\u00abSi pudi\u00e9semos cargar sobre la arquitectura las responsabilidades que pesan sobre la construcci\u00f3n de barcos, tendr\u00edamos desde hace tiempo edificios mejores que el Parten\u00f3n\u00bb[1]<\/sup><\/sup><\/em><\/p>\n Horatio Greenough<\/p>\n<\/blockquote>\n Para los arquitectos de la modernidad, la construcci\u00f3n naval ha sido una referencia constante. Peter Collins, en su ensayo Changing Ideals in Modern Architecture (1750-1950)<\/em><\/a>, nos recuerda c\u00f3mo, ya en el siglo XIX, el escultor americano Horatio Greenough<\/a> reclamaba que los arquitectos volviesen la vista hacia el dise\u00f1o naval:<\/p>\n \u00abSi nuestras construcciones sobre tierra firme se enfrentaran a las mismas pruebas que se realizan en los astilleros, poco m\u00e1s habr\u00eda que a\u00f1adir. En lugar de encajar a la fuerza las funciones de todo tipo de edificios en una forma general, dada previamente, y de adoptar una forma exterior sin considerar la distribuci\u00f3n interior, empecemos por el coraz\u00f3n progresando desde ah\u00ed hacia fuera\u00bb[2]<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n Collins cita otros ejemplos d\u00f3nde arquitectos en b\u00fasqueda de la modernidad hallan nuevos rumbos al estudiar la construcci\u00f3n naval: El historiador de arquitectura James Fergusson<\/a> analiz\u00f3 la fabricaci\u00f3n de barcos desde la \u00e9poca de Guillermo el Conquistador hasta el \u00ab\u00faltimo barco botado en nuestros muelles\u00bb, mientras el escritor Prosper M\u00e9rim\u00e9e<\/a> lamentaba en varios art\u00edculos que se estuvieran dise\u00f1ando barcos de vapor tomando como modelo las galeras antiguas, opini\u00f3n que tambi\u00e9n compart\u00edan Eug\u00e8ne Viollet-le-Duc<\/a> y su disc\u00edpulo Anatole de Baudot<\/a>, qui\u00e9n escribe:<\/p>\n \u00ab\u00bfNo tenemos uno de los m\u00e1s \u00fatiles e interesantes ejemplos en los nuevos veh\u00edculos terrestres y mar\u00edtimos? \u00bfSe les dio a \u00e9stos las formas de los carruajes o barcos de la \u00e9poca de Luis XVI? De ninguna manera: las interrelaciones y la apariencia se deduc\u00edan de datos cient\u00edficos e industriales. \u00bfPor qu\u00e9, entonces, los refugios fijos, es decir, los edificios, no se dise\u00f1an de una manera similar?\u00bb[3]<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n Los cuadernos de bit\u00e1cora de los arquitectos modernos est\u00e1n llenos de dise\u00f1os de barcos. Le Corbusier<\/a>, adem\u00e1s de ver en los nav\u00edos \u00abel juego sabio, correcto y magn\u00edfico de los vol\u00famenes reunidos bajo la luz\u00bb[4]<\/sup><\/sup>, transform\u00f3 la barcaza Louise-Catherine en un asilo flotante sobre el Sena para el Ej\u00e9rcito de Salvaci\u00f3n. Alvar Aalto<\/a> llam\u00f3 a su bote Nemo propheta in patria<\/em>, dedicando a su dise\u00f1o la misma atenci\u00f3n que a su refugio privado en Muraatsalo, s\u00f3lo accesible atravesando las aguas del lago P\u00e4ij\u00e4nne, Ram\u00f3n V\u00e1zquez Molez\u00fan<\/a> daba forma, verano tras verano, a su casa-embarcadero<\/a> en Bueu \u2014desde d\u00f3nde sal\u00eda a navegar\u2014 y Ralph Erskine<\/a> lleg\u00f3 a convertir un velero \u2014La Verona<\/em>\u2014 en su estudio temporal.<\/p>\n El caso de J\u00f8rn Utzon<\/a> es todav\u00eda m\u00e1s singular: su padre, Aage Utzon, era ingeniero naval y trabaj\u00f3 en el proyecto de varios nav\u00edos a lo largo de su vida. Desde ni\u00f1o, el futuro arquitecto visitaba los astilleros de su ciudad natal y ayudaba a su padre a realizar los planos y las maquetas de los barcos. El \u00faltimo dise\u00f1o de Aage es un velero que denomin\u00f3 Sisu<\/em>, nombre que Utzon retomar\u00e1 para las vigas que sostienen las \u00abvelas\u00bb de la \u00f3pera de Sydney<\/a> y que permanece como un sentido homenaje a los comienzos de su singladura arquitect\u00f3nica.<\/p>\n antonio s. r\u00edo v\u00e1zquez\u00a0. arquitecto Notas: [:en]<\/p>\n \u00abIf we could load on the architecture the responsibilities that weigh on the construction of ships, we would have for time buildings better than the Parthenon\u00bb[1]<\/sup><\/sup><\/em><\/p>\n Horatio Greenough<\/p>\n<\/blockquote>\n For the architects of the modernity, the naval construction has been a constant reference.\u00a0Peter Collins,\u00a0in his test Changing Ideals in Modern Architecture (1750-1950)<\/em><\/a>,\u00a0remembers his how, already in the 19th century, the american sculptor Horatio Greenough<\/a> was claiming that the architects were turning the sight towards the naval design:<\/p>\n \u00abIf our constructions on firm land were facing the same tests that are realized in the shipyards, little more would be necessary to add. Instead of fitting by force the functions of all kinds of buildings into a general form, given before, and of adopting an exterior form without considering the interior distribution, let’s begin for the heart progressing from there towards out\u00bb[2]<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n Collins mentions other examples where architects in search of the modernity find new courses on having studied the naval construction: The historian of architecture James Fergusson<\/a>\u00a0nalyzed the manufacture of ships from the epoch of Guillermo Conquering up to the \u00ab<\/em>last ship thrown in our wharves\u00bb<\/em>, while the writer Prosper M\u00e9rim\u00e9e<\/a>\u00a0was sorry in several articles that steam ships were designed taking like I shape the ancient galleys, opinion that also there were sharing Eug\u00e8ne Viollet-le-Duc<\/a>\u00a0and his disciple Anatole de Baudot<\/a>, who writes:<\/p>\n \u00abDo not we have one of the most useful and interesting examples in the new terrestrial and maritime vehicles? There were given to these the forms of the carriages or ships of the epoch of Luis XVI? By no means: the interrelationships and the appearance were deduced of scientific and industrial information. Why, then, the fixed refuges, that is to say, the buildings, are not they designed in a similar way?\u00bb[3]<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n The notebooks of binnacle of the modern architects are full of designs of ships. Le Corbusier<\/a>,\u00a0beside seeing in the ships \u00abthe wise, correct and magnificent game of the volumes assembled under the light\u00bb[4]<\/sup><\/sup>,\u00a0transformed the barge Louise-Catherine\u00a0into a floating asylum on the Seine for the Army of Salvation. Alvar Aalto<\/a>\u00a0called to his boat Nemo propheta in patria<\/em>,\u00a0dedicating to his design the same attention that to his refuge deprived in Muraatsalo, only accessible crossing the waters of the P\u00e4ij\u00e4nne Lake, Ram\u00f3n V\u00e1zquez Molez\u00fan<\/a>\u00a0was giving form, summer after summer, to his pier-house<\/a> in Bueu \u2014from where it was going out to sail\u2014 and Ralph Erskine<\/a>\u00a0managed to turn a sailboat \u2014La Verona<\/em>\u2014\u00a0into his temporary study.<\/p>\n J\u00f8rn Utzon<\/a>\u00b4s\u00a0\u00a0case is even more singular:\u00a0his father, Aage Utzon,\u00a0was a naval engineer and it was employed at the project of several ships along his life.\u00a0From child, the future architect was visiting the shipyards of his natal city and was helping his father to realize the planes and the models of the ships.\u00a0Aage’s last design is sailboat\u00a0that named Sisu<\/em>,\u00a0name that Utzon will take again for the girders that support the \u00abcandles\u00bb of the Sydney\u00b4s Opera<\/a> and that honoring remains as a sense to the beginning of his architectural day_s run.<\/p>\n antonio s. r\u00edo v\u00e1zquez . architect<\/p>\n a coru\u00f1a. juny 2013<\/p>\n Notes:<\/p>\n [1]<\/sup><\/sup> GREENOUGH, Horatio. \u00abAmerican Architecture\u00bb<\/em>. En: TUCKERMAN, Henry Theodore. A memorial of Horatio Greenough consisting of a memoir, selections from his writings, and tributes to his genius<\/em>. New York: G.P. Putnam & Co., 1853, p. 125<\/p>\n [2]<\/sup><\/sup> GREENOUGH, Horatio. \u00abAmerican Architecture\u00bb<\/em>. En: TUCKERMAN, Henry Theodore. Op. Cit., p. 125<\/p>\n [3]<\/sup><\/sup> BAUDOT, Anatole de. L’architecture: Le pass\u00e9. Le pr\u00e9sent<\/em>. Par\u00eds: H. Laurens, 1916, p. 3<\/p>\n [4]<\/sup><\/sup>\u00a0In the page 79<\/em> of Vers une architecture<\/em> aplica esta definici\u00f3n al paquebote Empress of Asia de la Canadian Pacific.<\/em><\/p>\n [:gl]<\/p>\n \u00abSe puid\u00e9semos cargar sobre a arquitectura as responsabilidades que pesan sobre a construci\u00f3n de barcos, teriamos dende fai tempo edificios mellores que o Parten\u00f3n\u00bb[1]<\/sup><\/sup><\/em><\/p>\n Horatio Greenough<\/p>\n<\/blockquote>\n Para os arquitectos da modernidad, a construci\u00f3n naval foi unha referencia constante.\u00a0Peter Collins, no seu ensaio Changing Ideals in Modern Architecture (1750-1950)<\/em><\/a>, rec\u00f3rdanos c\u00f3mo, xa no s\u00e9culo XIX, o escultor americano Horatio Greenough<\/a> reclamaba que os arquitectos volvesen a vista hacia o dese\u00f1o naval:<\/p>\n \u00abSe as nosas construci\u00f3ns sobre terra firme enfront\u00e1sense \u00e1s mesmas probas que se realizan nos astilleros, pouco m\u00e1is haber\u00eda que engadir. En lugar de encaixar \u00e1 forza as funci\u00f3ns de todo tipo de edificios nunha forma xeral, dada previamente, e de adoptar unha forma exterior sen considerar a distribuci\u00f3n interior, empecemos polo coraz\u00f3n progresando desde a\u00ed cara a f\u00f3ra\u00bb[2]<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n Collins cita outros exemplos onde arquitectos en procura da modernidad achan novos rumbos ao estudar a construci\u00f3n naval: O historiador de arquitectura\u00a0James Fergusson<\/a>\u00a0analizou a fabricaci\u00f3n de barcos desde a \u00e9poca de Guillermo o Conquistador ata o \u00ab\u00faltimo barco botado nos nosos peiraos\u00bb, mentres o escritor Prosper M\u00e9rim\u00e9e<\/a> llamentaba en varios artigos que se estivesen dese\u00f1ando barcos de vapor tomando como modelo as galeras antigas, opini\u00f3n que tam\u00e9n compart\u00edan Eug\u00e8ne Viollet-le-Duc<\/a> e o seu disc\u00edpulo Anatole de Baudot<\/a>, qu\u00e9n escribe:<\/p>\n \u00ab\u00bfNon temos un dos m\u00e1is \u00fatiles e interesantes exemplos nos novos veh\u00edculos terrestres e mar\u00edtimos? D\u00e9uselles a estes as formas dos carruajes ou barcos da \u00e9poca de Lu\u00eds XVI? De ning\u00fan xeito: interrelaci\u00f3nelas e a aparencia deduc\u00edanse de datos cient\u00edficos e industriais. Por que, ent\u00f3n, os refuxios fixos, \u00e9 dicir, os edificios, non se dese\u00f1an dun xeito similar?\u00bb[3]<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n Os cadernos de bit\u00e1cora dos arquitectos modernos est\u00e1n cheos de dese\u00f1os de barcos. Le Corbusier<\/a>, adem\u00e1is de ver os nav\u00edos \u00abo xogo sabio, correcto e magn\u00edfico dos vol\u00famenes reunidos baixo a luz\u00bb[4]<\/sup><\/sup>, transformou a barcaza Louise-Catherine nun asilo flotante sobre o Sena para o Ex\u00e9rcito de Salvaci\u00f3n. Alvar Aalto<\/a> chamou o seu bote Nemo propheta in patria<\/em>, dedicando o seu dese\u00f1o a mesma atenci\u00f3n que o seu refuxio privado en Muraatsalo, s\u00f3lo accesible atravesando as aguas do lago P\u00e4ij\u00e4nne, Ram\u00f3n V\u00e1zquez Molez\u00fan<\/a> daba forma, ver\u00e1n tras ver\u00e1n, a sua casa-embarcadoiro<\/a> en Bueu \u2014dende onde sal\u00eda a navegar\u2014 e Ralph Erskine<\/a> chegou a convertir un veleiro \u2014La Verona<\/em>\u2014 no se estudio temporal.<\/p>\n No caso de J\u00f8rn Utzon<\/a> \u00e9 a\u00ednda m\u00e1is singular: o seu padre, Aage Utzon, era enxe\u00f1eiro naval e traballou no proxecto de varios nav\u00edos ao longo da s\u00faa vida. Desde neno, o futuro arquitecto visitaba os astaleiros da s\u00faa cidade natal e axudaba ao seu pai a realizar os planos e as maquetas dos barcos. O \u00faltimo dese\u00f1o de Aage \u00e9 velero que denominou Sisu<\/em>, nome que Utzon retomar\u00e1 para as vigas que soste\u00f1en as \u00abvelas\u00bb da \u00f3pera de Sydney<\/a> e que permanece como un sentido homenajxe os comenzos da sua singladura arquitect\u00f3nica.<\/p>\n antonio s. r\u00edo v\u00e1zquez . arquitecto<\/p>\n a coru\u00f1a. xu\u00f1o 2013<\/p>\n Notas:<\/p>\n [1]<\/sup><\/sup> GREENOUGH, Horatio. \u00abAmerican Architecture\u00bb<\/em>. En: TUCKERMAN, Henry Theodore. A memorial of Horatio Greenough consisting of a memoir, selections from his writings, and tributes to his genius<\/em>. New York: G.P. Putnam & Co., 1853, p. 125<\/p>\n [2]<\/sup><\/sup> GREENOUGH, Horatio. \u00abAmerican Architecture\u00bb<\/em>. En: TUCKERMAN, Henry Theodore. Op. Cit., p. 125<\/p>\n [3]<\/sup><\/sup> BAUDOT, Anatole de. L’architecture: Le pass\u00e9. Le pr\u00e9sent<\/em>. Par\u00eds: H. Laurens, 1916, p. 3<\/p>\n [4]<\/sup><\/sup> En la p\u00e1gina 79 de Vers une architecture<\/em> aplica esta definici\u00f3n o paquebote Empress of Asia de la Canadian Pacific.<\/em><\/p>\n [:]<\/p>\n","protected":false},"excerpt":{"rendered":" [:es] \u00abSi pudi\u00e9semos cargar sobre la arquitectura las responsabilidades que pesan sobre la construcci\u00f3n de barcos, tendr\u00edamos desde hace tiempo edificios mejores que el Parten\u00f3n\u00bb[1] Horatio Greenough Para los arquitectos de la modernidad, la construcci\u00f3n naval ha sido una referencia constante. Peter Collins, en su ensayo Changing Ideals in Modern Architecture (1750-1950), nos recuerda c\u00f3mo, […]<\/p>\n","protected":false},"author":12,"featured_media":31626,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[7763,102,7765,365,12470,3013,668,7769,7767,2774,785,878,7025,3452,7768,7766,1513,1136,7764],"class_list":["post-31625","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-aage-utzon","tag-alvar-aalto","tag-anatole-de-baudot","tag-construccion","tag-diseno","tag-eugene-emmanuel-viollet-le-duc","tag-historia","tag-horatio-greenough","tag-james-fergusson","tag-jorn-utzon","tag-le-corbusier","tag-modernidad","tag-opera","tag-personaje","tag-peter-collins","tag-prosper-merimee","tag-ralph-erskine","tag-ramon-vazquez-molezun","tag-sydney"],"yoast_head":"\n![\"\"](\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2013\/05\/J\u00f8rn-Utzon-\u00f3pera-de-Sydney.-Fotograf\u00eda-de-Balthazar-Korab-1988.jpg\" "\\"J\u00f8rn")
<\/a>\n
\n
\na coru\u00f1a. junio 2013<\/p>\n
\n[1]<\/sup><\/sup> GREENOUGH, Horatio. \u00abAmerican Architecture\u00bb<\/em>. En: TUCKERMAN, Henry Theodore. A memorial of Horatio Greenough consisting of a memoir, selections from his writings, and tributes to his genius<\/em>. New York: G.P. Putnam & Co., 1853, p. 125
\n[2]<\/sup><\/sup> GREENOUGH, Horatio. \u00abAmerican Architecture\u00bb<\/em>. En: TUCKERMAN, Henry Theodore. Op. Cit., p. 125
\n[3]<\/sup><\/sup> BAUDOT, Anatole de. L’architecture: Le pass\u00e9. Le pr\u00e9sent<\/em>. Par\u00eds: H. Laurens, 1916, p. 3
\n[4]<\/sup><\/sup> En la p\u00e1gina 79 de Vers une architecture<\/em> aplica esta definici\u00f3n al paquebote Empress of Asia de la Canadian Pacific.<\/em><\/p>\n\n
<\/a>\n
\n
\n
<\/a>\n
\n