{"id":22385,"date":"2018-02-26T00:03:05","date_gmt":"2018-02-25T23:03:05","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=22385"},"modified":"2025-02-17T15:48:52","modified_gmt":"2025-02-17T14:48:52","slug":"historia-universal-de-la-infamia-ii-jose-ramon-hernandez-correa","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/historia-universal-de-la-infamia-ii-jose-ramon-hernandez-correa\/","title":{"rendered":"[:es]Historia Universal de la Infamia [II] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:gl]Historia Universal da Infamia [II] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:en]Universal history of the Turpitude [II] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:]"},"content":{"rendered":"

[:es]https:\/\/veredes.es\/blog\/historia-universal-de-la-infamia-i-jose-ramon-hernandez-correa\/<\/p>\n

\"Eileen
Eileen Gray<\/span><\/figcaption><\/figure>\n

Se supon\u00eda que esto iba a ser un espacio sobre teor\u00eda y cr\u00edtica de arquitectura, pero al final tambi\u00e9n tiene cotilleos. Y es que yo soy muy fan<\/em> y muy mit\u00f3mano, y las vidas de mis h\u00e9roes me interesan incluso m\u00e1s que sus obras.<\/p>\n

(Creo que ser\u00eda un estupendo colaborador en la secci\u00f3n de arquitectura de Telecinco, suponiendo que tal cosa pudiera existir alg\u00fan d\u00eda).<\/p>\n

En mi s\u00f3rdido recorrido por la ignominia de los m\u00e1s grandes, hoy me toca hablaros de Le Corbusier<\/strong><\/a>.<\/p>\n

Pero antes os tengo que hablar de Eileen Gray<\/strong><\/a>, una decoradora irlandesa, experta en lacados, dise\u00f1adora de muebles y de tejidos, y que las escas\u00edsimas veces que tuvo que dise\u00f1ar una casa lo hizo magistralmente, sin despeinarse, con una facilidad pasmosa.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Cada vez que le\u00e1is una rese\u00f1a sobre Eileen Gray leer\u00e9is la palabra \u00ablesbiana<\/i>\u00bb para empezar. (Creo que el enlace que he puesto a la wikipedia es uno de los poqu\u00edsimos sitios en que no se dice). A m\u00ed eso me duele. Yo tard\u00e9 bastantes a\u00f1os y bastantes libros en enterarme, por casualidad, de que\u00a0Louis Henry Sullivan<\/b><\/a>\u00a0era homosexual<\/a>, pero con Eileen Gray basta que leamos una peque\u00f1a nota para que nos lo digan. \u00bfPor qu\u00e9? Uno dir\u00eda que hay alguien que piensa que ser lesbiana equivale a ser un marimacho y, por lo tanto, a una especie de pseudohombre, y que solo as\u00ed se entiende que pueda haber habido una mujer en el\u00a0Movimiento Moderno<\/a>\u00a0capaz de hacer casas tan buenas como las que hac\u00edan los hombres.<\/p>\n

No s\u00e9. Tal vez haya algo de eso. Arm\u00e9monos de paciencia, porque a\u00fan no hemos empezado a contar las humillaciones y vejaciones que tuvo que soportar esta mujer.<\/p>\n

Eileen Gray fue una de las personas m\u00e1s sensibles y m\u00e1s innovadoras en el campo del \u00abdise\u00f1o total del espacio\u00bb, entendiendo por tal cosa el mobiliario, la luz, las texturas, los colores, los tejidos… Abarc\u00f3 un campo en el que los arquitectos del Movimiento Moderno apenas hab\u00edan reflexionado por entonces, y lleg\u00f3 a logros prodigiosos.<\/p>\n

Era un esp\u00edritu libre, que no quer\u00eda estar atada a nadie ni a nada. Nunca quiso casarse, y vivi\u00f3 sucesivas historias de amor que a los p\u00e1nfilos como Le Corbusier les dejaban estupefactos.<\/p>\n

Una de estas historias la tuvo con\u00a0Jean Badovici<\/b><\/a>, un arquitecto rumano que…<\/p>\n

-Espera, espera. \u00bfNo hab\u00edas dicho que Eileen Gray era lesbiana?
\n-S\u00ed. Y repito que as\u00ed lo dicen sus biograf\u00edas.
\n-\u00bfY este Badovici?
\n-Pues eso, que la Gray deb\u00eda de ser lesbiana pero menos. De todas formas, no apear\u00e9is del burro a quienes tienen ese puntito morboso. Lo m\u00e1s que conceden algunos es que fue \u00abbisexual\u00bb, que sabe Dios qu\u00e9 pretenden que signifique. Yo preferir\u00eda que a la gente se le dejaran sus g\u00f3nadas y costumbres en paz, pero no puede ser. Telecinquismo puro. Menciono esto porque me parece fundamental para entender una parte de la obsesi\u00f3n del Corbu.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Sigamos. Jean Badovici<\/a> era arquitecto de formaci\u00f3n, pero sobre todo era cr\u00edtico, y editor de la important\u00edsima revista\u00a0L’Architecture Vivante<\/i><\/a>; y era amigo de Le Corbusier, de quien hab\u00eda publicado muchas obras.<\/p>\n

Eileen y Jean estaban muy enamorados. Se construyeron una estupenda casa en la costa azul para vivir en ella su amor. La casa fue dise\u00f1ada por ambos, aunque al parecer lo fue principalmente por Eileen, y Jean se limit\u00f3 a poner la \u00abprofesi\u00f3n\u00bb, solucionando detalles t\u00e9cnicos. Desde luego, tanto la elecci\u00f3n del lugar como las ideas principales de la configuraci\u00f3n de la casa, y todo el acondicionamiento interior fueron obra exclusiva de Eileen. (Tambi\u00e9n fue ella quien coste\u00f3 la obra).<\/p>\n

A la casa la llamaron E.1027, que parece un nombre muy t\u00e9cnico y muy fr\u00edo, pero que esconde el anagrama de sus iniciales. (E de Eileen, 10 de la letra J = Jean, 2 de la letra B = Badovici, y 7 de la letra G = Gray).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

La casa fue construida entre 1926 y 1929. Por aquella \u00e9poca, como he dicho, Badovici ten\u00eda mucha relaci\u00f3n con Le Corbusier, y le invit\u00f3 varias veces a la casa.<\/p>\n

El Corbu se qued\u00f3 literalmente conmocionado tanto por la casa como por la autora. (Sab\u00eda que Badovici no era capaz de hacer eso). Jam\u00e1s hasta entonces hab\u00eda visto tal integraci\u00f3n del dise\u00f1o de mobiliario, alfombras, tapices y cortinas con la arquitectura moderna en un todo fant\u00e1stico. Por otra parte, el emplazamiento era de ensue\u00f1o, las vistas magn\u00edficas, y la sensaci\u00f3n de estar en esa casa era de alegr\u00eda, de luz, de espacio, de amor, de felicidad en suma.
\nPor otra parte, Le Corbusier era un paleto, y nunca hab\u00eda conocido a una mujer como Eileen.<\/p>\n

(Yo jurar\u00eda que no se enamor\u00f3 de ella, pero s\u00ed que le obsesion\u00f3, incluso le debi\u00f3 de dar algo de miedo).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

El caso es que Le Corbusier se hac\u00eda invitar a esa casa a menudo, e insinuaba que tal pared quedar\u00eda muy bien con uno de sus murales. Esas insinuaciones pon\u00edan fren\u00e9tica a Eileen, que hab\u00eda pensado cada detalle de la casa y que la quer\u00eda justo como era, sin necesidad de que nadie viniera a meterle mano ni a pintarrajear.<\/p>\n

Entre 1938 y 1939 Le Corbusier, por fin, pint\u00f3 una serie de murales en la casa. Eileen, impotente, se desesper\u00f3.<\/p>\n

El amor entre Eileen y Jean se hab\u00eda terminado hac\u00eda a\u00f1os. (Escribo como un redactor de\u00a0\u00a1Hola!<\/i><\/a>, \u00bfverdad?). Eileen se hab\u00eda marchado de all\u00ed, y la casa hab\u00eda quedado a nombre de Badovici. (Vaya chollo). Para colmo, Le Corbusier, que segu\u00eda obsesionado por la casa, se ofreci\u00f3 (otra vez) para pintar unos murales gratis. Le Corbusier era el arquitecto m\u00e1s famoso del mundo, y como pintor tambi\u00e9n era muy valorado.<\/p>\n

\n

\u00bfA qui\u00e9n le amargaba el dulce de que regalara unos murales? (\u00bfQue a qui\u00e9n le amargaba? A Eileen, \u00bfpero qu\u00e9 importaba Eileen?).<\/span><\/p>\n<\/blockquote>\n

\"Historia
E.1027<\/span><\/figcaption><\/figure>\n

Traicionada por su antiguo amor, Eileen tuvo que enterarse de que el intruso estaba sali\u00e9ndose con la suya, manchurreando las paredes de su casa, rompiendo todas sus ideas y todas sus intenciones y todos sus logros art\u00edsticos y espaciales.<\/p>\n

Para m\u00e1s gracia, mirad c\u00f3mo se hizo fotografiar Le Corbu, feliz y vencedor, pintando por fin las virginales paredes, violando por fin a la E.1027 y a Eileen.<\/p>\n

Esto es de psicoan\u00e1lisis. (Vamos, hasta yo me atrevo a hacer un diagn\u00f3stico).
\nUno de los murales es precisamente una escena de desnudos femeninos, mujeres (\u00bflesbianas?) entregadas, receptivas, expectantes. (Me imagino al Corbu poni\u00e9ndose como un choto).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Le Corbusier public\u00f3 los murales en su\u00a0Oeuvre Complete<\/i><\/a>, sin ni siquiera mencionar el nombre de Eileen Gray, y volvi\u00f3 a hacer lo mismo en la revista\u00a0L’Architecture d’Aujour d\u00b4hui<\/i>. Y a\u00fan se permiti\u00f3 escribir sobre el escaso valor de los muros inciales, que hab\u00edan sido revitalizados y animados por su pincel. (Pero se preocup\u00f3 de no mostrar las fotos de sus murales sin m\u00e1s, sino en perspectiva con los espacios de la casa).<\/p>\n

Todo esto enfureci\u00f3 a Eileen. Pero todav\u00eda m\u00e1s: Uno de los frescos hab\u00eda sido pintado en la entrada, sobre uno abstracto geom\u00e9trico de Eileen. Y, todav\u00eda m\u00e1s: Dada la fama y la trascendencia de todo lo que hac\u00eda el Corbu, mucha gente lleg\u00f3 a pensar que la casa era obra suya. Le Corbusier lo desminti\u00f3 a medias, y acab\u00f3 escribiendo que la obra era de Jean Badovici y de Helen (sic) Gray. Ni quiso escribir bien su nombre.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Luego, con la Segunda Guerra Mundial, la casa fue chabolizada por las tropas alemanas, que la dejaron casi destruida.<\/p>\n

En 1952 Le Corbusier construy\u00f3 una caba\u00f1a de vacaciones justo encima de la casa E.1027, a muy pocos metros. Dice que la dise\u00f1\u00f3 como un regalo a su esposa, pero lo \u00fanico que pensaba era estar encima de la casa que le obsesionaba, estar encima (una vez m\u00e1s) de Eileen.<\/p>\n

Le Corbusier entraba a menudo en la casa, restauraba sus murales y reacondicionaba lo que le daba la gana.<\/p>\n

Cuando muri\u00f3 Badovici, la casa pas\u00f3 a ser propiedad de una hermana suya, monja, y Le Corbusier intent\u00f3 comprarla, o que la comprara alg\u00fan amigo, sobre todo para preservar los frescos. Cuando la casa fue adquirida finalmente por Madame Schelbert, ajena a toda esa historia y amiga de Le Corbusier (que manipul\u00f3 la subasta enga\u00f1ando al mism\u00edsimo\u00a0Onassis<\/b><\/a>), este foment\u00f3 a\u00fan m\u00e1s su relaci\u00f3n como buen vecino, y sigui\u00f3 opinando, manipulando y manoseando la casa hasta el mismo d\u00eda de su muerte.<\/p>\n

Parece ser que el 27 de agosto de 1965 Le Corbusier sali\u00f3 de su caba\u00f1a y desayun\u00f3 en la E.1027 con la se\u00f1ora Schelbert, y desde ah\u00ed baj\u00f3 al mar para nadar un rato. Es muy posible que al sentir el ataque al coraz\u00f3n su \u00faltima mirada fuera a esta casa que le hab\u00eda vuelto loco durante d\u00e9cadas.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa
\nDoctor Arquitecto y autor de\u00a0Arquitectamos locos?<\/em>
\nToledo \u00b7\u00a0mayo 2012<\/p>\n

https:\/\/veredes.es\/blog\/historia-universal-de-la-infamia-iii-jose-ramon-hernandez-correa\/[:gl]Historia Universal da Infamia [I] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/em><\/span><\/a><\/p>\n

\"Eileen
Eileen Gray<\/span><\/figcaption><\/figure>\n

Supo\u00f1\u00edase que isto \u00eda ser un espazo sobre teor\u00eda e cr\u00edtica de arquitectura, pero ao final tam\u00e9n ten murmuraci\u00f3ns. E \u00e9 que eu son moi fan<\/em> e moi mit\u00f3mano<\/em>, e as vidas dos meus heroes inter\u00e9sanme mesmo m\u00e1is que as s\u00faas obras.<\/p>\n

(Creo que ser\u00eda un estupendo colaborador na secci\u00f3n de arquitectura de Telecinco, supo\u00f1endo que tal cousa puidese existir alg\u00fan d\u00eda).<\/p>\n

No meu s\u00f3rdido percorrido pola ignominia dos m\u00e1is grandes, hoxe t\u00f3came falarvos de\u00a0Le Corbusier<\/strong><\/a>.<\/p>\n

Pero antes t\u00e9\u00f1ovos que falar de Eileen Gray<\/strong><\/a>, unha decoradora irlandesa, experta en lacados, dese\u00f1adora de mobles e de tecidos, e que as escas\u00edsimas veces que tivo que dese\u00f1ar unha casa f\u00edxoo maxistralmente, sen despeitearse, cunha facilidade abraiante.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Cada vez que leades unha recensi\u00f3n sobre Eileen Gray leredes a palabra \u00ablesbiana\u00bb<\/em> para empezar. (Creo que a ligaz\u00f3n que puxen \u00e1 wikipedia \u00e9 un dos poqu\u00edsimos sitios en que non se di). A min iso d\u00f3eme. Eu tardei bastantes anos e bastantes libros en decatarme, por casualidade, de que Louis Henry Sullivan<\/b><\/a> era homosexual<\/a>, pero con Eileen Gray basta que leamos unha pequena nota para que nolo digan. Por que? Un dir\u00eda que hai algu\u00e9n que pensa que ser lesbiana equivale a ser un marimacho e, por tanto, a unha especie de pseudohombre, e que s\u00f3 as\u00ed se entende que poida haber unha muller no Movemento Moderno<\/a> capaz de facer casas tan boas como as que fac\u00edan os homes.<\/p>\n

Non sei. Talvez haxa algo diso. Arm\u00e9monos de paciencia, porque a\u00ednda non empezamos a contar as humillaci\u00f3ns e vexaci\u00f3ns que tivo que soportar esta muller.<\/p>\n

Eileen Gray foi unha das persoas m\u00e1is sensibles e m\u00e1is innovadoras no campo do \u00abdese\u00f1o total do espazo\u00bb, entendendo por tal cousa o mobiliario, a luz, as texturas, as cores, os tecidos… Abarcou un campo no que os arquitectos do Movemento Moderno apenas reflexionaran por ent\u00f3n, e chegou a logros prodixiosos.<\/p>\n

Era un esp\u00edrito libre, que non quer\u00eda estar atada a ningu\u00e9n nin a nada. Nunca quixo casar, e viviu sucesivas historias de amor que aos p\u00e1nfilos como Le Corbusier deix\u00e1banlles estupefactos.<\/p>\n

Unha destas historias t\u00edvoa con\u00a0Jean Badovici<\/b><\/a>,\u00a0un arquitecto roman\u00e9s que…<\/p>\n

-Espera, espera. Non dixeras que Eileen Gray era lesbiana?
\n-Si. E repito que as\u00ed o din as s\u00faas biograf\u00edas.
\n-E este Badovici?
\n-Pois iso, que a Gray deb\u00eda de ser lesbiana pero menos. De todos os xeitos, non apearedes do burro a quen ten ese punti\u00f1o morboso. O m\u00e1is que conceden alg\u00fans \u00e9 que foi \u00abbisexual\u00bb, que sabe Divos que pretenden que signifique. Eu preferir\u00eda que \u00e1 xente deix\u00e1senselle as s\u00faas g\u00f3nadas e costumes en paz, pero non pode ser. Telecinquismo puro. Menciono isto porque me parece fundamental para entender unha parte da obsesi\u00f3n do Corbu.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Sigamos. Jean Badovici<\/a>\u00a0 era arquitecto de formaci\u00f3n, pero sobre todo era cr\u00edtico, e editor da important\u00edsima revista L’Architecture Vivante<\/i><\/a>; e era amigo de Le Corbusier, de quen publicara moitas obras.<\/p>\n

Eileen e Jean estaban moi namorados. Constru\u00edronse unha estupenda casa na costa azul para vivir nela o seu amor. A casa foi dese\u00f1ada por ambos, a\u00ednda que ao parecer foino principalmente por Eileen, e Jean limitouse a po\u00f1er a \u00abprofesi\u00f3n\u00bb, solucionando detalles t\u00e9cnicos. Desde logo, tanto a elecci\u00f3n do lugar como as ideas principais da configuraci\u00f3n da casa, e todo o acondicionamento interior foron obra exclusiva de Eileen. (Tam\u00e9n foi ela quen custeou a obra).<\/p>\n

\u00c1 casa cham\u00e1rona E.1027, que parece un nome moi t\u00e9cnico e moi fr\u00edo, pero que esconde o anagrama das s\u00faas iniciais. (E de Eileen, 10 da letra J = Jean, 2 da letra B = Badovici, e 7 da letra G = Gray).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

A casa foi constru\u00edda entre 1926 e 1929. Por aquela \u00e9poca, como dixen, Badovici ti\u00f1a moita relaci\u00f3n con Le Corbusier, e convidoulle varias veces \u00e1 casa.<\/p>\n

Le Corbu quedou literalmente conmocionado tanto pola casa como pola autora. (Sab\u00eda que Badovici non era capaz de facer iso). Xamais ata ent\u00f3n vira tal integraci\u00f3n do dese\u00f1o de mobiliario, alfombras, tapices e cortinas coa arquitectura moderna nun todo fant\u00e1stico. Por outra banda, o emprazamento era de ilusi\u00f3n, as vistas magn\u00edficas, e a sensaci\u00f3n de estar nesa casa era de alegr\u00eda, de luz, de espazo, de amor, de felicidade en suma.
\nPor outra banda, Le Corbusier era un paleto, e nunca co\u00f1ecera a unha muller como Eileen.<\/p>\n

(Eu xurar\u00eda que non se namorou dela, pero si que lle obsesionou, mesmo lle debeu de dar algo de medo).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

O caso \u00e9 que Le Corbusier fac\u00edase convidar a esa casa a mi\u00fado, e insinuaba que tal parede quedar\u00eda moi ben cun dos seus murais. Esas insinuaci\u00f3ns po\u00f1\u00edan fren\u00e9tica a Eileen, que pensara cada detalle da casa e que a quer\u00eda xusto como era, sen necesidade de que ningu\u00e9n vi\u00f1ese meterlle man nin a pintarrajear.<\/p>\n

Entre 1938 e 1939 Le Corbusier, por fin, pintou unha serie de murais na casa. Eileen, impotente, desesperouse.<\/p>\n

O amor entre Eileen e Jean terminouse fac\u00eda anos. (Escribo como un redactor de Ola!<\/i><\/a>, verdade?). Eileen marchouse de al\u00ed, e a casa quedara a nome de Badovici. (Vaia choio). A\u00ednda por riba, Le Corbusier, que segu\u00eda obsesionado pola casa, ofreceuse (outra vez) para pintar uns murais gratis. Le Corbusier era o arquitecto m\u00e1is famoso do mundo, e como pintor tam\u00e9n era moi valorado.<\/p>\n

\n

A quen lle amargaba o doce de que regalase uns murais? (Que a quen lle amargaba? A Eileen, pero que importaba Eileen?).<\/span><\/strong><\/p>\n<\/blockquote>\n

\"Historia
E.1027<\/span><\/figcaption><\/figure>\n

Traizoada polo seu antigo amor, Eileen tivo que decatarse de que o intruso estaba a se sa\u00edr coa s\u00faa, manchurreando as paredes da s\u00faa casa, rompendo todas as s\u00faas ideas e todas as s\u00faas intenci\u00f3ns e todos os seus logros art\u00edsticos e espaciais.<\/p>\n

Para m\u00e1is graza, mirade como se fixo fotografar Le Corbu, feliz e vencedor, pintando por fin as virginales paredes, violando por fin \u00e1 E.1027 e a Eileen.<\/p>\n

Isto \u00e9 de psican\u00e1lise. (Imos, ata eu atr\u00e9vome a facer un diagn\u00f3stico).
\nUn dos murais \u00e9 precisamente unha escena de espidos femininos, mulleres (lesbianas?) entregadas, receptivas, expectantes. (Imax\u00ednome ao Corbu po\u00f1\u00e9ndose como un choto).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Lle Corbusier publicou os murais no seu Oeuvre Complete<\/i><\/a>, sen nin sequera mencionar o nome de Eileen Gray, e volveu facer o mesmo na revista L’Architecture d’Aujour d\u00b4hui<\/i>. E a\u00ednda se permitiu escribir sobre o escaso valor dos muros inciales, que foran revitalizados e animados polo seu pincel. (Pero preocupouse de non mostrar as fotos dos seus murais sen m\u00e1is, sen\u00f3n en perspectiva cos espazos da casa).<\/p>\n

Todo isto enfureci\u00f3 a Eileen. Pero a\u00ednda m\u00e1is: Un dos frescos fora pintado na entrada, sobre un abstracto xeom\u00e9trico de Eileen. E, a\u00ednda m\u00e1is: Dada a fama e a transcendencia de todo o que fac\u00eda o Corbu, moita xente chegou a pensar que a casa era obra s\u00faa. Le Corbusier desmentiuno a medias, e acabou escribindo que a obra era de Jean Badovici e de Helen (sic) Gray. Nin quixo escribir ben o seu nome.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Logo, coa Segunda Guerra Mundial, a casa foi chabolizada polas tropas alem\u00e1s, que a deixaron case destru\u00edda.<\/p>\n

En 1952 Le Corbusier constru\u00edu unha cabana de vacaci\u00f3ns xusto encima da casa E.1027, a moi poucos metros. Di que a dese\u00f1ou como un agasallo \u00e1 s\u00faa esposa, pero o \u00fanico que pensaba era estar encima da casa que lle obsesionaba, estar encima (unha vez m\u00e1is) de Eileen.<\/p>\n

Le Corbusier entraba a mi\u00fado na casa, restauraba os seus murais e reacondicionaba o que lle daba a gana.<\/p>\n

Cando morreu Badovici, a casa pasou a ser propiedade dunha irm\u00e1 s\u00faa, monxa, e Le Corbusier tentou comprala, ou que a comprase alg\u00fan amigo, sobre todo para preservar os frescos. Cando a casa foi adquirida finalmente por Madame Schelbert, allea a toda esa historia e amiga de Lle Corbusier (que manipulou a poxa enganando ao mism\u00edsimo Onassis<\/b><\/a>), leste fomentou a\u00ednda m\u00e1is a s\u00faa relaci\u00f3n como bo veci\u00f1o, e seguiu opinando, manipulando e manoseando a casa ata o mesmo d\u00eda da s\u00faa morte.<\/p>\n

Parece ser que o 27 de agosto de 1965 Le Corbusier sa\u00edu da s\u00faa cabana e almorzou na E.1027 coa se\u00f1ora Schelbert, e desde a\u00ed baixou ao mar para nadar un intre. \u00c9 moi posible que ao sentir o ataque ao coraz\u00f3n a s\u00faa \u00faltima mirada f\u00f3ra a esta casa que lle volv\u00eda tolo durante d\u00e9cadas.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa
\nDoutor Arquitecto\u00a0eautor de\u00a0Arquitectamos locos?<\/em>
\nToledo \u00b7\u00a0maio 2012<\/p>\n

Historia Universal da Infamia [III] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/em><\/span><\/a>[:en]Universal history of the Turpitude [I] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/em><\/span><\/a><\/p>\n

\"Eileen
Eileen Gray<\/span><\/figcaption><\/figure>\n

It was supposed that this was going to be a\u00a0space on theory and critique of architecture, but ultimately it has more gossips<\/em> that other things. And it is that I am very a fan and very mythomaniac, and in the lives of my heroes I am interested even more than his works.<\/p>\n

(I believe that he would be a marvellous collaborator in the section of Telecinco’s architecture, supposing that such a thing could exist some day).<\/p>\n

In my sordid tour for the ignominy of the biggest, today I have to speak to you of Le Corbusier<\/strong><\/a>.<\/p>\n

But before I have to speak to you about Eileen Gray<\/strong><\/a>, an Irish interior decorator, expert in lacquers, designer of furniture and about fabrics, and that the scantiest times that a house had to design did it masterfully, without despeinarse, with an amazing facility.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Whenever you read a review on Eileen Gray you will read the \u00ablesbian\u00bb<\/em> word to begin. (I believe that the link that I have put to the wikipedia is one of the very little sites in which it is not said). It hurts me. I was late enough years and enough books in finding out, accidentally, that Louis Henry Sullivan<\/b><\/a> was homosexual<\/a>, but with coarse Eileen Gray that we read a small note in order that they say it to us. Why?\u00a0One would say that there is someone who thinks that to be a lesbian is equivalent to be a mannish woman and, therefore, to a pseudoman’s species, and that alone like that understands itself that there could have been a woman in the Modern Movement<\/a> capable of doing houses as good as those that the men were doing.<\/p>\n

Do not be. Maybe there is something of it. Arm\u00e9monos of patience, because still we have not started counting the humiliations and vexations that this woman had to support.<\/p>\n

Eileen Gray was one of the most sensitive and more innovative persons in the field of the \u00abtotal design of the space\u00bb, understanding for such a thing the furniture, the light, the textures, the colors, the fabrics… It included a field in which the architects of the Modern Movement scarcely had thought for then, and came to prodigious achievements.<\/p>\n

It was a free spirit, which wanted to be tied neither to anybody nor to anything. It never wanted to marry, and lived through successive histories of love that the dimwitted ones like\u00a0Le Corbusier were making speechless.<\/p>\n

One of these histories had with Jean Badovici<\/b><\/a>, a Rumanian architect that…<\/p>\n

Una de estas historias la tuvo con\u00a0Jean Badovici<\/b><\/a>, un arquitecto rumano que…<\/p>\n

– Wait, wait. Had not you said that Eileen Gray was lesbian?
\n– Yes. And I repeat that like that his biographies say it.
\n– And this Badovici?
\n– So it, that the Gray must be a lesbian but less. Of all forms, you will not dismount from the donkey to whom they have this morbid point. More that they grant some it is that it was \u00abbisexual\u00bb, that God knows what they claim that it means. I would prefer that his gonads and customs were left the people in peace, but it cannot be. Pure Telecinquismo. I mention this because it seems to me to be fundamental to understand a part of the obsession of the Corbu.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Let’s continue.\u00a0Jean Badovici<\/a> was an architect of formation, but especially it was critical, and publisher of the most important magazine, L’Architecture Vivante<\/i><\/a>; and he was a friend of\u00a0Le Corbusier, of whom it had published many works.<\/p>\n

Eileen and Jean were very in love. A marvellous house was constructed on the blue coast to live in her his love. The house was designed by both, though apparently it it was principally for Eileen, and Jean limited himself to putting the \u00abprofession\u00bb, solving technical details. Both the local choice and the principal ideas of the configuration of the house, and the whole interior conditioning they were An Eileen’s exclusive work. (Also it was she who financed the work).<\/p>\n

At\u00a0the house they called her And 1027, that looks like a very technical and very cold name, but that hides the anagram of his initials. (And of Eileen, 10 of the letter J = Jean, 2 of the letter B = Badovici, and 7 of the letter G = Gray).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

The house was constructed between 1926 and 1929. In that epoch, since I have said, Badovici had relation great with Him Corbusier, and he him invited several times to the house.<\/p>\n

The Corbu remained literally shocked both for the house and for the authoress. (It knew that Badovici was not capable of doing it). Till then it had never seen such an integration of the design of furniture, carpets, tapestries and curtains with the modern architecture in the quite fantastic one. On the other hand, the emplacement was of dream, the magnificent sights, and the sensation of being in this house performed happiness, light, space, love, happiness in sum. On the other hand,\u00a0Le Corbusier was a deer, and it had never known a woman as Eileen.<\/p>\n

(I would swear that one did not inspire love of her, but yes that it obsessed him, even it must him have given something of fear).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

The case is that Le Corbusier was making invite him to this house often, and it was hinting that such a wall would stay very well with one of his murals. These insinuations were making frantic Eileen, who had thought every detail of the house and who just person wanted it as was, without need of that nobody was coming to put hand not to daubing.<\/p>\n

Between 1938 and 1939 Le Corbusier, finally, painted a series of murals in the house. Eileen, impotent, despaired.<\/p>\n

The love between Eileen and Jean had finished was doing years. (I write as an editor of Hello!<\/i><\/a>,, truth?). Eileen had left of there, and the house had stayed addressed to Badovici. (Bargain goes). For limit, Le Corbusier, which was still obsessed with the house, offered to paint (again) a few murals gratis.\u00a0Le\u00a0Corbusier was the most famous architect of the world, and as painter also it was very valued.<\/p>\n

\n

To whom was it embittering the sweet of which it was giving a few murals? (That whom was it embittering? To Eileen, but what was Eileen importing?).<\/span><\/strong><\/p>\n<\/blockquote>\n

\"Historia
E.1027<\/span><\/figcaption><\/figure>\n

Betrayed by his former love, Eileen had to find out that the intruder was leaving with his, manchurreando the walls of his house, breaking all his ideas and all his intentions and all his artistic and spatial achievements.<\/p>\n

For more grace, look how one made photograph Him Corbu, happily and winning, painting finally the virginal walls, violating finally to it And 1027 and to Eileen.<\/p>\n

This is of psychoanalysis. (We go, even I dare to do a diagnosis). One of the murals is precisely a scene of feminine nudes, women (lesbians?) dedicated, receptive, expectant. (I imagine to the Corbu putting as a calf).<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Le Corbusier published the murals in his Oeuvre Complete<\/i><\/a>, without at least to mention Eileen Gray’s name, and L’Architecture d’Aujour d\u00b4hui<\/i>\u00a0returned to do the same thing in the magazine d’hui. And still it was allowed write on the scanty value of the walls inciales, that had been revitalized and encouraged by his paintbrush. (But it worried about not showing the photos of his murals ado, but in perspective with the spaces of the house).<\/p>\n

All that enraged Eileen. But even more: One of the fresh air had been identical with the entry, on the abstract geometric one with Eileen. And, even more: Given the reputation and the transcendency of everything what the Corbu was doing, many people managed to think that the house was a his work.\u00a0Le Corbusier desminti\u00f3 by half, and he ended up by writing that the work belong to Jean Badovici and to Helen (sic) Gray. It did not even want to write well his name.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Then, with the Second World war, the house was chabolizada for the German troops, which made her almost destroyed.<\/p>\n

In 1952 Le Corbusier constructed a cabin of vacations rightly on the house And 1027, to few meters. He says that he her designed as a gift to his wife, but the only thing that he was thinking was to be on the house that was obsessing him, to be it raises (once again) of Eileen.<\/p>\n

Le Corbusier was entering often the house, was restoring his murals and was re-conditioning what was giving him the desire.<\/p>\n

When Badovici died, the house happened to be a property of his sister, nun, and Le Corbusier tried to buy, or that some friend was buying, especially to preserve the fresh air. When the house was acquired finally by Madame Schelbert, foreign to all this history and\u00a0Le Corbusier\u00b4s friend (that manipulated the auction cheating the very same Onassis<\/b><\/a>), this one promoted furthermore his relation as good neighbor, and continued thinking, manipulating and handling the house until the same day of his death.<\/p>\n

It seems to be that on August 27, 1965\u00a0Le Corbusier went out of his cabin and had breakfast in her And 1027 with the lady Schelbert, and from there it went down to the sea to swim awhile. It is very possible that on having felt the heart attack his last look was to this house that madman had turned during decades.<\/p>\n

\"E.1027\"
E.1027<\/span><\/figcaption><\/figure>\n

Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa
\nPhD\u00a0Architect and author of\u00a0Arquitectamos locos?<\/em>
\nToledo \u00b7\u00a0may 2012<\/p>\n

Universal history of the Turpitude [III] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/em><\/span><\/a>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es]https:\/\/veredes.es\/blog\/historia-universal-de-la-infamia-i-jose-ramon-hernandez-correa\/ Se supon\u00eda que esto iba a ser un espacio sobre teor\u00eda y cr\u00edtica de arquitectura, pero al final tambi\u00e9n tiene cotilleos. Y es que yo soy muy fan y muy mit\u00f3mano, y las vidas de mis h\u00e9roes me interesan incluso m\u00e1s que sus obras. (Creo que ser\u00eda un estupendo colaborador en la secci\u00f3n de […]<\/p>\n","protected":false},"author":33,"featured_media":66177,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[9522,147,11114,3165,668,3169,3653,785,4896,898,2994,3452],"class_list":["post-22385","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitecta-pionera","tag-arquitectura-moderna","tag-arquitectura-rumana","tag-eileen-gray","tag-historia","tag-jean-badovici","tag-jose-ramon-hernandez-correa","tag-le-corbusier","tag-louis-henry-sullivan","tag-movimiento-moderno","tag-mujer","tag-personaje"],"yoast_head":"\n[:es]Historia Universal de la Infamia [II] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:gl]Historia Universal da Infamia [II] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:en]Universal history of the Turpitude [II] | Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa[:] - 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