{"id":39367,"date":"2014-04-21T06:59:17","date_gmt":"2014-04-21T06:59:17","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=39367"},"modified":"2024-09-26T14:12:03","modified_gmt":"2024-09-26T12:12:03","slug":"otras-puertas-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/otras-puertas-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Otras puertas | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Outras puertas | Miguel \u00c1ngel D\u00edaz Camacho[:en]Otras puertas | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Otras<\/a>
Acceso a la Capilla en el Bosque, Erik Gunnar Asplund, Cementerio Sur de Estocolmo<\/span><\/figcaption><\/figure><\/p>\n

La puerta que Alicia encuentra en la madriguera del conejo es, en realidad, una ventana. A pesar de su apariencia de puerta<\/em>, su min\u00fasculo tama\u00f1o la convierte en tan solo una hendidura practicada en la pared desde donde poder mirar el jard\u00edn m\u00e1s maravilloso del mundo<\/a><\/em>1<\/sup><\/sup>, ese lugar fascinante que se esconde tras los muros y al que todos nos hemos asomado alguna vez, aunque solo Am\u00e9lie <\/em>Poulain<\/em> pudiera rescatar una antigua caja repleta de tesoros2<\/sup><\/sup>. En arquitectura contamos con una maravillosa herramienta de proyecto, la puerta amplificada<\/em>, un mecanismo de acceso que trasciende el elemento \u201cpuerta\u201d para formar parte de una curiosa constelaci\u00f3n de ventanas, pasajes, umbrales, bosques e incluso muros que constituyen \u201cotras puertas\u201d ante la imaginaci\u00f3n del habitar cotidiano.<\/p>\n

Cuando en 1914 Asplund y Lewerentz presentan su propuesta para el concurso del Cementerio Sur de Estocolmo, eligen como lema \u201cTallum\u201d (pinar), preservando el frondoso bosque existente como la m\u00e1s poderosa de las puertas de acceso en el l\u00edmite \u00faltimo de la vida: el Cementerio del Bosque3<\/sup><\/sup>. Las puertas se vuelven excitantes cuando, por alg\u00fan motivo, dejan de serlo. Es entonces cuando se amplifican, comienzan a ser, reverberan afuera<\/em> y adentro<\/em>: desaparecen. Para Alejandro de la Sota las puertas son los muros, en ocasiones tabiques que giran o se deslizan sobre el suelo integr\u00e1ndose en paredes ahora m\u00e1s gruesas:<\/p>\n

\n

\u201csi pudi\u00e9semos entrar en nuestras casas como entr\u00f3 el Comendador, a trav\u00e9s de los muros, habr\u00edamos hecho desaparecer esta otra tonta palabra: la entrada\u201d4<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

Mies lo hizo antes: si se observa con atenci\u00f3n la planta de la Casa con Tres Patios<\/a><\/em> (1934), se puede comprobar la total y absoluta ausencia de puertas; a pesar de la presencia de un camino que conecta la casa con el exterior del recinto, el ventanal se propone como una membrana continua, transparente y transpirable, una veladura<\/em> vaporosa y accesible en toda su extensi\u00f3n bidimensional; tal vez en este caso la verdadera puerta sea el camino, flanqueado por el \u00e1rbol y el muro exterior de ladrillo5<\/sup><\/sup>. En el interior, sin embargo, las puertas se han transformado en peque\u00f1os espacios entre las distintas estancias, umbrales en penumbra que sirven de transici\u00f3n entre funciones de distinta naturaleza, el lugar preciso entre un dormitorio y un ba\u00f1o.<\/p>\n

Para S\u00e1enz de O\u00edza la puerta es<\/p>\n

\n

\u201cel centro del mundo en arquitectura\u201d6<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

La aparente trascendencia de sus palabras no revela la frescura de algunas soluciones concretas ciertamente ingeniosas, como aquella puerta levadiza que dise\u00f1a para una de sus casas y que utiliza como puente para salir y entrar<\/em>; al cerrar por la noche, las huellas sobre la superficie vertical indican una extra\u00f1a capacidad de los habitantes para caminar sobre las paredes: la incre\u00edble puerta magn\u00e9tica<\/em>, una soluci\u00f3n brillante, la puerta cinematogr\u00e1fica<\/em> como instrumento para la fabricaci\u00f3n de historias, un g\u00e9nero en s\u00ed mismo cultivado por grandes directores como Jacques Tati o Billy Wilder:<\/p>\n

\n

\u201ces aburrido ver a alguien entrar en una casa por la puerta. Es mucho m\u00e1s interesante cuando alguien entra por la ventana\u201d.<\/p>\n<\/blockquote>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. febrero 2014<\/p>\n

Notas:
\n1<\/sup><\/sup> Alice\u2019s Adventures in Wonderland<\/em>, Lewis Carroll, 1865. Dibujos de la primera edici\u00f3n por John Tenniel.
\n2<\/sup><\/sup> Le fabuleux destin d’Am\u00e9lie Poulain<\/em>, Jean-Pierre Jeunet, 2001.
\n3<\/sup><\/sup> En la imagen de cabecera, acceso a la Capilla en el Bosque,\u00a0Erik Gunnar Asplund,\u00a0Cementerio Sur de Estocolmo.
\n4<\/sup><\/sup> Alejandro de la Sota; Alejandro de la Sota<\/em>,<\/a> Madrid, Pronaos 1989. Sobre la casa en la calle Dr. Arce<\/a>, Madrid, tristemente demolida el 12 de abril de 1987.
\n5<\/sup><\/sup> Ver El \u00e1rbol, el camino, el estanque ante la casa<\/em><\/a>; Luis Mart\u00ednez Santa-Mar\u00eda, Barcelona, Arqu\u00eda 2004.
\n6<\/sup><\/sup> Francisco Javier S\u00e1enz de O\u00edza, Escritos y Conversaciones<\/em>,<\/a> Barcelona, Fundaci\u00f3n Caja de Arquitectos 2006.<\/p>\n

[:gl]

\"\"<\/a>
Acceso \u00e1 Capela no Bosque, Erik Gunnar Asplund, Cemiterio Sur de Estocolmo<\/span><\/figcaption><\/figure><\/p>\n

A porta que Alicia encontra no tobo do coello \u00e9, en realidade, unha vent\u00e1. A pesar da s\u00faa aparencia de porta, o seu min\u00fasculo tama\u00f1o conv\u00e9rtea en tan s\u00f3 unha fenda practicada na parede dende onde poder mirar o xard\u00edn m\u00e1is marabilloso do mundo<\/a><\/em>1<\/sup><\/sup>, ese lugar fascinante que se esconde tras os muros e ao que todos nos asomamos algunha vez,\u00a0a\u00ednda que s\u00f3 Am\u00e9lie <\/em>Poulain<\/em>\u00a0puidese rescatar unha antiga caixa repleta de tesouros2<\/sup><\/sup>.\u00a0En arquitectura contamos cunha marabillosa ferramenta de proxecto, a porta amplificada<\/em>, un mecanismo de acceso que transcende o elemento \u201cporta\u201d\u00a0para formar parte dunha curiosa constelaci\u00f3n de vent\u00e1s, pasaxes, albores, bosques e mesmo muros que constit\u00faen \u201coutras portas\u201d ante a imaxinaci\u00f3n do habitar coti\u00e1n.<\/p>\n

Cando en 1914 Asplund e Lewerentz presentan a s\u00faa proposta para o concurso do Cemiterio Sur de Estocolmo, elixen como lema Tallum\u201d (pi\u00f1eiral), preservando o frondoso bosque existente como a m\u00e1is poderosa das portas de acceso no l\u00edmite \u00faltimo da vida: o Cemiterio do Bosque3<\/sup><\/sup>. As portas v\u00f3lvense excitantes cando, por alg\u00fan motivo, deixan de selo. \u00c9 ent\u00f3n cando se amplifican, comezan a ser, reverberan f\u00f3ra e dentro<\/em>: desaparecen. Para Alejandro de la Sota as portas son os muros, en ocasi\u00f3ns tabiques que xiran ou se deslizan sobre o chan integr\u00e1ndose en paredes agora m\u00e1is grosas:<\/p>\n

\n

\u201cse puid\u00e9semos entrar nas nosas casas como entrou o Comendador, a trav\u00e9s dos muros, teriamos feito desaparecer esta outra parva palabra: a entrada\u201d4<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

Mies f\u00edxoo antes: se se observa con atenci\u00f3n a planta da\u00a0Casa con Tres Patios<\/a><\/em> (1934), p\u00f3dese comprobar a total e absoluta ausencia de portas; a pesar da presenza dun cami\u00f1o que conecta a casa co exterior do recinto, o ventanal proponse como unha membrana continua, transparente e transpirable, unha veladura<\/em> vaporosa e accesible en toda a s\u00faa extensi\u00f3n bidimensional; talvez neste caso a verdadeira porta sexa o cami\u00f1o, flanqueado pola \u00e1rbore e o muro exterior de ladrillo5<\/sup><\/sup>. No interior, non obstante, as portas transform\u00e1ronse en pequenos espazos entre as distintas estanzas, albores en penumbra que serven de transici\u00f3n entre funci\u00f3ns de distinta natureza, o lugar preciso entre un dormitorio e un ba\u00f1o.<\/p>\n

Para S\u00e1enz de O\u00edza a porta \u00e9<\/p>\n

\n

\u201co centro do mundo en arquitectura\u201d6<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

A aparente transcendencia das s\u00faas palabras non revela a frescura dalgunhas soluci\u00f3ns concretas certamente enxe\u00f1osas, como aquela porta levadiza que dese\u00f1a para unha das s\u00faas casas e que utiliza como ponte para sa\u00edr e entrar<\/em>; ao pechar pola noite, as pegadas sobre a superficie vertical indican unha estra\u00f1a capacidade dos habitantes para cami\u00f1ar sobre as paredes: a incrible porta magn\u00e9tica<\/em>, unha soluci\u00f3n brillante, a porta cinematogr\u00e1fica<\/em> como instrumento para a fabricaci\u00f3n de historias, un x\u00e9nero en si mesmo cultivado por grandes directores como Jacques Tati ou Billy Wilder:<\/p>\n

\n

\u201c\u00e9 aburrido ver algu\u00e9n entrar nunha casa pola porta. \u00c9 moito m\u00e1is interesante cando algu\u00e9n entra pola vent\u00e1\u201d.<\/p>\n<\/blockquote>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto<\/p>\n

Madrid. febreiro 2014<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Alice\u2019s Adventures in Wonderland, Lewis Carroll, 1865. Debuxos da primeira edici\u00f3n por John Tenniel.<\/p>\n

2<\/sup><\/sup> Le fabuleux destin d’Am\u00e9lie Poulain, Jean-Pierre Jeunet, 2001.<\/p>\n

3<\/sup><\/sup> Na imaxe da cabeceira, acceso a Capilla no Bosque,\u00a0Erik Gunnar Asplund,\u00a0Cementerio Sur de Estocolmo.<\/p>\n

4<\/sup><\/sup> Alejandro de la Sota; Alejandro de la Sota, Madrid, Pronaos 1989. Sobre a casa na r\u00faa Dr. Arce<\/a>, Madrid, tristemente demolida o 12 de abril de 1987.<\/p>\n

5<\/sup><\/sup> Ver El \u00e1rbol, o cami\u00f1o, o estanque ante a casa; Luis Mart\u00ednez Santa-Mar\u00eda, Barcelona, Arqu\u00eda 2004.<\/p>\n

6<\/sup><\/sup> Francisco Javier S\u00e1enz de O\u00edza, Escritos e Conversas, Barcelona, Fundaci\u00f3n Caja de Arquitectos 2006.[:en]

\"\"<\/a>
Access to the Chapel in the Forest, Erik Gunnar Asplund, Cemetery South of Stockholm<\/span><\/figcaption><\/figure><\/p>\n

The door that Alicia finds in the burrow of the rabbit is, actually, a window. In spite of his appearance of door, his minuscule size turns her into only a crack practised in the wall from where being able to look at the most wonderful garden of the world<\/em><\/a>1<\/sup><\/sup>, this fascinating place that one hides after the walls and to which we we all have appeared at some time, though only Am\u00e9lie Poulain<\/em> could rescue a former box replete with exchequers2<\/sup><\/sup>. In architecture we possess a wonderful tool of project, the amplified<\/em> door, a mechanism of access that comes out the element \u201cdoor\u201d to form a part of a curious constellation of windows, passages, thresholds, forests and enclosedly walls that constitute \u201cother doors\u201d before the imagination of to live daily.<\/p>\n

When in 1914 Asplund and Lewerentz they present his offer for the contest of the Cemetery South of Stockholm, they choose as motto\u00a0\u201cTallum\u201d (pinegrove), preserving the leafy existing forest as the most powerful of the doors of access in the last limit of the life: the Cemetery of the Forest3<\/sup><\/sup>. The doors become exciting when, for some motive, they it stop being. It is at the time when they are amplified, they begin to be, are reflected out and in<\/em>: they disappear. For Alejandro de la Sota the doors are the walls, in occasions partitions that turn or slip on the soil joining walls now more grosses:<\/p>\n

\n

\u201cif we could enter our houses since the Commander entered, across the walls, we would have made eliminate this another silly word: the entry\u201d4<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

Grain did it before: if the plant of the House is observed by attention by Three Courts<\/a><\/em> (1934), it is possible to verify the total and absolute absence of doors; in spite of the presence of a way that connects the house with the exterior of the enclosure, the large window proposes as a constant, transparent<\/em> membrane and transpirable, a vaporous and accessible veladura in all his two-dimensional extension; maybe in this case the real door is the way flanked by the tree and the exterior wall of brick5<\/sup><\/sup>. In the interior, nevertheless, the doors have transformed in small spaces between the different stays, thresholds in semidarkness that they use as transition between functions of different nature, the precise place between a bedroom and a bath.<\/p>\n

For S\u00e1enz de O\u00edza the door is<\/p>\n

\n

\u201cthe center of the world in architecture\u201d6<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

The apparent transcendency of his words does not reveal the freshness of any concrete certainly ingenious solutions, as that that can be raised door that he designs for one of his houses and that it uses as bridge to go out and to enter<\/em>; on having closed in the night, the fingerprints on the vertical surface indicate a strange capacity of the inhabitants to walk on the walls: the incredible magnetic<\/em> door, a brilliant solution, the cinematographic<\/em> door like instrument for the manufacture of histories, a kind in yes the same cultivated one for the big directors like Jacques Tati or Billy Wilder:<\/p>\n

\n

\u201che is boring to see to someone entering a house the door. It is much more interesting when someone enters the window\u201d.<\/p>\n<\/blockquote>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Architect<\/p>\n

Madrid. january 2014<\/p>\n

Notes<\/p>\n

1<\/sup><\/sup> Alice\u2019s Adventures in Wonderland, Lewis Carroll, 1865. Drawings of the first edition for John Tenniel.<\/p>\n

2<\/sup><\/sup> Le fabuleux destin d’Am\u00e9lie Poulain, Jean-Pierre Jeunet, 2001.<\/p>\n

3<\/sup><\/sup> In the image of head-board, I access to the Chapel in the Forest, Erik Gunnar Asplund, Cemetery South of Stockholm.<\/p>\n

4<\/sup><\/sup> Alejandro de la Sota; Alejandro de la Sota, Madrid, Pronaos 1989. On the house in the street Dr. Arce<\/a>, Madrid, sadly demolished on April 12, 1987.<\/p>\n

5<\/sup><\/sup> To see The tree, the way, the reservoir before the house; Luis Mart\u00ednez Santa-Mar\u00eda, Barcelona, Arqu\u00eda 2004.<\/p>\n

6<\/sup><\/sup> Francisco Javier S\u00e1enz de O\u00edza, Escritos y Conversaciones, Barcelona, Fundaci\u00f3n Caja de Arquitectos 2006.[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La puerta que Alicia encuentra en la madriguera del conejo es, en realidad, una ventana. A pesar de su apariencia de puerta, su min\u00fasculo tama\u00f1o la convierte en tan solo una hendidura practicada en la pared desde donde poder mirar el jard\u00edn m\u00e1s maravilloso del mundo1, ese lugar fascinante que se esconde tras los […]<\/p>\n","protected":false},"author":5,"featured_media":39370,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[93,10057,2631,147,6547,6786,3864,424,10058,6821,1595,10059,10056,10054,10055,1542,815,6465,1021,3518,1865,3636,2700],"class_list":["post-39367","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alejandro-de-la-sota","tag-arquitectura-espanola","tag-arquitectura-moderna","tag-arquitectura-noruega","tag-arquitectura-sueca","tag-billy-wilder","tag-dibujo","tag-enrique-seco-fernandez","tag-erik-gunnar-asplund","tag-francisco-javier-saenz-de-oiza","tag-jacques-tati","tag-jean-pierre-jeunet","tag-john-tenniel","tag-lewis-carrol","tag-luis-martinez-santa-maria","tag-maestro","tag-miguel-angel-diaz-camacho","tag-pensamiento","tag-puerta","tag-reflexion","tag-sigurd-lewerentz","tag-umbral"],"yoast_head":"\nOtras 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