{"id":31654,"date":"2013-06-07T06:18:57","date_gmt":"2013-06-07T06:18:57","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=31654"},"modified":"2024-06-10T16:30:24","modified_gmt":"2024-06-10T14:30:24","slug":"manifiestos-ausentes-brijuni","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/manifiestos-ausentes-brijuni\/","title":{"rendered":"[:es]Manifiestos ausentes | bRijUNi[:gl]Manifestos ausentes | bRijUNi[:en]Absent manifests | bRijUNi[:]"},"content":{"rendered":"

[:es]

\"Manifiestos<\/a>
Gr\u00e1fico de Manifiestos | bRijUNi<\/span><\/figcaption><\/figure><\/p>\n

En el a\u00f1o 2007 la revista Icon, para celebrar su n\u00famero 50, encarga 50 manifiestos a otros tantos artistas, dise\u00f1adores, urbanistas y arquitectos entre los que podemos mencionar a Rem Koolhaas, Greg Lynn, Zaha Hadid<\/a> o Steven Holl<\/a>. Su editorial, que empezaba con la sentencia:<\/p>\n

\n

\u201cLa era del manifiesto ha terminado<\/em>\u201d,<\/p>\n<\/blockquote>\n

terminaba reivindicando la necesidad de estos escritos radicales, violentos y que siempre buscan la ruptura con lo anterior, para acabar con la apat\u00eda y el relativismo que reinan en nuestro comienzo de siglo.<\/p>\n

Un a\u00f1o despu\u00e9s, Patrick Schumacher presenta en el club Dark Side de Londres su Manifiesto Parametricista<\/a>. Independientemente de su contenido, la utilizaci\u00f3n de la palabra \u201cmanifiesto\u201d no hay duda que lo convirti\u00f3, de principio, en algo ya pol\u00e9mico.<\/p>\n

Aunque, a priori, la idea de un manifiesto en pleno siglo 21 suena extempor\u00e1nea, la verdad es que, si atendemos a los libros sobre manifiestos que han escrito Conrad Ulrich, Charles Jencks<\/a> y Karl Kropf, estos no han dejado de producirse a lo largo de todo el siglo pasado, con la \u00fanica interrupci\u00f3n que supusieron las dos guerras mundiales, especialmente la segunda. Es m\u00e1s, conforme nos \u00edbamos acercando al siglo actual, su n\u00famero se iba multiplicando.<\/p>\n

Tampoco las sucesivas crisis econ\u00f3mica parecen haber afectado a su libre desarrollo. Sin embargo, si atendemos a su tem\u00e1tica y estilo s\u00ed podemos ver que existe una gran evoluci\u00f3n.<\/p>\n

A principios del siglo XX hab\u00eda menos manifiestos, pero eran mucho m\u00e1s radicales. El formato se hab\u00eda tomado de la pol\u00edtica cuyos grandes manifiestos, por ejemplo, el famoso manifiesto del partido comunista, iban a conseguir una verdadera revoluci\u00f3n tras la cual, efectivamente, se cambiar\u00eda el sistema\u00a0 pol\u00edtico y social de la URSS. Es la \u00e9poca de las vanguardias, movimientos que tambi\u00e9n pretenden romper con todo lo anterior y que ven en el manifiesto un excelente aliado. En arquitectura, adem\u00e1s de los manifiestos de las vanguardias [De Stijl<\/em><\/a>, Futurista, Positivista o Suprematista] se suceden los manifiestos y programas arquitect\u00f3nicos destinados a encontrar el \u201clenguaje arquitect\u00f3nico\u201d, la arquitectura que sea capaz de reflejar los cambios econ\u00f3micos, pol\u00edticos y sociales de este siglo.<\/p>\n

Alrededor de los a\u00f1os 20 de ese siglo esa nueva arquitectura parece haberse encontrado en el movimiento moderno y los manifiestos y teor\u00edas arquitect\u00f3nicas se homogeneizan y, por unos a\u00f1os, el estilo internacional parece ser el \u00fanico tema que les ocupa. Pero, tras la reconstrucci\u00f3n de Europa, que tuvo lugar al terminar la segunda guerra mundial y en la que se pusieron en pr\u00e1ctica las principales ideas de esta movimiento, los manifiestos se centra entonces en la cr\u00edtica de las ciudades que se han construido.<\/p>\n

Esta cr\u00edtica se va a expresar seg\u00fan ideas muy distintas, aunque se podr\u00edan distinguir cuatro grandes grupos tem\u00e1ticos: la cr\u00edtica postmoderna, muy influida por la filosof\u00eda y que empieza a tratar de nuevo las ya olvidadas cuestiones de estilo, los tradicionalistas, que proponen una vuelta a la ciudad tradicional, los revisores del movimiento moderno, que buscan mejorar este y que han derivado en dos tendencias fundamentales: los que buscan una ciudad m\u00e1s humana [ah\u00ed entrar\u00edan temas de regionalismos, accesibilidad, g\u00e9nero o infancia] y los que buscan una ciudad m\u00e1s po\u00e9tica e influir\u00e1n a las teor\u00edas fenomenol\u00f3gicas y, por \u00faltimo, dentro de las tendencias principales podr\u00edamos destacar todas aquellas, que, a ra\u00edz de la crisis del petr\u00f3leo de 1973, comienzan a tratar cuestiones de sostenibilidad, arquitectura ver\u00e1ncula y ecolog\u00eda y que derivar\u00e1n en el denominado paradigma de lo termodin\u00e1mico.<\/p>\n

Sin embargo, teor\u00edas aparte, lo que resulta m\u00e1s llamativo de los manifiestos de la \u00faltima mitad del pasado siglo es que ya no son esos radicales posicionamientos personales [o de un grupo] que llamaban a una revoluci\u00f3n contra la realidad existente. M\u00e1s bien son peque\u00f1as piezas de un puzzle, de algo as\u00ed como un manifiesto collage que, m\u00e1s que romper con lo anterior, piensa cambiarlo un poco, reflejando un cierto conformismo con la situaci\u00f3n existente.<\/p>\n

Beatriz Villanueva Cajide. Arquitecta y Master en Proyectos Arquitect\u00f3nicos Avanzados (ETSAM). Co-fundadora de bRijUNi arquitectos y comisaria de las jornadas \u00abAl borde de la cr\u00edtica\u00bb organizadas por la Universidad Europea de Madrid en abri-mayo 2013.<\/em><\/p>\n

[:en]<\/p>\n

\"\"<\/a><\/p>\n

In the year 2007 the magazine Icon, to celebrate his number 50, entrusts 50 manifests to some other artists, designers, town planners and architects between whom we can mention to Rem Koolhaas, Greg Lynn, Zaha Hadid or Steven Holl. His publishing house, which was beginning with the judgment: \u201cThe age of the manifest has ended\u201d<\/em>, it ended up by claiming the need of these radical, violent writings and that always look for the break with the previous thing, to finish with the apathy and the relativism that they reign in our beginning of century.<\/p>\n

One year later, Patrick Schumacher presents in the club Dark Side of London his Manifest Parametricista. Independently of his content, the utilization of the word \u201cmanifiest\u201d there is no doubt that turned it, of beginning, into anything already polemic.<\/p>\n

Though, a priori, the idea of a manifest in the full 21st century sounds untimely, the truth is that, if we attend to the books on manifests that Conrad Ulrich, Charles Jencks and Karl Kropf have written, these have not stopped producing to him throughout the whole last century, with the only interruption that they supposed both world wars, specially the second one. It is more, as we were approaching to the current century, his number was multiplying.<\/p>\n

Neither the successive crises economic seem to have concerned his free development. Nevertheless, if we attend to his subject matter and I am used yes we can see that a great evolution exists.<\/p>\n

At the beginning of the 20th century there were fewer manifests, but they were much more radical. The format had taken of the politics which big manifests, for example, the famous manifest of the communist party, they were going to obtain a real revolution after which, really, there would change the political and social system of the USSR. It is the epoch of the forefronts, movements that also try to break with everything previous and that they see in the manifest an excellent ally. In architecture, besides the manifests of the forefronts [De Stijl, Futurist, Positivist or Suprematista] there happen the manifests and architectural programs destined to find the\u00a0\u201carchitectural language\u201d, the architecture that is capable of reflecting the economic, political and social changes of this century.<\/p>\n

About the 20s of this century this new architecture seems to have been in the modern movement and the manifests and architectural theories are homogenized and, for a few years, the international style seems to be the only topic that occupies them. But, after Europa’s reconstruction, which took place on having finished the second world war and in that the principal ideas put into practice of this one movement, the manifests it centres then on the critique of the cities that have been constructed.<\/p>\n

This critique is going to express according to very different ideas, though four big thematic groups might be distinguished: the postmodern critique very influenced by the philosophy and that starts treating again the already forgotten questions of style, the traditionalists, who propose a return to the traditional city, the revisers of the modern movement, who seek to improve this one and who have derived in two fundamental trends: those who look for a more human city [there they would enter topics of regionalismos, accessibility, kind or infancy] and those who look for a more poetical city and they will influence to the theories fenomenol\u00f3gicas and, finally, inside the principal trends we all might emphasize those, that, immediately after the crisis of the oil of 1973, they begin to treat questions of sustainability, architecture ver\u00e1ncula and ecology and that they will derive in the paradigm called of the thermodynamic thing.<\/p>\n

Nevertheless, theories apart, which turns out to be more showy of the manifests of the last half of last century is that already they are not these radical personal positionings [or of a group] that were calling to a revolution against the existing reality. Rather they are small pieces of a puzzle, of something like manifest collage that, more that to break with the previous thing, thinks to change it a bit, reflecting a certain conformity with the existing situation.<\/p>\n

Beatriz Villanueva Cajide. Arquitecta and Master in Architectural Advanced Projects (ETSAM). Co-founder of bRijUNi architects and police station of the days \u00bb At the edge of the critique \u00bb organized by the European University of Madrid in april-May, 2013.<\/em><\/p>\n

[:gl]<\/p>\n

\"\"<\/a><\/p>\n

No ano 2007 a revista Icon, para celebrar o seu n\u00famero 50, encarga 50 manifestos a outros tantos artistas, dise\u00f1adores, urbanistas e arquitectos entre os que podemos mencionar a Rem Koolhaas, Greg Lynn, Zaha Hadid ou Steven Holl. O seu editorial, que empezaba coa sentenza: \u201cA era do manifesto terminou\u201d<\/em>, terminaba reivindicando a necesidade destes escritos radicais, violentos e que sempre buscan a ruptura co anterior, para acabar coa apat\u00eda e o relativismo que reinan no noso comezo de s\u00e9culo.<\/p>\n

Un ano despois, Patrick Schumacher presenta no club Dark Side de Londres o seu Manifesto Parametricista. Independientemente do seu contido, a utilizaci\u00f3n da palabra \u201cmanifesto\u201d non hai d\u00fabida que o converteu, de principio, en algo xa pol\u00e9mico.<\/p>\n

A\u00ednda que, a priori, a idea dun manifesto en pleno s\u00e9culo 21 soa extempor\u00e1nea, a verdade \u00e9 que, si atendemos aos libros sobre manifestos que escribiron Conrad Ulrich, Charles Jencks e Karl Kropf, estes non deixaron de producirse ao longo de todo o s\u00e9culo pasado, coa \u00fanica interrupci\u00f3n que supuxeron as d\u00faas guerras mundiais, especialmente a segunda. \u00c9 m\u00e1is, conforme nos iamos achegando ao s\u00e9culo actual, o seu n\u00famero \u00edase multiplicando.<\/p>\n

Tampouco as sucesivas crise econ\u00f3mica parecen afectar ao seu libre desenvolvemento. Con todo, si atendemos ao seu tem\u00e1tica e estilo si podemos ver que existe unha gran evoluci\u00f3n.<\/p>\n

A principios do s\u00e9culo XX hab\u00eda menos manifestos, pero eran moito m\u00e1is radicais. O formato tomouse da pol\u00edtica cuxos grandes manifestos, por exemplo, o famoso manifesto do partido comunista, \u00edan conseguir unha verdadeira revoluci\u00f3n trala cal, efectivamente, cambiar\u00edase o sistema pol\u00edtico e social da URSS. \u00c9 a \u00e9poca das vanguardias, movementos que tam\u00e9n pretenden romper con todo o anterior e que ven no manifesto un excelente aliado. En arquitectura, ademais dos manifestos das vanguardias [De Stijl, Futurista, Positivista ou Suprematista] suc\u00e9dense os manifestos e programas arquitect\u00f3nicos destinados a atopar a \u201clinguaxe arquitect\u00f3nico\u201d, a arquitectura que sexa capaz de reflectir os cambios econ\u00f3micos, pol\u00edticos e sociais deste s\u00e9culo.<\/p>\n

Ao redor dos anos 20 dese s\u00e9culo esa nova arquitectura parece haberse atopado no movemento moderno e os manifestos e teor\u00edas arquitect\u00f3nicas se homogeneizan e, por uns anos, o estilo internacional parece ser o \u00fanico tema que lles ocupa. Pero, trala reconstruci\u00f3n de Europa, que tivo lugar ao terminar a segunda guerra mundial e na que se puxeron en pr\u00e1ctica as principais ideas desta movemento, os manifestos c\u00e9ntrase ent\u00f3n na cr\u00edtica das cidades que se constru\u00edron.<\/p>\n

Esta cr\u00edtica vaise a expresar segundo ideas moi distintas, a\u00ednda que se poder\u00edan distinguir catro grandes grupos tem\u00e1ticos: a cr\u00edtica postmoderna, moi influ\u00edda pola filosof\u00eda e que empeza a tratar de novo as xa esquecidas cuesti\u00f3ns de estilo, os tradicionalistas, que propo\u00f1en unha volta \u00e1 cidade tradicional, os revisores do movemento moderno, que buscan mellorar este e que derivaron en d\u00faas tendencias fundamentais: os que buscan unha cidade m\u00e1is humana [a\u00ed entrar\u00edan temas de regionalismos, accesibilidad, x\u00e9nero ou infancia] e os que buscan unha cidade m\u00e1is po\u00e9tica e influir\u00e1n \u00e1s teor\u00edas fenomenol\u00f3gicas e, para rematar, dentro das tendencias principais poderiamos destacar todas aquelas, que, a ra\u00edz da crise do petr\u00f3leo de 1973, comezan a tratar cuesti\u00f3ns de sostenibilidad, arquitectura ver\u00e1ncula e ecolog\u00eda e que derivar\u00e1n no denominado paradigma do termodin\u00e1mico.<\/p>\n

Con todo, teor\u00edas separadamente, o que resulta m\u00e1is rechamante dos manifestos da \u00faltima metade do pasado s\u00e9culo \u00e9 que xa non son eses radicais posicionamientos persoais [ou dun grupo] que chamaban a unha revoluci\u00f3n contra a realidade existente. M\u00e1is ben son pequenas pezas dun puzzle, de algo as\u00ed como un manifesto collage que, m\u00e1is que romper co anterior, pensa cambialo un pouco, reflectindo un certo conformismo coa situaci\u00f3n existente.<\/p>\n

Beatriz Villanueva Cajide. Arquitecta e Master en Proxectos Arquitect\u00f3nicos Avanzados (ETSAM). Co-fundadora de bRijUNi arquitectos e comisaria de las jornadas \u00abO bordo da cr\u00edtica\u00bb organizadas pola Universidad Europea de Madrid en abril-maio 2013.<\/em><\/p>\n

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

[:es] En el a\u00f1o 2007 la revista Icon, para celebrar su n\u00famero 50, encarga 50 manifiestos a otros tantos artistas, dise\u00f1adores, urbanistas y arquitectos entre los que podemos mencionar a Rem Koolhaas, Greg Lynn, Zaha Hadid o Steven Holl. Su editorial, que empezaba con la sentencia: \u201cLa era del manifiesto ha terminado\u201d, terminaba reivindicando la […]<\/p>\n","protected":false},"author":18,"featured_media":31655,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[6369,4360,4089,6221,7789,393,3032,4361,2027,7788,7790,2812,898,7791,2173,7787,2200,7792,1278,2048,1335,1574],"class_list":["post-31654","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-parametrica","tag-beatriz-villanueva-cajide","tag-brijuni-arquitectos","tag-charles-jencks","tag-conrad-ulrich","tag-critica","tag-de-stijl","tag-francisco-javier-casas-cobo","tag-futurismo","tag-greg-lynn","tag-karl-kropf","tag-manifiesto","tag-movimiento-moderno","tag-positivismo","tag-rem-koolhaas","tag-revista-icon","tag-steven-holl","tag-suprematista","tag-teoria","tag-teoria-e-historia","tag-vanguardia","tag-zaha-hadid"],"yoast_head":"\nManifiestos ausentes | bRijUNi<\/title>\n<meta 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