{"id":25213,"date":"2012-11-08T06:02:29","date_gmt":"2012-11-08T05:02:29","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=25213"},"modified":"2022-02-17T09:33:50","modified_gmt":"2022-02-17T08:33:50","slug":"hemisferio-antonio-s-rio-vazquez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/hemisferio-antonio-s-rio-vazquez\/","title":{"rendered":"[:es]Hemisferio | Antonio S. R\u00edo V\u00e1zquez[:gl]Hemisferio | Antonio S. R\u00edo V\u00e1zquez[:en]Hemisphere | Antonio S. R\u00edo V\u00e1zquez[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Main Concourse, Grand Central Terminal, NY; Library of Congress<\/span><\/figcaption><\/figure><\/p>\n

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

En uno de sus ensayos sobre la antig\u00fcedad cl\u00e1sica, Oddone Longo<\/a> destaca la relaci\u00f3n entre espacio de conquista y espacio arquitect\u00f3nico en el Imperio Romano[<\/sup><\/sup><\/span>1<\/span>]<\/sup><\/sup>, una correspondencia que se puede observar de un modo representativo en la Domus Aurea<\/em><\/a>, la fastuosa residencia del emperador Ner\u00f3n que se extend\u00eda sobre cuatro de las siete colinas romanas.<\/p>\n

Entre las curiosas realizaciones que albergaba el palacio imperial \u2014denominadas adecuadamente Incredibilia Neronis<\/em>\u2014, destacaba la singular \u00abm\u00e1quina arquitect\u00f3nica\u00bb que cubr\u00eda una de las salas de banquete y que Cayo Suetonio<\/a> describe en el cap\u00edtulo XXXI de la biograf\u00eda de Ner\u00f3n:<\/p>\n

\n

En nada gast\u00f3 tanto, sin embargo, como en sus construcciones; extendi\u00f3 su casa desde el palacio hasta las Esquilias, llamando al edificio que los un\u00eda Casa de Paso; destruida \u00e9sta por un incendio, hizo construir otra que se llam\u00f3 Casa de Oro, de cuya extensi\u00f3n y magnificencia bastar\u00e1 decir que en el vest\u00edbulo se ve\u00eda una estatua colosal de Ner\u00f3n de ciento veinte pies de altura; que estaba rodeada de p\u00f3rticos de tres hileras de columnas y de mil pasos de longitud; que en ella hab\u00eda un lago imitando el mar, rodeado de edificios que simulaban una gran ciudad; que se ve\u00edan asimismo explanadas, campos de trigo, vi\u00f1edos y bosques poblados de gran n\u00famero de reba\u00f1os y de fieras. El interior era dorado por todas partes y estaba adornado con pedrer\u00edas, n\u00e1car y perlas. El techo de los comedores estaba formado de tablillas de marfil movibles, por algunas aberturas de los cuales brotaban flores y perfumes. De estas salas, la m\u00e1s hermosa era circular, y giraba noche y d\u00eda, imitando el movimiento de rotaci\u00f3n del mundo.[<\/sup><\/sup>2]<\/sup><\/sup><\/span><\/p>\n<\/blockquote>\n

De todas las construcciones del emperador, la c\u00fapula giratoria que simula el hemisferio celeste se convierte en la representaci\u00f3n perfecta de la concepci\u00f3n espacial romana, que encuentra su paradigma en la gran c\u00fapula del Pante\u00f3n<\/a>. Emergiendo de la tierra, su enorme hemisferio p\u00e9treo se contrapone al dinamismo de su antecedente dom\u00e9stico. El car\u00e1cter est\u00e1tico se enfatiza con la luz del \u00f3culo abierto en su c\u00e9nit, \u00fanico testigo del tiempo, como recordaba el historiador Dion Casio<\/a>:<\/p>\n

\n

Agripa complet\u00f3 el edificio llamado Pante\u00f3n. Este pose\u00eda dicho nombre como consecuencia de las im\u00e1genes que lo decoraban de muchos dioses, incluidos Marte y Venus pero, en mi opini\u00f3n, el nombre viene dado porque su forma con c\u00fapula era similar a la del cielo.<\/em>[<\/sup><\/sup>3]<\/sup><\/sup><\/span><\/p>\n<\/blockquote>\n

El viajero que llegue de madrugada a la Grand Central Station<\/a> de Nueva York\u00a0 tambi\u00e9n se encontrar\u00e1 debajo de un gran mapa celeste representado en la b\u00f3veda del vest\u00edbulo principal. Uno de los arquitectos, Whitney Warren, hab\u00eda previsto inicialmente que el techo de la estaci\u00f3n permitiera la entrada de luz natural, pero problemas de tiempo y de presupuesto le obligaron a desechar esa idea. Fue entonces cuando el proyectista se vio obligado a dise\u00f1ar una simulaci\u00f3n a la manera de Ner\u00f3n.<\/p>\n

Para hacer realidad su proyecto cont\u00f3 con la colaboraci\u00f3n del pintor franc\u00e9s Paul C\u00e9sar Helleu<\/a>, qui\u00e9n emul\u00f3 el firmamento con sus constelaciones doradas sobre un manto azul cer\u00faleo. Helleu dispuso 59 luminarias en el lugar de las principales estrellas de cada agrupaci\u00f3n, conformando una nueva \u00abm\u00e1quina arquitect\u00f3nica\u00bb por encima del movimiento aleatorio de los viajeros[<\/sup><\/sup>4]<\/sup><\/sup><\/span>.<\/p>\n

Como la sala de Ner\u00f3n, el dise\u00f1o de Helleu conten\u00eda varias inc\u00f3gnitas: Su pintura no representaba el cielo estadounidense, sino su conocido cielo del Mare Nostrum<\/em> romano. Adem\u00e1s, lo hab\u00eda dibujado invertido. Algunos intuyeron en esa representaci\u00f3n un posible error a la hora de trasladar a la cubierta la informaci\u00f3n astrogr\u00e1fica. Otros, sencillamente, que Helleu no hab\u00eda concebido su obra para que la observaran los hombres, sino los dioses, como tantas creaciones c\u00f3smicas a lo largo de la historia.<\/p>\n

antonio s. r\u00edo v\u00e1zquez\u00a0. arquitecto
\na coru\u00f1a. noviembre de 2012<\/p>\n

Notas:
\n[1] LONGO, O., El universo de los griegos. Actualidad y distancias,<\/em> Acantilado, Barcelona, 2009, 395
\n[2] SUETONIO, C., Vida de los doce C\u00e9sares<\/em>, Espasa, Madrid, 2003, XXXI
\n[3] CASIO, D., Historia Romana<\/em>, Gredos, Madrid, 2004, LIII
\n[4] La obra de Helleu fue recuperada en una restauraci\u00f3n del a\u00f1o 1998. Hab\u00eda permanecido oculta durante casi sesenta a\u00f1os. En la restauraci\u00f3n<\/a> se colocaron LEDs de intensidades diferentes, logrando un parecido a\u00fan mayor con el firmamento real.<\/p>\n

[:gl]

\"\"<\/a>
Main Concourse, Grand Central Terminal, NY; Library of Congress<\/span><\/figcaption><\/figure><\/p>\n

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

Nun dos seus ensaios sobre a antig\u00fcidade cl\u00e1sica, Oddone Longo<\/a> destaca a relaci\u00f3n entre espazo de conquista e espazo arquitect\u00f3nico no Imperio Romano[<\/sup><\/sup>1]<\/sup><\/sup><\/span>,\u00a0unha correspondencia que se pode observar dun modo representativo na Domus Aurea<\/em><\/a>,a fastuosa residencia do emperador Ner\u00f3n que se estend\u00eda sobre catro das sete outeiros romanos.<\/p>\n

Entre as curiosas realizaci\u00f3ns que albergaba o palacio imperial \u2014denominadas adecuadamente Incredibilia Neronis<\/em>\u2014, destacaba a singular \u00abm\u00e1quina arquitect\u00f3nica\u00bb que cubr\u00eda unha das salas de banquete e que\u00a0Cayo Suetonio<\/a> describe no cap\u00edtulo XXXI da biograf\u00eda de Ner\u00f3n:<\/p>\n

\n

En nada gastou tanto, con todo, como nas s\u00faas construci\u00f3ns; estendeu a s\u00faa casa desde o palacio ata as Esquilias, chamando ao edificio que os un\u00eda Casa de paso; destru\u00edda esta por un incendio, fixo constru\u00edr outra que se chamou Casa de Ouro, de cuxa extensi\u00f3n e magnificencia bastar\u00e1 dicir que no vest\u00edbulo v\u00edase unha estatua colosal de Ner\u00f3n de cento vinte p\u00e9s de altura; que estaba rodeada de p\u00f3rticos de tres fileiras de columnas e de mil pasos de lonxitude; que nela hab\u00eda un lago imitando o mar, rodeado de edificios que simulaban unha gran cidade; que se v\u00edan as\u00ed mesmo explanadas, campos de trigo, vi\u00f1edos e bosques poboados de gran n\u00famero de reba\u00f1os e de fieras. O interior era dourado por todas partes e estaba adornado con pedrer\u00edas, n\u00e1car e perlas. O teito dos comedores estaba formado de tablillas de marfil movibles, por algunhas aberturas dos cales brotaban flores e perfumes. Destas salas, a m\u00e1is fermosa era circular, e viraba noite e d\u00eda, imitando o movemento de rotaci\u00f3n do mundo<\/em>.[<\/sup><\/sup>2]<\/sup><\/sup><\/span><\/p>\n<\/blockquote>\n

De todas as construci\u00f3ns do emperador, a c\u00fapula xiratoria que simula o hemisferio celeste conv\u00e9rtese na representaci\u00f3n perfecta da concepci\u00f3n espacial romana, que atopa a s\u00faa paradigma na gran c\u00fapula do\u00a0Pante\u00f3n<\/a>.\u00a0Emerxendo da terra, o seu enorme hemisferio p\u00e9treo contraponese ao dinamismo do seu antecedente dom\u00e9stico. O car\u00e1cter est\u00e1tico enfat\u00edzase coa luz do \u00f3culo aberto no seu c\u00e9nit, \u00fanica testemu\u00f1a do tempo, como recordaba o historiador Dion Casio<\/a>:<\/p>\n

\n

Agripa completou o edificio chamado Pante\u00f3n. Leste posu\u00eda devandito nome como consecuencia das imaxes que o decoraban de moitos deuses, inclu\u00eddos Marte e Venus pero, na mi\u00f1a opini\u00f3n, o nome v\u00e9n dado porque a s\u00faa forma con c\u00fapula era similar \u00e1 do ceo.<\/em>[<\/sup><\/sup>3]<\/sup><\/sup><\/span><\/p>\n<\/blockquote>\n

O viaxeiro que chegue de madrugada \u00e1\u00a0Grand Central Station<\/a> de Nova York tam\u00e9n se atopar\u00e1 debaixo dun gran mapa celeste representado na b\u00f3veda do vest\u00edbulo principal. Un dos arquitectos, Whitney Warren, previra inicialmente que o teito da estaci\u00f3n permitise a entrada de luz natural, pero problemas de tempo e de orzamento obrig\u00e1ronlle a desechar esa idea. Foi ent\u00f3n cando o proyectista viuse obrigado a dese\u00f1ar unha simulaci\u00f3n ao xeito de Ner\u00f3n.<\/p>\n

Para facer realidade o seu proxecto contou coa colaboraci\u00f3n do pintor franc\u00e9s\u00a0Paul C\u00e9sar Helleu<\/a>, quen emul\u00f3 o firmamento cos seus constelaciones douradas sobre un manto azul cer\u00faleo. Helleu dispuxo 59 luminarias no lugar das principais estrelas de cada agrupaci\u00f3n, conformando unha nova \u00abm\u00e1quina arquitect\u00f3nica\u00bb por encima do movemento aleatorio dos viaxeiros[<\/sup><\/sup><\/span>4]<\/span><\/sup><\/sup>.<\/p>\n

Como a sala de Ner\u00f3n, o dese\u00f1o de Helleu conti\u00f1a varias inc\u00f3gnitas: A s\u00faa pintura non representaba o ceo estadounidense, sen\u00f3n o seu co\u00f1ecido ceo do Mare Nostrum<\/em> romano. Ademais, o debuxara investido. Alg\u00fans intu\u00edron nesa representaci\u00f3n un posible erro \u00e1 hora de trasladar \u00e1 cuberta a informaci\u00f3n astrogr\u00e1fica. Outros, sencillamente, que Helleu non concibira a s\u00faa obra para que a observasen os homes, sen\u00f3n os deuses, como tantas creaci\u00f3ns c\u00f3smicas ao longo da historia.<\/p>\n

antonio s. r\u00edo v\u00e1zquez\u00a0. arquitecto<\/p>\n

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

\n

Notas:<\/p>\n

[1] LONGO, O., El universo de los griegos. Actualidad y distancias,<\/em> Acantilado, Barcelona, 2009, 395<\/p>\n

[2] SUETONIO, C., Vida de los doce C\u00e9sares<\/em>, Espasa, Madrid, 2003, XXXI<\/p>\n

[3] CASIO, D., Historia Romana<\/em>, Gredos, Madrid, 2004, LIII<\/p>\n

[4]\u00a0A obra de Helleu foi recuperada nunha restauraci\u00f3n do ano 1998. Permaneceu oculta durante casi sesenta anos. Na restauraci\u00f3n<\/a> colocaronse LEDs de intensidades diferentes, logrando un parecido ainda maior co firmamento real.<\/p>\n<\/div>\n

[:en]

\"\"<\/a>
Main Concourse, Grand Central Terminal, NY; Library of Congress<\/span><\/figcaption><\/figure><\/p>\n

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

In one of his essays on the classical antiquity, Oddone Longo<\/a> stands out the relation between space of conquest and architectural space in the Roman Empire[<\/sup><\/sup>1]<\/sup><\/sup><\/span>,\u00a0a correspondence that can observe\u00a0 of a representative way in the Domus Aurea<\/em><\/a>, the fastuosa residence of the emperor Ner\u00f3n that elaborated on four of the seven roman hills.<\/p>\n

Between the curious realisations that housed the imperial palace \u2014designated properly Incredibilia Neronis<\/em>\u2014, stood out the singular \u00abarchitectural machine\u00bb that covered one of the rooms of banquet and that\u00a0Cayo Suetonio<\/a> describes in the chapter XXXI of the biography of Ner\u00f3n:<\/p>\n

\n

In at all it spent so much, however, as in his constructions; it extended his house from the palace until the Esquilias, calling to the building that joined them House of Step; destroyed this by a fire, did to build another that called\u00a0 House of Gold, of whose extension and magnificencia will suffice to say that in the hall saw\u00a0 a colossal statue of Ner\u00f3n of ciento twenty feet of height; that was surrounded of porticos of three hileras of columns and of one thousand steps of length; that in her there was a lake imitating the sea, surrounded of buildings that simulated a big city; that they saw\u00a0 likewise explanadas, fields of wheat, vi\u00f1edos and forests populated of big number of herds and of fieras. The interior was gilded throughout and was adorned with pedrer\u00edas, nacre and perlas. The ceiling of the canteens was formed of tablillas of movable ivory, by some aberturas of which brotaban flowers and perfumes. Of these rooms, the most beautiful was to circulate, and turned night and day, imitating the movement of rotation of the world<\/em>.[<\/sup><\/sup>2]<\/sup><\/sup><\/span><\/p>\n<\/blockquote>\n

Of all the constructions of the emperor, the c\u00fapula giratoria that simulates the celestial hemisphere turns into the perfect representation of the roman space conception, that finds his paradigm in the big c\u00fapula of the\u00a0Pante\u00f3n<\/a>.\u00a0Surfacing of the earth, his enormous hemisphere p\u00e9treo\u00a0 contrapone to the dynamism of his domestic antecedent. The static character emphasizes\u00a0 with the light of the \u00f3culo open in his c\u00e9nit, only witness of the time, as it remembered the historian Dion Casio<\/a>:<\/p>\n

\n

Agripa completed the building called Pante\u00f3n. This possessed said name like consequence of the images that decorated it of a lot of gods, included Mars and Venus but, in my opinion, the name comes given because his form with c\u00fapula was similar to the one of the sky.<\/em>[<\/sup><\/sup>3]<\/sup><\/sup><\/span><\/p>\n<\/blockquote>\n

The traveller that arrive of morning to the\u00a0Grand Central Station<\/a> of New York also will find\u00a0 under a big celestial map represented in the vault of the main hall. One of the architects, Whitney Warren, had foreseen initially that the ceiling of the station allowed the entrance of natural sunlight, but problems of time and of budget forced him to refuse this idea. It was then when the proyectista saw\u00a0 forced to design a simulation to the way of Ner\u00f3n.<\/p>\n

To do reality his project had the collaboration of the French painter\u00a0Paul C\u00e9sar Helleu<\/a>, who emulated the firmament with his golden constellations on a blue mantle cer\u00faleo. Helleu Had 59 luminarias in the place of the main stars of each grouping, conforming a new \u00abarchitectural machine\u00bb above the random movement of the travellers[<\/sup><\/sup><\/span>4]<\/span><\/sup><\/sup>.<\/p>\n

Like the room of Ner\u00f3n, the design of Helleu contained several inc\u00f3gnitas: His painting did not represent the American sky, but his known sky of the Mare Nostrum<\/em> Roman. Besides, it had drawn it invested. Some intuyeron in this representation a possible error to the hour to move to the cover the information astrogr\u00e1fica. Others, simply, that Helleu had not conceived his work so that they observed it the men, but the gods, as so many cosmic creations along the history.<\/p>\n

antonio s. r\u00edo v\u00e1zquez . architect<\/p>\n

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

\n

Notes:[1] LONGO, O., El universo de los griegos. Actualidad y distancias,<\/em> Acantilado, Barcelona, 2009, 395<\/p>\n

[2] SUETONIO, C., Vida de los doce C\u00e9sares<\/em>, Espasa, Madrid, 2003, XXXI<\/p>\n

[3] CASIO, D., Historia Romana<\/em>, Gredos, Madrid, 2004, LIII<\/p>\n

[4] The Helleu\u00b4s\u00a0work wass recovered in a restoration of the year 1998.\u00a0It had remained unseen during almost sixty years. In the restoration<\/a> placed\u00a0 LEDs of different intensities, attaining a still greater resemblance with the real firmament.<\/p>\n<\/div>\n

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

[:es] Hemisferio En uno de sus ensayos sobre la antig\u00fcedad cl\u00e1sica, Oddone Longo destaca la relaci\u00f3n entre espacio de conquista y espacio arquitect\u00f3nico en el Imperio Romano[1], una correspondencia que se puede observar de un modo representativo en la Domus Aurea, la fastuosa residencia del emperador Ner\u00f3n que se extend\u00eda sobre cuatro de las siete […]<\/p>\n","protected":false},"author":12,"featured_media":25215,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[9575,510,6028,668,6027,930,6026,6033,6031,3452,1168],"class_list":["post-25213","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-romana","tag-espacio","tag-grand-central-terminal","tag-historia","tag-main-concourse","tag-new-york","tag-oddone-longo","tag-panteon","tag-paul-cesar-helleu","tag-personaje","tag-restauracion"],"yoast_head":"\nHemisferio | Antonio S. 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