Do you know Louis Kahn’s work? | Óscar Tenreiro Degwitz

I know that the facts will be revealing the immense lie through that we live here. And without stopping being alert I insist on going beyond her. I take so again, the topic of my visit to the Bauhaus Universität in Weimar, Germany, remembering on what already I commented it brings over of my desire to explain of what way the circumstances of our practice determine us.

The distances with Europe and specifically with Germany they are certainly enormous, and together with the effect of the marketing included of the architecture, establish a filter for the comprehension of the points of view that us are own. The world crisis has put in review the absurdities of the architecture of the spectacle, but anyhow there are important distances between them and we. However much the educational orientation of the teacher responsible for the course who listened to me, Karl Heinz Schmitz ( bases on a rigorous moderation, the last word continues having the media world always addicted to the news thing beyond any personal sermon that we could call compensatory.

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On the other hand, the moderation (containment, austerity, sobriety) can mean different things according to whom he handles these words. In these times little associated with the simplicity. Or if it it was, it would be a simplicity that nothing had of simple, born as intellectual springs, as says across one of his prominent figures (Doktor Faustus) Thomas Mann. Simple being there is not the same thing that it to be here. The cultural distance – económica-política marks our way of understanding the word or to apply it to what we do. And the only way of making the sermon more precise is inside the same discipline, not in what we say on her. We have to show a certain architecture and say: this is what I affirm.


óscar tenreiro

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Óscar Tenreiro Degwitz

Es un arquitecto venezolano, nacido en 1939, Premio Nacional de Arquitectura de su país en 2002-2003, profesor de Diseño Arquitectónico por más de treinta años en la Universidad Central de Venezuela, quien paralelamente con su ejercicio ha mantenido ya por años presencia en la prensa de su país en un esfuerzo de comunicación hacia la gente en general de los puntos de vista del arquitecto acerca de los más diversos temas, entre los cuales figuran los agudos problemas políticos de una sociedad como la venezolana. Tenreiro practica así lo que el llama el “pensamiento desde y hacia la arquitectura”, insistiendo en que lo hace como arquitecto en ejercicio, para escapar de los estereotipos y cautelas propios de la “crítica arquitectónica”. Respecto a la cual no oculta su desconfianza, que explica recurriendo al aforismo de Nietzsche sobre el crítico de arte “que ve el arte desde cerca sin llegar a tocarlo nunca”.

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