{"id":39861,"date":"2014-06-20T06:32:38","date_gmt":"2014-06-20T06:32:38","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=39861"},"modified":"2021-07-30T14:16:30","modified_gmt":"2021-07-30T12:16:30","slug":"un-dia-de-1958-borja-lopez-cotelo","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/un-dia-de-1958-borja-lopez-cotelo\/","title":{"rendered":"Un d\u00eda de 1958 | Borja L\u00f3pez Cotelo"},"content":{"rendered":"

\"\"<\/a>
Sverre Fehn | Raili Pietil\u00e4<\/span><\/figcaption><\/figure><\/p>\n

El sol brillaba en el cielo de Bruselas abrasando a los visitantes de la explanada de Heysel. Sverre y Reima beb\u00edan, a peque\u00f1os sorbos, un caf\u00e9 africano. Reima respir\u00f3 hondo, pens\u00f3 unos segundos, y dijo:<\/p>\n

\n

-Seg\u00fan se aprende a imaginar con mayor y mayor concentraci\u00f3n dejas de poder trabajar con objetos o esquemas prefabricados\u2026 Lo realmente imaginable<\/em> es lo que realmente necesito<\/em>. Presupongo que existe subjetivamente; al hacerlo, rompo con toda la tradici\u00f3n cultural europea, y usted podr\u00eda decir que soy un cham\u00e1n.1<\/sup><\/p>\n<\/blockquote>\n

La cara de Sverre se contrajo en una mueca. En cierto modo, estaba de acuerdo con ese finland\u00e9s:<\/p>\n

\n

-Las construcciones realizadas por los animales son racionalistas: precisas e inmutables, son siempre iguales cada d\u00eda y cada a\u00f1o\u2026 \u2013 Tras un largo trago de caf\u00e9, a\u00f1adi\u00f3- El modo de pensar del hombre, en cambio, no es r\u00edgidamente racional y l\u00f3gico; comprende chistes, mentiras, caprichos irracionales. Si la arquitectura es completamente racional, los hombres se convierten en animales.2<\/sup><\/p>\n<\/blockquote>\n

\"\"<\/a>
Exposici\u00f3n Universal de Bruselas, vista general. Via Flickr, por ElectroSpark<\/span><\/figcaption><\/figure>\n

La conversaci\u00f3n se interrumpi\u00f3. Un ni\u00f1o disfrazado de cosmonauta llam\u00f3 la atenci\u00f3n de Reima y Sverre para preguntar d\u00f3nde estaba el Sputnik; <\/em>se\u00f1alaron hacia el pabell\u00f3n de la U.R.S.S. y durante unos segundos observaron c\u00f3mo \u00a0se alejaba apresuradamente en aquella direcci\u00f3n. De fondo se escuchaba un partido en el que Garrincha se divert\u00eda con los defensas sovi\u00e9ticos. Pararlo no parec\u00eda tan sencillo como poner en \u00f3rbita un sat\u00e9lite.\u00a0Reima continu\u00f3:<\/p>\n

\n

-El ritmo de mi lenguaje influye en las formas que dibujo, expresa mis trazos, delimita mis superficies. Las expresiones locales y el vocabulario regional son elementos de mi genuina manera de expresar la arquitectura\u2026 Pienso en mi idioma nativo, en finland\u00e9s. Hablo mientras trabajo, el ritmo y la entonaci\u00f3n del finland\u00e9s gobiernan los movimientos de mi l\u00e1piz. \u00bfDibujo en finland\u00e9s?3<\/sup><\/p>\n<\/blockquote>\n

Sverre estall\u00f3 en una carcajada. \u00bfDibujaba \u00e9l en noruego? Tras unos segundos, replic\u00f3:<\/p>\n

\n

-Trabajamos con letras, con un alfabeto, escribimos una historia\u2026 Veo los materiales como las letras que utilizamos para escribir nuestros pensamientos po\u00e9ticos.4<\/sup><\/p>\n<\/blockquote>\n

\"\"<\/a>
Reima Pietil\u00e4, bocetos para la residencia presidencial de Finlandia M\u00e4ntyniemi, 1983<\/span><\/figcaption><\/figure>\n

En ese momento pasaron frente a ellos dos hombres de peque\u00f1a estatura hablando un idioma que ni Reima ni Sverre conoc\u00edan. S\u00f3lo acertaron a identificar la palabra hex\u00e1gono<\/em>. Sverre mir\u00f3 m\u00e1s all\u00e1; la gente se agolpaba en la puerta del pabell\u00f3n franc\u00e9s. Era feliz mientras imaginaba que despu\u00e9s ir\u00edan a visitar su pabell\u00f3n, o el de Reima. Quer\u00eda disfrutar de esa ma\u00f1ana de verano porque intu\u00eda que su tristeza lo estar\u00eda esperando\u00a0siempre ah\u00ed\u2026 escondida, poni\u00e9ndose guapa<\/em>.<\/p>\n

Sverre confes\u00f3:<\/p>\n

\n

-Nunca me he considerado un moderno, aunque sin duda al principio absorb\u00ed el mundo antimonumental y pict\u00f3rico de Le Corbusier. El funcionalismo descubri\u00f3 un mundo nuevo, el de las aldeas de Grecia, Italia y el Norte de \u00c1frica\u2026Y nosotros, nacidos a la sombra de la modernidad, fuimos a verlo con nuestros propios ojos.5<\/sup><\/p>\n<\/blockquote>\n

Agitado por esas palabras, Reima exclam\u00f3:<\/p>\n

\n

-\u00bfAcaso cada generaci\u00f3n no tiene claros sus propios campos y los exprime al m\u00e1ximo antes de que desaparezcan? -Inquiri\u00f3 ret\u00f3rico- Claro que, por otra parte, esos rebeldes pioneros avanzaron ciegamente hasta el borde dejando tras ellos parte de los frutos para quienes ven\u00edan detr\u00e1s. \u00a1Ah\u00ed lo tienes! Empec\u00e9 a pensarlo hace mucho tiempo, y sigo pensando lo mismo.6<\/sup> -Bebi\u00f3 el \u00faltimo trago de su caf\u00e9 y prosigui\u00f3- La tradici\u00f3n moderna es un \u00e1rbol, un tronco de la cultura. Tengo la hip\u00f3tesis de que hasta ahora no hemos utilizado m\u00e1s que un 30% del tronco. Un 70% permanece latente.7<\/sup><\/p>\n<\/blockquote>\n

Se hac\u00eda tarde. Reima se puso en pie y sac\u00f3 una moneda. Mientras la apoyaba en la mesa, agreg\u00f3:<\/p>\n

\n

-\u00bfSoportar\u00e1n las obras maestras de la arquitectura la evaluaci\u00f3n final de la historia? \u00bfQu\u00e9 evaluaci\u00f3n final? \u00bfQu\u00e9 historia?\u2019.8<\/sup> \u2013Guard\u00f3 su cartera y comenz\u00f3 a caminar hacia la avenida principal.<\/p>\n<\/blockquote>\n

\"\"<\/a>
Sverre Fehn, boceto de viaje a Marruecos (1951)<\/span><\/figcaption><\/figure>\n

La radio emit\u00eda ahora un prolongado acorde el\u00e9ctrico. Tal vez Muddy Waters.\u00a0Sverre cerr\u00f3 con fuerza los ojos y levant\u00f3 su rostro hacia el sol de mediod\u00eda.
\nEntonces comenz\u00f3 a recordar aquel invierno en Marruecos:<\/p>\n

\n

-En \u00c1frica encontr\u00e9 un modo de construir muy sencillo- se dijo a s\u00ed mismo. \u2013 All\u00ed, en el desierto, un cubo con una puertecita y a veces una ventana, tal vez una palmera al lado\u2026 y ya est\u00e1.9<\/sup><\/p>\n<\/blockquote>\n

Borja L\u00f3pez Cotelo. Doctor arquitecto
\nA Coru\u00f1a. febrero 2012<\/p>\n

Notas:
\n1<\/sup> Reima Pietil\u00e4, en conversaci\u00f3n con Kaisa Broner-Bauer. Ver VV.AA. (1995) \u2018Price, Culot, Pietil\u00e4. De la pasi\u00f3n de la tierra\u2019. Revista Fisuras<\/em>, no.2, p.7
\n2<\/sup> Extracto de una entrevista publicada en 1992 bajo el t\u00edtulo de \u2018Una autobiograf\u00eda arquitect\u00f3nica\u2019, incluido en: NORBERG-SCHULZ, Ch. & G. POSTIGLIONE [1997]2007. Sverre Fehn. Opera Completa<\/em>. Mil\u00e1n, Mondadori Electa S.p.A., p.279
\n3<\/sup> Reima\u00a0 Pietil\u00e4 en ARTTO, A., R. CONNAH y otros (1985). Pietil\u00e4. Intermediate zones in modern architecture<\/em>. Helsinki, Museum of Finish Architecture, p.9
\n4<\/sup> VV.AA.: \u2018Sverre Fehn. Above and Below the Horizon\u2019. a+u, Architecture and Urbanism<\/em>, no.340, p. 17
\n5<\/sup> Extracto de una conversaci\u00f3n entre Mathilde Petri y Sverre Fehn. Ver NORBERG-SCHULZ, Ch. & G. POSTIGLIONE, Op. cit<\/em>., p. 286.
\n6<\/sup> R. Pietil\u00e4 en JOHANSSON, E., K. PAATERO, T. TUOMI (2009). Raili:Reima Pietil\u00e4. Un desaf\u00edo a la arquitectura moderna. <\/em>Madrid, Fundaci\u00f3n ICO, p. 20
\n7<\/sup> Ibid., <\/em>p. 70
\n8<\/sup> R. Pietil\u00e4 en ARTTO, A., R. CONNAH y otros: Op. cit.<\/em>, p.24
\n9<\/sup> Sverre Fehn en NORBERG-SCHULZ, Ch. & G. POSTIGLIONE, Op. cit<\/em>., p. 281<\/p>\n

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

El sol brillaba en el cielo de Bruselas abrasando a los visitantes de la explanada de Heysel. Sverre y Reima beb\u00edan, a peque\u00f1os sorbos, un caf\u00e9 africano. Reima respir\u00f3 hondo, pens\u00f3 unos segundos, y dijo: -Seg\u00fan se aprende a imaginar con mayor y mayor concentraci\u00f3n dejas de poder trabajar con objetos o esquemas prefabricados\u2026 Lo […]<\/p>\n","protected":false},"author":17,"featured_media":39864,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6893,147,6547,3852,9790,5478,2298,10122,7512,10121,815,10592,10118,10120,10119,1021,1985,2066,10123,1865,12197,10117,10591,2353],"class_list":{"0":"post-39861","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-articulos","8":"category-slider-principal","9":"tag-arquitectura-finlandesa","10":"tag-arquitectura-moderna","11":"tag-arquitectura-noruega","12":"tag-borja-lopez-cotelo","13":"tag-christian-norberg-schulz","14":"tag-conversacion","15":"tag-dibujar","16":"tag-eriika-johansson","17":"tag-gennaro-postiglione","18":"tag-kaisa-broner-bauer","19":"tag-maestro","20":"tag-marja-riitta-norri","21":"tag-mathilde-petri","22":"tag-mckinley-morganfield","23":"tag-muddy-waters","24":"tag-pensamiento","25":"tag-pensar","26":"tag-proyectar","27":"tag-raili-pietila","28":"tag-reflexion","29":"tag-reima-pietila","30":"tag-revista-fisuras","31":"tag-roger-connah","32":"tag-sverre-fehn"},"yoast_head":"\nUn 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