{"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":"Tras las huellas de Saarinen | Miguel \u00c1ngel D\u00edaz Camacho"},"content":{"rendered":"

\"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

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

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 entend\u00eda […]<\/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":{"0":"post-39375","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-faro","8":"category-slider-principal","9":"tag-aldo-van-eyck","10":"tag-alejandro-de-la-sota","11":"tag-alison-smithson","12":"tag-antonio-roman-asensio","13":"tag-arquitectura-belga","14":"tag-arquitectura-finlandesa","15":"tag-arquitectura-moderna","16":"tag-casa","17":"tag-ciam","18":"tag-diseno","19":"tag-diseno-de-mobiliario","20":"tag-dubrovnik","21":"tag-eero-saarinen","22":"tag-francisco-javier-saenz-de-oiza","23":"tag-henry-van-de-velde","24":"tag-jacob-berend-bakema","25":"tag-jacques-tati","26":"tag-jonh-peter","27":"tag-maestro","28":"tag-mies-van-der-rohe","29":"tag-miguel-angel-diaz-camacho","30":"tag-peter-smithson","31":"tag-peter-y-alison-smithson","32":"tag-pierluigi-cattermole","33":"tag-team-x","34":"tag-vicente-paton","35":"tag-vivienda-unifamiliar"},"yoast_head":"\nTras 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