{"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 CoteloUn d\u00eda de 1958 | Borja L\u00f3pez CoteloOne day of 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

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

The Sun was shining in the sky of Brussels burning the visitors of Heysel’s esplanade. Sverre and Reima were drinking, to small sips, an African coffee. Reima breathed depth, thought a few seconds, and said:<\/p>\n

\n

-As it is learned to imagine by major and major concentration you stop being able to work with objects or prefabricated schemes \u2026 The really imaginable<\/em> thing is what really I need<\/em>. I presuppose that it exists subjectively; on having done it, I break with the whole cultural European tradition, and you might say that I am a shaman.1<\/sup><\/p>\n<\/blockquote>\n

Sverre’s face contracted in a grimace. In certain way, it agreed with this Finn:<\/p>\n

\n

-The constructions realized by the animals are racionalist: precise and immutable, they are always equal every day and every year \u2026 – After a long drink of coffee, it added – The way of thinking about the man, on the other hand, is not rigidly rational and logical; he understands jokes, lies, irrational caprices. If the architecture is completely rational, the men turn into animals.2<\/sup><\/p>\n<\/blockquote>\n

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

The conversation was interrupted. A child disguised as cosmonaut called the attention of Reima and Sverre to ask where the Satellite was; they indicated towards the pavilion of the U.R.S.S. and during a few seconds they observed how it was moving away hurriedly in that direction. Of bottom there was listened a party in which Garrincha was amusing himself with the Soviet defensas. To stop it seemed to be so simple as to put in orbit a satellite. Reima continued:<\/p>\n

\n

-The pace of my language influences the forms that I draw, expresses my outlines, delimits my surfaces. The local expressions and the regional vocabulary are elements of my genuine way of expressing the architecture \u2026 Fodder in my native language, in Finn. I speak while work, the pace and the intonation of the Finn govern the movements of my pencil. Do I draw in Finn?3<\/sup><\/p>\n<\/blockquote>\n

Sverre exploded in a guffaw. Was he drawing in Norwegian? After a few seconds, he answered:<\/p>\n

\n

-We work with letters, with an alphabet, write a history\u2026 I see the materials as the letters that we use to write our poetical thoughts.4<\/sup><\/p>\n<\/blockquote>\n

\"\"<\/a>
Reima Pietil\u00e4, sketches for the presidential residence of Finland M\u00e4ntyniemi,\u00a01983<\/span><\/figcaption><\/figure>\n

In this moment there happened opposite to them two men of small stature speaking a language neither that nor Reima nor Sverre knew. Only they happened to identify the word hexagon. Sverre looked beyond; the people were crowding in the door of the French pavilion. It was happy while he was imagining that later they would be going to visit his pavilion, or that of Reima. It wanted to enjoy of this morning of summer because he was feeling that his sadness would be waiting for it always there<\/em> \u2026 hidden, becoming handsome.<\/em><\/p>\n

Sverre confessed:<\/p>\n

\n

-I have never considered myself to be the modern one, though undoubtedly initially I absorbed the antimonumental and pictorial world of Him Corbusier. The funcionalismo discovered a new world, that of the villages of Greece, Italy and the North of Africa \u2026 And we, born in the shade of the modernity, we went to see it with our own eyes.5<\/sup><\/p>\n<\/blockquote>\n

Waved by these words, Reima exclaimed:<\/p>\n

\n

-Perhaps every generation does not have his own fields clear and squeezes them to the maximum before they disappear? – it inquired rhetorically – Clear that, on the other hand, these pioneering rebels advanced blind up to the edge leaving after them part of the fruits for those who were coming behind. There you have it! I started thinking it a lot of time ago, and I continue thinking the same thing.6<\/sup> -It drank the last drink of his coffee and continued – The modern tradition is a tree, a trunk of the culture. I have the hypothesis of which till now we have not used any more than 30 % than the trunk. 70 % remains latent.7<\/sup><\/p>\n<\/blockquote>\n

It was done late. Reima put in foot and extracted a currency. While it her was resting on the table, he added:<\/p>\n

\n

-Will the masterpieces of the architecture support the final evaluation of the history? What final evaluation? Of what does it tell the history?’.8<\/sup> \u2013He guarded his portfolio and began to walk towards the principal avenue.<\/p>\n<\/blockquote>\n

\"\"<\/a>
Sverre Fehn,Sketch of trip to Morocco (1951)<\/span><\/figcaption><\/figure>\n

The radio was issuing now a long electrical chord. Maybe Muddy Waters. Sverre closed strongly the eyes and raised his face towards the Sun of midday.<\/p>\n

Then it began to remember that winter in Morocco:<\/p>\n

\n

-In Africa I found a way of constructing very simply – it was said to yes same. – There, in the desert, a bucket with a puertecita and sometimes a window, maybe a palm to the side \u2026 and already it is.9<\/sup><\/p>\n<\/blockquote>\n

Borja L\u00f3pez Cotelo. Doctor architect<\/p>\n

A Coru\u00f1a. february 2012<\/p>\n

Notes:<\/p>\n

1<\/sup> Reima Pietil\u00e4, in conversation with 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<\/p>\n

2<\/sup>\u00a0Extract of an interview published in 1992 under the title of ‘ An architectural autobiography ‘, included in: NORBERG-SCHULZ, Ch. & G. POSTIGLIONE [1997]2007. Sverre Fehn. Opera Completa<\/em>. Mil\u00e1n, Mondadori Electa S.p.A., p.279<\/p>\n

3<\/sup> Reima 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<\/p>\n

4<\/sup> VV.AA.: \u2018Sverre Fehn. Above and Below the Horizon\u2019. a+u, Architecture and Urbanism<\/em>, no.340, p. 17<\/p>\n

5<\/sup>\u00a0Extract of a conversation between Mathilde Petri y Sverre Fehn. See NORBERG-SCHULZ, Ch. & G. POSTIGLIONE, Op. cit<\/em>., p. 286.<\/p>\n

6<\/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<\/p>\n

7<\/sup> Ibid., <\/em>p. 70<\/p>\n

8<\/sup> R. Pietil\u00e4 inn ARTTO, A., R. CONNAH and others: Op. cit.<\/em>, p.24<\/p>\n

9<\/sup> Sverre Fehn in NORBERG-SCHULZ, Ch. & G. POSTIGLIONE, Op. cit<\/em>., p. 281<\/p>\n

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

O sol brillaba no ceo de Bruxelas abrasando os visitantes da explanada de Heysel. Sverre e Reima beb\u00edan, a pequenos sorbos, un caf\u00e9 africano. Reima respirou fondo, pensou uns segundos, e dixo:<\/p>\n

\n

-Segundo se aprende a imaxinar con maior e maior concentraci\u00f3n deixas de poder traballar con obxectos ou esquemas prefabricados… Lo realmente imaxinable<\/em> \u00e9 o que realmente necesito<\/em>. Presupo\u00f1o que existe subxectivamente; ao facelo, rompo con toda a tradici\u00f3n cultural europea, e vostede poder\u00eda dicir que son un cham\u00e1n.1<\/sup><\/p>\n<\/blockquote>\n

A cara de Sverre contraeuse nun aceno. En certo modo, estaba de acordo con ese finland\u00e9s:<\/p>\n

\n

-As construci\u00f3ns realizadas polos animais son racionalistas: precisas e inmutables, son sempre iguais cada d\u00eda e cada ano… – Tras un longo trago de caf\u00e9, engadiu- El modo de pensar do home, en cambio, non \u00e9 rixidamente racional e l\u00f3xico; comprende chistes, mentiras, caprichos irracionais. Se a arquitectura \u00e9 completamente racional, os homes conv\u00e9rtense en animales..2<\/sup><\/p>\n<\/blockquote>\n

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

A conversa interrompeuse. Un neno disfrazado de cosmonauta chamou a atenci\u00f3n de Reima e Sverre para preguntar onde estaba o Sputnik<\/em>; sinalaron cara ao pavill\u00f3n da U.R.S.S. e durante uns segundos observaron como se afastaba apresuradamente naquela direcci\u00f3n. De fondo escoit\u00e1base un partido no que Garrincha se divert\u00eda cos defensas sovi\u00e9ticos. Paralo non parec\u00eda tan sinxelo como po\u00f1er en \u00f3rbita un sat\u00e9lite. Reima continuou:<\/p>\n

\n

-O ritmo da mi\u00f1a linguaxe infl\u00fae nas formas que debuxo, expresa os meus trazos, delimita as mi\u00f1as superficies. As expresi\u00f3ns locais e o vocabulario rexional son elementos do meu xenu\u00edno xeito de expresar a arquitectura… Penso no meu idioma nativo, en finland\u00e9s. Falo mentres traballo, o ritmo e a entoaci\u00f3n do finland\u00e9s gobernan os movementos do meu lapis. \u00bfDebuxo en finland\u00e9s?3<\/sup><\/p>\n<\/blockquote>\n

Sverre estalou nunha gargallada. \u00bfDebuxaba el en noruegu\u00e9s? Tras uns segundos, replicou:<\/p>\n

\n

-Traballamos con letras, cun alfabeto, escribimos unha historia… Veo os materiais como as letras que utilizamos para escribir os nosos pensamentos po\u00e9ticos.4<\/sup><\/p>\n<\/blockquote>\n

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

Nese momento pasaron fronte a eles os dous homes de pequena estatura falando un idioma que nin Reima nin Sverre co\u00f1ec\u00edan. S\u00f3 acertaron a identificar a palabra hex\u00e1gono<\/em>. Sverre mirou m\u00e1is al\u00e1; a xente amonto\u00e1base na porta do pavill\u00f3n franc\u00e9s. Era feliz mentres imaxinaba que despois ir\u00edan a visitar o seu pavill\u00f3n, ou o de Reima. Quer\u00eda gozar desa ma\u00f1\u00e1 de ver\u00e1n porque intu\u00eda que a s\u00faa tristura o estar\u00eda a esperar sempre a\u00ed… escondida, po\u00f1\u00e9ndose guapa<\/em>.<\/p>\n

Sverre confesou:<\/p>\n

\n

-Nunca me considerei un moderno, a\u00ednda que sen d\u00fabida ao principio absorb\u00edn o mundo antimonumental e pict\u00f3rico de Le Corbusier. O funcionalismo descubriu un mundo novo, o das aldeas de Grecia, Italia e o Norte de \u00c1frica…Y n\u00f3s, nacidos \u00e1 sombra da modernidade, fomos a velo cos nosos propios ojos.5<\/sup><\/p>\n<\/blockquote>\n

Axitado por esasverbas, Reima exclamou:<\/p>\n

\n

-\u00bfAcaso cada xeraci\u00f3n non ten claros os seus propios campos e espr\u00e9meos ao m\u00e1ximo antes de que desaparezan? -Inquiriu ret\u00f3rico- Claro que, por outra parte, eses rebeldes pioneiros avanzaron cegamente ata o bordo deixando tras eles parte dos froitos para os que vi\u00f1an detr\u00e1s. \u00a1A\u00ed o tes! Empecei a pensalo hai moito tempo, e sigo pensando o mesmo.6<\/sup> -Bebeu o \u00faltimo trago do seu caf\u00e9 e proseguiu- La tradici\u00f3n moderna \u00e9 unha \u00e1rbore, un madeiro da cultura. Te\u00f1o a hip\u00f3tese de que ata agora non utilizamos m\u00e1is que un 30% do madeiro. Un 70% permanece latente.7<\/sup><\/p>\n<\/blockquote>\n

Fac\u00edase tarde. Reima p\u00faxose de p\u00e9 e sacou unha moeda. Mentres a apoiaba na mesa, agregou:<\/p>\n

\n

-\u00bfSoportar\u00e1n as obras mestras da arquitectura a avaliaci\u00f3n final da historia? \u00bfQue avaliaci\u00f3n final? \u00bfQue historia?.8<\/sup> \u2013Gardou a s\u00faa carteira e comezou a cami\u00f1ar cara \u00e1 avenida principal.<\/p>\n<\/blockquote>\n

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

A radio emit\u00eda agora un prolongado acorde el\u00e9ctrico. Talvez Muddy Waters. Sverre pechou con forza os ollos e levantou o seu rostro cara ao sol de mediod\u00eda.<\/p>\n

Ent\u00f3n comezou a recordar aquel inverno en Marrocos:<\/p>\n

\n

-En \u00c1frica encontrei un modo de constru\u00edr moi sinxelo- d\u00edxose a si mesmo. – Al\u00ed, no deserto, un cubo cunha puertecita e \u00e1s veces unha vent\u00e1, talvez unha palmeira ao lado… e xa est\u00e1.9<\/sup><\/p>\n<\/blockquote>\n

Borja L\u00f3pez Cotelo. Doctor arquitecto<\/p>\n

A Coru\u00f1a. febreiro 2012<\/p>\n

Notas:<\/p>\n

1<\/sup> Reima Pietil\u00e4, en conversa 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<\/p>\n

2<\/sup> Extracto duhna entrevista publicada en 1992 baixo o t\u00edtulo de \u2018Unha 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<\/p>\n

3<\/sup> Reima Pietil\u00e4 en ARTTO, A., R. CONNAH e outros (1985). Pietil\u00e4. Intermediate zones in modern architecture<\/em>. Helsinki, Museum of Finish Architecture, p.9<\/p>\n

4<\/sup> VV.AA.: \u2018Sverre Fehn. Above and Below the Horizon\u2019. a+u, Architecture and Urbanism<\/em>, no.340, p. 17<\/p>\n

5<\/sup> Extracto dunha conversaci\u00f3n entre Mathilde Petri e Sverre Fehn. Ver NORBERG-SCHULZ, Ch. & G. POSTIGLIONE, Op. cit<\/em>., p. 286.<\/p>\n

6<\/sup> R. Pietil\u00e4 en JOHANSSON, E., K. PAATERO, T. TUOMI (2009). Raili:Reima Pietil\u00e4. Un desaf\u00edo a arquitectura moderna. <\/em>Madrid, Fundaci\u00f3n ICO, p. 20<\/p>\n

7<\/sup> Ibid., <\/em>p. 70<\/p>\n

8<\/sup> R. Pietil\u00e4 en ARTTO, A., R. CONNAH e outros: Op. cit.<\/em>, p.24<\/p>\n

9<\/sup> Sverre Fehn en NORBERG-SCHULZ, Ch. & G. POSTIGLIONE, Op. cit<\/em>., p. 281<\/p>\n

<\/p>\n","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":["post-39861","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-finlandesa","tag-arquitectura-moderna","tag-arquitectura-noruega","tag-borja-lopez-cotelo","tag-christian-norberg-schulz","tag-conversacion","tag-dibujar","tag-eriika-johansson","tag-gennaro-postiglione","tag-kaisa-broner-bauer","tag-maestro","tag-marja-riitta-norri","tag-mathilde-petri","tag-mckinley-morganfield","tag-muddy-waters","tag-pensamiento","tag-pensar","tag-proyectar","tag-raili-pietila","tag-reflexion","tag-reima-pietila","tag-revista-fisuras","tag-roger-connah","tag-sverre-fehn"],"yoast_head":"\nUn 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