el mármol mármol Asociación de Empresarios del Mármol de Andalucía June 2015 nº 22 Marbles Article Miguel Rodríguez, Architect History with white marble from Macael Companies History with white marble History with white marble History with white marble History with white marble from Macael from Macael from Macael from Macael
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el mármolmármol
Asociación de Empresarios del Mármol de Andalucía June 2015 nº 22
Marbles
Article
Miguel
Rodríguez,
Architect
History with
white
marble
from Macael
Companies
History with white marble History with white marble History with white marble History with white marble
from Macaelfrom Macaelfrom Macaelfrom Macael
INDEXINDEX
marbles marbles 33 article of Miguel Rodríguez, article of Miguel Rodríguez,
Architect Architect 99 history with white marble history with white marble
from Macael 17 marble companies from Macael 17 marble companies 2424
services companies services companies 2626
Materials of Macael Materials of Macael
3
Blanco Macael Blanco Macael
Blanco Río Blanco Río
Blanco Río Veteado Blanco Río Veteado
Blanco Tranco Blanco Tranco
Materials of Macael Materials of Macael
Amarillo Río Amarillo Río
Amarillo Indalo Amarillo Indalo
Amarillo TrianaAmarillo Triana
Amarillo Alhambra Amarillo Alhambra
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Materials of Macael Materials of Macael
Travertino Oro Travertino Oro
Travertino OlivilloTravertino Olivillo
Travertino Rojo Travertino Rojo
Anasol Macael Anasol Macael
5
Materials of Macael Materials of Macael
Gris Macael Gris Macael
PerladoPerlado
Eneus®Eneus®
6
Materials of Macael Materials of Macael
7
Sierra ElviraSierra Elvira
Marrón EmperadorMarrón Emperador
Verde MacaelVerde Macael
Materials of Macael Materials of Macael
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Crema Macael Ibérico Crema Macael Ibérico
Triturado Blanco Macael Triturado Blanco Macael
Piedra Rústica Piedra Rústica
Article of Miguel Rodríguez, Architect Article of Miguel Rodríguez, Architect Article of Miguel Rodríguez, Architect
MnarquitectosMnarquitectosMnarquitectos
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Miguel Rodríguez, Architec
www.mnarquitectos.net
Stone, public space and landscape
As an architect I have always been interested in pu-
blic spaces. On the one hand, as a place of relationship
and interaction between people, living beings, objects and
context. And secondly, as a place that best demonstrate
the different temporal and dynamic processes that alter
the materiality of built space itself.
In this article, we analyze the use of stone in the pu-
blic space in relation to two elements described in the pre-
ceding paragraph. So, it is studying the relationship bet-
ween stone elements with their physical context and the
processes taking place in it we can come to an understan-
ding of what the use of this material may be assumed in
the landscape around us.
Stone and relation to the physical context
In this case we will reduce to only two types of relationships that a material or object can
be built with its context so that help us understand the many significant chances that the stone
can offer us both contrasting situations as in situations of integration.
The situations contrast with the context are the most interesting. Remove an object
from its context and move to another, relate to someone very different to us or to link two very
different ideas we usually have to move, think and reach new horizons. The same happens with
materials and architectural elements, in this case the stone. A very simple for this could be the
use of large slabs of polished stone, reflecting the sun's rays to set up a winding road that goes
through the vegetation in the natural landscape, creating an element that prevents such vege-
tation to grow in this way, contrasting with the rest of rocks in their natural state, without wor-
king around them.
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Thus a dialogue is created between the anthropic element and the natural environment
that enhances contrast the two is created. And on the other hand, this relationship between
the stone in different states, relates a process (stone work). In addition, this new flagstone
path, causing new possibilities of use (access for people with less mobility) and choose some
places where no other walking getting used.
Another example of contrast could be the opposite case, which involve the use of stone
without working in urban and totally anthropic spaces. In this case the use of stone without
work involves this mineral nature contrast with the rest of totally anthropic elements of urban
space. Which will cause the generation of new possibilities to introduce the object into a new
context. For example, two large rocks, as it came out of the quarry, left on the road at the
beginning and end of a street. These rocks are simply not designed two objects without defi-
ned use, leaving aside the poetic contrast with the landscape that surrounds them, eventually
impede traffic peatonalizando street easily and generating new situations and possibilities in
place. In addition, people use such huge natural stones not worked and improvised (to board,
to jump, to sit, ...).
The relations of integration with the context are necessary. The elements are integra-
ted and are part of a landscape that shares characteristics with them are essential to foster
the aforementioned contrast situations. Moreover, this mode of intervention enable us to ope-
rate more quietly. In this case, the use of stone without working in the natural landscape will
get more subtle, nearly invisible interventions. As an example we could imagine a path mar-
ked by a line of stones piled to one side (markers) and arranged so as to signify its clear anth-
ropic disposal. Or, the opposite case, in the urban context will integrate perfectly carved stone
and is, in my opinion, the most durable and most likely for use in public spaces representative
material. Since we have many varieties of natural stone with different physical characteristics
(color, strength, porosity, ...) and many finishes (polished, bush hammered, honed, flamed,
sandblasted ...).
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Stone and processes
In our performance in the landscape, both urban and natural, we are always engaged in
many dynamic processes in which we should include. The rock itself is part of a process from
extraction by various methods until processing and final use in the fact built. The stones, consi-
dering their type and location of use, tell us the country where they traveled or through signa-
tures engraved on them, we know that the teachers were worked. Sometimes these rocks were
first stones that were part of a large building and then, after the ruin of this, were worked again
and transformed into sections of the shaft of a column of a palace, after the decline of this civi-
lization were transferred to a museum elsewhere in the world. Other stones are "soft" and are
tiled in a place where, through wear over time have been marking the favorite of users leaving
areas that are more recessed slabs and polished tours. Thus becoming in the trace of a process
of years. In short, the stone is immersed in a cycle of enormous temporal dimension in which
man is inserted and influences. Within this cycle it is able to reflect the passage of retaining
their characteristics and performance time.
As an example architecture to explain the relationship between the stone and the proces-
ses in the pursuit of public space have chosen our project of Mirador de las Canteras Macael
as paradigmatic work since this is executed materially by the processes and dynamics that are
already in place and secondly use of viewpoint allows the observation of the processes and dy-
namics of extraction, transportation and processing of stone.
In the case of the Quarries of Macael is the removal of the stone which qualifies and iden-
tifies a landscape with the continuous change of the morphology of the land. It is the main
feature of the landscape is the very process that modifies it. This is reflected in the different vi-
sually perfect that appear stratigraphic cuts and fills and dumps that occur to allow access to
the various veins of material.
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Taking this into account, the main approach to this space lookout was being made with
the same processes that already existed in the quarries. Thus an indefinite and full of rubble
and rocks of different type and size esplanade became a protected space and qualified by crea-
ting a small hill crescent repositioning existing land and rocky debris in place.
The space in which the views are hidden has the function parking space so when
crossing the top of the hill are discovered new impressive anthropogenic landscapes of
quarries and finally the background, the Almanzora Valley. On the other hand the rocks
scattered on the esplanade were ordered and used as markers in a first section and a
wall of rubble in another to separate traffic passenger traffic of heavy machinery from
the quarries. Thereby leaving the gazebo next to a passing lane huge machines like ele-
ment from which to observe this transport process closely.
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Moreover the hill continued to believe a recovered and cohesive side by hydroseeding. So
with our hill we continued the process of recovery and consolidation through hydroseeding and
plants growing on the hill we got a friendlier space in contrast with rail equipment and the qua-
rries themselves.
Also, the viewpoint not only is built using existing processes in place (earthworks, rocks,
recovery of slopes, hydroseeding) but also serves as a place for observation of these same pro-
cesses (quarrying, deforestation, stuffed, heavy machinery transport, transformation ...) where
you can check on subsequent visits as the morphology of the landscape keeps changing.
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In summary, the stone is a main element in the definition of public space and landscape in
the use of which should take into account the relationships that this set with its context and the
processes in which it is inserted and which is and has been part.
Information about Miguel Rodríguez
Miguel Rodriguez Lopez is an architect from the School of Architecture of
Granada since 2003. Since 2005 has developed his professional career with his
partner Noemi Lorenzo Martínez in the studio mnarquitectos
(www.mnarquitectos.net), company specializing in office interventions in the
landscape and projects studied in great detail.
With offices in Almeria and Seron, between his works include the "Mirador
de las Canteras Macael" which was ARCO Award for best play of the biennium
2006-2007 in the province of Almeria and selected for the 6th European Lands-
cape Biennial; and "Intervention (stands) near the Castle of Serón "ARCO award
and finalist of this Award.
Among his works include building housing Mini Seron, a reinterpretation of
the traditional home of the mountain villages of Almeria and selected for 48
hours by the architecture of the Higher Council of Architects of Spain.
Currently the studio is developing its investigation into the planning proces-
ses of urban decline in small municipalities, developing hybrid building interven-
tions in the private space of the building and the public road as “el Centro Cívico
junto al Castillo de Serón" and secondly to study the interconnection between
different neighborhoods in the municipalities of eastern Andalusia kind, investi-
gating about border spaces and unused between neighborhoods (towns) and the
management of these as public space using low-intensity interventions.
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History with marble white from Macael History with marble white from Macael History with marble white from Macael