canaria. Tenerife work took me all morning and noon-meal-a Friday, and before getting to the airport to jump to another island, I was more or less time and a half in Santa Cruz, I took time to visit TEA, TENERIFE Art Space, Cultural Centre designed and built by Swiss architects Jacques Herzog and Pierre de Meuron . On a previous trip had seen in works and was eager to visit him over.

The TEA is situated next to the Barranco de Santos in the bottom of Santa Cruz, and adjacent to the MUSEUM OF NATURE AND OF MAN. It is a long building, parallel to the ravine, which is adapted to the terrain that falls into the sea. Although the building once thought is relatively simple, the first impression is of considerable complexity.

The overall volume is made up of two distinct parts, one triangular and one irregular, which covers almost touching, almost rub-on only two points between the two parts to configure a courtyard, also triangular. Precisely at the contact points are access covers the whole, for which we are allowed to pass from the outside. Open a permanent step: actually tour inside the TEA is a communication between two parts of the city, a city tour always accessible to the city, across the TEA as one travels down the street when going to work or strolling through the park when you sober up.

The exterior is very tight, Really large mass (of a material that seemed concrete with a striped finish I do not know precisely what it is, but might refer to volcanic rock dark gray) that is drilled into small holes to form geometric but irregular, like Tetris pieces, which resemble pixelation of an image. Those little holes density varies depending on the rooms that contain: more in some places and too few in others. And look also vary depending on time of day when we see them: while it is light outside, the glare of the Canary Islands "are small pieces of mirrors ruts or city light and at night, instead are loopholes by which face hundreds of yellow lights that pierce the dark wall.
walk that walk inside When we talked about above, which is enter the TEA but not yet entered the , all change: we access the triangular plaza (unfortunately with canopy cover, although I suppose necessarily covered to prevent excessive heat and light) and found a totally opposite, permeable, which covers much of interior space , although we can not understand it at all ...

If we agree within itself, the tours are still a strong point of TEA, the building requires us to reach the deep end of the hall, where we expect the stairs, and from there raised or lowered to retrace our steps, although at a different level, one floor above if you want to go to the hall or a below if we want to get to the library. It is compulsory to quote now the upstairs hallway that ends in the ceiling, and required him to understand it (the picture not clarified the matter, in any case, leave thousands here.) I had no time-or time-to see the exhibition halls, but the wonderful library, a space that seemed conseguidísimo divided into three parts: two side pieces with a high ceiling-high, which are those that look over the sides of triangular square that we have already spoken, and a central, lower the ceiling of which is precisely the floor of the plaza ... One side is open to a patio with plants and a mural that can not appreciate quiet, and the other opens onto the cliff by the vast array of "hollow" pixel "diversísimos shapes and sizes. And from here we went back to Santa Cruz.

I said earlier that the TEA is relatively simple but the first impression is of considerable complexity: the very complexity that has to tell how the building. I suspect that my description is somewhat / very confusing (and I've just spoken of the spaces, continuous and rich, or materials), plus I have not been able to find drawings (plants and, especially, sections) that illustrate the input. On the one hand I feel this confusion, because I found a part of a quality that I am capable of transmitting these buildings is to see and, above all, go, but on the other hand, however, do not feel almost anything, because the difficulty to describe the TEA responds directly a conceptual and spatial richness that has: a building without being the ultimate is really achieved.


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