{"id":39375,"date":"2014-05-19T06:50:40","date_gmt":"2014-05-19T04:50:40","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=39375"},"modified":"2025-07-22T08:49:42","modified_gmt":"2025-07-22T06:49:42","slug":"tras-las-huellas-de-saarinen-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tras-las-huellas-de-saarinen-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Tras las huellas de Saarinen | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Tras as pegadas de Saarinen | Miguel \u00c1ngel D\u00edaz Camacho[:en]After Saarinen’s fingerprints | Michael \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Mon<\/a>
Mon Oncle (1958). Director: Jacques Tati<\/span><\/figcaption><\/figure><\/p>\n

Eero Saarinen dedic\u00f3 una muy peque\u00f1a parte de su carrera al tema de la vivienda, de hecho, solo construy\u00f3 dos. En palabras de uno de los estudiosos m\u00e1s importantes de su obra, Antonio Rom\u00e1n Asensio:<\/p>\n

\n

\u201cel dise\u00f1o de la casa unifamiliar simplemente no encajaba con el ejercicio de la profesi\u00f3n tal y como lo entend\u00eda Saarinen\u201d.1<\/sup><\/sup><\/em><\/p>\n<\/blockquote>\n

A pesar de este aparente desinter\u00e9s por el tema, este arquitecto estadounidense de origen finland\u00e9s realiz\u00f3 una de las declaraciones m\u00e1s sorprendentes que se conocen sobre la casa, al afirmar -nada m\u00e1s y nada menos- que la casa NO es arquitectura:<\/p>\n

\n

\u201cThe house isn\u2019t really architecture. <\/em>I think it\u2019s been too much overblown and much too important. Let\u2019s sort of relate this to other things. Now we know that the family is not as strong as [it] used to be. It\u2019s not as strong as an educational element. The education that children got through the family was much greater in earlier days than [it] is today. Yet the house as a piece of architecture has become terribly important. It really wasn\u2019t until the Victorian times\u2026But lots of civilizations have lived with the house being an unimportant part, an anonymous part of architecture\u201d<\/em>2<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

\u00bfQu\u00e9 puede esconderse detr\u00e1s de esta sorprendente afirmaci\u00f3n? \u00bfLa casa NO es arquitectura?<\/strong><\/h5>\n

Saarinen identifica el verdadero valor de la casa en el conjunto de relaciones entre seres humanos que all\u00ed se convocan, las sinergias entre \u00e9stas y el propio paisaje o el componente formativo que toda experiencia de vida supone para los habitantes. En este sentido, cultivar tomates, cocinar con fuego o convivir con los abuelos, por ejemplo, son acciones que pudieran concentrar m\u00e1s \u00abarquitectura\u00bb que un sal\u00f3n a doble altura o varias unidades de pilar de acero u hormig\u00f3n. Frente a la imagen de la casa \u00abescenario\u00bb y el habitante \u00abactor\u00bb que desempe\u00f1a un papel dise\u00f1ado con anterioridad3<\/sup><\/sup>, interesa aqu\u00ed la idea del habitar \u00abdesplegado\u00bb sobre el territorio y el tiempo, la casa como geograf\u00eda sobre la cual los habitantes ejercen como verdaderos autores de su cotidianidad.<\/p>\n

\n

\u00abLa importancia de la arquitectura no es otra que la del ambiente que crea. Y un ambiente es conformador de conductas\u00bb, <\/em><\/p>\n<\/blockquote>\n

escrib\u00eda Alejandro de la Sota al referirse al Pabell\u00f3n de Barcelona de Mies van de Rohe4<\/sup><\/sup>. Cabe preguntarse entonces si, como dec\u00eda Heiddeger, no tendr\u00edamos que definir primero un modo de habitar para establecer despu\u00e9s c\u00f3mo se habr\u00eda de construir. De lo contrario, se corre el peligro de la impostura de la propia experiencia habitacional, cuesti\u00f3n fabulosamente reflejada por Jacques Tati en Mon Oncle<\/em>5<\/sup><\/sup>, pel\u00edcula en la que los Arpel \u201csobreviven\u201d en un c\u00f3mico esperpento por la gracia \u201cmoderna\u201d de su casa-m\u00e1quina (por supuesto, el hijo de los Arpel adora el desordenado vitalismo de su t\u00edo).<\/p>\n

\n

\u00abLa casa NO es arquitectura\u00bb. <\/em><\/p>\n<\/blockquote>\n

La frase pesa como una losa, uno no sabe muy bien qu\u00e9 hacer con ella. Posiblemente se trata de una provocaci\u00f3n muy propia del contexto: los a\u00f1os 50 y los congresos del Team 10 suponen una profunda revisi\u00f3n sobre el paradigma moderno del habitar, una reacci\u00f3n a la intoxicaci\u00f3n de villas burguesas desplegadas por el Estilo Internacional y su interpretaci\u00f3n (tan solo parcial) de los dogmas del Movimiento Moderno6<\/sup><\/sup>. Sin \u00e1nimo de enmendar a Saarinen, posiblemente sea m\u00e1s razonable expresar:<\/p>\n

\n

\u201cArquitectura no es SOLO la casa\u201d, <\/em><\/p>\n<\/blockquote>\n

dejando en blanco la p\u00e1gina sobre la que cada cual debe establecer sus relaciones e intereses, desplegar su idea concreta de lo que significa habitar. En palabras de O\u00edza:<\/p>\n

\n

\u201cSi pones el peso en el habitar, todos los instrumentos te parecen \u00fatiles, pero si el peso lo pones en el propio instrumento, pues resulta que no sabes habitar porque el instrumento decae cada d\u00eda\u201d7<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

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

Notas:
\n1<\/sup><\/sup> Antonio Rom\u00e1n Asensio, Eero Saarinen: an architecture of multiplicity<\/em>, New York, Princeton Architectural Press, 2003.
\n2<\/sup><\/sup> Ib\u00eddem. Declaraci\u00f3n grabada en una entrevista de 1958 realizada por el arquitecto John Peter.
\n3<\/sup><\/sup> El arquitecto belga Henry van de Velde (1863-1957) dise\u00f1aba no solo el mobiliario de sus obras, tambi\u00e9n el vestuario, las vajillas y hasta los complementos m\u00e1s peque\u00f1os que habr\u00edan de componer la escena del habitar.
\n4<\/sup><\/sup> Alejandro de la Sota, revista Arquitectura n\u00ba261<\/em>, julio-agosto 1986.
\n5<\/sup><\/sup> Mon Oncle,<\/em> Jacques Tati, Par\u00eds (1957).
\n6<\/sup><\/sup> El Congreso CIAM 10, celebrado en Dubrovnik en 1956 se dedic\u00f3 a los \u201cProblemas del h\u00e1bitat humano\u201d, y vino a constatar la crisis definitiva de esta instituci\u00f3n (moderna) como consecuencia de la contestaci\u00f3n radical a los maestros por parte de los miembros m\u00e1s j\u00f3venes (Bakema, Van Eyck, Alison y Peter Smithson) agrupados en la organizaci\u00f3n paralela \u201cTeam 10\u201d.
\n7<\/sup><\/sup> Francisco Javier S\u00e1enz de O\u00edza<\/a>, entrevista con Vicente Pat\u00f3n y Pierluigi Cattermole, revista ON<\/em> n\u00ba68 (1986).<\/p>\n

[:en]

\"\"<\/a>
Mon Oncle (1958). Director: Jacques Tati<\/span><\/figcaption><\/figure><\/p>\n

Eero Saarinen dedicated a very small part of his career to the topic of the housing, in fact, only he constructed two. In words of one of the most important experts of his work, Antonio Roman Asensio: \u201cthe design of the one-family house simply was not fitting with the exercise of the profession as it Saarinen understood\u201d<\/em>1<\/sup><\/sup>. In spite of this apparent disinterest for the topic, this American architect of Finnish origin realized one of the most surprising declarations that are known on the house, when nothing affirmed – more and at all less – that the house is NOT an architecture:<\/p>\n

\n

\u201cThe house isn\u2019t really architecture. <\/em>I think it\u2019s been too much overblown and much too important. Let\u2019s sort of relate this to other things. Now we know that the family is not as strong as [it] used to be. It\u2019s not as strong as an educational element. The education that children got through the family was much greater in earlier days than [it] is today. Yet the house as a piece of architecture has become terribly important. It really wasn\u2019t until the Victorian times\u2026But lots of civilizations have lived with the house being an unimportant part, an anonymous part of architecture\u201d<\/em>2<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

What can hide behind this surprising affirmation? Is NOT house an architecture?<\/p>\n

Saarinen identifies the real value of the house in the set of relations between human beings who there are summoned, the synergies between these and the own landscape or the formative component that all experience of life supposes for the inhabitants. In this respect, to cultivate tomatoes, to cook with fire or to coexist with the grandparents, for example, are actions that could concentrate more \u201c<\/em>architecture\u201d<\/em> than a lounge to double height or several units of prop of steel or concrete. Opposite to the image of the house \u201c<\/em>scene\u201d<\/em> and the inhabitant \u201c<\/em>actor\u201d<\/em> who plays a role designed previously3<\/sup><\/sup>, the idea is interested here of in living \u201c<\/em>opened\u201d<\/em> on the territory and the time, the house as geography on which the inhabitants practise as real authors of his commonness. \u201cThe importance of the architecture is not other one that that of the environment that it creates. And an environment is conformador of conducts\u201d<\/em>, Alejandro de la Sota was writing on having referred to the Pavilion of Barcelona\u00a0 by Mies van de Rohe4<\/sup><\/sup>. It is necessary to ask then if, as Heiddeger was saying, we would not have to define first a way of living to establish later how it should be constructed. Otherwise, one runs the risk of the deceit of the own experience habitacional, question fabulously reflected by Jacques Tati in\u00a0Mon Oncle<\/em>5<\/sup><\/sup>, movie in which the Arpel \u00absurvive\u00bb in a comical ugly thing for the \u201c<\/em>modern\u201d<\/em> grace of his house – machine (certainly, the son of the Arpel adores the untid vitalism of his uncle).<\/p>\n

\u201c<\/em>The house is NOT an architecture\u201d<\/em>. The phrase weighs as a slab, does not know one very well what to do with her. Possibly it is a question of a very own provocation of the context: the 50s and the congresses of the Team 10 suppose a deep review on the modern paradigm of living, a reaction to the poisoning of bourgeois villas opened by the International Style and his interpretation (only partial) of the dogmas of the Modern Movement6<\/sup><\/sup>. Without intention of amending Saarinen, possibly be more reasonable to express: \u201c<\/em>Architecture is not ALONE the house\u201d<\/em>, leaving in white the page on which everyone must establish his relations and interests, open his concrete idea of what it means to live. In O\u00edza’s words: <\/em><\/p>\n

\n

\u201c<\/em>If you put the weight in to live, all the instruments seem to you to be useful, but if the weight you put it in the own instrument, since it turns out that you cannot live because the instrument declines every day\u201d7<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

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

Madrid. february 2014<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup> Antonio Rom\u00e1n Asensio, Eero Saarinen: an architecture of multiplicity, New York, Princeton Architectural Press, 2003.<\/p>\n

2<\/sup><\/sup> Ib\u00eddem. Declaration recorded in an interview of 1958 realized by the architect John Peter.<\/p>\n

3<\/sup><\/sup> The Belgian architect Henry they go of Velde (1863-1957) he was designing not only the furniture of his works, also the wardrobe, the chinas and up to the smallest complements that should compose the scene of to live.<\/p>\n

4<\/sup><\/sup> Alejandro de la Sota, revista Arquitectura n\u00ba261, julio-agosto 1986.<\/p>\n

5<\/sup><\/sup> Mon Oncle, Jacques Tati, Par\u00eds (1957).<\/p>\n

6<\/sup><\/sup> The Congress CIAM 10, celebrated in Dubrovnik in 1956 he devoted himself to the \u201c<\/em>Problems of the human habitat\u201d, and came to state the definitive crisis of this (modern) institution as consequence of the radical answer to the teachers on the part of the youngest members (Bakema, Goes Eyck, Alyssum and Peter Smithson) grouped in the parallel organization \u201c<\/em>Team 10\u201d.<\/p>\n

7<\/sup><\/sup>\u00a0Francisco Javier S\u00e1enz de O\u00edza, interviews with Vicente Pat\u00f3n and Pierluigi Cattermole, revista ON n\u00ba68 (1986).<\/p>\n

[:gl]

\"\"<\/a>
Mon Oncle (1958). Director: Jacques Tati<\/span><\/figcaption><\/figure><\/p>\n

Eero Saarinen dedicou unha moi pequena parte da s\u00faa carreira ao tema da vivenda, de feito, s\u00f3 constru\u00edu dous. En palabras dun dos estudosos m\u00e1is importantes da s\u00faa obra, Antonio Rom\u00e1n Asensio: \u201co dese\u00f1o da casa unifamiliar simplemente non encaixaba co exercicio da profesi\u00f3n tal e como o entend\u00eda Saarinen\u201d<\/em>1<\/sup><\/sup>. A pesar deste aparente desinterese polo tema, este arquitecto estadounidense de orixe finlandesa realizou unha das declaraci\u00f3ns m\u00e1is sorprendentes que se co\u00f1ecen sobre a casa, ao afirmar -nada m\u00e1is e nada menos- que a casa NON \u00e9 arquitectura:<\/p>\n

\n

\u201cThe house isn\u2019t really architecture. <\/em>I think it\u2019s been too much overblown and much too important. Let\u2019s sort of relate this to other things. Now we know that the family is not as strong as [it] used to be. It\u2019s not as strong as an educational element. The education that children got through the family was much greater in earlier days than [it] is today. Yet the house as a piece of architecture has become terribly important. It really wasn\u2019t until the Victorian times\u2026But lots of civilizations have lived with the house being an unimportant part, an anonymous part of architecture\u201d<\/em>2<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

\u00bfQue pode esconderse detr\u00e1s desta sorprendente afirmaci\u00f3n? \u00bfA casa NON \u00e9 arquitectura?<\/p>\n

Saarinen identifica o verdadeiro valor da casa no conxunto de relaci\u00f3ns entre seres humanos que al\u00ed se convocan, as sinerx\u00edas entre estas e a propia paisaxe ou o compo\u00f1ente formativo que toda experiencia de vida sup\u00f3n para os habitantes. Neste sentido, cultivar tomates, coci\u00f1ar con lume ou convivir cos av\u00f3s, por exemplo, son acci\u00f3ns que puidesen concentrar m\u00e1is \u201carquitectura\u201d que un sal\u00f3n a dobre altura ou varias unidades de piar de aceiro ou formig\u00f3n. Fronte \u00e1 imaxe da casa \u201cescenario\u201d e o habitante \u201cactor\u201d que desempe\u00f1a un papel dese\u00f1ado con anterioridade3<\/sup><\/sup>, interesa aqu\u00ed a idea do habitar \u201cdespregado\u201d sobre o territorio e o tempo, a casa como xeograf\u00eda sobre a cal os habitantes exercen como verdadeiros autores da s\u00faa cotianidade. \u201cA importancia da arquitectura non \u00e9 outra que a do ambiente que crea. E un ambiente \u00e9 conformador de condutas\u201d, escrib\u00eda Alejandro de la Sota ao referirse ao Pavill\u00f3n de Barcelona de Cereal van de Rohe4<\/sup><\/sup>. Cabe preguntarse ent\u00f3n se, como dic\u00eda Heiddeger, non teriamos que definir primeiro un modo de habitar para establecer despois como se haber\u00eda de constru\u00edr. Pola contra, c\u00f3rrese o perigo da impostura da propia experiencia habitacional, cuesti\u00f3n fabulosamente reflectida por Jacques Tati en\u00a0Mon Oncle<\/em>5<\/sup><\/sup>, pel\u00edcula na que os Arpel \u201csobreviven\u201d nun c\u00f3mico esperpento pola graza \u201cmoderna\u201d da s\u00faa casa-m\u00e1quina (por suposto, o fillo dos Arpel adora o desordenado vitalismo do seu t\u00edo).<\/p>\n

\u201cA casa non \u00e9 arquitectura\u201d. A frase pesa como unha lousa, un non sabe moi ben que facer con ela. Posiblemente tr\u00e1tase dunha provocaci\u00f3n moi propia do contexto: os anos 50 e os congresos do Team 10 supo\u00f1en unha profunda revisi\u00f3n sobre o paradigma moderno do habitar, unha reacci\u00f3n \u00e1 intoxicaci\u00f3n de vilas burguesas despregadas polo Estilo Internacional e a s\u00faa interpretaci\u00f3n (tan s\u00f3 parcial) dos dogmas do Movemento Moderno6<\/sup><\/sup>. Sen \u00e1nimo de emendar a Saarinen, posiblemente sexa m\u00e1is razoable expresar: \u201cArquitectura non \u00e9 S\u00d3 a casa\u201d, deixando en branco a p\u00e1xina sobre a que cada cual debe establecer as s\u00faas relaci\u00f3ns e intereses, despregar a s\u00faa idea concreta do que significa habitar. En palabras de O\u00edza:<\/p>\n

\n

\u201cSe pos o peso no habitar, todos os instrumentos te parecen \u00fatiles, pero se o peso o pos no propio instrumento, pois resulta que non sabes habitar porque o instrumento decae cada d\u00eda\u201d7<\/sup><\/sup>.<\/p>\n<\/blockquote>\n

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

Madrid. febreiro 2014<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Antonio Rom\u00e1n Asensio, Eero Saarinen: an architecture of multiplicity, New York, Princeton Architectural Press, 2003.<\/p>\n

2<\/sup><\/sup> Ib\u00eddem. Declaraci\u00f3n grabada nunha entrevista de 1958 realizada polo arquitecto John Peter.<\/p>\n

3<\/sup><\/sup> O arquitecto belga Henry van de Velde (1863-1957) dese\u00f1aba non so o mobiliario das suas obras, tam\u00e9n o vestiario, as vaixelas e hasata os complementos m\u00e1is pequenos que compor\u00edan a escena do habitar.<\/p>\n

4<\/sup><\/sup> Alejandro de la Sota, revista Arquitectura n\u00ba261, julio-agosto 1986.<\/p>\n

5<\/sup><\/sup> Mon Oncle, Jacques Tati, Par\u00eds (1957).<\/p>\n

6<\/sup><\/sup>\u00a0O Congreso CIAM 10, celebrado en Dubrovnik en 1956 dedicouse aos \u201cProblemas do h\u00e1bitat humano\u201d,\u00a0e vi\u00f1o a constatar a crise definitiva desta instituci\u00f3n (moderna) como consecuencia da contestaci\u00f3n radical aos mestres por parte dos membros m\u00e1is novos (Bakema, Van Eyck, Alison e Peter Smithson) agrupados na organizaci\u00f3n paralela \u201cTeam 10\u201d.<\/p>\n

7<\/sup><\/sup> Francisco Javier S\u00e1enz de O\u00edza, entrevista con Vicente Pat\u00f3n e Pierluigi Cattermole, revista ON n\u00ba68 (1986).<\/p>\n

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

[:es] Eero Saarinen dedic\u00f3 una muy peque\u00f1a parte de su carrera al tema de la vivienda, de hecho, solo construy\u00f3 dos. En palabras de uno de los estudiosos m\u00e1s importantes de su obra, Antonio Rom\u00e1n Asensio: \u201cel dise\u00f1o de la casa unifamiliar simplemente no encajaba con el ejercicio de la profesi\u00f3n tal y como lo […]<\/p>\n","protected":false},"author":5,"featured_media":39389,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[92,93,6743,10066,5911,6893,147,1986,5376,12470,4503,10061,3512,1595,10064,9146,10059,10065,815,865,6465,3640,1517,10063,1514,10062,12455],"class_list":["post-39375","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-aldo-van-eyck","tag-alejandro-de-la-sota","tag-alison-smithson","tag-antonio-roman-asensio","tag-arquitectura-belga","tag-arquitectura-finlandesa","tag-arquitectura-moderna","tag-casa","tag-ciam","tag-diseno","tag-diseno-de-mobiliario","tag-dubrovnik","tag-eero-saarinen","tag-francisco-javier-saenz-de-oiza","tag-henry-van-de-velde","tag-jacob-berend-bakema","tag-jacques-tati","tag-jonh-peter","tag-maestro","tag-mies-van-der-rohe","tag-miguel-angel-diaz-camacho","tag-peter-smithson","tag-peter-y-alison-smithson","tag-pierluigi-cattermole","tag-team-x","tag-vicente-paton","tag-vivienda-unifamiliar"],"yoast_head":"\nTras las huellas de Saarinen | Miguel \u00c1ngel D\u00edaz Camacho<\/title>\n<meta name=\"description\" content=\"Tras las huellas de Saarinen\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/tras-las-huellas-de-saarinen-miguel-angel-diaz-camacho\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tras las huellas de Saarinen | Miguel \u00c1ngel D\u00edaz Camacho\" \/>\n<meta property=\"og:description\" content=\"Tras las huellas de Saarinen\" \/>\n<meta property=\"og:url\" content=\"https:\/\/veredes.es\/blog\/tras-las-huellas-de-saarinen-miguel-angel-diaz-camacho\/\" \/>\n<meta property=\"og:site_name\" content=\"veredes, arquitectura y divulgaci\u00f3n\" \/>\n<meta property=\"article:publisher\" 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