cuna. En las naves centenarias se destacan las cubiertas de cerchas de madera hachuelada, caña, barro y chapa de cinc. La clásica vivienda rural del propietario, con galería doble, cerraba el patio principal y hoy se utiliza como administración. En un recorrido por todo el complejo puede apreciarse el crecimiento sostenido de las instalaciones a lo largo de su historia, en especial la transformación de la década de 1940, en donde además de ampliarse la bodega se incorpora nueva tecnología.
MAIPÚ
and instruments related to the region’s wine-producing activities from both the pre-industrial and industrial periods. In 1997, the 4,000 items that had been collected were arranged to create an educational itinerary, now also including elements from daily life, such as carts and cars, ironwork accessories, saddles and harnesses. A collection of religious statuary comprising 600 wood carvings completes the rich heritage of La Rural. The majority of the spaces, both interior and exterior, are used for displaying the museum items. For instance, ancient carriages and original equipment adorn the old labour yard, the open-air space typically found in wineries at the beginning of the 20th century. This site was the genuine heart of the complex and was defined by constructions on three of its sides. The perimetric adobe walls have been painted in a dusty pink colour, in the fashion of the old tones achieved by mixing lime and cow’s blood. Outstanding elements of the old warehouses are the truss roofs based on hewn wood, reeds, clay and sheets of zinc. The typical rural dwelling of the owner, with its double veranda, sealed the main courtyard and is now used as office space. A complete tour of the complex reveals the sustained growth of the facilities over the years, particularly the transformation conducted in the 1940s when the winery was extended and equipped with new technology.
GRAN MENDOZA
GRAN MENDOZA
Recorrido 9
142
J4
Casa de Lucila Bombal Lucila Bombal House Ruta provincial 50 s/n. Rodeo del Medio 1912
N
This dwelling is one of the most important in terms of Mendozan residential heritage and originated as a summer home for the Bombal family. It was christened Casona de San Ignacio [St Ignatius Mansion] after the owner’s husband. It corresponds to the model of a suburban villa, characterised by a classical composition articulated around a cloister-like courtyard. An outstanding element of this richly articulated complex is the attic level above the main axis, which serves as the main motif of the north (rear) façade. The idiom used is eclectic in that it combines elements of different styles, such as neoclassical porticoes, an Italian-style courtyard and Art Nouveau ornamentation. Two different techniques have been used for the external walls. While the main façades display the use of brick, the lateral façades are based on very thick adobe. In 1955, on the death of the owner, the mansion was donated to the provincial government to serve as a small hospital. Hence, a health centre was constructed on the west section of the plot, independently accessed from the road, both as a means of fulfilling the wishes of Lucila Barrionuevo de Bombal and at the same time preserving the house for cultural purposes. In the late 1980s, the GRHIS (Historical Rescue Group) embarked on the remodelling of the dwelling to adapt it to accommodate the Rodeo del Medio Cultural Centre. This institution has embarked on the restoration of the complex, and little by little the original appearance is being recovered. The front rooms have already been restored, as have the central courtyard and surrounding gardens and forests.
La vivienda es una de las más significativas del patrimonio residencial mendocino y se gesta como casa de veraneo de la familia Bombal. Se bautiza como Casona de San Ignacio, en homenaje al esposo de su propietaria. Corresponde al modelo de las villas suburbanas, caracterizadas por una composición clásica realizada a partir de un esquema con patio claustral. Sobresale en este conjunto de rica articulación morfológica el altillo ubicado en el remate del eje principal, motivo principal de la fachada norte (contrafachada). El lenguaje utilizado es ecléctico ya que conviven en la obra elementos de diferentes vertientes, como sus pórticos de tipo neoclásico, el patio de inspiración italianizante y los ornamentos art nouveau. Coexisten, por otro lado, dos tecnologías para los muros exteriores. Mientras en las fachadas principales se emplea mampostería de ladrillo, en las laterales, se utiliza mampostería de adobe de gran espesor. En 1955 y a la muerte de su dueña, la casona es donada al Gobierno Provincial para que funcionara en ella un microhospital. Es así como se construye un centro de salud en el sector oeste del predio –y con acceso independiente desde el carril– con el objeto de, por un lado, cumplir con la voluntad de Lucila Barrionuevo de Bombal y, a la vez, preservar la casa con fines culturales. A fines de los 80 y por iniciativa del GRHIS (Grupo de Rescate Histórico) se gestiona la refuncionalización de la vivienda para convertirla en el Centro Cultural de Rodeo del Medio. Esta institución asume la puesta en valor del conjunto, que poco a poco va recuperando su fisonomía original. Ya se han restaurado las habitaciones frontales, el patio claustral y los jardines y bosques perimetrales.
305
304
índice
anterior
siguiente