一個(gè)家庭制陶匠

文/Text：溫貝托·里卡德G./HUMBERTO RICALDE G.

哈維爾·塞諾西安禓·阿圭勒的建筑作品總是富有創(chuàng)造性，毫無疑問，每每驚羨旁人且經(jīng)久不衰。它充滿了問題，尤其對(duì)我們這些功能理性學(xué)派的人來說，它由我們構(gòu)成。翻開這本著作，我們會(huì)產(chǎn)生許多與閱讀《生物建筑》時(shí)一樣的問題：一個(gè)必然孕育著我們的建筑？鋪設(shè)著并與地形、植被相重合？怎么建？隨著時(shí)間推移，它會(huì)有何變化？

直到哈維爾找到語言描述他最近的作品，他也對(duì)這個(gè)搜索過程感到驚訝：這是七十年代以來其他當(dāng)代建筑師中難見的恢弘而又濃墨重彩的殷實(shí)之作，盡管處于與丹尼爾·阿雷東多合作初期，其體現(xiàn)的體感與色覺都恰傳承于大師路易斯·巴拉甘。但哈維爾·塞諾西安禓·阿圭勒進(jìn)行了令人不安的冒險(xiǎn)。

分析一下探索初期的“浮動(dòng)金字塔”。房屋厚重的本體懸浮于景觀之上，梯形橙色赭石搭載混凝土牢牢地巴住粗糙地形，點(diǎn)綴，試著撫平它，下層活動(dòng)地帶和天然綠屏隨著花園自然生長(zhǎng)，平坦的屋頂置于其上?！熬G”的集大成，與房屋視野、墻面色彩、天窗設(shè)計(jì)、煙囪排口等設(shè)計(jì)可謂可歌可嘆。其后幾年的探索和作品不言而喻：“棱鏡對(duì)”建筑或“生產(chǎn)綠洲”首創(chuàng)紅色、粉色、橙色、紫色相結(jié)合，將四周的綠襯得近乎透亮。

哈維爾的作品猶如曇花一現(xiàn)，非同尋常，整個(gè)墨西哥現(xiàn)代建筑圈一如文學(xué)界期待創(chuàng)世之作一般，沉靜卻又興奮的期待著下一次建筑作品的熠熠生輝。1985 年，此書中記錄的“有機(jī)別墅”不僅探求意義上的有機(jī)統(tǒng)一，建筑過程有機(jī)化也得以實(shí)現(xiàn)。這一創(chuàng)新過程的詳細(xì)記錄有力地證明了哈維爾和他陶匠團(tuán)隊(duì)對(duì)有機(jī)建筑的建造已達(dá)到爐火純青的地步。

比起概念，這些房屋更標(biāo)志著人與自然相親相愛，相依相融，對(duì)建筑史意義深遠(yuǎn)。屋頂光滑，草坪下盤覆的三角梅、常春藤、長(zhǎng)春花生動(dòng)地傳遞著自然的脈搏。

除了關(guān)心住宅怎樣才能住得舒適合理，怎么在家中展開活動(dòng)之外，家具的設(shè)計(jì)遵從了一統(tǒng)的有機(jī)理念，而浴室、起居室、廚房等的問題是：這些建筑要起到多大的決定作用？當(dāng)然，當(dāng)時(shí)有所困惑的笛卡爾抽象形式輪廓的架構(gòu)今日趨于流行。

“有機(jī)別墅”之后的文章清晰描述了哈維爾建筑形式表達(dá)的完整過程。跟隨作家勾勒自由的曲線，繞過蔥郁的樹木，滑下當(dāng)?shù)氐男逼?，現(xiàn)場(chǎng)房屋的輪廓，尤其是鐵絲網(wǎng)水泥的使用（一種在鋼絲網(wǎng)上使用混凝土的實(shí)驗(yàn)形式）都將浮現(xiàn)在我們眼前，反過來，哈維爾創(chuàng)作進(jìn)入純熟階段便從這開始：房屋與草原、灌木、樹木和爬山虎融為一體，交相輝映?！白咴诨▓@里的同時(shí)你也踩在自己屋頂上”。

從這時(shí)起，作品蘊(yùn)含了奇異的驚喜和困惑，進(jìn)入了新紀(jì)元。它與墨西哥之前二十年產(chǎn)生的平庸建筑關(guān)系是無法解釋的，它獨(dú)一無二且未被公開發(fā)表，但卻意義非凡。從極致光度到舒適的半光，平滑的暗色調(diào)為我們繪制了一幅又一幅圖景。延展性空間將這種建筑感官達(dá)到極致。正如作者在談到“墨西哥鯨”時(shí)強(qiáng)調(diào)的那樣，氣動(dòng)定心和聚氨酯的應(yīng)用使“墻壁，地面和屋頂間無需支撐或連接；床、桌子和壁櫥之類必要家具間亦不需要……”；與人們一直追求的創(chuàng)新建筑體系截然不同。房子外層覆蓋著多色陶瓷片用來保護(hù)和固定，其形式和程序創(chuàng)新顛覆了悠久的莫桑比克、加泰羅尼亞和墨西哥傳統(tǒng)。

因此，書中分析的形式、建筑過程、選地和生活方式正是哈維爾作品的不竭動(dòng)力，也是我們久久不平的驚喜與躁動(dòng)的來源；許多關(guān)乎作品的問題都將在我們了解到他已經(jīng)堅(jiān)定地要成為一個(gè)“家庭制陶匠”時(shí)迎刃而解。

Javier Senosiain’s architecture is always a discovery and,undoubtedly,a surprise that causes intrigue and certain restlessness;it is full of questions particularly for those of us who were formed on the functional rational school where,it should be said,he was formed with us.The questions are accumulated when opening this book of his work as it happened when reading his book of bioarchitecture:An architecture that inexorably cradles us? that is laid and overlapped with topography and vegetation? How to build it? How will its behavior be throughout time?

The Shark (El Tiburón_Edo.de México,1990)

The Tree House_La Casa del árbol_Celaya,2013

Javier also surprises with his searching process until he finds the language that characterizes his recent work:the work of what we can name his first period performed jointly with Daniel Arredondo is characterized by a thick,volumetric and palpitating presence of coloring in tones and ranges,difficult to find in works of other contemporary Architects that since the seventies have practiced,with different fortunes,the volumetric and coloring language,which roots,as we well know,are in the multi-referred Luis Barragan.But in Javier Senosiain there is a disturbing and provocative step.

Just analyze the“Floating Pyramid”of this first search period.The thick volume of the house is suspended over the landscape,the big ocher-orange trapezoids placed on concrete,anchor it to the harsh terrain where it is located and this allows to dot it,propitiating,at the same time,that the terrain slides under it,and its untouched green area is increased with the garden on which the flat roof has become.The green integration and the house views,the wall colors,the skylight,the chimney draft,etc.undoubtedly announce the searches for the next years and works:the“Prismatic Pair”Building or the“Production Oasis”on challenging reds,pinks,oranges,purples,make the surrounding green almost fluorescent by means of challenging contrasts.

In the integral and modern Mexican architecture society,these unusual gestures are not so frequent and,since the appearance of the above mentioned works,a growing surprise has accompanied the architectonic production of Javier,although with a silent expectation as the intellectual society is used to.The next definite step was taken on 1985,as it is extensively documented in this book,with“The Organic House”,whose search is not only in the sense of the organic form but also on experimentation with the construction procedures that make it architectonically possible;on this matter,the photographs of the innovative processes are eloquent with which Javier and his group of real construction pottery makers carried out the organic houses of their maturity.

Maybe the greatest impact of these houses,since their conception,is their integration to the outdoor space,to the green that literally does not surround them but rather cradle and clothe them;the tide of bougainvilleas,ivies,periwinkles,contrasting with the smooth skin of the lawn of their roofs,haptically transmit the concept that generated them.

A different approach also lies in this concept,beyond the functional and rational matter of how a house must be inhabited,of how the activities developed in it must be cradled by the forms of the own house,which is reflected in the design of bathrooms,living rooms,kitchens,etc.,where the furniture integrated to the organic constructive forms is fixed,the question is:How determining,from a formal point of view,must the architecture be? Of course,including in this question the architecture of Cartesian abstract formal profile,which nowadays is in fashion.

The integrated process of Javier Senosiain’s architecture formal expression is clearly described in the text that accompanies“The Organic House”.There you can follow,step by step,the free outlining of the curves that shape it,avoiding the existing trees in the area and sliding down the local slopes,as well as the house outlining at the site and particularly its construction by means of ferro-cement,an application procedure of concrete on steel meshes,suitable for the experimental forms that characterize this house;which in turn,marks the beginning of the author’s work maturity stage:The house is sheltered by its own ground and integrated to the place among grasslands,shrubs,trees and creepers until“ walking in the garden means walking on the house own roof”.

From here on,the work is transformed and shows strange surprises and distribution questions;its relation with mean architecture produced in Mexico in the last twenty years is,to mention the least,inexplicable and in the same sense singular and unpublished.The images take us through scenarios literally shaped by smooth toned down colors ranging from extreme luminosity to cozy half-light;ductile spaces haptically transmit their qualities up to a limit of tectonic sensuality,achieved in contrast with a continuous search for innovative building systems as the author underlines when speaking about“The Mexican Whale”where the application of pneumatic centering and the expected polyurethane make possible the“continuous volumes without joints or frame jambs between the walls,ground and roofs;even with basic elements of furniture:beds,tables and closets…”;in the outside,the house is covered with polychrome ceramic pieces that work as protective epidermis and anchor,contrasting in its form and innovative procedures with a long Mozarabic,Catalan and Mexican tradition.

Therefore,the stress between forms,building procedures,site adaptation and the proposed way of living in its spaces,is what originates on all of us such feeling of surprise and restlessness when discovering Javier Senosiain’s architecture and analyzing his built work comprised in this book;many of the questions that the above mentioned work raises will be clarified as we understand that he has firmly become a“ home pottery maker”.

Grave (Sarape y Sombrero_Edo.de México,1992)