{"id":31858,"date":"2013-05-17T06:28:11","date_gmt":"2013-05-17T04:28:11","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=31858"},"modified":"2023-06-02T14:03:34","modified_gmt":"2023-06-02T12:03:34","slug":"la-fallida-tumbona-de-mies-rodrigo-almonacid","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-fallida-tumbona-de-mies-rodrigo-almonacid\/","title":{"rendered":"[:es]La fallida tumbona de Mies\u2026 | Rodrigo Almonacid[:gl]A errada tumbona de Mies\u2026 | Rodrigo Almonacid[:en]The Mies \u00b4s unsuccessful deck chair\u2026 | Rodrigo Almonacid[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Imagen del Cat\u00e1logo de la exposici\u00f3n del M.O.P.U. celebrada en Madrid en 1987: Mies van der Rohe: Su Arquitectura y Sus Disc\u00edpulos<\/span><\/figcaption><\/figure><\/p>\n

Para un individuo n\u00f3mada<\/strong>, la guerra es un escenario familiar pues contiene muchos materiales vitales. Durante una guerra se suspenden las reglas de convivencia que la sociedad civil se ha dado a s\u00ed misma y se adoptan otras normas ajenas que, de repente, dirigen toda la fren\u00e9tica actividad del momento b\u00e9lico. El campo de batalla es un espacio definido pero m\u00f3vil, de extensi\u00f3n y posici\u00f3n inciertas, las reglas no son visibles ni reconocibles, y la supervivencia se convierte en el \u00fanico objetivo.<\/p>\n

Afortunadamente no conozco la guerra por experiencia propia (ni siquiera hice la \u201cmili\u201d). Aunque sea poco conocido, el arquitecto tampoco ha sido a tales circunstancias, e incluso hemos tomado un papel activo aprovechando nuestra formaci\u00f3n t\u00e9cnica. Baste recordar aqu\u00ed a eminencias como Vitruvio o Leonardo, como arquitectos-ingenieros-militares.<\/p>\n

Mies van der Rohe en plena \u00e9poca preb\u00e9lica<\/strong><\/h5>\n

En el pasado siglo XX hay historias realmente interesantes como la de Buckminster Fuller con su refugio de emergencia b\u00e9lico DDU (\u201cDymaxion Deployment Unit\u201d<\/strong>) encargado por el ej\u00e9rcito norteamericano en 1942 y luego parad\u00f3jicamente exhibida en los jardines del MoMA cual obra de arte. Y, m\u00e1s recientemente, alguna soluci\u00f3n m\u00e1s trivial como la propuesta de \u201cVirtual House\u201d de Alejandro Zaera para la ANY Corporation en 1997, un intento de trasladar el cap\u00edtulo \u201cTratado de Nomadolog\u00eda: la m\u00e1quina de guerra\u201d<\/strong> del Mil Plateaux<\/em> de Deleuze y Guattari al campo te\u00f3rico de la Arquitectura.\u00a0De todos esos magn\u00edficos episodios he querido rescatar uno que ocup\u00f3 la mente de Mies van der Rohe<\/strong> en plena \u00e9poca preb\u00e9lica.<\/p>\n

En 1935 Mies van der Rohe, perseguido por el nazismo (aunque a veces el maestro alem\u00e1n intentase flirtear con \u00e9l por mera supervivencia antes de su exilio), realiza unos estudios de mobiliario para unas sillas partiendo de sus experiencias precedentes de Barcelona y Brno entre 1928 y 1930. Junto a unos bocetos suyos, aparece un recorte de prensa de la \u00e9poca recogido por Mies: en \u00e9l vemos a un militar en actitud vigilante del espacio a\u00e9reo, c\u00f3modamente echado en una extra\u00f1an tumbona. Esta ha perdido su habitual estado sedentario en una oficina del III Reich por uno mucho m\u00e1s activo, propio de tiempos de guerra.<\/p>\n

La tumbona ya no posee su apoyo estable y su apariencia dom\u00e9stica que todos conocemos sino que, desnuda de toda esa indumentaria, se revela dram\u00e1ticamente \u00fatil sin perder apenas comodidad. Un punto de apoyo central modo de pivote permite al guardia divisar el vuelo de bombarderos en cualquier trayectoria, sin perjuicio para su ergonom\u00eda.<\/p>\n

Teor\u00eda N\u00f3mada de la Arquitectura<\/strong><\/h5>\n

Mies, quiz\u00e1 despu\u00e9s de haber pensado en dise\u00f1ar otra silla m\u00e1s (por cierto, cada cual m\u00e1s aburguesada), cambia de estrategia al reflexionar sobre esta foto y opta por trabajar a partir de este modelo de tumbona, seguramente atra\u00eddo por la ruptura de los convencionalismos. La modernidad de su proyecto \u00a0reside en la estrategia de pensamiento y el m\u00e9todo de trabajo. As\u00ed leemos notas en alem\u00e1n junto a los bocetos de tumbonas donde escribe cosas como \u201cposible tambi\u00e9n en posici\u00f3n adaptable\u201d \/ \u201cmontada en el suelo sobre un pie\u201d \/ \u201cpero m\u00f3vil\u201d \/ \u201cmetal ligero prensado, cromado\u201d<\/em>. Notas que ser\u00edan casi mandamientos de una eventual Teor\u00eda N\u00f3mada de la Arquitectura<\/strong>: adaptabilidad, sencillez de montaje, movilidad, ligereza\u2026 Por cierto que el redactor del pie de foto fue terriblemente certero al describirla como<\/p>\n

\n

\u201cDer Liegestuhl wird Kriegsger\u00e4t\u201d,<\/em><\/p>\n<\/blockquote>\n

o sea,<\/p>\n

\n

\u201cla tumbona se convierte en material de guerra\u201d<\/em>.<\/p>\n<\/blockquote>\n

\"\"<\/a>
Imagen del Cat\u00e1logo de la exposici\u00f3n del M.O.P.U. celebrada en Madrid en 1987: Mies van der Rohe: Su Arquitectura y Sus Disc\u00edpulos<\/span><\/figcaption><\/figure>\n
La tumbona de Mies<\/strong><\/h5>\n

Nunca sabremos c\u00f3mo podr\u00eda haberse desarrollado industrialmente la tumbona de Mies, apenas deducible de sus pocos bocetos acerca de la cuesti\u00f3n. Lo que s\u00ed sabemos es que, incluso en situaciones tan adversas como los per\u00edodos de crisis que entonces y ahora vivimos, el arquitecto es capaz de seguir so\u00f1ando con \u201cdesaforados gigantes\u201d<\/em> (parafraseando a Cervantes), de ver nuevas posibilidades all\u00e1 donde otros no ven m\u00e1s que molinos de viento. Fuller convirti\u00f3 silos de grano de la \u00e9poca del New Deal en sus dom\u00e9sticas DDU; y Mies so\u00f1aba con otra nueva y exquisita pieza de mobiliario a partir de una m\u00e1quina de guerra. No caigamos en el des\u00e1nimo generalizado y banalicemos nuestras capacidades. Los arquitectos tenemos una formaci\u00f3n tan amplia que seguiremos proyectando el futuro incluso sin tener encargos.<\/p>\n

\n

\u00bfQu\u00e9 otra cosa si no sabemos hacer mejor que nadie?<\/strong><\/p>\n<\/blockquote>\n

Rodrigo Almonacid [r-arquitectura]<\/a> \u00b7 doctor arquitecto
\nvalladolid. mayo 2013<\/p>\n

Nota:
\nIm\u00e1genes cedidas por A.James Speyer para el Cat\u00e1logo de la exposici\u00f3n del M.O.P.U. celebrada en Madrid en 1987: Mies van der Rohe: Su Arquitectura y Sus Disc\u00edpulos<\/strong><\/em><\/p>\n

[:en]

\"\"<\/a>
Images yielded for A. James
<\/span><\/figcaption><\/figure><\/p>\n

[…]<\/p>\n

\"\"<\/a>
Image of the Catalogue of the exhibition of the M.O.P.U. celebrated in Madrid in 1987: Mies van der Rohe: His Architecture and His Discipless<\/span><\/figcaption><\/figure>\n

For a nomadic individual<\/strong>, the war is a familiar scene since it contains many vital materials. During a war there are suspended the rules of conviviality that the civil society has given itself to yes same and there are adopted other foreign procedure that, suddenly, direct the whole frantic activity of the warlike moment. The battlefield is a definite but mobile space, of extension and uncertain position, the rules are neither visible nor recognizable, and the survival turns into the only aim.<\/p>\n

Lucky I do not know the war for own experience (I did not even do the \u201cmilitary service\u201d). Though he is little an acquaintance, the architect has not been to such circumstances either, and even we have taken an active paper taking advantage of our technical formation. Finger to resemble here eminences as Vitrubio or Leonardo, as architects – ingenieros-militares. In the past 20th century there are really interesting histories as that of Buckminster Fuller with his refuge of emergency warlike DDU (\u201cDymaxion Deployment Unit\u201d<\/strong>) entrusted by the North American army in 1942 and then paradoxically exhibited in the gardens of the MoMA which acts of art. And, more recently, some more trivial solution like the offer of \u201cVirtual House\u201d of Alejandro Zaera for the ANY Corporation in 1997, one attempt of moving the chapter \u201cTreated about Nomadolog\u00eda: the machine of war\u201d<\/strong> of\u00a0Mil Plateaux<\/em> by Deleuze and Guattari to the theoretical field of the Architecture. Of all these magnificent episodes I have wanted to rescue one that occupied the mind of Mies van der Rohe i<\/strong>n full epoch preb\u00e9lica.<\/p>\n

In 1935 Mies van der Rohe, chased by the Nazism (though sometimes the German teacher was trying to flirt with him for mere survival before his exile), it realizes a few studies of furniture for a few chairs departing from his previous experiences of Barcelona and Brno between 1928 and 1930. Close to a few his sketches, there appears a clipping press of the epoch gathered by Grain: in him we see a military man in vigilant attitude of the air space, comfortably thrown in one they surprise deck chair. This one has lost his habitual sedentary condition in an office of the IIIrd Reich for the much more active, own one of times of war. The tumbona already does not possess his stable support and his domestic appearance that we we all know but, he undresses of all this apparel, is revealed dramatically usefully without losing scarcely comfort. A central point of support way of pivot allows to the police officer to spy the flight of bombardiers in any path, without prejudice for his ergonomics.<\/p>\n

Grain, probably after having thought of designing another chair more (certainly, everyone more become bourgeois), changes strategy on having thought about this photo and chooses to work from this model of tumbona, surely attracted by the break of the conventions. The modernity of his project resides in the strategy of thought and the method of work. This way we read notes in German close to the sketches of tumbonas where he writes things as \u201cpossibly also in adaptable position\u201d \/ \u201cmounting in the soil on a foot\u201d \/ \u201cbut mobile\u201d \/ \u201clight\u00a0compressed, chrome metal\u201d<\/em>. You notice that they would be almost orders of a temporary employee Nomadic Theorya of the Architecture<\/strong>: adaptability, simplicity of assembly, mobility, lightness \u2026 Certainly that the editor of the foot of photo was terribly accurate on having described it as \u201cDer Liegestuhl wird Kriegsger\u00e4t<\/em>\u201d, or, \u201cthe tumbona turns into material of war\u201d<\/em>.<\/p>\n

\"\"<\/a>
Image of the Catalogue of the exhibition of the M.O.P.U. celebrated in Madrid in 1987: Mies van der Rohe: His Architecture and His Discipless<\/span><\/figcaption><\/figure>\n

We will never know how one might have developed industrially the tumbona of Grain, scarcely deducible of his few sketches it brings over of the question. What yes we know is that, even in situations as adverse as the periods of crisis through that then and now we live, the architect is capable of continuing dreaming of \u201c<\/em>behaved in an outrageous way giants\u201d<\/em> (paraphrasing Cervantes), of seeing new possibilities there where they do not see others any more than windmills. Fuller turned siloes of grain of the epoch of the New Deal into his servants DDU; and Grain was dreaming of another new and exquisite piece of furniture from a machine of war. Let’s not fall down in the widespread discouragement and let’s trivialize our capacities. The architects we have a formation so wide that we will continue projecting the enclosed future without having orders. What another thing if we cannot do better than anybody?<\/p>\n

Rodrigo Almonacid [r-arquitectura]<\/a> \u00b7 doctor architect<\/p>\n

valladolid. may 2013<\/p>\n

Nota:<\/p>\n

Images yielded by A.James Speyer for the Catalogue of the exhibition of the M.O.P.U. celebrated in Madrid in 1987: Mies van der Rohe: His Architecture and His Disciples<\/strong><\/em><\/p>\n

[:gl]

\"\"<\/a>
Imaxe do Cat\u00e1logo da exposici\u00f3n del M.O.P.U. celebrada en Madrid en 1987: Mies van der Rohe: A s\u00faa Arquitectura e os sus Disc\u00edpulos<\/span><\/figcaption><\/figure><\/p>\n

Para un individuo n\u00f3mada<\/strong>, a guerra \u00e9 un escenario familiar pois cont\u00e9n moitos materiais vitais. Durante unha guerra susp\u00e9ndense as regras de convivencia que a sociedade civil deuse a si mesma e ad\u00f3ptanse outras normas alleas que, de s\u00fapeto, dirixen toda a fren\u00e9tica actividade do momento b\u00e9lico. O campo de batalla \u00e9 un espazo definido pero m\u00f3bil, de extensi\u00f3n e posici\u00f3n incertas, as regras non son visibles nin reconocibles, e a supervivencia conv\u00e9rtese no \u00fanico obxectivo.<\/p>\n

Afortunadamente non co\u00f1ezo a guerra por experiencia propia (nin sequera fixen a \u201cmili\u201d). A\u00ednda que sexa pouco co\u00f1ecido, o arquitecto tampouco foi a tales circunstancias, e ata tomamos un papel activo aproveitando a nosa formaci\u00f3n t\u00e9cnica. Baste recordar aqu\u00ed a eminencias como Vitrubio ou Leonardo, como arquitectos-enxe\u00f1eiros-militares. No pasado s\u00e9culo XX hai historias realmente interesantes como a de Buckminster Fuller co seu refuxio de urxencia b\u00e9lico DDU (\u201cDymaxion Deployment Unit\u201d<\/strong>) encargado polo ex\u00e9rcito norteamericano en 1942 e logo parad\u00f3jicamente exhibida nos xard\u00edns do MoMA cal obra de arte. E, m\u00e1is recientemente, algunha soluci\u00f3n m\u00e1is trivial como a proposta de \u201cVirtual House\u201d de Alejandro Zaera para a ANY Corporation en 1997, un intento de trasladar o cap\u00edtulo \u201cTratado de Nomadolog\u00eda: a m\u00e1quina de guerra\u201d<\/strong> do Mil Plateaux<\/em> de Deleuze e Guattari ao campo te\u00f3rico da Arquitectura. De todos eses magn\u00edficos episodios quixen rescatar un que ocupou a mente de Mies van der Rohe<\/strong> en plena \u00e9poca preb\u00e9lica.<\/p>\n

En 1935 Cereal van der Rohe, perseguido polo nazismo (a\u00ednda que \u00e1s veces o mestre alem\u00e1n intentase flirtear con el por mera supervivencia antes do seu exilio), realiza uns estudos de mobiliario para unhas cadeiras partindo das s\u00faas experiencias precedentes de Barcelona e Brno entre 1928 e 1930. Xunto a uns bosquexos seus, aparece un recorte de prensa da \u00e9poca recollido por Mies: nel vemos un militar en actitude vixiante do espazo a\u00e9reo, comodamente botado nunha estra\u00f1an hamaca. Esta perdeu o seu habitual estado sedentario nunha oficina do III Reich por un moito m\u00e1is activo, propio de tempos de guerra. A hamaca xa non pos\u00fae o seu apoio estable e a s\u00faa aparencia dom\u00e9stica que todos co\u00f1ecemos sen\u00f3n que, nua de toda esa indumentaria, se revela dramaticamente \u00fatil sen perder apenas comodidade. Un punto de apoio central modo de pivote permite ao garda divisar o voo de bombardeiros en calquera traxectoria, sen prexu\u00edzo para a s\u00faa ergonom\u00eda.<\/p>\n

Mies, quizais despois de pensar en dese\u00f1ar outra cadeira m\u00e1is (por certo, cada cual m\u00e1is aburguesada), cambia de estratexia ao reflexionar sobre esta foto e opta por traballar a partir deste modelo de hamaca, seguramente atra\u00eddo pola ruptura dos convencionalismos. A modernidade do seu proxecto reside na estratexia de pensamento e o m\u00e9todo de traballo. As\u00ed lemos notas en alem\u00e1n xunto aos bosquexos de hamacas onde escribe cousas como \u201c<\/em>posible tam\u00e9n en posici\u00f3n adaptable\u201d<\/em> \/ \u201c<\/em>montada no chan sobre un p\u00e9\u201d<\/em> \/ \u201c<\/em>pero m\u00f3bil\u201d<\/em> \/ \u201c<\/em>metal lixeiro prensado, cromado\u201d<\/em><\/em>. Notas que ser\u00edan case mandamentos dunha eventual Teor\u00eda N\u00f3made da Arquitectura<\/strong>: adaptabilidade, sinxeleza de montaxe, mobilidade, lixeireza… Por certo que o redactor do p\u00e9 de foto foi terriblemente atinado ao describila como \u201cDer Liegestuhl wird Kriegsger\u00e4t\u201d<\/em>, ou sexa, \u201c<\/em>a hamaca conv\u00e9rtese en material de guerra\u201d<\/em><\/em>.<\/p>\n

\"\"<\/a>
Imaxe do Cat\u00e1logo da exposici\u00f3n del M.O.P.U. celebrada en Madrid en 1987: Mies van der Rohe: Su Arquitectura y Sus Disc\u00edpulos<\/span><\/figcaption><\/figure>\n

Nunca saberemos como poder\u00eda terse desenvolvido industrialmente a hamaca de Mies, apenas deducible dos seus poucos bosquexos acerca da cuesti\u00f3n. O que si sabemos \u00e9 que, mesmo en situaci\u00f3ns tan adversas como os per\u00edodos de crise que ent\u00f3n e agora vivimos, o arquitecto \u00e9 capaz de seguir so\u00f1ando con\u00a0\u201cdesaforados xigantes\u201d<\/em> (parafraseando a Cervantes), de ver novas posibilidades al\u00e1 onde outros non ven m\u00e1is que mu\u00ed\u00f1os de vento. Fuller converteu silos de gran da \u00e9poca do New Deal nas s\u00faas dom\u00e9sticas DDU; e Mies so\u00f1aba con outra nova e exquisita peza de mobiliario a partir dunha m\u00e1quina de guerra. Non caiamos no des\u00e1nimo xeneralizado e banalicemos as nosas capacidades. Os arquitectos temos unha formaci\u00f3n tan ampla que seguiremos proxectando o futuro mesmo sen ter encargos. \u00bfQue outra cousa se non sabemos facer mellor que ningu\u00e9n?<\/p>\n

Rodrigo Almonacid [r-arquitectura]<\/a> \u00b7 doutor arquitecto<\/p>\n

valladolid. maio 2013<\/p>\n

Nota:<\/p>\n

Nota:<\/strong><\/em><\/p>\n

Imaxes cedidas por A.James Speyer para o Cat\u00e1logo da exposici\u00f3n do M.O.P.U. celebrada en Madrid en 1987: Mies van der Rohe: A s\u00faa Arquitectura e Sus Disc\u00edpulos<\/strong><\/p>\n

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

[:es] Para un individuo n\u00f3mada, la guerra es un escenario familiar pues contiene muchos materiales vitales. Durante una guerra se suspenden las reglas de convivencia que la sociedad civil se ha dado a s\u00ed misma y se adoptan otras normas ajenas que, de repente, dirigen toda la fren\u00e9tica actividad del momento b\u00e9lico. El campo de […]<\/p>\n","protected":false},"author":25,"featured_media":31867,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6227,4503,4041,5785,668,865,8112,1564,3452,7295,7887,1278],"class_list":["post-31858","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alejandro-zaera","tag-diseno-de-mobiliario","tag-felix-guattari","tag-gilles-deleuze","tag-historia","tag-mies-van-der-rohe","tag-miguel-de-cervantes","tag-objeto","tag-personaje","tag-richard-buckminster-fuller","tag-rodrigo-almonacid-canseco","tag-teoria"],"yoast_head":"\nLa fallida tumbona de Mies\u2026 | Rodrigo Almonacid<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]La fallida tumbona de Mies\u2026 | Rodrigo Almonacid[:gl]A errada tumbona de Mies\u2026 | Rodrigo Almonacid[:en]The Mies \u00b4s unsuccessful 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