Adem\u00e1s de eso, en una serie de silogismos il\u00f3gicos, se hab\u00eda llegado m\u00e1s o menos a la conclusi\u00f3n de que si la arquitectura moderna no hab\u00eda logrado la felicidad de la humanidad, entonces era culpable de su infelicidad; si no hab\u00eda conseguido la paz en el mundo, entonces era culpable de las guerras, y si no hab\u00eda obtenido alimentos para todos era la causa de la hambruna en el planeta.<\/p>\n
Obviamente, la arquitectura moderna no hab\u00eda resuelto el problema de la ciudad, ni el de la convivencia social, ni ninguno de tipo econ\u00f3mico, pol\u00edtico o social. \u00bfEs que era esa su misi\u00f3n? Por supuesto que no, pero los arquitectos modernos se hab\u00edan ofrecido ingenuamente a ello y hab\u00edan fracasado.<\/p>\n
Ahora cualquiera se atrev\u00eda a decir que El Corbu<\/b> era un bocazas, un propagandista que no hab\u00eda respetado el entorno, la naturaleza, la ecolog\u00eda. Que Wright<\/b> era un t\u00edo pagado de s\u00ed mismo, que hab\u00eda logrado un par de formas espectaculares, pero completamente efectistas y pintorescas, que no serv\u00edan para nada ni resolv\u00edan los verdaderos problemas de planificaci\u00f3n y desarrollo del territorio. Que Mies<\/b> era un artista ensimismado, que solo hac\u00eda paralelep\u00edpedos perfectos, alejados de la realidad… Vale. De acuerdo. Ten\u00edan buena parte de raz\u00f3n. Los arquitectos modernos no eran dioses. \u00bfY? \u00bfQu\u00e9 \u00edbamos a hacer a partir de entonces? \u00bfA qui\u00e9n \u00edbamos a seguir?<\/p>\n
Y se produjo un fen\u00f3meno curios\u00edsimo. Los mismos que hab\u00edan sido tan acerados cr\u00edticos, tan penetrantes inquisidores, tan h\u00e1biles dial\u00e9cticos para detectar el mal, a la hora de proponer una soluci\u00f3n mostraron esto:<\/p>\n \u00a1Ostras! \u00a1Pues s\u00ed que! Este glorioso tru\u00f1o era la respuesta al fracaso de los arquitectos modernos. Esta era la soluci\u00f3n a todos los problemas. \u00a1V\u00e1lgame!<\/p>\n Aldo Rossi<\/b><\/a> estaba aqu\u00ed para salvarnos. Era un te\u00f3rico, un pensador, un profesor que reflexionaba sobre la trascendencia \u00e9tica de la arquitectura.<\/p>\n Antes de pensar siquiera en construir algo, hab\u00eda escrito La Arquitectura de la Ciudad<\/a><\/i>, en donde mostraba la sagrada misi\u00f3n de la arquitectura integrada en la ciudad, la importancia del territorio, la de…<\/p>\n Bueno, no s\u00e9 muy bien de qu\u00e9 iba el libro porque fui incapaz de pasar de la primera p\u00e1gina. Yo leo. Soy un lector todoterreno, y no me asusta ning\u00fan tocho, pero es que este libro era infumable. Muy mal escrito. Y muy triste. Era un libro sin esp\u00edritu, sin garra, sin nada. No pude con \u00e9l.<\/p>\n Pero hab\u00eda que leerlo. Los profesores de la escuela (de todas las escuelas del mundo) estaban encantados con \u00e9l.<\/p>\n Hab\u00edan visto la luz y al final sab\u00edan la verdad absoluta de la arquitectura. Qu\u00e9 bendici\u00f3n que este gran hombre hubiera escrito una obra tan imprescindible. Este libro era la soluci\u00f3n a todo, el ensalmo de la vida.<\/p>\n El mundo entero reaccion\u00f3, y exigi\u00f3 al \u00ednclito Aldo Rossi que construyera, que nutriera al planeta de edificios que portaran sus ideales y salvaran (ahora s\u00ed) a la humanidad.<\/p>\n Y Aldo complaci\u00f3 (o complugo) al mundo con estas maravillas:<\/p>\n \u00ab\u00a1Dios m\u00edo! \u00a1Qu\u00e9 cosa m\u00e1s triste!\u00bb<\/em><\/p>\n<\/blockquote>\n Algunos profesores de la ETSAM se resist\u00edan, nadaban contra una corriente mundial y llevaban las de perder. Se hablaba de esto por los pasillos, por todas partes. Yo mismo, entonces con muy poco criterio, me empoll\u00e9 su cementerio para un ejercicio de Elementos de Composici\u00f3n<\/i> (que era una asignatura previa a Proyectos). Incluso, ay, intent\u00e9 dibujar como Rossi<\/p>\n Hasta O\u00edza<\/b><\/a>, arquitecto genial y brillant\u00edsimo, pero demasiado pendiente de las modas, tuvo una lamentable \u00e9poca rossiana. Nadie se resist\u00eda a ello.<\/p>\n Esa era la gu\u00eda de la arquitectura contempor\u00e1nea. Los muros de ladrillo con ventanas cuadraditas, los arcos tendidos y rebajados, los prismas puros… La ciudad metaf\u00edsica de De Chirico<\/b><\/a> pero tra\u00edda al mundo real. Ah\u00ed parece ser que quer\u00edamos vivir todos.<\/p>\n El trist\u00edsimo Aldo Rossi (la vida como culpa, la arquitectura como castigo) sucumbi\u00f3 finalmente a su \u00e9xito y se solt\u00f3 (un poco) el pelo:<\/p>\n No hay cosa m\u00e1s triste que un soso contando un chiste. Si no tienes gracia, t\u00edo. Qu\u00e9 grima.<\/p>\n (En aquella \u00e9poca el mejor regalo que se le pod\u00eda hacer a un arquitecto que se casaba era el juego de cafeteras de Rossi, car\u00edsimo, pero salvador del esp\u00edritu y garante de la verdad).<\/p>\n En el a\u00f1o 1984 se cumpl\u00eda el t\u00edtulo de la novela de George Orwell<\/b><\/a>, y a todo el mundo le dio por leerla. Para m\u00ed fue un grito contra Rossi y lo que representaba.<\/p>\n Se dec\u00eda (parece mentira) que Corbu, Wright, Mies, Aalto, Scharoun, Oud, Rietveld, etc, etc, etc, hab\u00edan sido simples, toscos, unidimensionales, reduccionistas, fachas, etc, etc, etc, y se dec\u00eda (hay que tener valor) que la soluci\u00f3n era esta mamarrachada impotente y desva\u00edda.<\/p>\n Era como decir que Maradona<\/b> era una mierda y que quien de verdad val\u00eda era Pizo G\u00f3mez<\/a><\/b>. \u00bfAlguien se acuerda de Pizo G\u00f3mez?<\/p>\n \u00bfAlguien se acuerda de Aldo Rossi?<\/p>\n El pensador Rossi, el profesor, a m\u00ed me deja una sola lecci\u00f3n, una lecci\u00f3n fundamental:<\/p>\n \u00abNo sigas las modas\u00bb. <\/em><\/p>\n \u00abNo hagas caso a los falsos profetas\u00bb. <\/em><\/p>\n \u00abAprende a pensar por ti mismo\u00bb. <\/em><\/p>\n \u00abAbre los ojos y mira\u00bb. <\/em><\/p>\n \u00abAcost\u00fambrate a valorar\u00bb. <\/em><\/p>\n \u00abNo escuches a los videntes, a los cantama\u00f1anas ni a los tristes\u00bb.<\/em><\/p>\n<\/blockquote>\n Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 Doctor Arquitecto [:en]<\/p>\n At the end of the seventies until middle of the eighties of the century twenty (I joust the period in which I studied architecture in the ETSAM<\/a>), the Modern Movement<\/a> was already criticized without mufflers. In the school one was speaking about the modern ones and, in general, still one was admiring them, but already the reverential respect had got lost them and his weaknesses were commented openly.<\/p>\n Besides it, in a series of illogical syllogisms, it had come near more or less to the conclusion of which if the modern architecture had not achieved the happiness of the humanity, guilty age at the time of his unhappiness; if it had not obtained the peace in the world, guilty age at the time of the wars, and if it had not obtained food for all it was the reason of the famine in the planet.<\/p>\n Obviously, the modern architecture had solved neither the problem of the city, nor that of the social conviviality, nor any of economic, political or social type. Is it that his mission was this?\u00a0Certainly that not, but the modern architects had offered ingenuously to it and had failed.<\/p>\n Now anyone was daring to say that Corbu<\/strong> was a bocazas, a publicist who had not respected the environment, the nature, the ecology. That Wright<\/b> was a full uncle of yes same, that had achieved a couple of spectacular, but completely theatrical and picturesque forms, which neither were serving for anything they were not even solving the real problems of planning and development of the territory. That Mies<\/b> was an artist ensimismado, that alone it was doing paralelep\u00edpedos perfect, removed from reality… It costs. In agreement. They had good part of reason. The modern architects were not gods. And? What were we going to do from then? Who were we going to be still?<\/p>\n And the most curious phenomenon took place. The same ones that had been so steely critical, so penetrating inquirers, so skilful dialectical to detect the evil, at the moment of proposing a solution showed this:<\/p>\n Oysters! So yes that! This glorious tru\u00f1o was the response to the failure of the modern architects. This one was the solution to all the problems. Cost me!<\/p>\n Aldo Rossi<\/b><\/a> was here to save ourselves. It was the theoretical one, a thinker, a teacher who was thinking about the ethical transcendency of the architecture.<\/p>\n Before thinking of constructing at least something, he had written The Architecture of the City<\/a><\/i>, where it was showing the sacred mission of the architecture integrated to the city, the importance of the territory, her of…<\/p>\n Well, do not be very well of what the book was going because I was unable to happen from the first page. I read. I am a reader todoterreno, and I do not scare any tocho, but it is that this book was ungood for smoking. Very badly written. And very sad. It was a book without spirit, without claw, without anything. I could not with him.<\/p>\n But it was necessary to read it. The teachers of the school (of all the schools of the world) were delighted with him.<\/p>\n They had seen the light and ultimately they knew the absolute truth of the architecture. What benediction that this great man had written such an indispensable work. This book was the solution to everything, the incantation of the life.<\/p>\n The entire world reacted, and it was required from the illustrious Aldo Rossi who was constructing, that it was nourishing to the building planet that his ideal ones were carrying and were saving (now yes) to the humanity.<\/p>\n And Aldo took pleasure (or complugo) to the world with these marvels:<\/p>\n \u00abMy God! What a sadder thing!\u00bb<\/em><\/p>\n<\/blockquote>\n Some teachers of the ETSAM were resisting, were swimming against a world current and were bound to lose. One was speaking about this for the corridors, throughout. I itself, at the time with very little criterion, incubated his cemetery for an exercise of Elements of Composition<\/em> (that was a subject before Projects). Even, sigh, I tried to draw as Rossi<\/p>\n Up to O\u00edza<\/b><\/a>, architect brilliant and most brilliant, but too dependent on the modes, it had a lamentable epoch rossiana. Nobody was resisting.<\/p>\n This age the guide of the contemporary architecture. The walls of brick with windows cuadraditas, the stretched and reduced arches, the pure prisms… The metaphysical city of De Chirico<\/b><\/a> but brought to the real world. There it seems to be that we wanted to live through all.<\/p>\n The saddest Aldo Rossi (the life as fault, the architecture like punishment) succumbed finally to his success and the hair came untied (a bit):<\/p>\n There is no thing sadder that the tasteless one counting a joke. If you do not have grace, uncle. What disgust.<\/p>\n (In that epoch the best gift that could be done to an architect who was marrying was the game of Rossi’s coffee machines, the most expensive, but savior of the spirit and guarantor of the truth).<\/p>\n In the year 1984 there was fulfilled the title of George Orwell<\/b><\/a>,’s novel, and to the whole world it gave him for reading it. For me it was a shout against Rossi and what it was representing.<\/p>\n It was said (it looks like a lie) that Corbu, Wright, Mies, Aalto, Scharoun, Oud, Rietveld, etc, etc, etc, had been simple, coarse, unidimensionales, reduccionistas, looks, etc, etc, etc, and it was said (it is necessary to have value) that the solution was this impotent and dull ridiculous object.<\/p>\n It was like to say that Maradona<\/strong> was a shit and that the one who indeed was costing was Pizo G\u00f3mez<\/a><\/b>. Does someone remember Pizo G\u00f3mez?<\/p>\n Does someone remember Aldo Rossi?<\/p>\n The thinker Rossi, the teacher, leaves me an alone lesson, a fundamental lesson:<\/p>\n \u00abDo not follow the modes\u00bb. <\/em><\/p>\n \u00abDo not notice the false prophets\u00bb. <\/em><\/p>\n \u00abIt learns to think for you itself\u00bb. <\/em><\/p>\n \u00abIt opens the eyes and gun-sight\u00bb. <\/em><\/p>\n \u00abGet used to valuing\u00bb. <\/em><\/p>\n \u00abListen to the clairvoyants, neither to the cantama\u00f1anas nor to the sad ones\u00bb.<\/em><\/p>\n<\/blockquote>\n Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa \u00b7 PhD Architect [:gl]<\/p>\n A finais dos anos setenta e ata mediados dos anos oitenta do s\u00e9culo vinte (xusto o per\u00edodo no que estudei arquitectura na ETSAM<\/a>), o Movemento Moderno<\/a> era xa criticado sen andr\u00f3menas. Na escola fal\u00e1base dos modernos e, en xeral, a\u00ednda se lles admiraba, pero xa se lles perdeu o respecto reverencial e coment\u00e1banse abiertamente as s\u00faas debilidades.<\/p>\n Ademais diso, nunha serie de silogismos il\u00f3xicos, chegouse m\u00e1is ou menos \u00e1 conclusi\u00f3n de que si a arquitectura moderna non lograra a felicidade da humanidade, ent\u00f3n era culpable da s\u00faa infelicidade; si non conseguira a paz no mundo, ent\u00f3n era culpable das guerras, e si non obtivera alimentos para todos era a causa da hambruna no planeta.<\/p>\n Obviamente, a arquitectura moderna non resolvera o problema da cidade, nin o da convivencia social, nin ning\u00fan de tipo econ\u00f3mico, pol\u00edtico ou social. \u00c9 que era esa a s\u00faa misi\u00f3n? Por suposto que non, pero os arquitectos modernos ofrec\u00e9ronse ingenuamente a iso e fracasaran.<\/p>\n Agora calquera se atrev\u00eda a dicir que O Corbu<\/strong> era un linguateiros, un propagandista que non respectara a contorna, a natureza, a ecolog\u00eda. Que Wright<\/strong> era un t\u00edo pago de si mesmo, que lograra un par de formas espectaculares, pero completamente efectistas e pintorescas, que non serv\u00edan para nada nin resolv\u00edan os verdadeiros problemas de planificaci\u00f3n e desenvolvemento do territorio. Que Mies<\/strong> era un artista ensimesmado, que s\u00f3 fac\u00eda paralelep\u00edpedos perfectos, afastados da realidade… Vale. De acordo. Ti\u00f1an boa parte de raz\u00f3n. Os arquitectos modernos non eran deuses. E? Que iamos facer a partir de ent\u00f3n? A quen iamos seguir?<\/p>\n E produciuse un fen\u00f3meno curios\u00edsimo. Os mesmos que foran tan aceirados cr\u00edticos, tan penetrantes inquisidores, tan h\u00e1biles dial\u00e9cticos para detectar o mal, \u00e1 hora de propo\u00f1er unha soluci\u00f3n mostraron isto:<\/p>\n Recoiro! Pois si que! Este glorioso tru\u00f1o era a resposta ao fracaso dos arquitectos modernos. Esta era a soluci\u00f3n a todos os problemas. V\u00e1lgame deus!<\/p>\n Aldo Rossi<\/b><\/a> estaba aqu\u00ed para salvarnos. Era un te\u00f3rico, un pensador, un profesor que reflexionaba sobre a transcendencia \u00e9tica da arquitectura.<\/p>\n Antes de pensar sequera en constru\u00edr algo, escribira A Arquitectura da Cidade<\/a><\/i>, onde mostraba a sagrada misi\u00f3n da arquitectura integrada na cidade, a importancia do territorio, a de…<\/p>\n Bo, non sei moi ben de que \u00eda o libro porque fun incapaz de pasar da primeira p\u00e1xina. Eu leo. Son un lector todoterreno, e non me asusta ning\u00fan tocho, pero \u00e9 que este libro era infumable. Moi mal escrito. E moi triste. Era un libro sen esp\u00edrito, sen garra, sen nada. Non puiden con el.<\/p>\n Pero hab\u00eda que lelo. Os profesores da escola (de todas as escolas do mundo) estaban encantados con el.<\/p>\n Viran a luz e ao final sab\u00edan a verdade absoluta da arquitectura. Que bendici\u00f3n que este gran home escribise unha obra tan imprescindible. Este libro era a soluci\u00f3n a todo, o ensalmo da vida.<\/p>\n O mundo enteiro reaccionou, e esixiu ao \u00ednclito Aldo Rossi que constru\u00edse, que nutrise ao planeta de edificios que portasen os seus ideais e salvasen (agora si) \u00e1 humanidade.<\/p>\n E Aldo compraceu (ou complugo) ao mundo con estas marabillas:<\/p>\n \u00abMeu deus! Que cousa m\u00e1is triste!\u00bb<\/em><\/p>\n<\/blockquote>\n Alg\u00fans profesores da ETSAM resist\u00edanse, nadaban contra unha corrente mundial e levaban as de perder. Fal\u00e1base disto polos corredores, por todas partes. Eu mesmo, ent\u00f3n con moi pouco criterio, me empoll\u00e9 o seu cemiterio para un exercicio de Elementos de Composici\u00f3n<\/em> (que era unha asignatura previa a Proxectos). Ata, ai, intentei debuxar como Rossi<\/p>\n Ata O\u00edza<\/b><\/a>, arquitecto xenial e brillant\u00edsimo, pero demasiado pendente das modas, tivo unha lamentable \u00e9poca rossiana. Ningu\u00e9n se resist\u00eda a iso.<\/p>\n Esa era a gu\u00eda da arquitectura contempor\u00e1nea. Os muros de ladrillo con fiestras cuadraditas, os arcos tendidos e rebaixados, os prismas puros… A cidade metaf\u00edsica de De Chirico pero tra\u00edda ao mundo real. A\u00ed parece ser que queriamos vivir todos.<\/p>\n O trist\u00edsimo Aldo Rossi (a vida como culpa, a arquitectura como castigo) sucumbiu finalmente ao seu \u00e9xito e soltouse (un pouco) o pelo:<\/p>\n Non hai cousa m\u00e1is triste que un soso contando un chiste. Si non tes graza, t\u00edo. Que grima.<\/p>\n (Naquela \u00e9poca o mellor regalo que se lle pod\u00eda facer a un arquitecto que se casaba era o xogo de cafeteras de Rossi, car\u00edsimo, pero salvador do esp\u00edrito e garante da verdade).<\/p>\n No ano 1984 cumpr\u00edase o t\u00edtulo da novela de George Orwell<\/b><\/a>, e a todo o mundo deulle por lela. Para min foi un grito contra Rossi e o que representaba.<\/p>\n Dic\u00edase (parece mentira) que Corbu, Wright, Mies, Aalto, Scharoun, Oud, Rietveld, etc, etc, etc, foran simples, toscos, unidimensionales, reduccionistas, fachas, etc, etc, etc, e dic\u00edase (hai que ter valor) que a soluci\u00f3n era esta mamarrachada impotente e desva\u00edda.<\/p>\n![\"Cementerio](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/06\/ro01.jpg\" "\\"Cementerio")
<\/a>![\"La](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/La-Arquitectura-de-la-Ciudad.jpg\" "\\"La")
<\/a>![\"Teatro](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/Teatro-del-Mondo-para-el-Bienal-de-Venecia-de-1979-1980-\u00c1rea-Fontivegge-Perugia-Italia.-1982-1989.jpg\")
<\/a>\n
![\"Esta](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/cementerioSanCataldo1971-rossi.jpg\")
<\/a>![\"Aldo](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/Aldo-Rossi-image-415763856.jpg\")
![\"\"](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/rossi_p05-150x150.jpg\")
<\/a>\n\t\t\t<\/div><\/figure>![\"\"](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/rossi_p12-150x150.jpg\")
<\/a>\n\t\t\t<\/div><\/figure>![\"\"](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/rossi_p11-150x150.jpg\")
<\/a>\n\t\t\t<\/div><\/figure>![\"\"](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2016\/01\/rossi_p08-150x150.jpg\")
<\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n\n
\nToledo \u00b7 junio 2012
\nAutor del blog arquitectamoslocos?<\/em><\/span><\/p>\n<\/a><\/a><\/a>\n
<\/a>![\"Aldo](\"https:\/\/veredes.es\/wp-content\/uploads\/2016\/01\/Aldo-Rossi-image-415763856.jpg\")
<\/a><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n\n
\nToledo \u00b7 juny 2012
\nAuthor of the blog arquitectamoslocos?<\/em><\/span><\/p>\n<\/a><\/a><\/a>\n
<\/a><\/a><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n