It is necessary to read Borges | Jorge Rodríguez

Luis Buñuel. There are moments to recite poetry and there are moments for boxear5.

It is necessary to read Borges1

Roberto Bolaño was writing in his novel 2666 on the cowardice of the reader on having faced the big classic ones. He was saying: “they want to see the big teachers in meetings of fencing of training, but they do not want to know anything of the combats indeed, where the big teachers fight against that one, this that one that frightens his all, this that one that acoquina and encacha, and there is blood and mortal wounds and fetidity.” 2

Probably guided by the pathological hurry that invades the contemporaneousness, increasingly brief, the artistic panorama in general, and for ende the architectural one, they have met infected of this cowardice that the Chilean was venturing. Because the way in which an adult faces Moby Dick, does not differ from the form in that diseccionamos every Leça de Palmeira’s corner or we re-draw every Castellvecchio‘s break-down. Both two need from a fundamental component, time. And therefore, to be abstracted of the contagious speed that marks the tempo of the trends. To do an exercise of reflection and apprehension that allows us to estimate the value of these wounds and scars that define the face of whom it forms a part of the history. Of whom it took part in the big combats.

And this way, like the writers, the architects we have to be formed not only across the frontal education, but across the reading. Reading that in our case takes place across the drawing, of the photography, the apprehension, of the trip, the copy and imitation, of losing the fear of incorporating that one that has left us in inheritance. The knowledge of the history has to be promoted, from the schools, as an active tool and not as a discipline foreign to the process of gestation of a project, to make understand that not only the current thing is contemporary. To lose the fear to be raised to shoulders of those giants that they allow us to see beyond about that Bernardo de Chartres was speaking.

As good Jorge Meijide said in a previous article3, “the architects, as the writers, we play at composing our respective works with inherited elements”, and that better inheritance that the legacy of the big teachers in his more powerful works, the way crossed from the first readings and sketches that derive in the last details that they do of each of the parts of the project, a doctoral thesis. The elements inherited from the big works need still from more work of shelling and compression to be able to be useful at the moment of a project to elaborate that the wickers given by minor’s works intellectual packing. It is for it that his adhesion to our retahíla of resources before the opportunities that there offers us each of the problems that arise in any artistic production, contributes a worthy satisfaction of the attacked effort.

Because as Bolaño was saying, there is a that one that frightens his all. There are problems, questions and common dreads, which along the history they have never been finding different solutions, definitive or exclusive, that allow us to be forming our own answers in the first stages of formation, later to develop and to put into practice. It is a labor that it is necessary to attack saucily and to pause, with hunger of knowledge and time to assimilate it. Because it is not a chance that the artists of the 20th century realized his big trips before the treintena.

Facing the discovery of the big works that the history has been leaving us in lending, it will be since let’s form a suitable amalgam of knowledge in order that on having realized an intellectual cut, we find the sufficient tools to be translated in architecture, literature, cinema or which is the language that prefiramos. This way he is like the authors of Bolaño they managed to gain the big battles.

Because it is not a chance either that the big trips were crossing Italy in search of the land in which the Gatopardo the water and the loneliness found4 necessary in order that everything was changing, and in turn, it was continuing like always.

jorge rodríguez seoane

palermo. october, 2012


[1] Understand itself, besides since recommendation, since I wink the brilliant one “Consejos sobre el arte de escribir cuentos” brilliant orders written by Roberto Bolaño for his column In brackets of the Diari of Girona. All of them gathered in the homonymous book.

Bolaño, R: Entre Paréntesis. Barcelona, Ed. Anagrama. 2004

[2] Bolaño, R: 2666.Barcelona, Ed. Anagrama.2004

[3] Fragment of “El Gatopardo lee a Stevenson” article written by the architect Jorge Meijide for the same web page in June, 2012.

[4] “Dos cosas son necesarias en cualquier paraje donde nos propongamos pasar la vida: soledad y agua.” Summarize of: Stevenson, R.L: La casa ideal y otros textos. Madrid, Ed. Hiperión. 1998

[5] Bolaño, R: Los detectives salvajes. Barcelona, Ed. Anagrama. 1998

Jorge Rodríguez Seoane

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.

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