Esto es lo que suele pasar con los arquitectos que no se encuadran en una categor\u00eda f\u00e1cilmente etiquetable. Si no se les puede entomologizar se les suprime, y as\u00ed quedan los cuadros sin\u00f3pticos m\u00e1s limpitos.<\/p>\n (Y Curro Inza era muchas cosas, pero, desde luego, no un arquitecto \u00ablimpito\u00bb). A\u00f1os despu\u00e9s, entrando a Segovia desde San Rafael, me di de sopet\u00f3n con la F\u00e1brica de Embutidos \u00abEl Acueducto\u00bb<\/a>. \u00ab\u00a1M\u00edrala, m\u00edrala! \u00a1Esa es!\u00bb La impresi\u00f3n fue tan fuerte que merece una entrada aparte. Hoy me abstendr\u00e9 de hablar de esa obra.<\/p>\n Al poco de morir, sus alumnos y sus amigos organizaron una exposici\u00f3n de su obra en la Escuela de Arquitectura de Navarra, y publicaron el libro cuya portada he puesto m\u00e1s arriba. Que yo sepa, no hay ninguna otra monograf\u00eda sobre este arquitecto olvidado.<\/p>\n No falta en las listas: Todos los libros sobre arquitectura espa\u00f1ola contempor\u00e1nea le mencionan, le sit\u00faan en el tiempo y en el contexto de sus coet\u00e1neos (que han tenido mucho m\u00e1s \u00e9xito que \u00e9l), pero nada m\u00e1s.<\/p>\n Curro Inza fue un personaje singular, un arquitecto expresionista, feroz, desaforado y brutal, pero tambi\u00e9n fue pintor, escritor, m\u00fasico… Parec\u00eda tener prisa por plasmar su expresividad por todas partes. Parec\u00eda darse cuenta de que no iba a tener tiempo suficiente.<\/p>\n Igual de excesivo que en su obra lo fue en su vida: Tuvo diez hijos, (la \u00faltima p\u00f3stuma), incontables amigos, alumnos entregados… Porque \u00e9l se entregaba con pasi\u00f3n a la arquitectura, al arte, a la vida, a todo. No ten\u00eda nunca suficiente. Para \u00e9l, menos era menos, y hab\u00eda que aspirar a m\u00e1s.<\/p>\n Citaba a sus alumnos en su estudio de Pamplona, y all\u00ed trabajaba con ellos y les ayudaba a plantear los ejercicios. El estudio estaba debajo de su casa, y continuamente bajaban los hijos o sub\u00edan los alumnos, y tambi\u00e9n a veces hab\u00eda clientes. Todo ello formaba una amalgama ca\u00f3tica e indiferenciada entre familia, escuela y profesi\u00f3n.<\/p>\n A sus alumnos les propon\u00eda ejercicios realistas e incluso triviales, alejados de lo que se sol\u00eda hacer -y se sigue haciendo- en las escuelas. Les contaba la historia de un cliente, sus necesidades, sus aspiraciones, y con ello les ped\u00eda que dise\u00f1aran su casa, o su taller, o lo que fuera, atendiendo a planteamientos muy concretos y prosaicos. Y de ah\u00ed ten\u00eda que surgir \u00abese algo\u00bb, \u00abesa aspiraci\u00f3n\u00bb.<\/p>\n Por su parte, \u00e9l hac\u00eda eso con su arquitectura. Ten\u00eda una enorme ansiedad expresiva, pero la ce\u00f1\u00eda a los requerimientos m\u00e1s \u00abcutres\u00bb del encargo, y con todo ello produc\u00eda obras tremendas.<\/p>\n Hay que decir tambi\u00e9n que esta fuerza proyectual un tanto desbocada y falta de control seguramente se habr\u00eda ido organizando y habr\u00eda madurado con el tiempo. Esta obra tan singular y tan potente fue, en definitiva, una obra de juventud. La arquitectura es un oficio que necesita tiempo para madurar, y yo estoy seguro de que unas cuantas d\u00e9cadas m\u00e1s de vida habr\u00edan logrado que la potencia de Curro Inza cristalizara en acto maduro y, seguramente, en arquitectura portentosa y magistral.<\/p>\n Curro Inza era un hombre muy simp\u00e1tico y muy ingenioso. Fernando Higueras<\/a> debi\u00f3 de llevarse alg\u00fan revolc\u00f3n, porque siempre dec\u00eda que con Curro no se pod\u00eda discutir en p\u00fablico. No ten\u00eda mala leche, pero era tan buen polemista y tan agudo que te contradec\u00eda con mucha gracia, generando risas en el p\u00fablico, y quedabas fatal.<\/p>\n Un detalle que me gusta mucho de Inza es su seguridad, que se puede relacionar no s\u00e9 si con una gran modestia o, por el contrario, con una soberbia infinita. Se burlaba amistosamente de sus compa\u00f1eros \u00abexquisitos\u00bb cuando se quejaban con raz\u00f3n de que alguien hab\u00eda chafado alguna obra suya con alg\u00fan detalle \u00abde esos\u00bb. Todos me entend\u00e9is: Esas obras magn\u00edficas cuyo arquitecto tiene que fotografiar a toda prisa antes de que le pongan un farolillo, una reja de forja o un enanito de jard\u00edn. \u00c9l les dec\u00eda:<\/p>\n \u00ab\u00bfY esa tonter\u00eda va a arruinar tu obra? Pues s\u00ed que es fr\u00e1gil tu obra, entonces. A m\u00ed eso me da igual. Mis obras lo aguantan todo\u00bb.<\/p>\n<\/blockquote>\n Es una buen\u00edsima actitud. Los arquitectos nos pasamos la vida quej\u00e1ndonos de c\u00f3mo adulteran nuestras obras, y precisamente deber\u00edamos hacerlas para eso, para que las usen, las adapten y las \u00abvivan\u00bb d\u00eda a d\u00eda.<\/p>\n -Claro -le contestaban-. T\u00fa las haces ya tan feas desde el principio que nadie se las puede cargar.<\/p>\n<\/blockquote>\n Pues s\u00ed. Pues es una actitud.<\/p>\n Pero, con todo lo que llevo dicho, hay una cosa de Curro Inza que me emociona profundamente. Y es que, de alguna manera que no s\u00e9 explicar, con su familia numerosa, sus alumnos, sus clientes, sus compa\u00f1eros y amigos, su actitud vital, su muerte tan temprana y tan cruel, me hace pensar en que la humanidad ha hecho algo muy mal, y es que en tantos milenios de historia y de experiencia no hemos sido capaces de vivir la infancia con facilidad y con alegr\u00eda elemental, y de pasar con naturalidad de la infancia a la adolescencia, y de esta a la juventud, form\u00e1ndonos y educ\u00e1ndonos, labrando amigos y experiencias, y con todo ello llegar a la edad adulta con un horizonte (un horizonte, s\u00ed; lo digo ahora, en julio de 2012, en Espa\u00f1a). Un horizonte de trabajo duro y apasionante con el que ganarnos honradamente la vida y formar y educar a nuestros hijos, en la rueda infinita de las generaciones, con una vida honrada y decente, y alegre y optimista, como fue la vida de Curro Inza, a juzgar por cu\u00e1nto le quisieron y por los recuerdos que dej\u00f3.<\/p>\n \u00bfFrente a todo esto, quien quiere arquitectura exquisita y mojigata?<\/p>\n Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa <\/strong>Francisco de Inza<\/a> was born in Madrid in 1929 and died in Brick in 1976, with forty seven years newly fulfilled. He was a project teacher in the school of Navarre, and in his pupils and companions it left an indelible fingerprint, but, the truth, in the rest of Spain his recollection lasted little. (I began the career of architecture in Madrid, in 1977, only one year after his death, and nobody spoke to me about him ever. Sic transit glory mundi. And I suppose that the current young persons will never have heard his name either).<\/p>\n This is what is in the habit of happening with the architects who are not fitted in a category easily etiquetable. If they one cannot entomologizar they are suppressed, and this way the cleanest charts stay.<\/p>\n ( And Curro Inza was many things, but, certainly, not a \u00abclean\u00bb architect).<\/p>\n I believe that already the career would have finished when I saw once in the TV an article on a very ugly building, of uglier that it had seen in my life: A factory of sausages in Segovia. It could not separate the eyes of the screen. It was like a dream, like a nightmare. They were surprising, magnificent spaces. It was a fantastic complex. Exciting. I remained out of game, and learned the name of his architect: Francisco de Inza Campos, Curro Inza.<\/p>\n Some years later, entering Segovia from San Rafael, I gave myself of punch with the Factory of Sausages \u00bb The Aqueduct \u00ab<\/a>. \u00abLook at her, look at her! This it is!\u00bb The impression was so strong that there deserves one entered apart. Today I will abstain from speaking of this work.<\/p>\n To little of dying, his pupils and his friends organized an exhibition of his work in the School of Architecture of Navarre, and published the book which front page I have put more above. That I know, there is no any other monograph on this forgotten architect.<\/p>\n It is not absent in the lists: All the books on Spanish contemporary architecture mention him, place him in the time and in the context of his contemporaries (who are had much more successful that he), but nothing more.<\/p>\n Job Inza was a singular personage, an architect expressionist, fiercely, behaved in an outrageous way and brutally, but also he was a painter, writer, musical… It Seemed to have hurry to form his expressiveness throughout. It seemed to realize that it was not going to have sufficient time.<\/p>\n Equal of excessive that in his work it was in his life: It had ten children, (the last posthumous one), countless friends, dedicated pupils… Because he was submitting hotly to the architecture, to the art, to the life, to everything. It never had sufficiently. For him, less age less, and it was necessary to aspire to more.<\/p>\n He was mentioning his pupils in his study of Pamplona, and there it was working with them and was helping them to raise the exercises. The study was under his house, and constant the children were going down or the pupils were rising, and also sometimes there were clients. All this was forming an amalgam chaotic and undifferentiated between family, school and profession.<\/p>\n To his pupils he was proposing realistic and even trivial exercises, removed from what was in the habit of doing – and it continues being done – in the schools. It was telling them the history of a client, his needs, his aspirations, and with it he was asking them to design his house, or his workshop, or what was, attending to very concrete and prosaic expositions. And of there it had to arise \u00abthis a little\u00bb, \u00abthis aspiration\u00bb.<\/p>\n For your part, he was doing it with his architecture. It had an enormous expressive anxiety, but it was encircling her to the requirements more \u00abmisers\u00bb of the order, and with all this it was producing tremendous works.<\/p>\n It is necessary to say also that this force proyectual rather loose and lacking in control surely would have been organizing and matured by the time. This so singular and so powerful work was, definitively, a work of youth. The architecture is a trade that he needs time to mature, and I am sure that a few decades more of life would have achieved that the power of Curro Inza was crystallizing in mature act and, surely, in marvellous and magisterial architecture.<\/p>\n Curro Inza was a very nice and very ingenious man.. Fernando Higueras<\/a> had to of taking some revolc\u00f3n to him, because always he was saying that with Curro it was not possible to discuss publicly. It did not have bad milk, but he was a so good debater and so sharply that it was contradicting you with many grace, generating laughs in the public, and you were remaining fatal.<\/p>\n A detail that me pleases much Inza is his safety, which can relate do not be if with a great modesty or, on the contrary, with the haughty infinite one. He was joking friendly of his \u00abexquisite\u00bb companions when they were complaining deservedly about that someone had flattened some his work with some detail \u00abof this\u00bb. You all understand me: These magnificent works which architect has to come out in photographs hotfoot before they put a Chinese lantern, a grating of forge or an enanito of garden. He was saying to them:<\/p>\n \u00ab\u00bfAnd is this bilge going to ruin your work? So yes that is fragile your work, at the time. It is all the same to me. My works bear everything \u00ab<\/p>\n<\/blockquote>\n It is a very good attitude. The architects we spend the life to ourselves complaining about how our works commit adultery, and precisely we should do them for it, in order that they use them, adapt them and \u00ablive\u00bb through them day after day.<\/p>\n – Sure – they were answering him-. You them make already so ugly from the beginning that nobody can load them.<\/p>\n<\/blockquote>\n So yes. Since it is an attitude.<\/p>\n But, with everything what I take saying, there is a thing job Inza that thrills me deeply. And it is that, somehow that I do not know explain, with his large family, his pupils, his clients, his companions and friends, his vital attitude, his so early and so cruel death, it makes me think that the humanity has done something very badly, and is that in so many milleniums of history and of experience we have not been capable of living through the infancy with facility and with elementary happiness, and of going on with naturalness of the infancy to the adolescence, and of this one to the youth, being formed and educating us, working friends and experiences, and with all this to come to the adult age with a horizon (a horizon, yes; I say it now, in July, 2012, in Spain). A horizon of I work hard and exciting with that the life to win us honestly and to form and to educate our children, in the infinite wheel of the generations, with an honest and decent, and happy and optimistic life, since it was the life of Job Inza, they him wanted judging by how much and for the recollections that it left.<\/p>\n \u00bfFrente a todo esto, quien quiere arquitectura exquisita y mojigata?<\/p>\n Jos\u00e9 Ram\u00f3n Hern\u00e1ndez Correa<\/p>\n Doctor Architect and author of Arquitectamos locos?<\/em><\/p>\n Toledo \u00b7 july 2012[:gl]<\/p>\n <\/strong>Francisco de Inza<\/a> naceu en Madrid en 1929 e morreu en Mah\u00f3n en 1976, con corenta e sete anos recentemente cumpridos. Foi profesor de proxectos na escola de Navarra, e nos seus alumnos e compa\u00f1eiros deixou unha pegada imborrable, pero, a verdade, no resto de Espa\u00f1a o seu recordo durou pouco. (Eu empecei a carreira de arquitectura en Madrid, en 1977, s\u00f3 un ano logo da s\u00faa morte, e xamais ningu\u00e9n me falou del. Sic transit gloria mundi.<\/em> E supo\u00f1o que os mozos actuais tampouco oir\u00edan nunca o seu nome).<\/p>\n Isto \u00e9 o que adoita pasar cos arquitectos que non se encadran nunha categor\u00eda f\u00e1cilmente etiquetable. Si non se lles pode entomologizar supr\u00edmeselles, e as\u00ed quedan os cadros sin\u00f3pticos m\u00e1is limpi\u00f1os.<\/p>\n (E Curro Inza era moitas cousas, pero, desde logo, non un arquitecto \u00ablimpi\u00f1o\u00bb).<\/p>\n Creo que xa ter\u00eda rematado a carreira cando vin unha vez na tele unha reportaxe sobre un edificio moi feo, dos m\u00e1is feos que vira na mi\u00f1a vida: Unha f\u00e1brica de embutidos en Segovia. Non pod\u00eda apartar os ollos da pantalla. Era como un sono, como un pesadelo. Eran espazos sorprendentes, magn\u00edficos. Era un complexo fant\u00e1stico. Emocionante. Quedei f\u00f3ra de xogo, e aprendinme o nome do seu arquitecto: Francisco de Inza Campos, Curro Inza.<\/p>\n Anos despois, entrando a Segovia dende San Rafael, deime de s\u00fapeto coa\u00a0F\u00e1brica de Embutidos \u00abEl Acueducto\u00bb<\/a>. \u00ab\u00a1M\u00edraa, m\u00edraa! \u00a1Esa \u00e9!\u00bb A impresi\u00f3n foi tan forte que merece unha entrada \u00e1 parte. Hoxe abstereime de falar desa obra.<\/p>\n Ao pouco de morrer, os seus alumnos e os seus amigos organizaron unha exposici\u00f3n da s\u00faa obra na Escola de Arquitectura de Navarra, e publicaron o libro cuxa portada puxen m\u00e1is arriba. Que eu saiba, non hai ningunha outra monograf\u00eda sobre este arquitecto esquecido.<\/p>\n Non falta nas listas: Todos os libros sobre arquitectura espa\u00f1ola contempor\u00e1nea lle mencionan, sit\u00faano no tempo e no contexto dos seus coet\u00e1neos (que tiveron moito m\u00e1is \u00e9xito ca el), pero nada m\u00e1is.<\/p>\n Curro Inza foi un personaxe singular, un arquitecto expresionista, feroz, desaforado e brutal, pero tam\u00e9n foi pintor, escritor, m\u00fasico… Parec\u00eda ter pr\u00e9sa por plasmar a s\u00faa expresividade por todas as partes. Parec\u00eda decatarse de que non \u00eda ter tempo abondo.<\/p>\n Igual de excesivo que na s\u00faa obra o foi na s\u00faa vida: Tivo dez fillos, (a \u00faltima p\u00f3stuma), incontables amigos, alumnos entregados… Porque el se entregaba con paix\u00f3n \u00e1 arquitectura, \u00e1 arte, \u00e1 vida, a todo. Non ti\u00f1a nunca suficiente. Para el, menos era menos, e hab\u00eda que aspirar a m\u00e1is.<\/p>\n Citaba os seus alumnos no seu estudo de Pamplona, e al\u00ed traballaba con eles e axud\u00e1balles a formular os exercicios. O estudo estaba debaixo da s\u00faa casa, e continuamente baixaban os fillos ou sub\u00edan os alumnos, e tam\u00e9n \u00e1s veces hab\u00eda clientes. Todo iso formaba unha am\u00e1lgama ca\u00f3tica e indiferenciada entre familia, escola e profesi\u00f3n.<\/p>\n Aos seus alumnos propo\u00f1\u00edalles exercicios realistas e mesmo triviais, afastados do que se adoitaba facer -e s\u00e9guese facendo- nas escolas. Cont\u00e1balles a historia dun cliente, as s\u00faas necesidades, as s\u00faas aspiraci\u00f3ns, e con iso ped\u00edalles que dese\u00f1asen a s\u00faa casa, ou o seu taller, ou o que fora, atendendo a formulaci\u00f3ns moi concretas e prosaicas. E de a\u00ed ti\u00f1a que xurdir \u00abese algo\u00bb, \u00abesa aspiraci\u00f3n\u00bb.<\/p>\n Pola s\u00faa banda, el fac\u00eda iso coa s\u00faa arquitectura. Ti\u00f1a unha enorme ansiedade expresiva, pero cingu\u00edaa aos requirimentos m\u00e1is \u00abcutres\u00bb do encargo, e con todo iso produc\u00eda obras tremendas.<\/p>\n Hai que dicir tam\u00e9n que esta forza proyectual un tanto desbocada e falta de control seguramente ter\u00edase ido organizando e ter\u00eda madurado co tempo. Esta obra tan singular e tan potente foi, en definitiva, unha obra de xuventude. A arquitectura \u00e9 un oficio que necesita tempo para madurar, e eu estou seguro de que unhas cantas d\u00e9cadas m\u00e1is de vida ter\u00edan logrado que a potencia de Curro Inza cristalizase en acto maduro e, seguramente, en arquitectura portentosa e maxistral.<\/p>\n Curro Inza era un home moi simp\u00e1tico e moi enxe\u00f1oso.\u00a0Fernando Higueras<\/a> debeu de levarse alg\u00fan vorcall\u00f3n, porque sempre dic\u00eda que con Curro non se pod\u00eda discutir en p\u00fablico. Non ti\u00f1a mal leite, pero era tan bo polemista e tan agudo que te contradic\u00eda con moita graza, xerando risas no p\u00fablico, e quedabas fatal.<\/p>\n Un detalle que me gusta moito de Inza \u00e9 a s\u00faa seguridade, que se pode relacionar non sei se cunha gran modestia ou, pola contra, cunha soberbia infinita. Burl\u00e1base amigablemente dos seus compa\u00f1eiros \u00abexquisitos\u00bb cando se queixaban con raz\u00f3n de que algu\u00e9n chafara algunha obra s\u00faa con alg\u00fan detalle \u00abdeses\u00bb. Todos me entendedes: Esas obras magn\u00edficas cuxo arquitecto ten que fotografar a toda pr\u00e9sa antes de que o po\u00f1an un farol, unha reixa de forxa ou un enanito de xard\u00edn. El dic\u00edalles:<\/p>\n \u00ab\u00bfE esa parvada vai arruinar a t\u00faa obra? Pois si que \u00e9 fr\u00e1xil a t\u00faa obra, ent\u00f3n. A min iso d\u00e1me igual. As mi\u00f1as obras agu\u00e1ntano todo\u00bb.<\/p>\n<\/blockquote>\n \u00c9 unha boa actitude. Os arquitectos pas\u00e1monos a vida queix\u00e1ndonos de como adulteran as nosas obras, e precisamente deberiamos facelas para iso, para que as usen, ad\u00e1ptenas e as \u00abvivan\u00bb d\u00eda a d\u00eda.<\/p>\n -Claro -contest\u00e1banlle-. Ti falas xa tan feas dende o principio que ningu\u00e9n llelas pode cargar.<\/p>\n<\/blockquote>\n![\"El](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inza01.jpg\" "\\"El")
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<\/span><\/figcaption><\/figure>\n
\nCreo que ya habr\u00eda terminado la carrera cuando vi una vez en la tele un reportaje sobre un edificio muy feo, de los m\u00e1s feos que hab\u00eda visto en mi vida: Una f\u00e1brica de embutidos en Segovia. No pod\u00eda apartar los ojos de la pantalla. Era como un sue\u00f1o, como una pesadilla. Eran espacios sorprendentes, magn\u00edficos. Era un complejo fant\u00e1stico. Emocionante. Me qued\u00e9 fuera de juego, y me aprend\u00ed el nombre de su arquitecto: Francisco de Inza Campos<\/a>, Curro Inza.<\/p>\n![\"El](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inza02.jpg\" "\\"El")
<\/a>![\"El](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inza03.jpg\" "\\"El")
<\/a>![\"El](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inzaconjunto01.jpg\" "\\"El")
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2. Casa en Rascafr\u00eda (Madrid)<\/span>
3. Restaurante Libanios, en Madrid<\/span>
4. Hotel en Alfaro (Logro\u00f1o)<\/span><\/figcaption><\/figure>\n![\"El](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inza10.jpg\" "\\"El")
<\/a>\n
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![\"El](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inzaconjunto02.jpg\" "\\"El")
<\/a>
2. Estudio de Curro Inza en Pamplona, en la Torre de Erroz.<\/span>
3. Curro Inza en clase<\/span><\/figcaption><\/figure>\n![\"El](\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2012\/07\/inza14.jpg\" "\\"El")
<\/a>
\nDoctor Arquitecto y autor de Arquitectamos locos?<\/em>
\nToledo \u00b7 julio 2012[:en]<\/p>\n<\/a><\/a><\/a><\/a>
2. House in Rascafr\u00eda (Madrid)
3. Restaurant Libanios, in Madrid
4. Hotel in Alfaro (Logrono)<\/span><\/figcaption><\/figure>\n<\/a>\n
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<\/a>
2. Curro Inza\u00b4s study\u00a0 in Pamplona, in Erroz’s Tower.
3. Curro Inza in class<\/span><\/figcaption><\/figure>\n<\/a><\/a>
<\/span><\/figcaption><\/figure>\n<\/a><\/a><\/a>
2. Casa en Rascafr\u00eda (Madrid)
3. Restaurante Libanios, en Madrid
4. Hotel en Alfaro (Logro\u00f1o)<\/span><\/figcaption><\/figure>\n<\/a>\n
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