{"id":19845,"date":"2012-02-16T07:00:21","date_gmt":"2012-02-16T07:00:21","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=19845"},"modified":"2019-01-05T15:56:26","modified_gmt":"2019-01-05T14:56:26","slug":"entre-ford-y-lewerentz-jorge-meijide","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/entre-ford-y-lewerentz-jorge-meijide\/","title":{"rendered":"[:es]Entre Ford y Lewerentz | Jorge Meijide[:gl]Entre Ford e Lewerentz | Jorge Meijide[:en]Between Ford and Lewerentz | Jorge Meijide[:]"},"content":{"rendered":"

[:es]<\/p>\n

\"\"<\/a>\u00a0[1]<\/sup><\/sup> \"\"\u00a0<\/strong><\/p>\n

entre ford y lewerentz<\/strong><\/p>\n

Me confieso un cin\u00e9filo impenitente en su m\u00e1s estricta definici\u00f3n[2]<\/sup><\/sup>, aunque tambi\u00e9n puedo decir lo mismo de la arquitectura. Soy tambi\u00e9n un arquitecto impenitente. Cronol\u00f3gicamente hablando el cine lleg\u00f3 antes as\u00ed que, como al primer amor, le guardo un lugar especial y, al igual que la arquitectura, me ha dado grandes alegr\u00edas y tambi\u00e9n grandes decepciones.<\/p>\n

Aunque del paralelismo entre las dos se ha dicho mucho, quiero apoyarme en ambas artes, pues ambas lo son, para divagar un poco sobre el hecho creativo. Las dos requieren grandes actos de creaci\u00f3n y, aunque para llevarlas a cabo haga falta la concurrencia de mas gente, su punto de partida es individual. No es que niegue la autor\u00eda colectiva en obras de una y otra, pero es que yo creo que la creaci\u00f3n es un acto eminentemente individual. Uno crea y dos comparten. Es un camino que hay que recorrer con cierta introspecci\u00f3n. Un camino individual.<\/p>\n

Me adentro pues en el oficio del artesano que, como Ford o Lewerentz, aspiraban a ser meros profesionales en eso de contar historias o de construir espacios. Profesionales con un modo de hacer poderoso con lo que aparentemente era un genio natural, convertidos en verdaderos artistas de su oficio que, por medio de su claro y directo lenguaje, no necesitaban hacerse notar ellos mismos y si sus realizaciones y por extensi\u00f3n su visi\u00f3n de las cosas. su obra hablaba por ellos.<\/p>\n

En una entrevista Humberto Eco nos hablaba de su consciente y buscada ambig\u00fcedad para que el lector hallara sus propias interpretaciones de la historia que estaba relatando, con lo que pod\u00eda dejar al lector ciertos caminos abiertos para conducir su propio relato y establecer relaciones. La Diligencia<\/em> o la Iglesia de San Marcos<\/em> rezuman plenitud visual y espacial y ambas cuentan una historia aparentemente acabada, pero ambas esconden m\u00e1s de lo que muestran y por ello son tambi\u00e9n obras profundas y complejas. Como toda buena obra admiten constantes revisiones que var\u00edan en funci\u00f3n del espectador. En ese sentido son tambi\u00e9n obras abiertas.<\/p>\n

Dec\u00eda Louis Kahn que cada obra es una ofrenda a la arquitectura[3]<\/sup><\/sup>. No conviene pues desaprovechar la oportunidad. Nos enfrentamos continuamente a edificios que se proponen m\u00e1s asombrar que transmitir. Asistimos a un panorama en el que nos hemos acostumbrado a confundir la arquitectura con edificios que no la honran. Edificios que transmiten sin emoci\u00f3n, pero con mucha imagen, discursos vac\u00edos o excesivamente ligeros y pasajeros. Las obras son ocasiones para la arquitectura, al tiempo que deben ser transmisoras de placer, pasi\u00f3n y emoci\u00f3n. Pere Gimferrer, en su pr\u00f3logo al Arte Po<\/em>\u00e9<\/em>tica<\/em> de Jorge Luis Borges[4]<\/sup><\/sup> nos habla de como el autor nos ense\u00f1a a reconocer la literatura y a no confundirla con los libros, objetos siempre a la espera de un lector.<\/p>\n

Tanto John Ford (1894-1973) como Sigurd Lewerentz (1885-1975), contempor\u00e1neos y creadores longevos ambos, eran parcos en palabras. De Ford basta con ver alguna de sus entrevistas para constatarlo y de Lewerentz… apenas nada. Sus obras no son fruto de coyunturas pasajeras. Hablan por ellos sin necesidad de explicaciones y, aunque de ellas no se han librado, podemos imaginarlos sonriendo ante tales intentos, olvidando que lo que ambos crearon era producto directo de un oficio, de un modo de ver las cosas, de un modo de vivir. Entre Ford y Lewerentz est\u00e1 la cosa.<\/p>\n

jorge meijide . arquitecto
\na coru\u00f1a. febrero de 2012<\/p>\n

notas:<\/span>
\n[1] Im\u00e1genes de \u201cLa diligencia\u201d de John Ford, 1939, [fuente: s<\/span><\/span>oloparagourmets.blogspot.com]<\/span> e Interior de la Iglesia de San Marcos de Sigurd Lewetentz, 1956. [fotografia: <\/span><\/span>Kalle S\u00f6derman, fuente:wikipedia.org]<\/span>
\n [2] \u00abAquel que persevera en un h\u00e1bito o que se obstina en el pecado – que persevera en \u00e9l sin arrepentimiento\u00bb<\/em>. Diccionario de la RAE.
\n[3] \u201cPrimero quiero empezar diciendo que la arquitectura no existe. lo que si existe es cada obra concreta de arquitectura. y una obra es una ofrenda a la arquitectura, con la esperanza de que dicha obra pueda llegar a formar parte del tesoro de la arquitectura\u201d.<\/em> Louis I. Kahn, Declaraciones sobre la arquitectura, Polit\u00e9cnico de Mil\u00e1n, enero de 1967.
\n[4] Arte po\u00e9tica<\/em>. Seis conferencias. Jorge Luis Borges. Ed. Cr\u00edtica.<\/span><\/p>\n

[:gl]<\/p>\n

\"\"<\/a>\u00a0<\/strong>[1]<\/sup><\/sup><\/span> \"\"<\/p>\n

<\/strong><\/p>\n

entre ford y lewerentz<\/strong> <\/strong><\/p>\n

Conf\u00e9some un cin\u00e9filo impenitente no seu m\u00e1is estrita definici\u00f3n[2]<\/sup><\/sup>, a\u00ednda que tam\u00e9n podo dicir o mesmo da arquitectura. Son tam\u00e9n un arquitecto impenitente. Cronol\u00f3gicamente falando o cine chegou antes as\u00ed que, como ao primeiro amor, g\u00e1rdolle un lugar especial e, do mesmo xeito que a arquitectura, deume grandes alegr\u00edas e tam\u00e9n grandes decepci\u00f3ns.<\/p>\n

A\u00ednda que do paralelismo entre as d\u00faas d\u00edxose moito, quero apoiarme en ambas artes, pois ambas o son, para divagar un pouco sobre o feito creativo. As d\u00faas requiren grandes actos de creaci\u00f3n e, a\u00ednda que para levalas a cabo faga falta a concurrencia de mais xente, o seu punto de partida \u00e9 individual. Non \u00e9 que negue a autor\u00eda colectiva en obras dunha e outra, pero \u00e9 que eu creo que a creaci\u00f3n \u00e9 un acto eminentemente individual. Un crea e dous comparten. \u00c9 un cami\u00f1o que hai que percorrer con certa introspecci\u00f3n. Un cami\u00f1o individual.<\/p>\n

Pen\u00e9trome pois no oficio do artesano que, como Ford ou Lewerentz, aspiraban a ser meros profesionais niso de contar historias ou de constru\u00edr espazos. Profesionais cun modo de facer poderoso co que aparentemente era un xenio natural, convertidos en verdadeiros artistas do seu oficio que, por medio do seu claro e directa linguaxe, non necesitaban facerse notar eles mesmos e si as s\u00faas realizaci\u00f3ns e por extensi\u00f3n a s\u00faa visi\u00f3n das cousas. a s\u00faa obra falaba por eles.<\/p>\n

Nunha entrevista Humberto Eco fal\u00e1banos do seu consciente e buscada ambig\u00fcedad para que o lector achase as s\u00faas propias interpretaci\u00f3ns da historia que estaba relatando, co que pod\u00eda deixar ao lector certos cami\u00f1os abertos para conducir o seu propio relato e establecer relaci\u00f3ns. A Dilixencia<\/em> ou a Igrexa de San Marcos<\/em> rezuman plenitude visual e espacial e ambas contan unha historia aparentemente acabada, pero ambas esconden m\u00e1is do que mostran e por iso son tam\u00e9n obras profundas e complexas. Como toda boa obra admiten constantes revisiones que var\u00edan en funci\u00f3n do espectador. Nese sentido son tam\u00e9n obras abertas.<\/p>\n

Dic\u00eda Louis Kahn que cada obra \u00e9 unha ofrenda \u00e1 arquitectura[3]<\/sup><\/sup>. Non conv\u00e9n pois desaprovechar a oportunidade. Enfront\u00e1mosnos\/Enfront\u00e1monos continuamente a edificios que se propo\u00f1en m\u00e1is asombrar que transmitir. Asistimos a un panorama no que nos afixemos a confundir a arquitectura con edificios que non a honran. Edificios que transmiten sen emoci\u00f3n, pero con moita imaxe, discursos baleiros ou excesivamente lixeiros e pasaxeiros. As obras son ocasi\u00f3ns para a arquitectura, \u00e1 vez que deben ser transmisoras de pracer, paix\u00f3n e emoci\u00f3n. Pere Gimferrer, no seu pr\u00f3logo al Arte Po<\/em>\u00e9<\/em>tica<\/em> de Jorge Luis Borges[4]<\/sup><\/sup> falanos de como o autor nos ensina a reco\u00f1ecer a literatura e non a confundila cos libros, obxetos sempre a espera dun lector.<\/p>\n

Tanto John Ford (1894-1973) como Sigurd Lewerentz (1885-1975), contempor\u00e1neos e creadores longevos ambos, eran parcos en palabras. De Ford basta con ver algunha das s\u00faas entrevistas para constatalo e de Lewerentz… apenas nada. As s\u00faas obras non son froito de conxunturas pasaxeiras. Falan por eles sen necesidade de explicaci\u00f3ns e, a\u00ednda que delas non se libraron, podemos imaxinalos sorrindo ante tales intentos, esquecendo que o que ambos crearon era produto directo dun oficio, dun modo de ver as cousas, dun modo de vivir. Entre Ford e Lewerentz est\u00e1 a cousa.<\/p>\n

jorge meijide . arquitecto<\/p>\n

a coru\u00f1a. febreiro de 2012<\/p>\n

notas:<\/span><\/p>\n

[1] Im\u00e1xes da \u201cA dilixencia\u201d de John Ford, 1939, [fonte: s<\/span><\/span>oloparagourmets.blogspot.com]<\/span> e Interior da Igrexa de San Marcos de Sigurd Lewetentz, 1956. [fotografia: <\/span><\/span>Kalle S\u00f6derman, fonte:wikipedia.org]<\/span><\/p>\n

[2] \u00ab<\/em><\/span><\/span>Aquel que persevera nun h\u00e1bito ou que se obstina no pecado – que persevera nel sen arrepentimiento<\/span>\u00ab<\/em>.<\/span> Diccionario de la RAE.<\/span><\/p>\n

[3] <\/span>\u201cPrimeiro quero empezar dicindo que a arquitectura non existe. o que si existe \u00e9 cada obra concreta de arquitectura. e unha obra \u00e9 unha ofrenda \u00e1 arquitectura, coa esperanza de que dita obra poida chegar a formar parte do tesouro da arquitectura\u201d.<\/span><\/em><\/em>Louis I. Kahn, Declaraciones sobre la arquitectura, Polit\u00e9cnico de Mil\u00e1n, enero de 1967.<\/span><\/p>\n

[4] Arte po\u00e9tica<\/em>. Seis conferencias. Jorge Luis Borges. Ed. Cr\u00edtica.<\/span><\/p>\n

[:en]<\/p>\n

\"\"<\/a>\u00a0<\/strong>[1]<\/sup><\/sup> <\/span>\"\"<\/p>\n

<\/strong><\/p>\n

between ford and lewerentz<\/strong> <\/strong><\/p>\n

I confess an impenitent movie fan in his more strict definition[2]<\/sup><\/sup>, though also I can say the same of the architecture. I am also an impenitent architect. Chronologically speaking the cinema it came before so, since to the first love, I guard a special place and, as the architecture, it has made me happy and also big disappointments.<\/p>\n

Though of the parallelism between two o’clock it has been said very much, I want to rest on both arts, since both are, to digress a bit on the creative fact. The two need big acts of creation and, though to carry out them it is necessary to have the concurrence of mas people, his point of item is individual. It is not that he denies the collective authorship in works of one and other one, but it is that I believe that the creation is an eminently individual act. One creates and two share. It is a way that it is necessary to cross with certain introspection. An individual way. <\/em><\/p>\n

I enter so the trade of the craftsman that, as Ford or Lewerentz, they were aspiring to be mere professionals in it of counting histories or of constructing spaces. Professionals with a way of doing powerfully with what seemingly was a natural genius, turned into real artists of his trade that, by means of his clear and direct language, they themselves did not need to make be obvious and if his accomplishments and for extension his vision of the things. His work was speaking for them.<\/p>\n

In an interview Humberto Eco was speaking to us about his conscious one and search ambiguity in order that the reader was finding his own interpretations of the history that it was reporting, with what it could leave certain ways the reader opened to lead his own statement and to establish relations. The Diligence<\/em> or the Church of San Mark<\/em> leak visual and spatial fullness and both count a seemingly finished history, but both hide more than they show and for it they are also deep and complex works. As any good work admit constant reviews that change depending on the spectator. In this sense they are also opened works.<\/p>\n

Louis Kahn was saying that every work is an offering to the architecture[3]<\/sup><\/sup>. It does not suit to fail to take advantage so of the opportunity. We face constant buildings that they propose to amaze more that to transmit. We are present at a panorama in which we have got used to confusing the architecture with buildings that do not honor her. Buildings that transmit without emotion, but with many image, empty or excessively light speeches and passengers. The works are occasions for the architecture, at the time that they must be transmisoras of pleasure, passion and emotion.\u00a0Pere Gimferrer, in his prologue Arte Po<\/em>\u00e9<\/em>tica<\/em> of Jorge Luis Borges[4]<\/sup><\/sup> speaks to us about since the author teaches us to recognize the literature and not to confusing her with the books, objects always to the wait of a reader.<\/p>\n

Both John Ford (1894-1973) and Sigurd Lewerentz (1885-1975), contemporary and long-lived creators both, was laconic in words. Of Ford it is enough to see someone of his interviews to state it and of Lewerentz … you upset nothing. His works are not a fruit of conjunctures passengers. They speak for them without need of explanations and, though from them they have not got away themselves, we can imagine them smiling before such attempts, forgetting that what both created was a direct product of a trade, of a way of seeing the things, of a way of living. Between Ford and Lewerentz the thing is.<\/p>\n

jorge meijide. architect<\/p>\n

a coru\u00f1a. february, 2012<\/p>\n

notes:<\/span><\/p>\n

[1] <\/span>Images of \u00bb The diligence \u00bb by John Ford, 1939, [source: soloparagourmets.blogspot.com] and Interior of Church of St Mark by Architect Sigurd Lewerentz, 1956. [photography: Kalle S\u00f6derman, source:wikipedia.org]<\/span><\/p>\n

[2]\u00a0 <\/em><\/span>\u00bb That one who perseveres in a habit or who is obstinate in the sin – that perseveres in him without repentance \u00ab.<\/em> RAE Dictionary<\/span><\/p>\n

[3] <\/em><\/span>\u00bb First I want to start by saying that the architecture does not exist. What if it exists is every concrete work of architecture. And a work is an offering to the architecture, with the hope that the above mentioned work could manage to form a part of the exchequer of the architecture \u00ab.<\/em> Louis I. Kahn, Declarations on the architecture, Technical of Milan, January, 1967.<\/span><\/p>\n

[4] Arte po\u00e9tica<\/em>. Seis conferencias. Jorge Luis Borges. Ed. Cr\u00edtica.<\/span><\/p>\n

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

[:es] \u00a0[1] \u00a0 entre ford y lewerentz Me confieso un cin\u00e9filo impenitente en su m\u00e1s estricta definici\u00f3n[2], aunque tambi\u00e9n puedo decir lo mismo de la arquitectura. Soy tambi\u00e9n un arquitecto impenitente. Cronol\u00f3gicamente hablando el cine lleg\u00f3 antes as\u00ed que, como al primer amor, le guardo un lugar especial y, al igual que la arquitectura, me […]<\/p>\n","protected":false},"author":47,"featured_media":19846,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12471,3637,3639,3462,3638,3636],"class_list":["post-19845","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-cine","tag-john-ford","tag-jorge-luis-borges","tag-jorge-meijide","tag-pere-gimferrer","tag-sigurd-lewerentz"],"yoast_head":"\nEntre Ford y Lewerentz | Jorge Meijide<\/title>\n<meta name=\"description\" content=\"Entre Ford y Lewerentz\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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