“游艇”升级为“远洋客轮”1。真正的圣塞巴斯蒂安俱乐部历史,超越莱科布塞神话,1905–1929

IF 0.1 0 ARCHITECTURE
Miguel Ángel Ruano Hernansanz
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引用次数: 0

摘要

1929年,JoquíN Labayen和JoséManuel Aizpurúa的作品《圣塞巴斯蒂安皇家游艇俱乐部》(Real Club Náutico de San SebastiáN,San Sebastian Royal Yacht Club)被扩展为受勒·柯布西耶风格的paquebot影响的作品,尽管其作者从未承认这种影响。对该建筑历史的研究,包括它在1905年、1916年和1929年经历的三次主要改革,表明所有的改革都寻求与Donostia建筑师在1929年追求的海军外观相同的外观,而这一决定每次都来自俱乐部董事会。事实上,Aizpurúa在一封信中向Giedion承认,之所以选择这个项目,是因为它像一艘船。以前的项目被误解了,因为它们被断章取义地与远洋班轮进行比较;它们既没有合适的尺寸,也没有合适的时期来识别这种类型的船,而1929年的翻新是。1905年和1916年建筑的船模是“纵帆船”,这是一种用于海上比赛的较小、较轻的帆船。到目前为止,这些建筑的元素被认为是“装饰性的”,如桅杆、舷窗或舱口,实际上是这种海军类型的特征。首先,若泽·安赫尔·桑兹·埃斯奎德扩大了艾兹普鲁阿的影响范围,后来若泽·安吉尔·梅迪纳·穆鲁阿实际上将真正的努蒂科俱乐部建筑项目的灵感来源于勒·柯布西耶的思想。但我们可能会问,这种强烈但轶事般的莱科布西式影响是否真的发生了,或者这是否只是俱乐部历史传统的产物,具有重要的品质,但没有更大的理论假设。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The ‘yacht’ elevated to ‘ocean liner’1. History of the Real Club Náutico de San Sebastián beyond the Lecorbuserian myth, 1905–1929
AbstractThe 1929 extension of the Real Club Náutico de San Sebastián (San Sebastian Royal Yacht Club), the work of Joquín Labayen and José Manuel Aizpurúa, was quickly labelled as a work influenced by Le Corbusier’s style paquebot, despite the fact that its authors never acknowledged this influence. Research into the history of the building, including the three main reforms it underwent in 1905, 1916 and 1929, revealed that all the reforms had sought the same naval appearance that the Donostia architects pursued in 1929, and that this decision had, on each occasion, come from the club’s board of directors. Indeed, Aizpurúa confessed to Giedion in a letter that the project was chosen because it resembled a ship. The previous projects were misunderstood because they were compared, out of context, with ocean liners; they were neither of the right size nor from the right period to be identified with this type of ship, whereas the 1929 refurbishment was. The ship model of the 1905 and 1916 buildings was the ‘schooner’, a smaller, lighter, sailing ship used for maritime competitions. Elements of these buildings which had so far been considered ‘decorative’, such as the mast, portholes, or hatches, were in fact defining features of this naval typology. First José Ángel Sanz Esquide broadened the spectrum of Aizpurúa’s influence, and later José Ángel Medina Murua practically delimited the inspiration of the Real Club Náutico building project to the ideas of Le Corbusier. But we might ask whether this intense, but anecdotal, Lecorbusierian influence really took place, or whether it was just the brainchild of the club’s historical tradition, of significant quality but without greater theoretical pretensions.
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