{"id":12092,"date":"2011-03-28T06:10:28","date_gmt":"2011-03-28T06:10:28","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=12092"},"modified":"2022-09-23T20:03:04","modified_gmt":"2022-09-23T18:03:04","slug":"paradigmas-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/paradigmas-jorge-gorostiza\/","title":{"rendered":"Paradigmas | Jorge Gorostiza"},"content":{"rendered":"

[:es]<\/p>\n

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Navegando por la Red he encontrado una vieja p\u00e1gina de la Fundaci\u00f3n Telef\u00f3nica donde est\u00e1n todas las conferencias que se impartieron en el curso Proyecciones y Utop\u00edas de la Vanguardia, El desarrollo de la modernidad arquitect\u00f3nica visto a trav\u00e9s de la historia del cine<\/em>, entre el 9 de octubre y el 13 de noviembre de 2007, desarrollado en la sede de la Telef\u00f3nica en la Gran V\u00eda madrile\u00f1a. El curso lo dirigi\u00f3 con mano f\u00e9rrea David Rivera y los ponentes fuimos por orden de intervenci\u00f3n, el perpetrador de este blog, Vicente S\u00e1nchez-Biosca, Jos\u00e9 Manuel Garc\u00eda Roig, Andr\u00e9s Hispano, el propio David Rivera G\u00e1mez e I\u00f1aki \u00c1balos.<\/p>\n

Les recuerdo que se public\u00f3 un libro, cuya cubierta reproduzco, con las conferencias.<\/p>\n

Por supuesto que no me he visto, porque me da una verg\u00fcenza espantosa, pero s\u00ed he aprovechado para ver a los otros ponentes y les aseguro que hay intervenciones estupendas. Si quieren ver y o\u00edr las ponencias, basta con\u00a0pinchar aqu\u00ed.<\/p>\n

Reproduzco a continuaci\u00f3n el principio de mi art\u00edculo \u00abProyecciones y utop\u00edas de la vanguardia: La arquitectura moderna en el cine fant\u00e1stico (1920 – 1950)\u00bb<\/strong>, publicado\u00a0en el libro antes mencionado:<\/p>\n

\n

\u00abEl famoso arquitecto vien\u00e9s Hjalmar Poelzig se incorpora lentamente en su lecho, es de noche y s\u00f3lo se intuye su fisonom\u00eda gracias a su negra silueta, recortada sobre una mampara trasl\u00facida iluminada por detr\u00e1s. Poelzig en realidad es una de las personificaciones del ingl\u00e9s William Henry Pratt, m\u00e1s conocido por el seud\u00f3nimo Karloff, y uno de los protagonistas de la pel\u00edcula titulada en Espa\u00f1a Satan\u00e1s<\/em>, aunque su t\u00edtulo original fuera The Black Cat<\/em>, dirigida en 1934 por Edgar George Ulmer.<\/p>\n

I.- 1920, Alemania
\nCatorce a\u00f1os atr\u00e1s, Berl\u00edn verano de 1919, un joven de veintinueve a\u00f1os, que trabaja como decorador en la compa\u00f1\u00eda teatral de Max Reinhardt, va a estar dos meses en paro; por casualidad se encuentra a un amigo, al escen\u00f3grafo Rochus Gliese, que le propone: \u00bfPor qu\u00e9 no vienes conmigo y trabajas en una pel\u00edcula? \u00c9l le responde: \u00bfQu\u00e9 clase de trabajo, si ya tienen un escen\u00f3grafo en la pel\u00edcula, el profesor Poelzig? Pero termina dej\u00e1ndose convencer por Gliese, el trabajo al principio consiste en recortar siluetas para ponerlas delante de la c\u00e1mara. La pel\u00edcula se titular\u00eda El Golem<\/em> y el joven se llamaba Edgar G. Ulmer. Muchos a\u00f1os despu\u00e9s el propio Ulmer le contaba a Peter Bogdanovich que tras trabajar dos semanas en la pel\u00edcula \u00abestaba construyendo decorados, porque a Poelzig no le importaba\u00bb .<\/p>\n

1920 fue un a\u00f1o decisivo para un arte cuyos espectadores ya llevaban un cuarto de siglo pagando por verlo. Ese a\u00f1o se estrenaron en Alemania El gabinete del Dr. Caligari<\/em> (Das Cabinet des Doktor Caligari<\/em>, Robert Wiene), Genuine<\/em> (Robert Wiene), El Golem<\/em> (Der Golem, wie er in die Welt kam<\/em>, Paul Wegener) y Algol <\/em>(Hans Werckmeister). Todas ellas pertenecen al g\u00e9nero fant\u00e1stico y por el aspecto de sus espacios se han considerado dentro del expresionismo.<\/p>\n

No es este el lugar para definir el g\u00e9nero fant\u00e1stico, basta con la noci\u00f3n intuitiva y sencilla que se tiene sobre las pel\u00edculas que pueden agruparse en este g\u00e9nero. Tampoco se va a incidir en las relaciones entre la arquitectura y el llamado cine expresionista, que ya se han tratado en otras ocasiones, s\u00ed hay que repetir las enormes diferencias que hay entre la ampl\u00edsima relaci\u00f3n de pel\u00edculas incluidas por algunos autores en este movimiento, cuyas caracter\u00edsticas tienen poco en com\u00fan entre s\u00ed, como asimismo le sucede a muchas obras y proyectos de la arquitectura tambi\u00e9n denominada expresionista. M\u00e1s realista es la tesis de J\u00fcrgen Kasten, que considera s\u00f3lo siete cintas expresionistas.<\/p>\n

Sin duda la m\u00e1s famosa de ellas es El gabinete del Dr. Caligari<\/em>, que incluso gener\u00f3 el adjetivo \u00abcaligarismo\u00bb, sus extra\u00f1os espacios se justifican porque son parte del sue\u00f1o del protagonista, pero en Genuine<\/em>, siguiente pel\u00edcula de Wiene, no hay justificaci\u00f3n alguna para unos espacios, como los de El gabinete del Dr. Caligari<\/em>, donde los personajes deambulan entre planos inclinados, llenos de l\u00edneas y figuras geom\u00e9tricas, muchas veces comparados despectivamente con telones pintados, rest\u00e1ndoles importancia por ser una imitaci\u00f3n del teatro, cuando en realidad son m\u00e1s avanzados que otros de pel\u00edculas coet\u00e1neas, unos espacios creados por el pintor, escen\u00f3grafo y decorador de interiores Cesar Klein.<\/p>\n

El t\u00edtulo completo de esta pel\u00edcula es Genuine, die Trag\u00f6die eines seltsamen Hauses<\/em> (Genuine la tragedia de una casa extra\u00f1a<\/em>) porque la mayor\u00eda de su metraje discurre en la casa donde est\u00e1 confinada la protagonista, que domina a los hombres de su entorno gracias a sus poderes esot\u00e9ricos. Esta casa tiene varios interiores asombrosos, dos dormitorios con paredes llenas de l\u00edneas quebradas y un extra\u00f1o aposento, donde por fin asesinan a la protagonista, con ruedas dentadas en movimiento y otros artilugios; para acceder a su interior hay que atravesar un jard\u00edn bastante convencional, pero tiene una extraordinaria fachada, construida en tres dimensiones, dif\u00edcil de encuadrar dentro del expresionismo y que se anticipa muchos a\u00f1os a las de edificios de profesionales como por ejemplo Robert Stern y otros de la denominada arquitectura posmoderna de los ochenta, confirmando que las analog\u00edas formales, tantas veces empleadas por varios autores, que demuestran sus alardes manejando informaci\u00f3n visual, no tienen m\u00e1s fundamento que remotas semejanzas en sus morfolog\u00edas, sin poder ahondar en otros aspectos te\u00f3ricos\u00bb…<\/p>\n<\/blockquote>\n

Como siempre, si quieren seguir ley\u00e9ndolo habr\u00e1n de adquirir el libro que, seg\u00fan creo,\u00a0a\u00fan no se ha agotado y est\u00e1 editado por La F\u00e1brica.<\/p>\n

Jorge Gorostiza, arquitecto. Autor del blog Arquitectura+Cine+Ciudad<\/em>
\nSanta Cruz de Tenerife, marzo 2011<\/p>\n

[:gl]<\/p>\n

\"\"<\/a><\/p>\n

Navegando pola Rede encontrei unha vella p\u00e1xina da Fundaci\u00f3n Telef\u00f3nica onde est\u00e1n todas as conferencias que se impartiron no curso Proxecci\u00f3ns e Utop\u00edas da Vangarda, El desenvolvemento da modernidade arquitect\u00f3nica visto a trav\u00e9s da historia do cine<\/em>, entre o 9 de outubro e o 13 de novembro de 2007, desenvolvido na sede da Telef\u00f3nica na Gran V\u00eda madrile\u00f1a. O curso dirixiuno con man f\u00e9rrea David Rivera e os relatores fomos por orde de intervenci\u00f3n, o perpetrador deste blog, Vicente S\u00e1nchez-Biosca, Jos\u00e9 Manuel Garc\u00eda Roig, Andr\u00e9s Hispano, o propio David Rivera G\u00e1mez e I\u00f1aki \u00c1balos.<\/p>\n

Rec\u00f3rdolles que se publicou un libro, cuxa cuberta reproduzo, coas conferencias.<\/p>\n

Por suposto que non me vin, porque me d\u00e1 unha vergo\u00f1a espantosa, pero si aproveitei para ver os outros relatores e aseg\u00farolles que hai intervenci\u00f3ns estupendas. Se queren ver e o\u00edr os relatorios, abonda con picar\u00a0aqu\u00ed.<\/p>\n

Reproduzo a continuaci\u00f3n o principio do meu artigo \u00abProxecci\u00f3ns e utop\u00edas da vangarda: A arquitectura moderna no cine fant\u00e1stico (1920 -1950)\u00bb<\/strong> publicado no libro antes mencionado:<\/p>\n

\n

\u00abO famoso arquitecto vien\u00e9s Hjalmar Poelzig incorp\u00f3rase lentamente no seu leito, \u00e9 de noite e s\u00f3 se int\u00fae a s\u00faa fisionom\u00eda grazas \u00e1 s\u00faa negra silueta, recortada sobre un biombo transl\u00facido iluminado por detr\u00e1s. Poelzig en realidade \u00e9 unha das personificaci\u00f3ns do ingl\u00e9s William Henry Pratt, m\u00e1is co\u00f1ecido polo pseud\u00f3nimo Karloff, e un dos protagonistas da pel\u00edcula titulada en Espa\u00f1a Satan\u00e1s<\/em>, a\u00ednda que o seu t\u00edtulo orixinal fose The Black Cat<\/em>, dirixida en 1934 por Edgar George Ulmer.<\/p>\n

I.- 1920, Alema\u00f1a<\/p>\n

Catorce anos atr\u00e1s, Berl\u00edn ver\u00e1n de 1919, un mozo de vinte e nove anos, que traballa como decorador na compa\u00f1\u00eda teatral de Max Reinhardt, vai estar dous meses no paro; por casualidade enc\u00f3ntrase un amigo, ao escen\u00f3grafo Rochus Gliese, que lle prop\u00f3n: \u00bfPor que non v\u00e9s comigo e traballas nunha pel\u00edcula? El resp\u00f3ndelle: \u00bfQue clase de traballo, se xa te\u00f1en un escen\u00f3grafo na pel\u00edcula, o profesor Poelzig? Pero remata deix\u00e1ndose convencer por Gliese, o traballo ao principio consiste en recortar siluetas para po\u00f1elas diante da c\u00e1mara. A pel\u00edcula titular\u00edase El Golem<\/em> e o mozo cham\u00e1base Edgar G. Ulmer. Moitos anos despois o propio Ulmer cont\u00e1balle a Peter Bogdanovich que tras traballar d\u00faas semanas na pel\u00edcula estaba a constru\u00edr decorados, porque a Poelzig non lle importaba\u00bb.<\/p>\n

1920 foi un ano decisivo para unha arte cuxos espectadores xa levaban un cuarto de s\u00e9culo pagando por velo. Ese ano estre\u00e1ronse en Alema\u00f1a El gabinete do Dr. Caligari (Das Cabinet deas Doktor Caligari,<\/em> Robert Wiene), Genuine<\/em> (Robert Wiene), El Golem (Der Golem, wie er in die Welt kam<\/em>, Paul Wegener) e Algol<\/em> (Hans Werckmeister). Todas elas pertencen ao x\u00e9nero fant\u00e1stico e polo aspecto dos seus espazos consider\u00e1ronse dentro do expresionismo.<\/p>\n

Non \u00e9 este o lugar para definir o x\u00e9nero fant\u00e1stico, basta coa noci\u00f3n intuitiva e sinxela que se ten sobre as pel\u00edculas que poden agruparse neste x\u00e9nero. Tampouco se vai incidir nas relaci\u00f3ns entre a arquitectura e o chamado cine expresionista, que xa se trataron noutras ocasi\u00f3ns, si hai que repetir as enormes diferenzas que hai entre a ampl\u00edsima relaci\u00f3n de pel\u00edculas inclu\u00eddas por alg\u00fans autores neste movemento, cuxas caracter\u00edsticas te\u00f1en pouco en com\u00fan entre si, como as\u00ed mesmo lle sucede a moitas obras e proxectos da arquitectura tam\u00e9n denominada expresionista. M\u00e1is realista \u00e9 a tese de J\u00fcrgen Kasten, que considera s\u00f3 sete fitas expresionistas.<\/p>\n

Sen d\u00fabida a m\u00e1is famosa delas \u00e9 El gabinete do Dr. Caligari<\/em>, que mesmo xerou o adxectivo \u00abcaligarismo\u00bb, os seus estra\u00f1os espazos xustif\u00edcanse porque son parte do sono do protagonista, pero en Genuine<\/em>, seguinte pel\u00edcula de Wiene, non hai xustificaci\u00f3n ningunha para uns espazos, como os de El gabinete do Dr. Caligar<\/em>i, onde os personaxes deambulan entre planos inclinados, cheos de li\u00f1as e figuras xeom\u00e9tricas, moitas veces comparados despectivamente con panos pintados, rest\u00e1ndolles importancia por ser unha imitaci\u00f3n do teatro, cando en realidade son m\u00e1is avanzados que outros de pel\u00edculas coet\u00e1neas, uns espazos creados polo pintor, escen\u00f3grafo e decorador de interiores Cesar Klein.<\/p>\n

O t\u00edtulo completo desta pel\u00edcula \u00e9 Genuine, die Trag\u00f6die eines seltsamen Hauses<\/em> (Genuine a traxedia dunha casa estra\u00f1a<\/em>) porque a maior\u00eda da s\u00faa metraxe discorre na casa onde est\u00e1 confinada a protagonista, que domina os homes do seu \u00e1mbito grazas aos seus poderes esot\u00e9ricos. Esta casa ten varios interiores asombrosos, dous dormitorios con paredes cheas de li\u00f1as quebradas e un estra\u00f1o apousento, onde por fin asasinan a protagonista, con rodas dentadas en movemento e outros dispositivos; para acceder ao seu interior hai que atravesar un xard\u00edn bastante convencional, pero ten unha extraordinaria fachada, constru\u00edda en tres dimensi\u00f3ns, dif\u00edcil de encadrar dentro do expresionismo e que se anticipa moitos anos \u00e1s de edificios de profesionais como por exemplo Robert Stern e outros da denominada arquitectura posmoderna dos oitenta, confirmando que as analox\u00edas formais, tantas veces empregadas por varios autores, que demostran os seus alardes manexando informaci\u00f3n visual, non te\u00f1en m\u00e1is fundamento que remotas semellanzas nas s\u00faas morfolox\u00edas, sen poder afondar noutros aspectos te\u00f3ricos\u00bb…<\/p>\n<\/blockquote>\n

Como sempre, se queren seguir l\u00e9ndoo haber\u00e1n de adquirir o libro que, segundo creo, a\u00ednda non se esgotou e est\u00e1 editado por La F\u00e1brica.<\/p>\n

Jorge Gorostiza, arquitecto. Autor do blogue Arquitectura+Cine+Ciudad<\/em><\/p>\n

Santa Cruz de Tenerife, marzo 2011<\/p>\n

[:en]<\/p>\n

\"\"<\/a><\/p>\n

Sailing along the Network I have found an old page of the Foundation Telefonica where there are all the conferences that gave in the course Projections and Utopias of the Forefront, The development of the architectural modernity I dress across the history of the cinema<\/em>, between October 9 and November 13, 2007 developed in the headquarters of the Telefonica in the Great Route of Madrid. The course it directed with ferreous hand David Rivera and the referees we were on order of intervention, the perpetrator of this blog, Vicente Sanchez-Biosca, Jose Manuel Garc\u00eda Roig, Andr\u00e9s Hispano, the own David Rivera G\u00e1mez and I\u00f1aki \u00c1balos.<\/p>\n

I they remember that was published a book, which cover I reproduce, by the conferences.<\/p>\n

Certainly that I have not met, because it gives me a frightful shame, but yes I have been useful to see to other referees and assure them that there are marvellous interventions. If they want to see and to hear the presentations, it is enough to puncture here.<\/p>\n

I reproduce later the beginning of my article\u00a0\u00abProjections and Utopias of the forefront: The modern architecture in the fantastic cinema (1920 – 1950)\u00bb<\/strong>, published in the book before mentioned:<\/p>\n

\n

\u00abThe famous architect Viennese Hjalmar Poelzig joins slowly in his bed, is by night and only his physiognomy is felt thanks to his black silhouette cut away on a translucent illuminated screen behind. Poelzig actually is one of the personification of the Englishman William Henry Pratt, more known by the pseudonym Karloff, and one of the protagonists of the movie titled in Spain Satan<\/em>, though his original title was The Black Cat<\/em>, directed in 1934 by Edgar George Ulmer.<\/p>\n

I.- 1920, Germany<\/p>\n

Fourteen years behind, Berlin summer of 1919, one twenty-nine-year-old young person, who is employed as interior decorator at Max Reinhardt’s theatrical company, it is going to be two months in unemployment; accidentally one finds a friend, the set designer Rochus Gliese, who proposes him: why you do not come with me and are employed at a movie? He answers him: what class of work, if already they have a set designer in the movie, the teacher Poelzig? But it ends being left to convince for Gliese, the work initially consists of cutting silhouettes away to put them in front of the chamber. The movie would title The Golem<\/em> and the young person was called Edgar G. Ulmer. Many years later the own Ulmer was telling him Peter Bogdanovich who after being employed two weeks at the movie \u00bb was constructing sets, because it was not mattering for Poelzig\u00bb .<\/p>\n

1920 was a decisive year for an art which spectators already were taking a quarter of century paying for seeing it. This year there had the premiere in Germany The office of the Dr. Caligari<\/em> (Das Cabinet des Doktor Caligari<\/em>, Robert Wiene), Genuine<\/em> (Robert Wiene), The Golem<\/em> (Der Golem, wie er in die Welt kam<\/em>, Paul Wegener) and Algol<\/em> (Hans Werckmeister). All of them belong to the fantastic kind and by the aspect of his spaces they have been considered inside the expressionism.<\/p>\n

The place is not this to define the fantastic kind, is enough with the intuitive and simple notion that is had on the movies that can be grouped in this kind. Neither one is going to affect in the relations between the architecture and the so called cinema expressionist, that already they have treated each other in other occasions, yes it is necessary to repeat the enormous differences that exist between the most ample relation of movies included by some authors in this movement, which characteristics have slightly jointly between yes, since likewise expressionist happens to him to many works and projects of the architecture also named. More realistic it is J\u00fcrgen Kasten’s thesis, which he considers to be only seven tapes expressionists.<\/p>\n

Undoubtedly the most famous of them it is The office of the Dr. Caligari<\/em>, which enclosed generated the adjective \u00abcaligarism\u00bb, his strange spaces justify themselves because they are a part of the dream of the protagonist, but in Genuine<\/em>, Wiene’s following movie, there is no any justification for a few spaces, as those of The office of the Dr. Caligari<\/em>, where the prominent figures stroll between sloping planes, full of lines and geometric figures, often compared contemptuously with identical curtains, they reducing importance for being an imitation of the theatre, when actually they are more advanced than different of contemporary movies, a few spaces created by the painter, set designer and interior decorator of interiors Cesar Klein.<\/p>\n

The complete title of this movie is Genuine, die Trag\u00f6die eines seltsamen Hauses<\/em> (Genuine the tragedy of a house surprises<\/em>) because the majority of his footage passes in the house where there is confined the protagonist, who dominates the men of his environment thanks to his esoteric power.This house has several amazing interiors, two bedrooms with walls full of broken lines and a strange room, where finally they murder the protagonist, with wheels jagged in movement and other useless devices; to accede to his interior it is necessary to cross a conventional enough garden, but it has an extraordinary front constructed in three dimensions, difficult to fit inside the expressionism and which is anticipated many years to those of professionals’ buildings as for example Robert Stern and others of the postmodern architecture called of the eighties, confirming that the formal analogies, so often used by several authors, who demonstrate his ostentations handling visual information, they do not have any more foundation than remote similarities in his morfolog\u00edas, without being able to go deeply into other theoretical aspects\u00bb…<\/p>\n<\/blockquote>\n

Since always, if they want to continue reading it they will will to acquire the book that, as I believe, still it has not become exhausted and edited by The Factory.<\/p>\n

Jorge Gorostiza, arquitecto. Author of the blog Arquitectura+Cine+Ciudad<\/em><\/p>\n

Santa Cruz de Tenerife, march 2011<\/p>\n

I reproduce later the beginning of my article<\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Navegando por la Red he encontrado una vieja p\u00e1gina de la Fundaci\u00f3n Telef\u00f3nica donde est\u00e1n todas las conferencias que se impartieron en el curso Proyecciones y Utop\u00edas de la Vanguardia, El desarrollo de la modernidad arquitect\u00f3nica visto a trav\u00e9s de la historia del cine, entre el 9 de octubre y el 13 de noviembre […]<\/p>\n","protected":false},"author":34,"featured_media":45378,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1460,5951],"tags":[10489,147,10498,12471,357,10488,10494,521,5885,7285,10499,668,10492,3197,1593,10491,10497,10495,10500,1120,3107,10496,1329,1335,10490,10493],"class_list":["post-12092","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-cine","tag-andres-hispano","tag-arquitectura-moderna","tag-cesar-klein","tag-cine","tag-conferencia","tag-david-rivera-gamez","tag-espana","tag-expresionismo","tag-fundacion-telefonica","tag-hans-werckmeister","tag-historia","tag-hjalmar-poelzig","tag-inaki-abalos","tag-jorge-gorostiza","tag-jose-manuel-garcia-roig","tag-jurgen-kasten","tag-max-reinhardt","tag-peter-bogdanovich","tag-publicacion","tag-robert-stern","tag-robert-wiene","tag-utopia","tag-vanguardia","tag-vicente-sanchez-biosca","tag-william-henry-pratt"],"yoast_head":"\nParadigmas | Jorge Gorostiza - 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