{"id":16420,"date":"2021-07-29T13:03:07","date_gmt":"2021-07-29T11:03:07","guid":{"rendered":"https:\/\/behark.com\/h_info\/"},"modified":"2021-07-29T13:03:07","modified_gmt":"2021-07-29T11:03:07","slug":"h_info","status":"publish","type":"page","link":"https:\/\/behark.com\/eu\/h_info\/","title":{"rendered":"h_info"},"content":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” thickness=”90″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1530695981358{padding-right: 15% !important;}”]

\u201cLa val\u00eda o calidad de una obra no se encuentra donde no falta nada, sino m\u00e1s bien, all\u00ed donde no sobra nada.\u201d<\/h5><\/blockquote>[vc_column_text css=”.vc_custom_1557509980949{padding-top: 15px !important;padding-right: 15px !important;padding-bottom: 15px !important;padding-left: 55px !important;}”]Rainer Maria Rilke<\/strong> <\/span>[\/vc_column_text]
\u201cThe aesthetic and moral dimensions of this architecture are in conflict. The former presumes absolute subjective control, the latter discretion towards and openness to the architecture's context. A resolution is attempted through a reduction of both the aesthetic and moral aspects, leading to an expression of blankness and emptiness. The architecture's laconic stance distances it from readable architectural statements; its silence is its strongest statement.\u201d<\/h5><\/blockquote>[vc_column_text css=”.vc_custom_1557510040138{padding-top: 15px !important;padding-right: 15px !important;padding-bottom: 15px !important;padding-left: 55px !important;}”]Irina Davidovici<\/strong>, Forms of Practice<\/span><\/p>\n

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\u201cDe eso tratar\u00edan las obras de retaguardia, que funcionar\u00edan como trajes protectores ante la facilidad \u00edgnea de una \u00e9poca que arde por multiplicaci\u00f3n, por abundancia, por sobreexposici\u00f3n, por cantidad, por las cifras incontables, y por el triunfo definitivo de lo posible sobre lo necesario.\u201d<\/h5><\/blockquote>[vc_column_text css=”.vc_custom_1624815670426{padding-top: 15px !important;padding-right: 15px !important;padding-bottom: 15px !important;padding-left: 55px !important;}”]Iv\u00e1n de la Nuez<\/strong>, Teor\u00eda de la Retaguardia
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\u00a0<\/strong><\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” thickness=”30″][vc_gallery type=”image_grid” images=”16243,16244″ img_size=”full” column_number=”2″ grayscale=”no” images_space=”gallery_with_space”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1530695932517{padding-right: 10% !important;padding-left: 10% !important;}”][vc_column_text]behark<\/strong>\u00a0 be h<\/strong> architecture \/ izan h<\/strong> arkitektura<\/span><\/p>\n

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Euskal Herriko arkitektura estudio handietan hamar urtez lan egin ostean, non Carlos Ferrater edota coop himmelb(l)au bezalako arkitektoekin batera aritzeko aukera izan zuten, Gentzane Goikuria (1976) eta Be\u00f1at Saratxaga (1975) Donostiko Arkitektura Goi eskola Teknikoan ikasitako arkitektoak, behark<\/strong> plataforma sortzen dute 2009an. behark<\/strong> arkitektura, diseinua eta arteetako profesional ezberdinen kolaboraziorako bideak uztartzeko sortzen da, diseinu arkitektoniko eta hirigintza lanak garatzeko asmoz, ondoko premisa nagusi hauetatik abiatuta:<\/span><\/p>\n

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beha_<\/strong> analisia eta behaketa<\/span><\/p>\n

behar_<\/strong> beharrezko arkitektura<\/span><\/p>\n

h_<\/strong> arkitektura isila<\/span><\/p>\n

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Behaketatik abiatzen den arkitektura bat, beharretan oinarritzen dena, eta beharrezkoa dena soilik planteatzen saiatzen dena. behark<\/strong>ek, arkitektura isil bat planteatzen du, ez harroa baizik eta umila, hortik h hizkiak logoan duen garrantzia.<\/span><\/p>\n

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Lantaldea enkargu eta lan bakoitzera egokituz , behark<\/strong>ek mota askotariko lanak ekitea ahalbideratzen digu, obra berria, birgaitze eta berregokitze lanak, hirigintza eazterlanak, etb. Hiri birsorkuntza lanei dedikazio bereziaz ekinez beti, jasangarritasunaren ikuspegitik abiatuta eta herri partaidetza sustatuz espazio publikoaren diseinuan (eta gozamenean).<\/span>[\/vc_column_text][vc_separator type=”transparent” thickness=”30″][vc_column_text]arquitectos directores_<\/strong>Be\u00f1at Saratxaga y Gentzane Goikuria, ambos arquitectos titulados en la ETSA de Donostia.<\/p>\n

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equipo colaborador 2009\/2021_<\/strong> Asier Madarieta (arquitecto ETSASS), Garazi Sanchez (arquitecta ETSASS) Ainhize Tejedor (arquitecta ETSASS), Irantzu Escurza (arquitecta ETSASS), Esti Iriarte (arquitecta ETSASS), Unai Apraiz (arquitecto ETSASS), Zuri\u00f1e Burgoa (arquitecta ETSASS), Jone Miren Miguel Rodr\u00edguez (estudiante arquitectura), Aritz Aurtenetxe (estudiante arquitectura)<\/p>\n

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colaboradores habituales_ <\/strong>Urbanbat, Grafiksarea, Estudio Dunak, Urrelan, Hiria kolektiboa, MIM arquitectos, LKS, DK muralismo, Minteguia y Bilbao Arquitectos (Estructuras), Javier Eskubi (Estructuras), Estructuras IDE, Enrique Ugarte (arq ETSASS) Raquel Olivo (arq ETSAUN), Oihane Ruiz (arq ETSASS), Amaia Albeniz (arq ETSASS), Olalla Pascual (arq ETSASS), Juan Luis Urresti (Arquitecto T\u00e9cnico), Andr\u00e9s Fernandez (Arquitecto T\u00e9cnico), Mikel Ibarluzea MIB (Fotograf\u00eda)[\/vc_column_text][\/vc_column][vc_column width=”1\/6″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_separator type=”transparent” thickness=”90″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/6″][\/vc_column][vc_column width=”2\/3″ css=”.vc_custom_1530695981358{padding-right: 15% !important;}”][vc_column_text css=”.vc_custom_1557509980949{padding-top: 15px !important;padding-right: 15px !important;padding-bottom: 15px !important;padding-left: 55px !important;}”]Rainer Maria Rilke [\/vc_column_text][vc_column_text css=”.vc_custom_1557510040138{padding-top: 15px !important;padding-right: 15px !important;padding-bottom: 15px !important;padding-left: 55px !important;}”]Irina Davidovici, Forms…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-16420","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t