Last night I was supping on in Dolly’s house and Santiago Ríos, and it told me that a few weeks ago it was in his chaotic study and, since apparently it happens often, there fell to the soil one of his numerous and enormous boxes full of papers, staying at sight a few old letters of his, deceased friend precisely the same day of 2014, and the cut of a newspaper of a qualified article: «Oriol Bohigas: An architect against the Cinema», since it knew that I was going to be going to have dinner, he guarded it to give it to me. Last night I guarded it in the pocket without reading it and this morning on having seen it I realized that the article had written it I was doing twenty-four years.
Leaving apart the chances, if it is that they exist, what here might be interested is the article in question, published in the Diario de Avisos on Sunday, the 16th of June, 1991, in which I commented of a very virulent form on a few reflections of Bohigas relative to the cinema and especially to the Spanish. The architect in his memories writes on the Prize Prince (now Princess) of Asturias of the Arts of the year 1986 in the one that was sworn and wanted that it was given to Francisco Javier Sáenz de Oiza, but it was granted to Luis García Berlanga by what:
«if there had won a filmmaker of Buñuel’s height, or if in general the Spanish cinema was a cultural phenomenon of certain importance, one might have justified Oiza’s elimination, which at least was representing a more serious enough artistic attitude and, in Spain, with a level infinitely superior to that of the supposed art of the cinema. I must admit that I am not be very sure of the artistic parameters of the cinema – of the ” Seventh Art ” – and much less those of the Spanish cinema. It would be said that till now it has been in hands of failed people in other artistic, refugee fields in an actividad that takes so many lacks as alibis»
and later he transcribes Pilar Miró´s comment that also was in this juror:
«It of the architecture instead of being in the Prize of the Arts, should not it include in that of Scientific and Technical Investigation?»
and Bohigas astonishes:
«already I have said before that it on the cinema feeds in Spain raised levels of lack of refinement».
As was saying the mentioned one Buñuel:
«now I am old and my violence has calmed down»,
for what I am not going to repeat my vehement opinions of then in opposition to what he wrote Bohigas, only I am going to copy the end of the article:
«This way of thinking about the own activity as “the navel of the world”, is the one that leads to the atrocious lack of refinement that today [in 1991] we suffer».
Today, in 2015, I do not believe neither that nor the cinema, nor the architecture, they should be considered to be “arts” and in addition lucky, because when like that it has happened, they have produced movies and, even worse, execrable buildings; but this one is another more wide discussion and this blog is neither the nor place now the moment to approach it. Certainly, thanks to Santiago for having recovered a part of my memory and propitiating this entry to the blog.
Jorge Gorostiza, arquitecto.
Author of the blog Arquitectura+Cine+Ciudad
Santa Cruz de Tenerife, may 2015
Doctor arquitecto, proyecta y construye edificios y desarrolla trabajos de urbanismo. Desde 1990, publica numerosos artículos sobre cine y arquitectura en medios de su localidad, revistas como Nosferatu, Nickleodeon, Academia, Lateral, Cahiers du Cinema… y en varios volúmenes colectivos. Entre el 2000 y el 2005 dirige la Filmoteca Canaria. Imparte conferencias sobre arquitectura y cine en instituciones como el CAAM en Gran Canaria, la UIMP, el CENDEAC en Murcia, INCUNA en Gijón, Fundación Telefónica, la ETS de Arquitectura y el CCCB de Barcelona, las ETS de Arquitectura de La Coruña, Sevilla, Valencia y SEU madrileña, La Ciudad de la Luz en Alicante, la UNED en Pamplona, en varios colegios de arquitectos, así como en las universidades del País Vasco, Gerona, Valladolid, Málaga, Granada, SEK en Segovia y CEES de Madrid. Jurado en varios festivales cinematográficos, como los de Alcalá de Henares (2001), San Sebastián (2002), Sitges (2003), Las Palmas (2005) y Documentamadrid (2005), y comisario de las exposiciones Constructores de quimeras. (Centro Conde Duque, Madrid, 1999) y La arquitectura de los sueños (Capilla del Oidor, Alcalá de Henares, 2001).
He publicado bastantes libros y muchos artículos, he impartido conferencias, he sido comisario de exposiciones y jurado en muchísmos festivales. Si quieren saber más no duden en consultar mi blog ARQUITECTURA + CINE + CIUDAD.