{"id":34554,"date":"2013-09-27T06:38:20","date_gmt":"2013-09-27T06:38:20","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=34554"},"modified":"2020-03-03T10:05:22","modified_gmt":"2020-03-03T09:05:22","slug":"objet-trouve-01-arne-jacobsen-y-las-columnas-del-olimpeion-de-atenas-rodrigo-almonacid","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/objet-trouve-01-arne-jacobsen-y-las-columnas-del-olimpeion-de-atenas-rodrigo-almonacid\/","title":{"rendered":"Objet trouv\u00e9 [01] : Arne Jacobsen y las columnas del Olimpei\u00f3n de Atenas | Rodrigo AlmonacidObjet trouv\u00e9 [01]: Arne Jacobsen e as columnas do Olimpei\u00f3n de Atenas | Rodrigo AlmonacidObjet trouv\u00e9 [01]: Arne Jacobsen and the columns of the Olimpei\u00f3n of Athens | Rodrigo Almonacid"},"content":{"rendered":"

\"\"<\/a>
Fragmento de apunte de viaje realizado por Arne Jacobsen en Atenas, 1962<\/span><\/figcaption><\/figure><\/p>\n

Arne Jacobsen fue un gran dibujante y a\u00fan mejor acuarelista. Cuando disfrutaba de unas vacaciones siempre le acompa\u00f1aban sus l\u00e1pices y pinceles. Disfrutaba con esta afici\u00f3n, que cultivaba desde su infancia. Siempre confes\u00f3 que no era m\u00e1s que eso, una mera afici\u00f3n, que no ten\u00eda ninguna pretensi\u00f3n art\u00edstica con aquellos dibujos o acuarelas1<\/sup><\/sup>. Tampoco reconoci\u00f3 que estuviesen relacionados con su trabajo profesional como arquitecto. Pero esa \u00f3smosis, aunque fuese involuntaria, se daba a menudo. Y m\u00e1s, en una persona que viv\u00eda con su familia, trabajaba como arquitecto, pintaba al aire libre y cultivaba su jard\u00edn en un mismo espacio: un sencillo (y precioso) adosado al norte de Copenhague, con vistas al estrecho marino del \u00d8resund.<\/p>\n

En uno de sus \u00faltimos viajes al Mediterr\u00e1neo, Jacobsen hizo su propio tour<\/em> por Grecia. Adem\u00e1s de los lugares sagrados de la cultura helena por todos conocidos, visit\u00f3 las ruinas de lo que fue el colosal templo de Zeus Ol\u00edmpico de Atenas. La imponente escala de las escasas columnas que a\u00fan est\u00e1n en pie es sobrecogedora, tanto o m\u00e1s que la de una de ellas que permanece derrumbada en el lugar. Sus tambores se alinean con el desorden propio de un colapso sobre un terreno natural. La expresividad del apunte (imagen del encabezamiento de este post2<\/sup><\/sup>) muestra la emotividad de la visita, raras veces contemplado en sus dibujos de viaje.<\/p>\n

La an\u00e9cdota podr\u00eda haberse quedado ah\u00ed, pero no. Esos tambores p\u00e9treos reaparecieron metaf\u00f3ricamente pocos a\u00f1os m\u00e1s tarde en su ciudad natal, Copenhague, en lo que ser\u00eda su obra p\u00f3stuma: el Banco Nacional de Dinamarca3<\/sup><\/sup>.<\/p>\n

\"\"<\/a>
Interior del primer patio del Banco Nacional de Dinamarca reci\u00e9n inaugurado en 1971<\/span><\/figcaption><\/figure>\n

Seguramente todos record\u00e9is el gran vest\u00edbulo de ese edificio y, sobre todo, su escalera suspendida del techo. Pero al visitar su interior, uno descubre un gran patio interior (me refiero al que pudo ser construido antes de su muerte en 1971, pues hay dos) cuyo suelo es un extra\u00f1o \u201cpaisaje en ruinas\u201d. All\u00ed yacen, en filas desordenadas, una suerte de piezas cil\u00edndricas semienterradas, sobre las que crecen aleatoriamente especies vegetales rastreras, como si el tiempo las llevase cubriendo durante siglos cual ruina cl\u00e1sica olvidada. Fuera, sobre la acera, un par de r\u00e9plicas de capiteles corintios reposan al pie del monumental edificio, que siempre desconciertan al paseante, y que no hacen sino recordarnos un cierto halo de perennidad a\u00fan perseguida por la Arquitectura.<\/p>\n

O quiz\u00e1 no. Quiz\u00e1 solo sea un olvido, un error en el \u201ctraslado\u201d (metaf\u00f3rico, en el espacio-tiempo) de aquellas columnas griegas hasta Copenhague. Desmembrada la columna cl\u00e1sica, hoy solo vemos sus vestigios, y acaso no puedan ser ya otra cosa que un mero (y bello) objet trouv\u00e9<\/em>.<\/p>\n

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

Notas:
\n1<\/sup><\/sup> Entrevista concedida a Ninka (Anne Wolden-Raethinge) para el peri\u00f3dico Politiken<\/em>, el 28 de febrero de 1971. Traducida al espa\u00f1ol bajo el t\u00edtulo \u201cLas nuevas ideas son siempre criticadas\u201d en el Cat\u00e1logo de la exposici\u00f3n (HEATH, Ditte – ed): Arne Jacobsen<\/em>. Ministerio de\u00a0 Obras P\u00fablicas y Transportes. Madrid, 1993, pp. 69-72.
\n2<\/sup><\/sup> Apunte tomado del libro: SOLAGUREN-BEASCOA, F\u00e9lix: Arne Jacobsen. Dibujos 1958-1965<\/em>. Fundaci\u00f3n Caja de Arquitectos, colecci\u00f3n \u201cArqu\u00edthemas\u201d n\u00ba10. Barcelona, 2002, p.155.
\n3<\/sup><\/sup> ALMONACID CANSECO, Rodrigo: Arne Jacobsen: el paisaje codificado<\/em>. Tesis doctoral (in\u00e9dita). Departamento de Teor\u00eda de la Arquitectura y Proyectos Arquitect\u00f3nicos de la E.T.S. Arquitectura de Valladolid. Valladolid, 2013. (Disponible resumida en r-arquitectura)<\/p>\n

\n

<\/p>\n

\"\"<\/a>
Fragment of note of trip realized by Arne Jacobsen in Athens, 1962<\/span><\/figcaption><\/figure>\n

Arne Jacobsen was a great draftsman and even better watercolorist. When he was enjoying a few vacations always his pencils and paintbrushes were accompanying him. He was enjoying this interest, which it was cultivating from his infancy. Always he confessed that it was not any more than it, a mere interest, which did not have any artistic pretension with those drawings or water-colors1<\/sup><\/sup>.\u00a0Neither it recognized that they were related to his professional work as architect. But this osmosis, though it was involuntary, was given often. And more, in a person who was living with his family, it was working as architect, was doing outdoors and was cultivating his garden in the same space: the simple one (and precious) leaned to the north of Copenhagen, with a view to the marine strait of the \u00d8resund.<\/p>\n

In one of his last trips to the Mediterranean, Jacobsen did his own tour<\/em> for Greece. Besides the sacred places of the Hellene culture for all acquaintances, he visited the ruins of what was Zeus Ol\u00edmpico’s colossal temple of Athens. The impressive scale of the scanty columns that still are in foot is impressive, so much or more than her than one of them that remains demolished in the place. His drums line up with the own disorder of a collapse on a natural area. The expressiveness of the note (image of the heading of this post2<\/sup><\/sup>) shows the emotividad of the visit, rare times contemplated in his drawings of trip.<\/p>\n

The anecdote might have remained there, but not. These stony drums reappeared metaphorically a few years later in his natal city, Copenhagen, in what it would be his posthumous work: the National Bank of Denmark3<\/sup><\/sup>.<\/p>\n

\"\"<\/a>
Interior of the first court of the Banco Nacional of Denmark newly inaugurated in 1971<\/span><\/figcaption><\/figure>\n

Surely you all remember the great foyer of this building and, especially, his stairs suspended from the ceiling. But on having visited his interior, one discovers a great interior court (I refer the one that could be constructed before his death in 1971, since there are two) whose soil is strangly \u201clandscape in ruins\u201d. There they lie, in untid rows, a luck of cylindrical semiburied pieces, on which there grow aleatoriamente vegetable creeping species, as if the time was taking them covering for centuries which classic forgotten ruin. Out, on the sidewalk, a couple of replies of Corinthian capitals they rest at the foot of the monumental building, which always they disconcert the walker, and that they do not do but we to be remembered by a certain halo of continuity still chased by the Architecture.<\/p>\n

Or probably not. Probably only it is an oblivion, a mistake in the\u00a0\u201cmovement\u201d\u00a0(metaphorical, in the space-time) of those Greek columns up to Copenhagen. Dismembered the classic column, today only we see his vestiges, and perhaps could not be already another thing that the mere one (and beautiful) objet trouv\u00e9<\/em>.<\/p>\n

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

valladolid. september 2013<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup>\u00a0Interview granted to Ninka (Anne Wolden-Raethinge) for the newspaper Politiken<\/em>,\u00a0on February 28, 1971. Translated into the Spanish under the title \u201cThe new ideas are criticized always\u201d in the Catalogue of the exhibition (HEATH, Ditte – ed): Arne Jacobsen. Department of Public Works and Transport. Madrid, 1993, pp. 69-72.<\/p>\n

2<\/sup><\/sup>\u00a0Note taken of the book: SOLAGUREN-BEASCOA, F\u00e9lix: Arne Jacobsen.\u00a0Drawings 1958-1965<\/em>. Fundaci\u00f3n Caja de Arquitectos,\u00a0collection \u201cArqu\u00edthemas\u201d n\u00ba10. Barcelona, 2002, p.155.<\/p>\n

3<\/sup><\/sup> ALMONACID CANSECO, Rodrigo: Arne Jacobsen: the codified landscape<\/em>. Doctoral (unpublished) thesis.\u00a0Department of Theory of the Architecture and Architectural Projects of the E.T.S. Architecture of Valladolid. Valladolid, 2013. (Available summarized in r-arquitectura)<\/p>\n

\n<\/p>\n

\"\"<\/a>
Fragmento de apuntamento de viaxe realizada por Arne Jacobsen en Atenas, 1962<\/span><\/figcaption><\/figure>\n

Arne Jacobsen foi un gran debuxante e a\u00ednda mellor acuarelista. Cando gozaba dunhas vacaci\u00f3ns sempre acompa\u00f1\u00e1bano os seus lapis e pinceis. Gozaba con esta afecci\u00f3n, que cultivaba dende a s\u00faa infancia. Sempre confesou que non era m\u00e1is que iso, unha mera afecci\u00f3n, que non ti\u00f1a ningunha pretensi\u00f3n art\u00edstica con aqueles debuxos ou acuarelas1<\/sup><\/sup>. Tampouco reco\u00f1eceu que estivesen relacionados co seu traballo profesional como arquitecto. Pero esa osmose, a\u00ednda que fose involuntaria, d\u00e1base a mi\u00fado. E m\u00e1is, nunha persoa que viv\u00eda coa s\u00faa familia, traballaba como arquitecto, pintaba ao aire libre e cultivaba o seu xard\u00edn nun mesmo espazo: un sinxelo (e precioso) pegado ao norte de Copenhaguen, con vistas ao estreito mari\u00f1o do \u00d8resund.<\/p>\n

Nunha das s\u00faas \u00faltimas viaxes ao Mediterr\u00e1neo, Jacobsen fixo o seu propio tour<\/em> por Grecia. Ademais dos lugares sagrados da cultura helena por todos co\u00f1ecidos, visitou as ru\u00ednas do que foi o colosal templo de Zeus Ol\u00edmpico de Atenas. A impo\u00f1ente escala das escasas columnas que a\u00ednda est\u00e1n en p\u00e9 \u00e9 sobrecolledora, tanto ou m\u00e1is que a dunha delas que permanece derrubada no lugar. Os seus tambores al\u00ed\u00f1anse coa desorde propia dun colapso sobre un terreo natural. A expresividade do apuntamento (imaxe do encabezamento deste post2<\/sup><\/sup>) amosa a emotividade da visita, raras veces contemplado nos seus debuxos de viaxe.<\/p>\n

A an\u00e9cdota poder\u00eda ter quedado a\u00ed, pero non. Eses tambores p\u00e9treos reapareceron metaforicamente poucos anos m\u00e1is tarde na s\u00faa cidade natal, Copenhaguen, no que ser\u00eda a s\u00faa obra p\u00f3stuma: o Banco Nacional de Dinamarca3<\/sup><\/sup>.<\/p>\n

\"\"<\/a>
Interior do primeiro patio do Banco Nacional de Dinamarca rec\u00e9n inaugurado en 1971<\/span><\/figcaption><\/figure>\n

Seguramente todos recordedes o gran vest\u00edbulo dese edificio e, sobre todo, a s\u00faa escaleira suspendida do teito. Pero ao visitar o seu interior, un descobre un gran patio interior (ref\u00edrome ao que puido ser constru\u00eddo antes da s\u00faa morte en 1971, pois hai dous) cuxo chan \u00e9 unha estra\u00f1a\u00a0\u201cpaisaxe en ru\u00ednas\u201d. Al\u00ed xacen, en filas desordenadas, unha sorte de pezas cil\u00edndricas semienterradas, sobre as que crecen aleatoriamente especies vexetais rastreiras, coma se o tempo as levase cubrindo durante s\u00e9culos cual ru\u00edna cl\u00e1sica esquecida. F\u00f3ra, sobre a beirarr\u00faa, un par de r\u00e9plicas de capiteis corintios repousan ao p\u00e9 do monumental edificio, que sempre desconcertan o paseante, e que non fan sen\u00f3n recordarnos certo halo de perennidade a\u00ednda perseguida pola Arquitectura.<\/p>\n

O quizais non. Quizais s\u00f3 sexa un esquecemento, un erro no\u00a0\u201ctraslado\u201d\u00a0metaf\u00f3rico, no espazo-tempo) daquelas columnas gregas ata Copenhaguen. Desmembrada a columna cl\u00e1sica, hoxe s\u00f3 vemos os seus vestixios, e acaso non poidan ser xa outra cousa que un mero (e belo) objet trouv\u00e9<\/em>.<\/p>\n

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

valladolid. setembro 2013<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup>\u00a0Entrevista concedida a Ninka (Anne Wolden-Raethinge) para o xornal Politiken<\/em>, o 28 de febreiro de 1971. Traducida ao espa\u00f1ol baixo o t\u00edtulo \u201cAs novas ideas son sempre criticadas\u201d\u00a0no Cat\u00e1logo da exposici\u00f3n (HEATH, Ditte – ed): Arne Jacobsen. Ministerio de Obras P\u00fablicas e Transportes. Madrid, 1993, pp. 69-72.<\/p>\n

2<\/sup><\/sup> Apunte tomado do libro: SOLAGUREN-BEASCOA, F\u00e9lix: Arne Jacobsen. Dibujos 1958-1965<\/em>. Fundaci\u00f3n Caixa de Arquitectos, colecci\u00f3n \u201cArqu\u00edthemas\u201d n\u00ba10. Barcelona, 2002, p.155.<\/p>\n

3<\/sup><\/sup> ALMONACID CANSECO, Rodrigo: Arne Jacobsen: el paisaje codificado<\/em>. Tesis doutoral (in\u00e9dita). Departamento de Teor\u00eda da Arquitectura e Proxectos Arquitect\u00f3nicos da E.T.S. Arquitectura de Valladolid. Valladolid, 2013. (Dispo\u00f1ible resumida en r-arquitectura)<\/p>\n

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

Arne Jacobsen fue un gran dibujante y a\u00fan mejor acuarelista. Cuando disfrutaba de unas vacaciones siempre le acompa\u00f1aban sus l\u00e1pices y pinceles. Disfrutaba con esta afici\u00f3n, que cultivaba desde su infancia. Siempre confes\u00f3 que no era m\u00e1s que eso, una mera afici\u00f3n, que no ten\u00eda ninguna pretensi\u00f3n art\u00edstica con aquellos dibujos o acuarelas1. Tampoco reconoci\u00f3 […]<\/p>\n","protected":false},"author":25,"featured_media":34556,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3120,8734,2450,7203,6818,1757,4026,2298,424,510,8735,668,3851,3452,7887,1190,1289,2511],"class_list":["post-34554","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-acuarela","tag-anne-wolden-raethinge","tag-arne-jacobsen","tag-arquitectura-danesa","tag-arquitectura-nordica","tag-atenas","tag-dibujante","tag-dibujar","tag-dibujo","tag-espacio","tag-felix-solaguren-beascoa","tag-historia","tag-objet-trouve","tag-personaje","tag-rodrigo-almonacid-canseco","tag-ruina","tag-tiempo","tag-viaje"],"yoast_head":"\nObjet trouv\u00e9 [01] : Arne Jacobsen y las columnas del Olimpei\u00f3n de Atenas | Rodrigo Almonacid<\/title>\n<meta name=\"description\" content=\"Objet trouv\u00e9 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