{"id":39275,"date":"2014-05-05T06:28:28","date_gmt":"2014-05-05T06:28:28","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=39275"},"modified":"2023-03-21T14:08:55","modified_gmt":"2023-03-21T13:08:55","slug":"el-desastre-de-la-city-londinense-o-ponga-su-verdadera-cara-a-los-negocios-financieros-anton-capitel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-desastre-de-la-city-londinense-o-ponga-su-verdadera-cara-a-los-negocios-financieros-anton-capitel\/","title":{"rendered":"[:es]El desastre de la City londinense. O, ponga su verdadera cara a los negocios financieros | Ant\u00f3n Capitel[:gl]O desastre da City londiniense. O, po\u00f1a a s\u00faa verdadeira cara aos negocios financeiros | Ant\u00f3n Capitel[:en]The disaster of the London City. Or, put his real one facing the financial business | Ant\u00f3n Capitel[:]"},"content":{"rendered":"

[:es]

\"El<\/a>
Londres desde el aire | Kathleen Conklin | Flickr<\/a><\/span><\/figcaption><\/figure><\/p>\n

La caracter\u00edstica principal de la ciudad de Londres<\/a> ha sido la de no tener planificaci\u00f3n urbana. O, al menos, la de no tener \u00abtrazado\u00bb, geom\u00e9trico o compositivo. Esta idea se convirti\u00f3 en una verdadera invariante, casi una man\u00eda, y lleg\u00f3 hasta el extremo de que, despu\u00e9s del pavoroso \u00abGreat Fire\u00bb de 1666, que destruy\u00f3 la ciudad pr\u00e1cticamente por completo, el Parlamento no aprob\u00f3 el nuevo trazado propuesto por el arquitecto Christopher Wren, elegido por el rey entre otras dos posibilidades, la de Evelyn y la de Hooke. Los propietarios no quer\u00edan someterse a las incomodidades que supon\u00eda una reparcelaci\u00f3n, y defend\u00edan el trazado antiguo para que cada cual pudiera construir a su albedr\u00edo sobre los mismos terrenos.<\/p>\n

As\u00ed, las cosas, la City (como se llam\u00f3 a la ciudad que propiamente era London, y no Westminster, que era el lugar del rey, ente otros muchos lugares diversos que hoy configuran el \u00abGreat London\u00bb) se reedific\u00f3 sobre casi el mismo plano medieval que ten\u00eda. All\u00ed se hicieron casas de piedra, en vez de en madera, para conjurar la posibilidad de otro incendio, y all\u00ed se construyeron de nuevo las muy numerosas iglesias, que proyect\u00f3 Wren, as\u00ed como la gran catedral de St. Paul, proyecto tambi\u00e9n suyo, como es bien sabido, y cuya fortuna formal y gran tama\u00f1o logran imponerse al entorno y caracterizar el lugar.<\/p>\n

No reformar el plano medieval fue, sencillamente, un disparate. Al principio no importaba mucho, por el tipo de caser\u00edo, aunque ya las iglesias de Wren acusaban bastante las consecuencias de las irregularidades del plano. No obstante, con las esbeltas y atractivas flechas de sus torres, los templos lograban imponer un cierto orden urbano, al menos desde el aspecto visual, tal y como comprobamos en algunos cuadros y grabados de los siglos XVIII y XIX. Edificios como el Banco de Inglaterra, de John Soane, muestran bien la enorme irregularidad del lugar, vencida por medio de la habilidad de los proyectistas.<\/p>\n

Pero en la \u00e9poca victoriana y, sobre todo, en el primer tercio del siglo XX, la City fue sometida a un proceso de transformaci\u00f3n pr\u00e1cticamente absoluto, en el que s\u00f3lo quedaron las iglesias y la catedral como testimonios del pasado. Hubiera sido l\u00f3gico que se aprovechara para darle al importante sector financiero un nuevo trazado, pero tanto la tradici\u00f3n como la pereza, y un sentido tan pr\u00e1ctico como equivocado (pues es cierto que construir sobre lo ya existente era m\u00e1s inmediato y m\u00e1s f\u00e1cil), se impusieron por completo. El plano de la ciudad sigui\u00f3 pr\u00e1cticamente igual y los edificios se renovaron y crecieron en volumen. La habilidad de los proyectistas ecl\u00e9cticos y clasicistas fue puesta a prueba, y sali\u00f3 vencedora, al tener que aceptar las tortuosas, irregulares y curvas alineaciones, y hasta puede decirse que todas estas cosas aumentaron el pintoresquismo y el inter\u00e9s visual de las arquitecturas, mayormente cl\u00e1sicas, que participaron en la operaci\u00f3n. Un pintoresquismo cl\u00e1sico, de encuentros dif\u00edciles, \u00e1ngulos agudos y obtusos, quiebros y curvaturas, pareci\u00f3 aumentar el inter\u00e9s de la \u00absinfon\u00eda\u00bb urbana interpretada por los edificios de las grandes firmas.<\/p>\n

El \u00abpaisaje\u00bb creado es, en realidad, bastante abusivo, lo que no quiere decir que est\u00e9 exento de inter\u00e9s. Tal vez lo m\u00e1s valioso sean edificios como los de Lutyens, aunque no hay muchos, o algunas contribuciones de arquitectura moderna, como la de Owen Williams. El otro extremo es el de la pretenciosa y desastrosa operaci\u00f3n de Herbert Baker, el amigo de Lutyens y su colega en New Delhi, con la ampliaci\u00f3n del Banco de Inglaterra y el consiguiente destrozo de la obra de Soane. Este disparate puede servir de emblema de la gran operaci\u00f3n, como lo puden ser tambien la situaci\u00f3n en la que quedaron las iglesias de Wren, de las que apenas se ven ya las flechas, y que est\u00e1n ahora escondidas entre la masa de los p\u00e9treos gigantes financieros.<\/p>\n

Pero a finales del siglo XX y principios del XXI, en la City se ha emprendido otra operaci\u00f3n especulativa y, naturalmente, sin cambiar el viejo trazado. Ya no son tiempos, en realidad, ni hay muchas posibilidades. Ahora en la City se han respetado casi todos los viejos artefactos clasicistas de la \u00faltima operaci\u00f3n, pero se las han arreglado para encontrar sustituciones y construir arquitectura \u00bfmoderna?, generalmente de acero y cristal. La conservaci\u00f3n de las viejas alineaciones combinada con los vol\u00famenes excesivos y con una arquitectura comercial infame ha creado as\u00ed uno de los lugares m\u00e1s feos del mundo, a la altura del contenido altamente inmoral que encierra.<\/p>\n

Los viejos edificios clasicistas se defend\u00edan mejor. Para empezar eran de piedra, y conservaban ideas de arquitectura tanto de cierta eficacia como de un notable y arquitect\u00f3nico candor. No es que fueran mejores, pero sus recursos eran m\u00e1s eficaces. Los edificios \u00bfmodernos? de ahora son detestables (opnotius<\/em>) y es dif\u00edcil decidir si son peores los que todav\u00eda, con m\u00e1s picard\u00eda que ingenuidad, intentan algo parecido a las preexistencias ambientales italianas, o los que, sin m\u00e1s, se lanzan a exhibir rid\u00edculas y abstractas aventuras formales.<\/p>\n

Lo cierto es que la City se ha convertido en un infierno, arquitect\u00f3nicamente hablando. It\u00b4s a place absolutly obnoxious<\/em>. Y tiendo a creer que la culpa principal corresponde a aquellos propietarios del siglo XVII que se negaron a reformar el plano de la ciudad en favor de sus intereses econ\u00f3micos m\u00e1s inmediatos. Creo que Rasmussen se equivoca de medio a medio cuando elogia esta conservaci\u00f3n en su conocido libro \u00abLondon, the unique city\u00bb.<\/p>\n

Y lo malo es que todo ello le da la raz\u00f3n al Pr\u00edncipe Carlos y a sus campa\u00f1as reaccionarias en favor de una arquitectura \u00bfcl\u00e1sica?, que ya no existe ni puede existir, y que acaba teniendo como ideal las aldeas historicistas de Disney World. Charles II, el rey de la restauraci\u00f3n y del incendio de 1666, ten\u00eda demasiado cerca que a Carlos I, por oponerse al Parlamento, le hab\u00edan cortado la cabeza. Por eso no se atrevi\u00f3, quiz\u00e1, a insistir sobre la reforma de la City. Al Prince Charles actual no le van a cortar la cabeza, porque ni siquiera va a llegar al trono. A Dios gracias (en nombre de los brit\u00e1nicos).<\/p>\n

Antonio Gonz\u00e1lez-Capitel Mart\u00ednez \u00b7 Doctor arquitecto \u00b7 catedr\u00e1tico en ETSAM
\nMadrid \u00b7 febrero 2011<\/p>\n

[:en]

\"\"<\/a>
London from the air | Kathleen Conklin\u00a0| Flickr<\/a><\/span><\/figcaption><\/figure><\/p>\n

The principal characteristic of the city of London has been it of not having town planning. Or, at least, her of not having \u00abtracing\u00bb, geometrically or compositivo. This idea turned into a real unvariant, almost an obsession, and came up to the end from that, after the frightening \u00abGreat Fire\u00bb of 1666, which destroyed the city practically completely, the Parliament did not approve the new tracing proposed by the architect Christopher Wren, chosen by the king between other two possibilities, that of Evelyn and that of Hooke. The owners did not want to surrender to the inconveniences that a reparcelaci\u00f3n supposed, and were defending the ancient tracing in order that everyone could construct to his discretion on the same areas.<\/p>\n

This way, the things, the City (entity called itself to the city that properly was London, and not Westminster, which was the place of the king, other many diverse places that today form the \u00abGreat London\u00bb) was rebuilt on almost the same medieval plane that had. There houses of stone were done, instead of in wood, to conspire the possibility of another fire, and there there were constructed again the very numerous churches, which Wren projected, as well as St’s great cathedral. Paul, I project also his, since it is known well, and whose formal fortune and great size manage to be imposed to the environment and to characterize the place.<\/p>\n

Not to reform the medieval plane was, simply, a silly thing. Initially it was not mattering very much, for the type of hamlet, though already Wren’s churches were accusing enough the consequences of the irregularities of the plane. Nevertheless, with the slender and attractive arrows of his towers, the temples were managing to impose a certain urban order, at least from the visual aspect, as we verify in some pictures and engravings of the XVIIIth and XIXth century. Buildings as the Bank of England, of John Soane, show well the enormous local irregularity conquered by means of the skill of the designers.<\/p>\n

But in the Victorian epoch and, especially, in the first third of the 20th century, the City was submitted to a practically absolute process of transformation, in which only the churches and the cathedral stayed as testimonies of the past. He had been a logician that he was taking advantage to give him to the important financial sector a new tracing, but both the tradition and the laziness, and a sense so practical as wrong (since it is true that to construct on already existing age more immediate and easier), were imposed completely. The plane of the city was still practically equal and they renewed and grew the buildings in volume. The skill of the eclectic and classical designers was tested, and worked out winning, on having had to accept the tortuous, irregular and curved alignments, and even it can be said that all these things increased the pintoresquismo and the visual interest of the architectures, mainly classic, that took part in the operation. A classic pintoresquismo, of difficult meetings, sharp and obtuse angles, quiebros and curvatures, seemed to increase the interest of the urban \u00absymphony\u00bb interpreted by the buildings of the big signatures.<\/p>\n

The created \u00ablandscape\u00bb is, actually, improper enough, which it does not want to say that it should be exempt from interest. Maybe the most valuable thing be buildings as those of Lutyens, though there are no many, or any contributions of modern architecture, as that of Owen Williams. Another end is that of the pretentious and disastrous operation of Herbert Baker, the friend of Lutyens and his colleague in New Delhi, with the extension of the Banco of England and the consequent destruction of Soane’s work. This silly thing can use as emblem of the great operation, since puden be also the situation in which they stayed Wren’s churches, of which you upset meet already the arrows, and that are hidden now between the mass of the stony financial giants.<\/p>\n

But at the end of the 20th century and beginning of the XXIst, in the City another speculative operation has been undertaken and, naturally, without the planned old man changed. Already they are not times, actually, there nor are many possibilities. Now in the City there have been respected almost all the old classical appliances of the last operation, but they have fixed them up to find substitutions and to construct architecture modern?, generally of steel and crystal. The conservation of the old alignments combined with the excessive volumes and with a commercial infamous architecture has created this way one of the ugliest places of the world, at a height of the highly immoral content that it encloses.<\/p>\n

The old classical buildings were defending themselves better. To begin they were of stone, and ideas of architecture were preserving both of certain efficiency and of a notable and architectural candour. It is not that they were better, but his resources were more effective. The buildings modern? Of now they are detestable (opnotius<\/em>) and it is difficult to decide if they are worse that still, with more mischievousness that naivet\u00e9, they try something similar to the environmental Italian preexistences, or those who, ado, are thrown to exhibit ridiculous and abstract formal adventures.<\/p>\n

The certain thing is that the City has turned into a hell, architectonically speaking. It’s to place absolutly obnoxious<\/em>. And I tend to believe that the principal fault corresponds to those owners of the 17th century who refused to reform the plane of the city in favor of his more immediate economic interests. I believe that Rasmussen is wrong from way to way when it praises this conservation in his acquaintance free \u00abLondon, the unique city\u00bb.<\/p>\n

And the bad thing is that all this gives the reason to the Prince Carlos and to his reactionary campaigns in favor of an architecture classic?, that already neither exists cannot even exist, and that ends up by having like ideal Disney World’s historicist villages. Charles II, the king of the restoration and of the fire of 1666, had too much nearby that to Carlos I, for being opposed to the Parliament, had cut the head. Because of it it did not dare to insist, probably, on the reform of the City. To the current Prince Charles they are not going to cut the head, because at least it is going to come to the throne. To God thank you (in name of the Britishers).<\/p>\n

Antonio Gonz\u00e1lez-Capitel Mart\u00ednez \u00b7 Doctor architect \u00b7 professor in ETSAM<\/p>\n

Madrid \u00b7 february 2011<\/p>\n

[:gl]

\"\"<\/a>
Londres dende o aire | Kathleen Conklin | Flickr<\/a><\/span><\/figcaption><\/figure><\/p>\n

A caracter\u00edstica principal da cidade de Londres foi a de non ter planificaci\u00f3n urbana. Ou polo menos a de non ter \u00abtrazado\u00bb, xeom\u00e9trico ou compositivo. Esta idea converteuse nunha verdadeira invariante, case unha man\u00eda, e chegou ata o extremo de que, despois do pavoroso \u00abGreat Fire\u00bb de 1666, que destru\u00edu a cidade practicamente por completo, o Parlamento non aprobou o novo trazado proposto polo arquitecto Christopher Wren, elixido polo rei entre outras d\u00faas posibilidades, a de Evelyn e a de Hooke. Os propietarios non quer\u00edan someterse \u00e1s incomodidades que supo\u00f1\u00eda unha reparcelaci\u00f3n, e defend\u00edan o trazado antigo para que cada cual puidera constru\u00edr ao seu albedr\u00edo sobre os mesmos terreos.<\/p>\n

As\u00ed, as cousas, a City (como se chamou \u00e1 cidade que propiamente era London, e non Westminster, que era o lugar do rei, ente outros moitos lugares diversos que hoxe configuran o \u00abGreat London\u00bb) reedificouse sobre case o mesmo plano medieval que ti\u00f1a. Al\u00ed fix\u00e9ronse casas de pedra, en vez de en madeira, para conxurar a posibilidade doutro incendio, e al\u00ed constru\u00edronse de novo as moi numerosas igrexas, que proxectou Wren, as\u00ed como a gran catedral de St. Paul, proxecto tam\u00e9n seu, como \u00e9 ben sabido, e cuxa fortuna formal e gran tama\u00f1o logran impo\u00f1erse ao \u00e1mbito e caracterizar o lugar.<\/p>\n

Non reformar o plano medieval foi, sinxelamente, un disparate. Ao principio non importaba moito, polo tipo de casar\u00edo, a\u00ednda que xa as igrexas de Wren acusaban bastante as consecuencias das irregularidades do plano. Non obstante, coas esveltas e atractivas frechas das s\u00faas torres, os templos lograban impo\u00f1er certa orde urbana, polo menos dende o aspecto visual, tal e como comprobamos nalg\u00fans cadros e gravados dos s\u00e9culos XVIII e XIX. Edificios como o Banco de Inglaterra, de John Soane, mostran ben a enorme irregularidade do lugar, vencida por medio da habilidade dos proxectistas.<\/p>\n

Pero na \u00e9poca vitoriana e, sobre todo, no primeiro terzo do s\u00e9culo XX, a City foi sometida a un proceso de transformaci\u00f3n practicamente absoluto, no que s\u00f3 quedaron as igrexas e a catedral como testemu\u00f1os do pasado. Ter\u00eda sido l\u00f3xico que se aproveitase para darlle ao importante sector financeiro un novo trazado, pero tanto a tradici\u00f3n como a preguiza, e un sentido tan pr\u00e1ctico como equivocado (pois \u00e9 certo que constru\u00edr sobre o xa existente era m\u00e1is inmediato e m\u00e1is doado), impux\u00e9ronse por completo. O plano da cidade seguiu practicamente igual e os edificios renov\u00e1ronse e creceron en volume. A habilidade dos proxectistas ecl\u00e9cticos e clasicistas foi posta a proba, e sa\u00edu vencedora, ao ter que aceptar as tortuosas, irregulares e curvas ali\u00f1aci\u00f3ns, e ata pode dicirse que todas estas cousas aumentaron o pintoresquismo e o interese visual das arquitecturas, maiormente cl\u00e1sicas, que participaron na operaci\u00f3n. Un pintoresquismo cl\u00e1sico, de encontros dif\u00edciles, \u00e1ngulos agudos e obtusos, caneos e curvaturas, pareceu aumentar o interese da \u00absinfon\u00eda\u00bb urbana interpretada polos edificios das grandes firmas.<\/p>\n

A \u00abpaisaxe\u00bb creada \u00e9, en realidade, bastante abusiva, o que non quere dicir que estea exento de interese. Talvez o m\u00e1is valioso sexan edificios como os de Lutyens, a\u00ednda que non hai moitos, ou algunhas contribuci\u00f3ns de arquitectura moderna, como a de Owen Williams. O outro extremo \u00e9 o da pretenciosa e desastrosa operaci\u00f3n de Herbert Baker, o amigo de Lutyens e o seu colega en New Delhi, coa ampliaci\u00f3n do Banco de Inglaterra e o conseguinte estrago da obra de Soane. Este disparate pode servir de emblema da grande operaci\u00f3n, como o puden ser tambien a situaci\u00f3n na que quedaron as igrexas de Wren, das que apenas se ven xa as frechas, e que est\u00e1n agora escondidas entre a masa dos p\u00e9treos xigantes financeiros.<\/p>\n

Pero a finais do s\u00e9culo XX e principios do XXI, na City emprendeuse outra operaci\u00f3n especulativa e, naturalmente, sen cambiar o vello trazado. Xa non son tempos, en realidade, nin hai moitas posibilidades. Agora na City respect\u00e1ronse case todos os vellos artefactos clasicistas da \u00faltima operaci\u00f3n, pero arranx\u00e1ronllas para encontrar substituci\u00f3ns e constru\u00edr arquitectura \u00bfmoderna?, xeralmente de aceiro e cristal. A conservaci\u00f3n das vellas ali\u00f1aci\u00f3ns combinada cos volumes excesivos e cunha arquitectura comercial infame creou as\u00ed un dos lugares m\u00e1is feos do mundo, \u00e1 altura do contido altamente inmoral que encerra.<\/p>\n

Os vellos edificios clasicistas defend\u00edanse mellor. Para empezar eran de pedra, e conservaban ideas de arquitectura tanto de certa eficacia coma dun notable e arquitect\u00f3nico candor. Non \u00e9 que fosen mellores, pero os seus recursos eran m\u00e1is eficaces. Os edificios modernos? de agora son detestables (opnotius<\/em>) e \u00e9 dif\u00edcil decidir se son peores os que a\u00ednda, con m\u00e1is picard\u00eda que inxenuidade, intentan algo parecido \u00e1s preexistencias ambientais italianas, ou os que, sen m\u00e1is, se lanzan a exhibir rid\u00edculas e abstractas aventuras formais.<\/p>\n

O certo \u00e9 que a City se converteu nun inferno, arquitectonicamente falando. It\u00b4s a prace absolutly obnoxious<\/em>. E tendo a crer que a culpa principal corresponde a aqueles propietarios do s\u00e9culo XVII que se negaron a reformar o plano da cidade en favor dos seus intereses econ\u00f3micos m\u00e1is inmediatos. Creo que Rasmussen se equivoca de medio a medio cando eloxia esta conservaci\u00f3n no seu co\u00f1ecido libro \u00abLondon, the unique city\u00bb.<\/p>\n

E o malo \u00e9 que todo iso lle d\u00e1 a raz\u00f3n ao Pr\u00edncipe Carlos e \u00e1s s\u00faas campa\u00f1as reaccionarias en favor dunha arquitectura \u00bfcl\u00e1sica?, que xa non existe nin pode existir, e que acaba tendo como ideal as aldeas historicistas de Disney World. Charles II, o rei da restauraci\u00f3n e do incendio de 1666, ti\u00f1a demasiado preto que a Carlos I, por opo\u00f1erse ao Parlamento, lle cortaran a cabeza. Por iso non se atreveu, quizais, a insistir sobre a reforma da City. Ao Prince Charles actual non lle van cortar a cabeza, porque nin sequera vai chegar ao trono. A Deus grazas (en nome dos brit\u00e1nicos).<\/p>\n

Antonio Gonz\u00e1lez-Capitel Mart\u00ednez \u00b7 Doctor arquitecto \u00b7 catedr\u00e1tico en ETSAM<\/p>\n

Madrid \u00b7 febreiro 2011<\/p>\n

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

[:es] La caracter\u00edstica principal de la ciudad de Londres ha sido la de no tener planificaci\u00f3n urbana. O, al menos, la de no tener \u00abtrazado\u00bb, geom\u00e9trico o compositivo. Esta idea se convirti\u00f3 en una verdadera invariante, casi una man\u00eda, y lleg\u00f3 hasta el extremo de que, despu\u00e9s del pavoroso \u00abGreat Fire\u00bb de 1666, que destruy\u00f3 […]<\/p>\n","protected":false},"author":9,"featured_media":39276,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[5835,7446,9266,10030,10033,1787,10031,668,10032,798,977,978,7603,9565,4444,7478],"class_list":["post-39275","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-antonio-gonzalez-capitel-martinez","tag-arquitectura-inglesa","tag-arquitectura-neoclasica","tag-christopher-wren","tag-edwin-lutyens","tag-europa","tag-herbert-baker","tag-historia","tag-john-soane","tag-londres","tag-paisaje","tag-paisaje-urbano","tag-planeamiento-urbano","tag-propiedad","tag-s-xx","tag-s-xxi"],"yoast_head":"\nEl desastre de la City londinense. 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