{"id":10574,"date":"2023-10-25T13:33:06","date_gmt":"2023-10-25T06:33:06","guid":{"rendered":"https:\/\/notesbook.vn\/?p=10574"},"modified":"2023-10-25T13:43:02","modified_gmt":"2023-10-25T06:43:02","slug":"torres-de-satelite","status":"publish","type":"post","link":"https:\/\/notesbook.vn\/en\/architecture\/torres-de-satelite\/","title":{"rendered":"Torres de Sat\u00e9lite"},"content":{"rendered":"\n<p>Torres de Sat\u00e9lite is a national landmark consisting of five vertical prisms in concrete, located at the south entrance of Ciudad Sat\u00e9lite, one of the first new towns to be developed outside the administrative boundaries of Mexico City\u2019s Federal District. The monumental work was soon acknowledged as one of Barrag\u00e1n\u2019s major achievements and enjoyed widespread international recognition.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"746\" height=\"1000\" loading=\"lazy\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132103\/1-4.jpeg\" alt=\"\" class=\"wp-image-10552\"\/><noscript><img decoding=\"async\" width=\"746\" height=\"1000\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132103\/1-4.jpeg\" alt=\"\" class=\"wp-image-10552\"\/><\/noscript><\/figure>\n\n\n\n<p class=\"has-small-font-size\">View of the towers with the altered colour palette applied in the late 1950s. Photo Armando Salas Portugal<\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1163\" height=\"1000\" loading=\"lazy\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132130\/2-4.jpeg\" alt=\"\" class=\"wp-image-10554\"\/><noscript><img decoding=\"async\" width=\"1163\" height=\"1000\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132130\/2-4.jpeg\" alt=\"\" class=\"wp-image-10554\"\/><\/noscript><\/figure>\n\n\n\n<p class=\"has-small-font-size\">Preliminary masterplan for Ciudad Sat\u00e9lite, dated May 1956, as preserved in the Barrag\u00e1n Archive.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>While over the years the towers became one of the iconic features of the capital, the urban environment and the oval traffic island on which they stand changed dramatically, altering their setting and visual effect.<\/p>\n\n\n\n<p>Ciudad Sat\u00e9lite was planned in 1954 by Mario Pani\u2019s office, Taller de Urbanismo, following a new policy preventing further densification of the Federal District of Mexico City. It is accessed via the Mexico City\u2013Quer\u00e9taro motorway, one of the main arteries exiting the capital towards the northeast. The new settlement was intended for a population of 150,000\u2013200,000 over an area of approximately 800 hectares. It was conceived as an autonomous urban entity with a road infrastructure that would facilitate motorized circulation by avoiding junctions and traffic signals. Pani called on Barrag\u00e1n to contribute to this plan.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>The focus of the commission was to create a powerful visual reference point that could be used in the promotional campaign for Ciudad Sat\u00e9lite and would also serve as a highly visible marker from the motorway. Barrag\u00e1n invited the artist Mathias Goeritz, a personal friend of his, to join in the project. The task of producing such a landmark appealed to their shared interest in a new, more abstract form of urban monumentality.<\/p>\n\n\n\n<p>In the first months of 1957, a composition of several vertical volumes was developed. According to statements by both Barrag\u00e1n and Goeritz, the idea was inspired by two archetypal skylines \u2013 the Tuscan town of San Gimignano with its medieval tower houses, and the New York borough of Manhattan with its modern skyscrapers. Further work on the preliminary concept led to a final design proposal consisting of five towers in the shape of triangular prisms, rising between approximately thirty-seven and fifty-seven metres. Along with this spatial and volumetric configuration, alternate colour schemes were developed, proceeding from the first conceptual sketches and preliminary renderings to numerous experiments on a three-dimensional model. The chromatic composition that was initially executed in the early months of 1958 contrasted three white towers with one painted in orange and another in yellow. Shortly afterwards, one of the three white prisms was repainted in blue. The landmark was again refurbished in 1967, this time with a palette consisting exclusively of bright orange and yellow hues.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"805\" height=\"1000\" loading=\"lazy\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132144\/3-4.jpeg\" alt=\"\" class=\"wp-image-10556\"\/><noscript><img decoding=\"async\" width=\"805\" height=\"1000\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132144\/3-4.jpeg\" alt=\"\" class=\"wp-image-10556\"\/><\/noscript><\/figure>\n\n\n\n<p class=\"has-small-font-size\">Working model with original colour palette. Photo Armando Salas Portugal<\/p>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns alignwide is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" width=\"1288\" height=\"1000\" loading=\"lazy\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132201\/4-5.jpeg\" alt=\"\" class=\"wp-image-10558\"\/><noscript><img decoding=\"async\" width=\"1288\" height=\"1000\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132201\/4-5.jpeg\" alt=\"\" class=\"wp-image-10558\"\/><\/noscript><\/figure>\n\n\n\n<p class=\"has-small-font-size\">Aerial view of Ciudad Sat\u00e9lite under construction with the towers completed, dated 6 June 1958. Photographic print preserved in the Barrag\u00e1n Archive. Photo Compa\u00f1\u00eda Mexicana Aerofoto \u00a9 Fundaci\u00f3n ICA, Mexico City<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The towers were built in a single phase, prior to the residences and facilities that were soon to occupy the surrounding area. Several aerial photographs taken in late 1957 and June 1958 show the bare prisms cast in concrete, standing tall in an elongated traffic island at the centre of the freeway, amidst a landscape of outlined roads and empty plots.<\/p>\n\n\n\n<p>One of the effects pursued by Barrag\u00e1n and Goeritz in the design and configuration of the ensemble involves the dynamics of how it is perceived. For those travelling from the south, leaving the capital behind and driving up the motorway, the towers appear as sharp blades, with their pointed edges increasingly accentuated upon approach. In contrast, as one proceeds alongside the traffic island, they transform into flat rectangular planes of unexpectedly imposing proportions. To those approaching the city from the north, the prisms stand out against the urban landscape like a dense composition of slender, tall towers. All these contrasting visual impressions dwell in the mind of the viewer, conjuring up a multifaceted image of the landmark, one with a distinctly urban character, uncanny and familiar at the same time.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>In the spring of 1968, a controversy arose between Barrag\u00e1n and Goeritz over the project\u2019s authorship, partly driven by its wide international exposure as a campaign image to promote the Mexico City Olympic Games. After a number of publications omitted or marginalized Barrag\u00e1n\u2019s role, he wrote a memorandum reconstructing in detail the evolution of the design process and his contribution to the joint concept. Once made public, the issue escalated in a flurry of articles and press interviews, with Barrag\u00e1n and Goeritz persisting in their opposing positions and ultimately sacrificing the personal friendship and professional partnership that had proven so fruitful for both. The bitter dispute was resolved many years later, in August 1987, thanks to the mediation of their mutual friend Ignacio D\u00edaz Morales, who asked Barrag\u00e1n and Goeritz to sign a document attesting to the work\u2019s shared authorship. Irrespective of the dispute, what remains is an austere and powerful landmark of singular impact and fascination, well advanced for the time of its conception and construction, a unique fusion of art and architecture.<\/p>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"787\" height=\"1000\" loading=\"lazy\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10562\" data-id=\"10562\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132236\/5-4.jpeg\"\/><noscript><img decoding=\"async\" width=\"787\" height=\"1000\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10562\" data-id=\"10562\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132236\/5-4.jpeg\"\/><\/noscript><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Quang c\u1ea3nh c\u00e1c t\u00f2a th\u00e1p v\u1edbi m\u00e0u cam v\u00e0 v\u00e0ng \u0111\u01b0\u1ee3c ch\u1ee5p n\u0103m 1967. \u1ea2nh: Armando Salas Portugal<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"1263\" height=\"999\" loading=\"lazy\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10564\" data-id=\"10564\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132246\/6-4.jpeg\"\/><noscript><img decoding=\"async\" width=\"1263\" height=\"999\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10564\" data-id=\"10564\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132246\/6-4.jpeg\"\/><\/noscript><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Quang c\u1ea3nh c\u00e1c t\u00f2a th\u00e1p v\u1edbi m\u00e0u cam v\u00e0 v\u00e0ng \u0111\u01b0\u1ee3c ch\u1ee5p n\u0103m 1967. \u1ea2nh: Armando Salas Portugal<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"1259\" height=\"1000\" loading=\"lazy\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10566\" data-id=\"10566\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132306\/7-4.jpeg\"\/><noscript><img decoding=\"async\" width=\"1259\" height=\"1000\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10566\" data-id=\"10566\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132306\/7-4.jpeg\"\/><\/noscript><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">B\u1ee9c \u1ea3nh \u0111en tr\u1eafng ch\u1ee5p c\u00e1c t\u00f2a th\u00e1p n\u0103m 1967. \u1ea2nh: Armando Salas Portugal<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img decoding=\"async\" width=\"816\" height=\"1000\" loading=\"lazy\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10569\" data-id=\"10569\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25133149\/8-4.jpeg\"\/><noscript><img decoding=\"async\" width=\"816\" height=\"1000\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-10569\" data-id=\"10569\" src=\"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25133149\/8-4.jpeg\"\/><\/noscript><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Qu\u00e1 tr\u00ecnh thi c\u00f4ng. \u1ea2nh: Marianne Goeritz<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-dots\"\/>\n\n\n\n<p class=\"has-small-font-size\"><strong>Source<\/strong><br>Barrag\u00e1n Foundation<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Torres de Sat\u00e9lite is a national landmark consisting of five vertical prisms in concrete, located at the south entrance of Ciudad Sat\u00e9lite, one of the first new towns to be developed outside the administrative boundaries of Mexico City\u2019s Federal District. The monumental work was soon acknowledged as one of Barrag\u00e1n\u2019s major achievements and enjoyed widespread international recognition. View of the towers with the altered colour palette applied in the late 1950s. Photo Armando Salas Portugal Preliminary masterplan for Ciudad Sat\u00e9lite, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":10557,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[10],"tags":[],"class_list":["post-10574","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-architecture"],"jetpack_featured_media_url":"https:\/\/s3.ap-northeast-1.amazonaws.com\/media.notesbook.vn\/wp-content\/uploads\/2023\/10\/25132144\/3-4.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/posts\/10574","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/comments?post=10574"}],"version-history":[{"count":0,"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/posts\/10574\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/media\/10557"}],"wp:attachment":[{"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/media?parent=10574"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/categories?post=10574"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/notesbook.vn\/en\/wp-json\/wp\/v2\/tags?post=10574"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}