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Edificio Girasol (ver código)

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Las torres individuales están organizados con una grande vivienda por planta. Los ascensores, escaleras, y los espacios de servicio se sitúan al interior. Los apartamentos están organizados mediante dos zonas paralelas, una zona estrecha de las habitaciones más pequeñas a lo largo de un muro y una zona más amplia de espacios abiertos a lo largo de la otra zona. Todos estos espacios abren a terrazas que salta atrás desde la fachada de la calle y el característico muro curvo de la habitación principal. Esta profunda erosión de la fachada oeste crea un ritmo alternado de sólido y vacío a lo largo de la calle de Lagasca. La repetitiva composición de los planos y la explosión espacial hacia el sur, parece ser el origen de la metáfora del girasol. Si bien la expresión de la estructura metálica es evidente en las terrazas en voladizo y la estructura abierta de los dos pisos inferiores, el ritmo alterno y el uso de muros de ladrillo son un gesto al contexto vernáculo del vecindario.
Las torres individuales están organizados con una grande vivienda por planta. Los ascensores, escaleras, y los espacios de servicio se sitúan al interior. Los apartamentos están organizados mediante dos zonas paralelas, una zona estrecha de las habitaciones más pequeñas a lo largo de un muro y una zona más amplia de espacios abiertos a lo largo de la otra zona. Todos estos espacios abren a terrazas que salta atrás desde la fachada de la calle y el característico muro curvo de la habitación principal. Esta profunda erosión de la fachada oeste crea un ritmo alternado de sólido y vacío a lo largo de la calle de Lagasca. La repetitiva composición de los planos y la explosión espacial hacia el sur, parece ser el origen de la metáfora del girasol. Si bien la expresión de la estructura metálica es evidente en las terrazas en voladizo y la estructura abierta de los dos pisos inferiores, el ritmo alterno y el uso de muros de ladrillo son un gesto al contexto vernáculo del vecindario.
Verticalmente, el edificio se organiza en tres zonas distintas. La zona más baja a lo largo de la calle forma un espacio de dos plantas de altura que contiene las entradas de los ascensores y escaleras a los apartamentos situados encima, entrada al parking subterráneo, las escaleras que conectan con la planta de oficinas en el entresuelo y las tiendas a lo largo de la calle. Las profundas hendiduras de la fachada a calle y los cortes en la parte trasera de los edificios permiten la entrada de la luz natural en este espacio de varios niveles. La zona central contiene cinco plantas de apartamentos que vuelan parcialmente sobre la acera y se expresan en la alternancia del patrón sólido-vacío de los muros de las habitaciones y los cortes profundos de las terrazas. Las dos plantas superiores forman la tercera zona de apartamentos que se retranquean de fachada a la calle formando grandes terrazas.
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Vertically, the building is organized into three distinct zones. The lower zone along the street forms a two-story high space that contains the entrances to the elevators and stairs to the apartments above, entrance to the basemen parking, stairs connecting to a level of offices on the mezzanine, and shops along the street. The deep indentations of the street façade and courts at the rear of the buildings admit natural light into this multi-level space. The middle zone contains five floors of apartments that partially cantilever over the sidewalk and is expressed in the alternating solid-void pattern of the blank bedroom walls and deep cutouts of the terraces. The use of vertical wall elements for solar control was a strategy used by Coderch before in the Maquinsta apartments in the Barcelonetta (1951) where the continuous vertical panels were treated more as a brise- soleil element attached to the building rather than the zone of occupied spaces used in Girasol. The top two floors form the third zone of apartments that step back from the street façade forming larger roof terraces.


While the apartment plans in the 5 towers are all slightly different, they share a similar distinctive organization that was a reoccurring theme in Coderch’s residential projects of the 1950’s and 60’s. In these examples, the living spaces form a zone of open living areas served by a kitchen and domestic area, opening to a pool or outdoor garden with the bedrooms extending as an organization of repetitive, stepped elements each with a corner window. Casa Uriach (1961) and Casa Rozes (1961) are examples of this type. Girasol can be seen as 5 Casa Uriachs placed side-by-side resulting in a similar repeating stepped organization. Coderch also applied this idea in later apartments projects in Barcelona, the 6 Blocks and Las Cocheras (1967 & 68), and other inbuilt projects designed in the 1970’s.
While the apartment plans in the 5 towers are all slightly different, they share a similar distinctive organization that was a reoccurring theme in Coderch’s residential projects of the 1950’s and 60’s. In these examples, the living spaces form a zone of open living areas served by a kitchen and domestic area, opening to a pool or outdoor garden with the bedrooms extending as an organization of repetitive, stepped elements each with a corner window. Casa Uriach (1961) and Casa Rozes (1961) are examples of this type. Girasol can be seen as 5 Casa Uriachs placed side-by-side resulting in a similar repeating stepped organization. Coderch also applied this idea in later apartments projects in Barcelona, the 6 Blocks and Las Cocheras (1967 & 68), and other inbuilt projects designed in the 1970’s.
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Perhaps the most remarkable aspect of Coderch’s work is the architect’s attitude about solar climatic issues. In the early houses, while siting strategies were important, solar control was achieved primarily with various exterior window accessories, screens, blinds, and awnings. Coderch’s use of these window elements for security and solar control were entirely consistent with a long tradition of Mediterranean window details. Coderch’s use of solar elements evolved in various ways from full-height sliding wooden, louvered panels in some of the early houses, to control details like roll blinds and built-in awnings, or the continuous adjustable horizontal wooden jalousie systems such as those used in the Barcelonetta housing and the calle Bach apartments of 1958. Painted wooden louvers always presented a maintenance problem and the vertical jealousies that were introduced with Girasol seem to be made of hardwood and were, therefore, easier to maintain. In addition to localized control at the window, however, Coderch was also experimenting with building forms, organization, and siting as ways of achieving solar efficiency. A well-known block of apartments in Madrid designed by Secundino Zuazo in 1931, the Casa de las Flores, may have inspired Coderch’s interest in the terrace as the instrument of solar design. It seems that Coderch actually worked in the Zuazo studio in 1941 but, in any event, he was living in Madrid during this time. It was called the ‘House of the Flowers” because of the cantilevered metal terraces that supported flower planters along the terraces at the corners of the building. While the corner balconies were applied to an otherwise quite conventional perimeter apartment block, they suggested a modern attitude about the relationship between solar control and the actual building form, that the building shape could be derived from the need for solar protection. Coderch was experimenting with solar responsive building forms from the early part of his career; overhangs, cantilevered terraces, canted walls, and stepped building forms. Girasol represents the most developed application of these principles with the plans canted for better building orientation, deep-set terraces and overhangs to shade glass, and the positioning of windows for better solar orientation. With Girasol, climatic design was not just limited to window protection and treatment, but was the generative raison d’etre for the whole building. Clever design response to solar issues was having a dynamic impact on the organization of the plan, the shape of the building, the siting, and the position and details of the windows.
Perhaps the most remarkable aspect of Coderch’s work is the architect’s attitude about solar climatic issues. In the early houses, while siting strategies were important, solar control was achieved primarily with various exterior window accessories, screens, blinds, and awnings. Coderch’s use of these window elements for security and solar control were entirely consistent with a long tradition of Mediterranean window details. Coderch’s use of solar elements evolved in various ways from full-height sliding wooden, louvered panels in some of the early houses, to control details like roll blinds and built-in awnings, or the continuous adjustable horizontal wooden jalousie systems such as those used in the Barcelonetta housing and the calle Bach apartments of 1958. Painted wooden louvers always presented a maintenance problem and the vertical jealousies that were introduced with Girasol seem to be made of hardwood and were, therefore, easier to maintain. In addition to localized control at the window, however, Coderch was also experimenting with building forms, organization, and siting as ways of achieving solar efficiency. A well-known block of apartments in Madrid designed by Secundino Zuazo in 1931, the Casa de las Flores, may have inspired Coderch’s interest in the terrace as the instrument of solar design. It seems that Coderch actually worked in the Zuazo studio in 1941 but, in any event, he was living in Madrid during this time. It was called the ‘House of the Flowers” because of the cantilevered metal terraces that supported flower planters along the terraces at the corners of the building. While the corner balconies were applied to an otherwise quite conventional perimeter apartment block, they suggested a modern attitude about the relationship between solar control and the actual building form, that the building shape could be derived from the need for solar protection. Coderch was experimenting with solar responsive building forms from the early part of his career; overhangs, cantilevered terraces, canted walls, and stepped building forms. Girasol represents the most developed application of these principles with the plans canted for better building orientation, deep-set terraces and overhangs to shade glass, and the positioning of windows for better solar orientation. With Girasol, climatic design was not just limited to window protection and treatment, but was the generative raison d’etre for the whole building. Clever design response to solar issues was having a dynamic impact on the organization of the plan, the shape of the building, the siting, and the position and details of the windows.
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En la planta general, Coderch realiza tres operaciones de interés: por un lado, organiza las viviendas en espina de pez, en diagonal a las fachadas, para sacar todo el partido posible al solar, lograr la necesaria privacidad entre unas viviendas y otras, y buscar las mejores orientaciones; en segundo lugar, singulariza enormemente cada vivienda, separando rotundamente unas de otras con un muro largo y sinuoso, y dándoles casi un valor de vivienda unifamiliar: el edificio se podría entender como suma de bloques de unifamiliares, hasta el punto que cada bloque -hay cinco- tiene su propia escalera y ascensor; por último, Coderch se lleva los patios a los extremos, o mejor, saca los patios a fachada convirtiéndolos en grandes y profundas terrazas.
Las viviendas que se abren a Lagasca se distinguen de las que se asoman a José Ortega y Gasset. Tanto unas como otras funcionan correctísimamente, se basan en el mismo esquema de vivienda unifamiliar y en todas hay un empeño notable por separa las zonas públicas de las privadas; pero las primeras (alargadas y con las grandes terrazas-patio) son más interesantes que las segundas, mayores en superficie y quizá más convencionales. 
La fachada de la calle Lagasca se resuelve con enormes paños ondulados como banderas, rematados con celosías de madera que -además de lograr privacidad en las terrazas y matizar la luz- aligeran el final del plano y lo desmaterializan. En cambio la fachada de Lista es pesada y menos sutil: indudablemente correcta, pero no de primerísima. La otra, en cambio, sí que lo es. El material utilizado (plaqueta cerámica colocada en vertical) unifica el exterior.


Toda la planta baja, desdoblada en dos alturas y destinada a locales comerciales, es muy diáfana y se configura como un pasaje permeable abierto al público. La estructura metálica y el uso de colores claros contribuyen, sin duda, a la ligereza de los bajos del edificio, que quiere flotar por encima de la calle.
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==Planos==
==Planos==
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