{"id":43479,"date":"2014-02-28T06:48:14","date_gmt":"2014-02-28T05:48:14","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=43479"},"modified":"2019-07-19T19:18:37","modified_gmt":"2019-07-19T17:18:37","slug":"alegrias-y-quejios-jorge-rodriguez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/alegrias-y-quejios-jorge-rodriguez\/","title":{"rendered":"[:es]Alegr\u00edas y quej\u00edos | Jorge Rodr\u00edguez[:gl]Alegr\u00edas e \u00abquex\u00edos\u00bb | Jorge Rodr\u00edguez[:en]Happy moments and \u00abquej\u00edos\u00bb | Jorge Rodr\u00edguez[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Camar\u00f3n de la Isla. Festival de Arte Flamenco de Mont de Marsan. Jean-Luis Duzert, 1990.<\/span><\/figcaption><\/figure><\/p>\n
\n

\u2018Al principio fue el verbo\u2019<\/strong><\/p>\n

Evangelio seg\u00fan San Juan<\/p>\n<\/blockquote>\n

Arranca con \u00e9ste vers\u00edculo corto y preciso el \u00faltimo relato can\u00f3nico de la vida, obra y milagros de Jes\u00fas de Nazaret. Contin\u00faa \u2018y el verbo estaba con Dios. Y el verbo era Dios\u2019<\/em>. Apenas tres l\u00edneas que resumen el contenido de todo el Evangelio.<\/p>\n

Dice Solano Ben\u00edtez al hilo de su proyecto \u20184 vigas\u20191<\/sup>, precioso homenaje a la figura de su padre, que est\u00e1 en la repetici\u00f3n la base de lo sagrado. As\u00ed, dice, es sagrado el f\u00fatbol, o las milanesas en casa de su madre los Domingos. As\u00ed sacralizan los quej\u00edos de Morente o el pulso de guitarra del concierto de Aranjuez. Qu\u00e9 grande el Paco de Luc\u00eda.<\/p>\n

Dando por v\u00e1lida esta afirmaci\u00f3n, la cual comparto, podemos entender la importancia de la palabra, del logos, en la religi\u00f3n. Veh\u00edculo transmisor de conocimiento y sentir, que en su repetici\u00f3n ha colaborado en la difusi\u00f3n y calado de un mensaje que constituye la mayor obra del hombre.<\/p>\n

Es la palabra fundamental en el entendimiento pleno de la arquitectura como un arte que trasciende los hechos construidos. Un arte que tiene como objeto los hechos del hombre, y que por lo tanto busca su felicidad, entendiendo \u00e9sta como el estado libre de peligros que celebra Epicuro. El bienestar, asunto capital, encuentra satisfacci\u00f3n en el campo de los sentimientos, en lo metaf\u00edsico. No es solo cuesti\u00f3n de aislantes, ni de metros cuadrados. Necesitamos algo m\u00e1s, algo que nos impulse a ocupar un lugar, algo que dote de sentido y emoci\u00f3n a la ejecuci\u00f3n precisa de nuestro oficio.<\/p>\n

As\u00ed, la p\u00e9rdida de atenci\u00f3n a la palabra, y con \u00e9sta al discurso, no significa sino la p\u00e9rdida del sentido de la arquitectura, quedando \u00e9sta reducida a la construcci\u00f3n. El entendimiento de la arquitectura como ese arte que trata de unificar cantidad de est\u00edmulos de toda \u00edndole en pos de facilitar la vida del hombre, en cuanto a su cobijo, tiene en el conocimiento de la historia un valor fundamental. Podr\u00edamos matizar, tiene en la tradici\u00f3n, esa \u2018experiencia social acumulada que ilumina el presente desde un distanciamiento inm\u00f3vil\u20192<\/sup>, un valor fundamental.<\/p>\n

Esa experiencia acumulada, ese conocimiento, es lo \u00fanico que podemos heredar. El trasfondo de la arquitectura. Poco m\u00e1s es necesario, las herramientas justas. Geometr\u00eda, gravedad y (des)mesura.<\/p>\n

Quiz\u00e1s influida por una tendencia reciente, que busca la inmediatez y el conocimiento acumulativo, sin atenci\u00f3n a lo superficial de \u00e9ste, la arquitectura ha dado un giro hacia un mundo peligroso. Y triste. Un mundo en que lo \u2018po\u00e9tico\u2019 es malo. Un mundo en el que se ha dejado de jugar,\u00a0 de festejar. Mundo de casas de exposici\u00f3n, sin olor. Un mundo en que se castiga un proyecto \u2018por ser demasiado rom\u00e1ntico\u20193<\/sup>. Amigos, nos hemos equivocado. Nuestras ciudades nos piden auxilio, la esquizofrenia que ha manejado su crecimiento nos ha hecho olvidar por completo los principios en que se basaban. Nos hemos perdido en construir mucho y r\u00e1pido, en el frenes\u00ed, en los CV, en cumplir plazos, normativas, certificados y c\u00f3digos, y nos hemos olvidado del hombre, elemento \u00fanico y fundamental de cualquier arte, que no celebra sino la vida, gracia y obra de \u00e9stos. De nosotros.<\/p>\n

Quienes lo estudian en profundidad, dicen que el texto que ten\u00eda Le Corbusier en su mesa al fallecer ven\u00eda a decir \u2018nada es transmisible salvo el pensamiento\u2019. Reflexionemos si no estamos equivocados, si no estamos sino desterrando aquello que trascender\u00e1 nuestra propia persona y pasar\u00e1 a formar parte de nuestra figura, que ni empieza con nuestro nacimiento, ni termina con nuestra muerte4<\/sup>.<\/p>\n

Recuperemos la palabra como parte del proyecto de arquitectura y con ella volver\u00e1 esa cr\u00edtica que tanto echa en falta la profesi\u00f3n, volver\u00e1 el proceso.<\/p>\n

Y con suerte, volver\u00e1n los proyectos rom\u00e1nticos.<\/p>\n

Jorge Rodr\u00edguez Seoane
\nMayo 2014. Coru\u00f1a<\/p>\n

Notas:
\n1<\/sup> Precioso proyecto el de Solano. M\u00e1gico. <\/a>
\n2<\/sup> Francisco Alonso de Santos define as\u00ed la tradici\u00f3n en la conferencia Bau-Kunst-Bau pronunciada el 31 de Mayo de 1991 en el Polit\u00e9cnico de Mil\u00e1n, dentro de los actos de la Triennale di Milano. Seminario coordinado por Cino Zucchi.
\n3<\/sup>\u00a0En Septiembre de 1991 el proyecto presentado al concurso \u2018Venice Gateway\u2019 por Francisco Alonso de Santos quedaba descartado por su excesivo romanticismo. Formaba parte del jurado Rafael Moneo.
\n4<\/sup> Parafraseando a Francisco Alonso en su texto de homenaje a Alejandro de la Sota \u2018Dies Irae. Alejandro de la Sota en leg\u00edtima defensa\u2019 <\/em>\u00a0La frase textual dice \u2018La infancia, la juventud y la vejez en cada uno de los seres humanos no son sino situaciones secundarias en comparaci\u00f3n con su \u201cfigura\u201d, la cual ni comienza con su nacimiento, ni termina con su muerte\u201d.<\/p>\n

[:gl]

\"\"<\/a>
Camar\u00f3n de la Isla. Festival de Arte Flamenco de Mont de Marsan. Jean-Luis Duzert, 1990.<\/span><\/figcaption><\/figure><\/p>\n
\n

\u2018Ao principio foi o verbo\u2019<\/strong><\/p>\n

Evanxeo seg\u00fan San Xoan<\/p>\n<\/blockquote>\n

Arranca con este vers\u00edculo curto e preciso o \u00faltimo relato can\u00f3nico da vida, obra e milagres de Jes\u00fas de Nazaret. Contin\u00faa \u2018e o verbo estaba con Deus. E o verbo era Deus<\/em>\u2019<\/em>. Apenas tres li\u00f1as que resumen o contido de todo o Evanxeo.<\/p>\n

Di Solano Ben\u00edtez ao f\u00edo do seu proxecto \u20184 vigas1<\/sup>, preciosa homenaxe \u00e1 figura do seu pai, que est\u00e1 na repetici\u00f3n a base do sagrado. As\u00ed, di, \u00e9 sagrado o f\u00fatbol, ou as milanesas na casa da s\u00faa nai os Domingos. As\u00ed sacralizan os quej\u00edos de Morente ou o pulso de guitarra do concerto de Aranxuez. Que grande o Paco de Luc\u00eda.<\/p>\n

Dando por v\u00e1lida esta afirmaci\u00f3n, a cal comparto, podemos entender a importancia da palabra, do logos, na relixi\u00f3n. Veh\u00edculo transmisor de co\u00f1ecemento e sentir, que na s\u00faa repetici\u00f3n colaborou na difusi\u00f3n e calado dunha mensaxe que constit\u00fae a maior obra do home.<\/p>\n

\u00c9 a palabra fundamental no entendemento pleno da arquitectura como unha arte que transcende os feitos constru\u00eddos. Unha arte que ten como obxecto os feitos do home, e que polo tanto busca a s\u00faa felicidade, entendendo esta como o estado libre de perigos que celebra Epicuro. O benestar, asunto capital, encontra satisfacci\u00f3n no campo dos sentimentos, no metaf\u00edsico. Non \u00e9 s\u00f3 cuesti\u00f3n de illantes, nin de metros cadrados. Necesitamos algo m\u00e1is, algo que nos impulse a ocupar un lugar, algo que dote de sentido e emoci\u00f3n \u00e1 execuci\u00f3n precisa do noso oficio.<\/p>\n

As\u00ed, a perda de atenci\u00f3n \u00e1 palabra, e con esta ao discurso, non significa sen\u00f3n a perda do sentido da arquitectura, quedando esta reducida \u00e1 construci\u00f3n. O entendemento da arquitectura como esa arte que trata de unificar cantidade de est\u00edmulos de toda \u00edndole detr\u00e1s de facilitar a vida do home, en canto ao seu acubillo, ten no co\u00f1ecemento da historia un valor fundamental. Poderiamos matizar, ten na tradici\u00f3n, esa \u2018experiencia social acumulada que ilumina o presente dende un distanciamento inm\u00f3vil\u20192<\/sup>, un valor fundamental.<\/p>\n

Esa experiencia acumulada, ese co\u00f1ecemento, \u00e9 o \u00fanico que podemos herdar. O trasfondo da arquitectura. Pouco m\u00e1is \u00e9 necesario, as ferramentas xustas. Xeometr\u00eda, gravidade e (des)mesura.<\/p>\n

Quizais influ\u00edda por unha tendencia recente, que busca a inmediatez e o co\u00f1ecemento acumulativo, sen atenci\u00f3n ao superficial deste, a arquitectura deu un xiro cara a un mundo perigoso. E triste. Un mundo en que o\u2018po\u00e9tico\u2019 \u00e9 malo. Un mundo no que se deixou de xogar, de festexar. Mundo de casas de exposici\u00f3n, sen olor. Un mundo en que se castiga un proxecto \u2018por ser demasiado rom\u00e1ntico\u20193<\/sup>. Amigos, equivoc\u00e1monos. As nosas cidades p\u00eddennos auxilio, a esquizofrenia que manexou o seu crecemento f\u00edxonos esquecer por completo os principios en que se baseaban. Perd\u00e9monos en constru\u00edr moito e r\u00e1pido, no frenes\u00ed, nos CV, en cumprir prazos, normativas, certificados e c\u00f3digos, e esquec\u00e9usenos o home, elemento \u00fanico e fundamental de calquera arte, que non celebra sen\u00f3n a vida, graza e obra destes. De n\u00f3s.<\/p>\n

Os que o estudan en profundidade, din que o texto que ti\u00f1a Le Corbusier na s\u00faa mesa ao falecer vi\u00f1a a dicir \u2018nada \u00e9 transmisible salvo o pensamento\u2019. Reflexionemos se non estamos equivocados, se non estamos sen\u00f3n desterrando aquilo que transcender\u00e1 a nosa propia persoa e pasar\u00e1 a formar parte da nosa figura, que nin empeza co noso nacemento, nin remata coa nosa morte4<\/sup>.<\/p>\n

Recuperemos a palabra como parte do proxecto de arquitectura e con ela volver\u00e1 esa cr\u00edtica que tanto bota en falta a profesi\u00f3n, volver\u00e1 o proceso.<\/p>\n

E con sorte, volver\u00e1n os proxectos rom\u00e1nticos.<\/p>\n

Jorge Rodr\u00edguez Seoane<\/p>\n

Maio 2014. Coru\u00f1a<\/p>\n

Notas:<\/p>\n

1<\/sup> Precioso proxecto o de Solano. M\u00e1xico. <\/a><\/p>\n

2<\/sup> Francisco Alonso de Santos define as\u00ed a tradici\u00f3n na conferencia Bau-Kunst-Bau pronunciada o 31 de Maio de 1991 no Polit\u00e9cnico de Mil\u00e1n, dentro dos actos da Triennale dei Milano. Seminario coordinado por Cino Zucchi.<\/p>\n

3<\/sup>\u00a0En Septiembre de 1991 o proxecto presentado ao concurso \u2018Venice Gateway\u2019 por Francisco Alonso de Santos quedaba descartado polo seu excesivo romanticismo. Formaba parte do xurado Rafael Moneo.<\/p>\n

4<\/sup>\u00a0Parafraseando a Francisco Alonso no seu texto de homenaxe a Alejandro de la Sota \u2018Dies Irae. Alejandro de la Sota en lex\u00edtima defensa\u2019\u00a0<\/em>A frase textual di \u2018A infancia, a xuventude e a vellez en cada un dos seres humanos non son sen\u00f3n situaci\u00f3ns secundarias en comparaci\u00f3n coa s\u00faa \u201cfigura\u201d, a cal nin comeza co seu nacemento, nin remata coa s\u00faa morte\u201d.<\/p>\n

[:en]

\"\"<\/a>
Camar\u00f3n de la Isla. Festival of Mont de Marsan’s Flemish Art. Jean-Luis Duzert, 1990.<\/span><\/figcaption><\/figure><\/p>\n
\n

\u2018Initially it was the verb\u2019<\/strong><\/p>\n

Gospel according to San Juan<\/p>\n<\/blockquote>\n

It starts with this one short verse and I need the last canonical statement of the life, work and Jes\u00fas de Nazaret’s miracles. It continues \u2018and the verb was with God. And the verb was A God<\/em>\u2019<\/em>. Scarcely three lines that summarize the content of the whole Gospel.<\/p>\n

Solano Ben\u00edtez says to the thread of his project \u20184 girders\u20191<\/sup>, precious honoring to the figure of his father, who is in the repetition the base of the sacred thing. This way, he says, the football is sacred, or the milanesas in house of his mother every Sunday. This way sacralizan the Morente\u00b4s quej\u00edos or the pulse of guitar of Aranjuez’s concert. Big what the Paco de Luc\u00eda.<\/p>\n

Giving valid this affirmation, which I share, we can understand the importance of the word, of the logos, in the religion. Vehicle transmitter of knowledge and to feel, that in his repetition he has collaborated in the diffusion and fret of a message that constitutes the major work of the man.<\/p>\n

It is the fundamental word in the full understanding of the architecture as an art that comes out the constructed facts. An art that takes the facts of the man as an object, and that therefore looks for his happiness, dealing this one as the free condition of dangers that Epicuro celebrates. The well-being, cardinal matter, finds satisfaction in the field of the feelings, in the metaphysical thing. It is not alone a question of insulating, not of square meters. We need something more, something that stimulates us to occupy a place, something that provides with sense and emotion to the execution is necessary our trade.<\/p>\n

This way, the loss of attention to the word, and with this one to the speech, does not mean but the loss of the sense of the architecture, staying this one diminished to the construction. The understanding of the architecture like this art that tries to unify quantity of stimuli of any nature in pos of facilitating the life of the man, as for his cover, has in the knowledge of the history a fundamental value. We might tint, it has in the tradition, this \u2018social accumulated experience that illuminates the present from an immobile distancing\u20192<\/sup>, one fundamental value.<\/p>\n

This accumulated experience, this knowledge, is the only thing that we can inherit. The background of the architecture. Little more it is necessary, the just tools. Geometry, gravity and (des) moderation.<\/p>\n

Probably influenced by a recent trend, which looks for the immediacy and the accumulative knowledge, without attention to the superficial thing of this one, the architecture has given a draft towards a dangerous world. And sad. A world in which the \u2018poetical thing\u2019 is bad. A world in the one that has been stopped playing, feasting. World of houses of exhibition, without smell. A world in which a project is punished \u2018for being too romantic\u20193<\/sup>. Friends, we have been wrong. Our cities ask for aid us, the schizophrenia that has handled his growth has made us forget completely the beginning on which they were based. We have got lost in constructing greatly and rapidly, in the frenzy, in the CV, in fulfilling period, regulations, certificates and codes, and have forgotten the man, the only and fundamental element of any art, which it does not celebrate but the life, grace and work of these. Of us.<\/p>\n

Those who study it in depth, say that the text that Corbusier had Him in his table on having expired was coming to say \u2018nothing is transmissible except the thought\u2019.Let’s think if we are not mistaken, if we are not but exiling that one that our own person will come out and will happen to form a part of our figure, which it neither begins with our birth, it does not even finish with our death4<\/sup>.<\/p>\n

Let’s recover the word as part of the project of architecture and with her it will turn this critique that so much he throws in the profession is absent, it will turn the process.<\/p>\n

And with luck, they will turn the romantic projects.<\/p>\n

Jorge Rodr\u00edguez Seoane<\/p>\n

May 2014. Coru\u00f1a<\/p>\n

Notes:<\/p>\n

1<\/sup> Precious project that of Solano. Wizard. <\/a><\/p>\n

2<\/sup> Francisco Alonso de Santos defines this way the tradition in the conference pronounced Bau-Kunst-Bau On May 31, 1991 in the Technical one of Milan, inside the acts of the Triennale di Milan. Seminar coordinated by Cino Zucchi.<\/p>\n

3<\/sup> In September, 1991 the project presented to the \u2018Venice Gateway\u2019 contest by Francisco Alonso de Santos was remaining discarded by his excessive romanticism. It was forming a part of the juror Rafael Moneo.<\/p>\n

4<\/sup> Paraphrasing Francisco Alonso in his text of honoring to Alejandro de la Sota\u00a0 \u2018Dies Irae. Alejandro de la Sota\u00a0<\/em> in legitimate defense\u2019<\/em>\u00a0 The textual phrase says \u2018The infancy, the youth and the oldness in each of the human beings are not but secondary situations in comparison with his \u201cfigure\u201d, which neither begins with his birth, it does not even end with his death\u201d.<\/p>\n

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

[:es] \u2018Al principio fue el verbo\u2019 Evangelio seg\u00fan San Juan Arranca con \u00e9ste vers\u00edculo corto y preciso el \u00faltimo relato can\u00f3nico de la vida, obra y milagros de Jes\u00fas de Nazaret. Contin\u00faa \u2018y el verbo estaba con Dios. Y el verbo era Dios\u2019. Apenas tres l\u00edneas que resumen el contenido de todo el Evangelio. Dice […]<\/p>\n","protected":false},"author":50,"featured_media":43481,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[93,10293,10292,8351,631,10109,10295,5846,8912,10294,1865,6763],"class_list":["post-43479","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alejandro-de-la-sota","tag-cino-zucchi","tag-francisco-alonso","tag-francisco-alonso-de-santos","tag-geometria","tag-herramienta","tag-jean-luis-duzert","tag-jorge-rodriguez-seoane","tag-jose-rafael-moneo-valles","tag-paco-de-lucia","tag-reflexion","tag-solano-benitez"],"yoast_head":"\nAlegr\u00edas y quej\u00edos | Jorge Rodr\u00edguez<\/title>\n<meta name=\"description\" content=\"Alegr\u00edas y quej\u00edos\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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