‘Initially it was the verb’
Gospel according to San Juan
It starts with this one short verse and I need the last canonical statement of the life, work and Jesús de Nazaret’s miracles. It continues ‘and the verb was with God. And the verb was A God’. Scarcely three lines that summarize the content of the whole Gospel.
Solano Benítez says to the thread of his project ‘4 girders’1, precious honoring to the figure of his father, who is in the repetition the base of the sacred thing. This way, he says, the football is sacred, or the milanesas in house of his mother every Sunday. This way sacralizan the Morente´s quejíos or the pulse of guitar of Aranjuez’s concert. Big what the Paco de Lucía.
Giving valid this affirmation, which I share, we can understand the importance of the word, of the logos, in the religion. Vehicle transmitter of knowledge and to feel, that in his repetition he has collaborated in the diffusion and fret of a message that constitutes the major work of the man.
It is the fundamental word in the full understanding of the architecture as an art that comes out the constructed facts. An art that takes the facts of the man as an object, and that therefore looks for his happiness, dealing this one as the free condition of dangers that Epicuro celebrates. The well-being, cardinal matter, finds satisfaction in the field of the feelings, in the metaphysical thing. It is not alone a question of insulating, not of square meters. We need something more, something that stimulates us to occupy a place, something that provides with sense and emotion to the execution is necessary our trade.
This way, the loss of attention to the word, and with this one to the speech, does not mean but the loss of the sense of the architecture, staying this one diminished to the construction. The understanding of the architecture like this art that tries to unify quantity of stimuli of any nature in pos of facilitating the life of the man, as for his cover, has in the knowledge of the history a fundamental value. We might tint, it has in the tradition, this ‘social accumulated experience that illuminates the present from an immobile distancing’2, one fundamental value.
This accumulated experience, this knowledge, is the only thing that we can inherit. The background of the architecture. Little more it is necessary, the just tools. Geometry, gravity and (des) moderation.
Probably influenced by a recent trend, which looks for the immediacy and the accumulative knowledge, without attention to the superficial thing of this one, the architecture has given a draft towards a dangerous world. And sad. A world in which the ‘poetical thing’ is bad. A world in the one that has been stopped playing, feasting. World of houses of exhibition, without smell. A world in which a project is punished ‘for being too romantic’3. Friends, we have been wrong. Our cities ask for aid us, the schizophrenia that has handled his growth has made us forget completely the beginning on which they were based. We have got lost in constructing greatly and rapidly, in the frenzy, in the CV, in fulfilling period, regulations, certificates and codes, and have forgotten the man, the only and fundamental element of any art, which it does not celebrate but the life, grace and work of these. Of us.
Those who study it in depth, say that the text that Corbusier had Him in his table on having expired was coming to say ‘nothing is transmissible except the thought’.Let’s think if we are not mistaken, if we are not but exiling that one that our own person will come out and will happen to form a part of our figure, which it neither begins with our birth, it does not even finish with our death4.
Let’s recover the word as part of the project of architecture and with her it will turn this critique that so much he throws in the profession is absent, it will turn the process.
And with luck, they will turn the romantic projects.
Jorge Rodríguez Seoane
May 2014. Coruña
2 Francisco Alonso de Santos defines this way the tradition in the conference pronounced Bau-Kunst-Bau On May 31, 1991 in the Technical one of Milan, inside the acts of the Triennale di Milan. Seminar coordinated by Cino Zucchi.
3 In September, 1991 the project presented to the ‘Venice Gateway’ contest by Francisco Alonso de Santos was remaining discarded by his excessive romanticism. It was forming a part of the juror Rafael Moneo.
4 Paraphrasing Francisco Alonso in his text of honoring to Alejandro de la Sota ‘Dies Irae. Alejandro de la Sota in legitimate defense’ The textual phrase says ‘The infancy, the youth and the oldness in each of the human beings are not but secondary situations in comparison with his “figure”, which neither begins with his birth, it does not even end with his death”.
Arquitecto y socio fundador y gerente de Seoane Arquitectura.
Experiencia activa en evaluación de riesgos y plan de negocio, gestión de personal y dirección de proyectos de ejecución.
Gestión de carteras de inversión inmobiliaria, búsqueda de activos singulares y representación de intereses.