{"id":22196,"date":"2016-01-29T05:50:49","date_gmt":"2016-01-29T04:50:49","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=22196"},"modified":"2020-08-24T11:41:05","modified_gmt":"2020-08-24T09:41:05","slug":"otto-e-mezzo-elias-cuet","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/otto-e-mezzo-elias-cuet\/","title":{"rendered":"Otto e mezzo | El\u00edas Cueto"},"content":{"rendered":"

[:es]<\/p>\n

En el contexto hedonista y decadente de un balneario decimon\u00f3nico destacan una serie de originales asientos.<\/strong> Sillas vacacionales de color blanco desde las que los personajes, impecablemente vestidos, se entregan a la buena vida y se dejan ver ufanos con todas sus miserias e histerismos.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Aparentemente autobiogr\u00e1fica, la pel\u00edcula<\/a>\u00a0de Fellini desgrana los problemas de identidad, inseguridad y crisis creativa a trav\u00e9s de las evoluciones de su protagonista: un director consagrado que se enfrenta al inicio inminente de un nuevo rodaje al tiempo que es asediado por perturbadoras visiones en forma de sue\u00f1os y recuerdos.<\/p>\n

En ese contexto irreal aparece en el inicio de la pel\u00edcula el modelo m\u00e1s ex\u00f3tico y radical de asiento: Un gracioso banco ac\u00fastico desde el que los personajes disfrutan las aguas medicinales y la m\u00fasica de Wagner.<\/p>\n

Este asiento para escuchar es lo suficientemente ancho para ser utilizado en pareja y es en \u00e9l donde encuentra Guido (Mastroiani)\u00a0el primer espacio de intimidad de la pel\u00edcula y recibe la devastadora opini\u00f3n que sobre su proyecto tiene un afamado cr\u00edtico cinematogr\u00e1fico.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Si bien la mayor parte de las sillas de la pel\u00edcula son las cl\u00e1sicas Thonet<\/a> o los an\u00f3nimos muebles de tubo de acero habituales de las terrazas exteriores, al final de la historia reaparecen unos asientos originales y excesivos capaces de producir un espacio entorno al usuario. Se trata de unas bell\u00edsimas sillas de mimbre blanco que gracias a una generosa capota construyen una coraza alrededor de quien las ocupa.<\/p>\n

Disponen adem\u00e1s de unos ventanucos laterales de tal forma que sin menoscabar la\u00a0discreci\u00f3n resulta posible\u00a0fisgar a ambos lados.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Recuerda este \u00faltimo dise\u00f1o a algunos trabajos de Jaime Hay\u00f3n,\u00a0especialmente la Showtime<\/a><\/em> producida por BD<\/a> que con tan irreverente descaro hace suya esa atm\u00f3sfera dulzona y ligera del dolce fare niente<\/em>.<\/p>\n

\"\"<\/a>
\u00a0Showtime de\u00a0Jaime Hay\u00f3n\u00a0| hayonstudio.com
<\/span><\/figcaption><\/figure>\n

El\u00edas Cueto, arquitecto
\nSantiago de Compostela, septiembre 2012<\/p>\n

Publicado en\u00a0 N\u00ba 313 [sillas…]<\/em><\/span><\/a>[:gl]<\/p>\n

No contexto hedonista e decadente dun balneario decimon\u00f3nico destacan unha serie de orixinais asentos.<\/strong> Cadeiras vacacionales de cor branca desde as que os personaxes, impecablemente vestidos, entr\u00e9ganse \u00e1 boa vida e d\u00e9ixanse ver ufanos con todas as s\u00faas miserias e histerismos.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Aparentemente autobiogr\u00e1fica, a pel\u00edcula<\/a> de Fellini desgrana os problemas de identidade, inseguridade e crise creativa a trav\u00e9s das evoluci\u00f3ns do seu protagonista: un director consagrado que se enfronta ao comezo inminente dun novo rodaje \u00e1 vez que \u00e9 asediado por perturbadoras visi\u00f3ns en forma de so\u00f1os e recordos.<\/p>\n

Nese contexto irreal aparece no inicio da pel\u00edcula o modelo m\u00e1is ex\u00f3tico e radical de asento: Un gracioso banco ac\u00fastico desde o que os personaxes gozan as augas medicinales e a m\u00fasica de Wagner.<\/p>\n

Este asento para escoitar \u00e9 o suficientemente ancho para ser utilizado en parella e \u00e9 nel onde atopa Guido (Mastroiani) o primeiro espazo de intimidade da pel\u00edcula e recibe a devastadora opini\u00f3n que sobre o seu proxecto ten un afamado cr\u00edtico cinematogr\u00e1fico.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

A\u00ednda que a maior parte das cadeiras da pel\u00edcula son as cl\u00e1sicas Thonet<\/a> ou os an\u00f3nimos mobles de tubo de aceiro habituais das terrazas exteriores, ao final da historia reaparecen uns asentos orixinais e excesivos capaces de producir un espazo contorna ao usuario. Tr\u00e1tase dunhas bell\u00edsimas cadeiras de mimbre branco que grazas a unha xenerosa capota constr\u00faen unha coraza ao redor de quen as ocupa.<\/p>\n

Dispo\u00f1en ademais duns ventanucos laterales de tal forma que sen menoscabar a discreci\u00f3n resulta posible fisgar a ambos os dous lados.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Recorda este \u00faltimo dese\u00f1o a alg\u00fans traballos de Jaime Hay\u00f3n, especialmente a Showtime<\/a><\/em> producida por BD<\/a> que con tan irreverente descaro fai s\u00faa esa atmosfera dulzona e lixeira do dolce fare niente<\/em>.<\/p>\n

\"\"<\/a>
Showtime de Jaime Hay\u00f3n | hayonstudio.com
<\/span><\/figcaption><\/figure>\n

El\u00edas Cueto, arquitecto
\nSantiago de Compostela, setembro 2012<\/p>\n

Publicado en\u00a0 N\u00ba 313 [sillas…]<\/a><\/em><\/span>[:en]<\/p>\n

In the hedonistic and decadent context of a nineteenth-century resort stand out a series of original seats.<\/strong> Vacation chairs of white color from which the prominent figures, impeccably dresses, submit to the good life and are left to see proud with all his miseries and hysterias.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Seemingly autobiographical, Fellini’s movie<\/a> peels the problems of identity, insecurity and creative crisis across the evolutions of his protagonist: the consecrated director who faces to the imminent beginning of a new filming at the time that it is besieged by disturbing visions in the shape of dreams and recollections.<\/p>\n

In this unreal context there appears in the beginning of the movie the most exotic and radical model of seat: A graceful acoustic bank from which the prominent figures enjoy the medicinal waters and Wagner’s music.<\/p>\n

This seat to listen is the sufficiently broad thing to be used in pair and is in him where there finds Guido (Mastroiani) the first space of intimacy of the movie and receives the devastating opinion that on his project a famous cinematographic critic has.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

Though most of the chairs of the movie is the classic Thonet<\/a> or the anonymous habitual furniture of pipe of steel of the exterior terraces, at the end of the history there reappear a few original and excessive seats capable of producing a space I half-close the user. It is a question of a few most beautiful chairs of white wicker that thanks to a generous bonnet they construct a cuirass about the one who occupies them.<\/p>\n

They have besides a few lateral ventanucos in such a way that reducing the discretion turns out to be possible to snoop to both sides.<\/p>\n

\"\"<\/a>
Otto e mezzo<\/span><\/figcaption><\/figure>\n

He remembers the latter design to some Jaime Hay\u00f3n’s works, specially the Showtime<\/a><\/em> produced by BD<\/a> that with so irreverent sauciness makes this atmosphere his dulzona and light of the dolce fare niente<\/em>.<\/p>\n

\"\"<\/a>
Showtime by Jaime Hay\u00f3n | hayonstudio.com
<\/span><\/figcaption><\/figure>\n

El\u00edas Cueto, arquitecto
\nSantiago de Compostela, september 2012<\/p>\n

Published in\u00a0 N\u00ba 313 [sillas…]<\/a><\/em><\/span>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] En el contexto hedonista y decadente de un balneario decimon\u00f3nico destacan una serie de originales asientos. Sillas vacacionales de color blanco desde las que los personajes, impecablemente vestidos, se entregan a la buena vida y se dejan ver ufanos con todas sus miserias e histerismos. Aparentemente autobiogr\u00e1fica, la pel\u00edcula\u00a0de Fellini desgrana los problemas de […]<\/p>\n","protected":false},"author":45,"featured_media":22197,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1397,5951],"tags":[95,147,169,12471,4396,12470,4503,431,3435,2154,10246,12196,668,12194,12195,1564,10511,1231],"class_list":["post-22196","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-diseno","category-slider-principal","tag-alemania","tag-arquitectura-moderna","tag-austria","tag-cine","tag-cineastas","tag-diseno","tag-diseno-de-mobiliario","tag-diseno-industrial","tag-elias-cueto","tag-escenografia","tag-espacio-cinematografico","tag-federico-fellini","tag-historia","tag-jaime-hayon","tag-michael-thonet","tag-objeto","tag-otto-koloman-wagner","tag-silla"],"yoast_head":"\nOtto e mezzo | El\u00edas Cueto<\/title>\n<meta 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