{"id":12298,"date":"2017-03-10T00:10:34","date_gmt":"2017-03-09T23:10:34","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=12298"},"modified":"2022-07-25T19:34:37","modified_gmt":"2022-07-25T17:34:37","slug":"pensar-la-arquitectura-iii-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/pensar-la-arquitectura-iii-oscar-tenreiro-degwitz\/","title":{"rendered":"[:es]Pensar la arquitectura (III) | \u00d3scar Tenreiro Degwitz[:gl]Pensar a arquitectura (III) | \u00d3scar Tenreiro Degwitz[:en]Think the architecture (III) | \u00d3scar Tenreiro Degwitz[:]"},"content":{"rendered":"

[:es]https:\/\/veredes.es\/blog\/pensar-la-arquitectura-ii-oscar-tenreiro-degwitz\/<\/p>\n

\"Peter
Peter Eisenman | Fuente: edgargonzalez.com<\/a><\/span><\/figcaption><\/figure>\n

Las notas que he escrito sobre este tema tienen que ver con mi participaci\u00f3n en Valencia, Espa\u00f1a, en el Seminario Pensamiento y Arquitectura organizado entre otros por el colega Jos\u00e9 Mar\u00eda Lozano de la Escuela de Arquitectura de la Universidad Polit\u00e9cnica. Se realiz\u00f3 entre el 11 y el 15 de Noviembre del 2011. El documento editado como convocatoria incorporaba frases de Peter Eisenman, entre las cuales destaco \u00e9stas dos:<\/p>\n

\n

\u201c\u2026no podemos ser los vanguardistas que siempre hemos querido ser, no podemos serlo cuando no hay un nuevo paradigma. No se puede ser nuevo cuando es imposible ser nuevo\u201d y \u201cnecesitamos estar involucrados con los paradigmas de nuestro tiempo\u201d.<\/p>\n<\/blockquote>\n

Frases que resumen el \u201csesgo\u201d de Eisenman, y que me incomodaban como referencias. Pero no era el \u00fanico de los participantes que pensaba as\u00ed. Hab\u00eda campo para un intercambio cr\u00edtico.<\/p>\n

Dos cosas resaltan de las citas. Una la idea de la vanguardia, lo nuevo y la otra la de los<\/p>\n

\n

\u201cparadigmas de nuestro tiempo\u201d.<\/p>\n<\/blockquote>\n

Sobre el tema de ser vanguardia en el mundo del arte conviene ir hacia lo que ya he mencionado, que las vanguardias de principios del siglo veinte perdieron la frescura inicial para convertirse en interpretaciones sectarias, reflejadas en normas,\u00a0 de los contenidos ideol\u00f3gicos de la modernidad.<\/p>\n

Algo parecido ocurre con la idea de \u201clo nuevo\u201d. Se delimita el concepto, se propone un significado sobre el cual habr\u00eda que acordarse. Se hace r\u00edgido el sentido de la palabra. Rigidez que excluir\u00eda incluso a la arquitectura de Peter Eisenman. Porque no surge de un \u201cnuevo paradigma\u201d la Ciudad de la Cultura de Galicia, y la arquitectura resultante ofrece pocas sorpresas. Lo nuevo no est\u00e1 pues en el discurso sino en lo que la arquitectura muestra.<\/p>\n

\"Arquitectura
Arquitectura e Ingenier\u00eda Eduardo Souto de Moura y Juan Miguel Hern\u00e1ndez de Le\u00f3n | Instituto Torroja TV | Fuente: wikipedia.com<\/span><\/a><\/figcaption><\/figure>\n

Premio bienvenido.<\/strong><\/p>\n

El muy reciente Premio Pritzker a Eduardo Souto de Moura (1952) es una inesperada muestra del sentido de lo que digo. Su arquitectura es buena, es de hoy, nueva. \u00bfLo es en el sentido de las frases de Peter Eisenman? No. Carece de esa ansiedad por la novedad que busca sorprender con desmesuras, siendo sin embargo un \u201cmodo de hacer\u201d diferente, expresi\u00f3n de un camino de reflexi\u00f3n personal. Lo nuevo de sus edificios est\u00e1 en las jerarqu\u00edas que establece, en el modo de usar viejos materiales, en sutilezas surgidas de una intimidad. Hay poes\u00eda personal, hay drama, conmueve (atributo esencial de la arquitectura para Le Corbusier). Pero no hay ansiedad por ser distinto. Es un aporte a la tradici\u00f3n moderna: manejo de los vol\u00famenes y la luz, rigor constructivo que se expresa, rechazo al ornamento superpuesto. Hay adem\u00e1s en la obra de Souto de Moura huella de su maestro, \u00c1lvaro Siza (1933), de cuyos edificios podr\u00edamos hablar en parecida forma.<\/p>\n

Hacia all\u00ed orient\u00e9 mi exposici\u00f3n del seminario, hacia la poca utilidad de recurrir a la \u201cexplicaci\u00f3n\u201d como instrumento de la labor cr\u00edtica versus la palabra dicha por el edificio, lo que \u00e9ste muestra con su realidad f\u00edsica. Dicho en otra forma, se trata de hablar del edificio destacando sus valores concretos y haciendo uso de la capacidad expresiva, po\u00e9tica o no, del que asume la cr\u00edtica, haciendo visible la direcci\u00f3n de sus preferencias. Algo que parece sencillo y no lo es, porque la cr\u00edtica vista as\u00ed exige m\u00e1s calidad literaria, menos ret\u00f3rica, y m\u00e1s sinceridad. Y para no menospreciar la descripci\u00f3n, recordemos que la gran tradici\u00f3n novel\u00edstica es descripci\u00f3n y sentido de lo po\u00e9tico.<\/p>\n

En cuanto al compromiso con el juicio de valor, ya lo he escrito aqu\u00ed muchas veces, lo veo como un asunto esencial.\u00a0 La cr\u00edtica es \u00fatil si se compromete con la orientaci\u00f3n del debate, lo cual exige decir lo que nos parece bien y se\u00f1alar lo que rechazamos.<\/p>\n

\"\u00c1lvaro
\u00c1lvaro Siza | Fotograf\u00eda: Ritratto di \u00c1lvaro Siza \u00a9 Teresa Siza | Fuente: archdaily.mx<\/a><\/span><\/figcaption><\/figure>\n

Reservas.<\/strong><\/p>\n

Y expres\u00e9 reservas sobre la tradici\u00f3n cr\u00edtica que se viene estableciendo en algunos medios acad\u00e9micos de Espa\u00f1a, con doctorados que parecen dise\u00f1ados como alimentadores de s\u00ed mismos.<\/p>\n

Este movimiento hacia una cr\u00edtica que se mira a s\u00ed misma y el escape a favor de la arquitectura del espect\u00e1culo, la complacencia con el exceso, es parte de un cambio de actitud en el ambiente cultural espa\u00f1ol que subraya las distancias con las condiciones de nuestro ejercicio. Nuestros excesos son otros, acaso m\u00e1s destructivos, pero en el terreno estrictamente disciplinario no pod\u00eda dejar de atacar la condescendencia hacia la arquitectura de la demas\u00eda.<\/p>\n

Que eso ocurra en Espa\u00f1a sorprende si recordamos que en tiempos del posmodernismo el debate espa\u00f1ol resist\u00eda al discurso predominante. Y ayud\u00f3 a preservar la frescura de la arquitectura espa\u00f1ola hasta convertirla en referencia inescapable.<\/p>\n

\u00bfCu\u00e1les han sido los impulsos que han llevado a las generaciones recientes de Espa\u00f1a a ver en otras direcciones cuando ten\u00edan en casa lo sustantivo, lo m\u00e1s permanente?<\/p>\n

Hay muchos. Uno de ellos, el m\u00e1s obvio, que los m\u00e1s j\u00f3venes rechazan el papel hist\u00f3rico de pariente pobre, semiatrasado t\u00e9cnica y econ\u00f3micamente, y se esfuerzan en mirar como iguales, casi compulsivamente, al resto del viejo mundo. Otro, la fascinaci\u00f3n de la opulencia, cuyo polo magn\u00e9tico est\u00e1 fuera de la pen\u00ednsula, hacia el noreste y noroeste. Y finalmente la reacci\u00f3n a esa suerte de deriva hacia Am\u00e9rica que intent\u00f3 poetizar Saramago en su novela La Balsa de Piedra<\/a>. Esto lo recalco porque erosiona los v\u00ednculos con un espacio cultural, el nuestro, que desde sus limitaciones ha hecho m\u00e1s completa la mirada universal de Espa\u00f1a. Disminuida a\u00fan m\u00e1s por un separatismo interno ensimismado. Se hizo lejana la llamada hacia la anchura y desigualdad del mundo, sin la cual no hay equilibrio posible.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, abril 2011,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:gl]Artigo continuaci\u00f3n de \u00abPensar a arquitectura (II)\u00bb<\/a>.<\/span><\/em><\/p>\n

\"Peter
Peter Eisenman<\/span><\/figcaption><\/figure>\n

As notas que escrib\u00edn sobre este tema te\u00f1en que ver coa mi\u00f1a participaci\u00f3n en Valencia, Espa\u00f1a, no Seminario Pensamento e Arquitectura organizado entre outros polo colega Jos\u00e9 Mar\u00eda Lozano da Escola de Arquitectura da Universidade Polit\u00e9cnica. Realizouse entre o 11 e o 15 de Novembro do 2011. O documento editado como convocatoria incorporaba frases de Peter Eisenman, entre as cales destaco estas d\u00faas:<\/p>\n

\n

\u201c\u2026non podemos ser os vangardistas que sempre quixemos ser, non podemos selo cando non hai unha novo paradigma. Non se pode ser novo cando \u00e9 imposible ser novo\u201d e \u201cnecesitamos estar involucrados coas paradigmas do noso tempo\u201d.<\/p>\n<\/blockquote>\n

Frases que resumen o \u201crumbo\u201d de Eisenman, e que me incomodaban como referencias. Pero non era o \u00fanico dos participantes que pensaba as\u00ed. Hab\u00eda campo para un intercambio cr\u00edtico.<\/p>\n

D\u00faas cousas resaltan das citas. Unha a idea da vangarda, o novo e a outra a das<\/p>\n

\n

\u201cparadigmas do noso tempo\u201d.<\/p>\n<\/blockquote>\n

Sobre o tema de ser vangarda no mundo da arte conv\u00e9n ir cara ao que xa mencionei, que as vangardas de principios do s\u00e9culo vinte perderon a frescura inicial para converterse en interpretaci\u00f3ns sectarias, reflectidas en normas, dos contidos ideol\u00f3xicos da modernidade.<\/p>\n

Algo parecido ocorre coa idea de \u201co novo\u201d. Delim\u00edtase o concepto, proponse un significado sobre o cal haber\u00eda que acordarse. Faise r\u00edxido o sentido da palabra. Rixidez que excluir\u00eda mesmo \u00e1 arquitectura de Peter Eisenman. Porque non xorde dun \u201cnovo paradigma\u201d a Cidade da Cultura de Galicia, e a arquitectura resultante ofrece poucas sorpresas. O novo non est\u00e1 pois no discurso sen\u00f3n no que a arquitectura mostra.<\/p>\n

\"Eduardo
Eduardo Souto de Moura<\/span><\/figcaption><\/figure>\n

Premio benvido.<\/strong><\/p>\n

O moi recente Premio Pritzker a Eduardo Souto de Moura (1952) \u00e9 unha inesperada mostra do sentido do que digo. A s\u00faa arquitectura \u00e9 boa, \u00e9 de hoxe, nova. O \u00e9 no sentido das frases de Peter Eisenman? Non. Carece desa ansiedade pola novidade que busca sorprender con desmesuras, sendo con todo un \u201cmodo de facer\u201d diferente, expresi\u00f3n dun cami\u00f1o de reflexi\u00f3n persoal. O novo dos seus edificios est\u00e1 nas xerarqu\u00edas que establece, no modo de usar vellos materiais, en sutilezas xurdidas dunha intimidade. Hai poes\u00eda persoal, hai drama, conmove (atributo esencial da arquitectura para Le Corbusier). Pero non hai ansiedade por ser distinto. \u00c9 unha achega \u00e1 tradici\u00f3n moderna: manexo dos volumes e a luz, rigor construtivo que se expresa, rexeitamento ao ornamento superposto. Hai ademais na obra de Souto de Moura pegada do seu mestre, \u00c1lvaro Siza (1933), de cuxos edificios poderiamos falar en parecida forma.<\/p>\n

Cara al\u00ed orientei a mi\u00f1a exposici\u00f3n do seminario, cara \u00e1 pouca utilidade de recorrer \u00e1 \u201cexplicaci\u00f3n\u201d como instrumento do labor cr\u00edtico versus a palabra dita polo edificio, o que este mostra coa s\u00faa realidade f\u00edsica. Dito noutra forma, tr\u00e1tase de falar do edificio destacando os seus valores concretos e facendo uso da capacidade expresiva, po\u00e9tica ou non, do que asume a cr\u00edtica, facendo visible a direcci\u00f3n das s\u00faas preferencias. Algo que parece sinxelo e non o \u00e9, porque a cr\u00edtica vista as\u00ed esixe m\u00e1is calidade literaria, menos ret\u00f3rica, e m\u00e1is sinceridade. E para non menosprezar a descrici\u00f3n, lembremos que a gran tradici\u00f3n novel\u00edstica \u00e9 descrici\u00f3n e sentido do po\u00e9tico.<\/p>\n

En canto ao compromiso co xu\u00edzo de valor, xa o escrib\u00edn aqu\u00ed moitas veces, v\u00e9xoo como un asunto esencial. A cr\u00edtica \u00e9 \u00fatil se se compromete coa orientaci\u00f3n do debate, o cal esixe dicir o que nos parece ben e sinalar o que rexeitamos.<\/p>\n

\"\u00c1lvaro
\u00c1lvaro Siza<\/span><\/figcaption><\/figure>\n

Reservas.<\/strong><\/p>\n

E expresei reservas sobre a tradici\u00f3n cr\u00edtica que v\u00e9n establecendo nalg\u00fans medios acad\u00e9micos de Espa\u00f1a, con doutoramentos que parecen dese\u00f1ados como alimentadores de si mesmos.<\/p>\n

Este movemento cara a unha cr\u00edtica que se mira a si mesma e o escape a favor da arquitectura do espect\u00e1culo, a compracencia co exceso, \u00e9 parte dun cambio de actitude no ambiente cultural espa\u00f1ol que subli\u00f1a as distancias coas condici\u00f3ns do noso exercicio. Os nosos excesos son outros, seica m\u00e1is destrutivos, pero no terreo estritamente disciplinario non pod\u00eda deixar de atacar a condescendencia cara \u00e1 arquitectura da demas\u00eda.<\/p>\n

Que iso ocorra en Espa\u00f1a sorprende se lembramos que en tempos do posmodernismo o debate espa\u00f1ol resist\u00eda ao discurso predominante. E axudou a preservar a frescura da arquitectura espa\u00f1ola ata convertela en referencia inescapable.<\/p>\n

Cales foron os impulsos que levaron \u00e1s xeraci\u00f3ns recentes de Espa\u00f1a a ver noutras direcci\u00f3ns cando ti\u00f1an en casa o substantivo, o m\u00e1is permanente?<\/p>\n

Hai moitos. Un deles, o m\u00e1is obvio, que os m\u00e1is novos rexeitan o papel hist\u00f3rico de parente pobre, semiatrasado t\u00e9cnica e economicamente, e esf\u00f3rzanse en mirar como iguais, case compulsivamente, ao resto do vello mundo. Outro, a fascinaci\u00f3n da opulencia, cuxo polo magn\u00e9tico est\u00e1 f\u00f3ra da pen\u00ednsula, cara ao nord\u00e9s e noroeste. E finalmente a reacci\u00f3n a esa sorte de deriva cara a Am\u00e9rica que tentou poetizar Saramago na s\u00faa novela A Balsa de Pedra<\/a>. Isto rec\u00e1lcoo porque erosiona os v\u00ednculos cun espazo cultural, o noso, que desde as s\u00faas limitaci\u00f3ns fixo m\u00e1is completa a mirada universal de Espa\u00f1a. Diminu\u00edda a\u00ednda m\u00e1is por un separatismo interno ensimesmado. F\u00edxose afastada a chamada cara \u00e1 anchura e desigualdade do mundo, sen a cal non hai equilibrio posible.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, abril 2011,
\nEntre o Certo e o Verdadeiro<\/em><\/span>[:en]Article continuation of \u00abThinking the architecture (II)\u00bb<\/a>.<\/span><\/em><\/p>\n

\"Peter
Peter Eisenman<\/span><\/figcaption><\/figure>\n

The notes that have written on this subject have to see with my participation in Valencia, Spain, in the Seminar Thought and Architecture organised amongst other by the colleague Jos\u00e9 Mar\u00eda Lozano of the School of Architecture of the Polytechnical University. It realised\u00a0 between the 11 and on 15 November 2011. The document edited like announcement incorporated sentences of Peter Eisenman, between which stand out these two:<\/p>\n

\n

\u201c\u2026we can not be the vanguardistas that always have wanted to be, can not be it when there is not a new paradigm. It can not\u00a0 be new when it is impossible to be new\u201d and \u201cneed to be involucrados with the paradigms of our time\u201d.<\/p>\n<\/blockquote>\n

Sentences that summary the \u201cbias\u201d of Eisenman, and that me incomodaban like references. But it was not the only of the participants that thought like this.<\/p>\n

There was field for a critical exchange. Two things resaltan of the appointments. One the idea of the avant-garde, the new and the another the one of the<\/p>\n

\n

\u201cparadigms of our time\u201d.<\/p>\n<\/blockquote>\n

On the topic of being a forefront in the world of the art it suits to go towards what already I have mentioned, that the forefronts of beginning of the century twenty lost the initial freshness to turn into sectarian interpretations reflected in procedure, of the ideological contents of the modernity.<\/p>\n

Something similar happens with the idea of \u201cthe new thing\u201d. The concept is delimited, one proposes a meaning on which it would be necessary to remind. The sense of the word becomes rigid. Inflexibility that it would exclude even to Peter Eisenman’s architecture. Because there does not arise from a \u201cnew paradigm\u201d the City of the Culture of Galicia, and the resultant architecture offers few surprises. The new thing is not so in the speech but in what the architecture shows.<\/p>\n

\"Eduardo
Eduardo Souto de Moura<\/span><\/figcaption><\/figure>\n

Welcome prize.<\/strong><\/p>\n

The very recent Prize Pritzker to Eduardo Souto de Moura (1952) is an unexpected sample of the sense of what I say. His architecture is good, is of today, new. Is it it in the sense of Peter Eisenman’s phrases? Not. He lacks this anxiety for the innovation that seeks to surprise with you become insolent, being nevertheless a \u201cway of doing\u201d differently, expression of a way of personal reflection. The new of his buildings is in the hierarchies that it establishes, in the way of using material old men, in subtleties arisen from an intimacy. There is personal poetry, there is drama, affects (essential attribute of the architecture for Him Corbusier). But there is no anxiety for being different. It is a contribution to the modern tradition: managing of the volumes and the light, constructive rigor that expresses, I reject to the superposed ornament. There is in addition in Souto de Moura’s work fingerprint of his teacher, \u00c1lvaro Siza (1933), of whose buildings we might speak in similar form.<\/p>\n

Towards there I orientated my exhibition of the seminar, towards small usefulness of versus resorted to the \u201cexplanation\u201d as instrument of the critical labor the word said by the building, which this one shows with his physical reality. Saying in another form, tries to be spoken about the building emphasizing his concrete values and using the expressive, poetical capacity or not, that it assumes the critique, making visible the direction of his preferences. Something that seems to be simple and it it is not, because the critique dresses like that demands more literary, less rhetorical quality, and more sincerity. And not to despise the description, let’s remember that the great tradition novel-writing is description and sense of the poetical thing.<\/p>\n

As for the commitment with the judgment of value, already I have written it here often, see it as an essential matter. The critique is useful if he compromises himself with the orientation of the debate, which demands to say what seems to us likely and to indicate what we reject.<\/p>\n

\"\u00c1lvaro
\u00c1lvaro Siza<\/span><\/figcaption><\/figure>\n

Reservations.<\/strong><\/p>\n

And I expressed reservations on the critical tradition that one comes establishing in some academic means of Spain, with doctorates that seem to be designed as feeders of yes same.<\/p>\n

This movement towards a critique that looks to yes same and the leak in favour of the architecture of the spectacle, the complacency with the excess, is a part of a change of attitude in the cultural Spanish environment that underlines the distances with the conditions of our exercise. Our excesses are different, perhaps more destructive, but in the strictly disciplinary area it could not stop attacking the condescension towards the architecture of the excess.<\/p>\n

That it happens in Spain it surprises if we remember that in times of the postmodernism the Spanish debate was resisting to the predominant speech. And it helped to preserve the freshness of the Spanish architecture up to turning her into reference inescapable.<\/p>\n

Which have been the impulses that they have led the recent generations of Spain to seeing in other directions when they had in house the substantive thing, the most permanent thing?<\/p>\n

There are many. One of them, the most obvious, that the youngest reject the historical paper of poor, semibackward relative technology and economically, and they strain in looking like be equal, almost compulsive, to the rest of the old world. Other one, the fascination of the opulence, which magnetic pole is out of the peninsula, towards the North-East and northwest. And finally the reaction to this luck of drift towards America that Saramago tried to poeticize in his novel La Balsa de Piedra<\/a>. I stress this because there erodes the links with a cultural space, ours, which from his limitations has made the universal look of Spain more complete. Diminished furthermore by an internal separatism ensimismado. The call became distant towards the width and inequality of the world, without which there is no possible balance.<\/p>\n

\u00d3scar Tenreiro Degwitz, Architect.
\nVenezuela, april 2011,
\nEntre lo Cierto y lo Verdadero<\/em><\/span>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es]https:\/\/veredes.es\/blog\/pensar-la-arquitectura-ii-oscar-tenreiro-degwitz\/ Las notas que he escrito sobre este tema tienen que ver con mi participaci\u00f3n en Valencia, Espa\u00f1a, en el Seminario Pensamiento y Arquitectura organizado entre otros por el colega Jos\u00e9 Mar\u00eda Lozano de la Escuela de Arquitectura de la Universidad Polit\u00e9cnica. Se realiz\u00f3 entre el 11 y el 15 de Noviembre del 2011. 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