{"id":45887,"date":"2014-08-22T06:38:56","date_gmt":"2014-08-22T06:38:56","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=45887"},"modified":"2018-04-23T16:33:37","modified_gmt":"2018-04-23T14:33:37","slug":"visibilizar-el-calor-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/visibilizar-el-calor-miguel-angel-diaz-camacho\/","title":{"rendered":"Visibilizar el calor | Miguel \u00c1ngel D\u00edaz CamachoVisibilizar a calor | Miguel \u00c1ngel D\u00edaz CamachoSee the heat | Michael \u00c1ngel D\u00edaz Camacho"},"content":{"rendered":"

\"\"<\/a>
Aalto, Rautatalo 1953-55<\/span><\/figcaption><\/figure><\/p>\n

Que la arquitectura no es posible sin la luz resulta tan evidente como inexacto. O al menos incompleto. Efectivamente, tantas veces se nos ha dicho ya, la luz puede ser la materia prima de la arquitectura, su sustancia. Cierto. No hace tanto el ciclo de la vida se organizaba en torno al ciclo solar y la arquitectura convocaba a la penumbra al abrigo de noches estrelladas1<\/sup><\/sup>. La electricidad estimular\u00eda la m\u00e1gica capacidad de los hombres para la fabricaci\u00f3n de la luz, el artificio luminoso que permitir\u00eda la modificaci\u00f3n de patrones ancestrales de conducta. Sin embargo, se suele obviar con frecuencia un componente no menos fundamental para el hecho de habitar, un espectro presente en la hoguera y la luminaria, una energ\u00eda tan inmaterial como ferviente servidora de la luz: el calor.<\/p>\n

En contadas ocasiones se ha relacionado el resplandor de una luminaria o un foco con su revelaci\u00f3n t\u00e9rmica, un halo invisible y casi residual para la gran<\/em> arquitectura. En la \u201cIron House\u201d 2<\/sup><\/sup> Alvar Aalto propone un elegante atrio central iluminado cenitalmente a trav\u00e9s de una serie de 40 lucernarios organizados en ret\u00edcula de 5 por 8. Se trata b\u00e1sicamente del tipo utilizado en Viipuri pero evolucionado gracias a la incorporaci\u00f3n de una manta<\/em> exterior de luz artificial, una suma de estrellas<\/em> individuales situadas sobre el vidrio circular que remata cada uno de los huecos cil\u00edndricos. El perfeccionamiento no es menor: por un lado el atrio se encuentra igualmente iluminado durante el d\u00eda y la noche; por otro, las l\u00e1mparas derriten las nevadas copiosas del invierno y habilitan el uso del lucernario en cualquier momento del a\u00f1o en Helsinki.<\/p>\n

Al margen del deliberado ejercicio de alteraci\u00f3n perceptiva noche-d\u00eda3<\/sup><\/sup>, interesa aqu\u00ed la ingeniosa aportaci\u00f3n t\u00e9rmica de las luminarias, haciendo visible un proceso que a menudo pasa inadvertido dentro de la configuraci\u00f3n del espacio. La capacidad de las l\u00e1mparas para derretir la nieve no solo resulta un hecho evidentemente pr\u00e1ctico: su desaparici\u00f3n visibiliza un proceso de liberaci\u00f3n de calor a menudo oculto en turbulencias y movimientos de aire en el espacio interior. El calor ejerce una poderosa capacidad de transformaci\u00f3n sobre los fluidos que nos envuelven y afectan. El calor nos incuba y nos devuelve a situaciones prenatales libres de toda entrop\u00eda; Dennis Oppenheim representaba bien este proceso a trav\u00e9s de su instalaci\u00f3n \u201cAging\u201d 4<\/sup><\/sup>. Tambi\u00e9n aunque desde otra perspectiva, arquitectos como Philippe Rahm<\/a> se han empe\u00f1ado en reconciliar la naturaleza corpuscular de la luz con su ascendente termodin\u00e1mica, cartografiando las variaciones de temperatura o humedad relativa con la precisi\u00f3n del cient\u00edfico que opera desde la monitorizaci\u00f3n de un h\u00e1bitat. \u00bfQu\u00e9 tienen en com\u00fan Aalto, Oppenheim y Rahm? Bueno, todos ellos han trabajado con la luz como instrumento para visibilizar el calor.<\/p>\n

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

Notas:
\n1<\/sup><\/sup> Llama la atenci\u00f3n el dise\u00f1o de l\u00e1mparas de aceite y soportes para velas en las primeras obras de Wright en Oak Park a finales del Siglo XIX y principios del XX.
\n2<\/sup><\/sup> Edificio Comercial y de Oficinas \u201cRautatalo\u201d, Helsinki, concurso 1952, construcci\u00f3n 1953-55. Apodado \u201cIron House\u201d debido al nombre de sus propietarios \u201cThe Association of Iron Dealers\u201d.
\n3<\/sup><\/sup> Que trataremos en otra ocasi\u00f3n.
\n4<\/sup><\/sup> La instalaci\u00f3n \u201cAging\u201d (1974) se expuso en el Edificio Sabatini del Museo Nacional Centro de Arte Reina Sof\u00eda dentro del proyecto \u201cDENNIS OPPENHEIM. Taller de investigaci\u00f3n sobre fondos del MNCARS\u201d, Madrid 19 de abril al 3 de noviembre 2005. Una serie de figuras de cera erguidas y alineadas ante id\u00e9nticos focos de luz infrarroja separados una distancia variable in crescendo<\/em>; la luz permit\u00eda observar las figuras mientras el calor las fund\u00eda y hac\u00eda retorcer en un lento cambio de posici\u00f3n. Algunas se sentaban, otras ca\u00edan de rodillas antes de tumbarse y desaparecer conformando una masa informe y desfigurada. El inter\u00e9s de la obra reside en hacer visible una variable que rara vez se puede observar en la escultura: el calor.<\/p>\n

\"\"<\/a>
Aalto, Rautatalo 1953-55<\/span><\/figcaption><\/figure><\/p>\n

That the architecture is not possible without the light it turns out so evident as inaccurate. Or at least incomplete. Really, so often it has been said to us already, the light can be the raw material of the architecture, his substance. Certain. It does not do so much the cycle of the life one was organizing concerning the solar cycle and the architecture was calling for the semidarkness sheltered by starry nights1<\/sup><\/sup>. The electricity would stimulate the magic capacity of the men for the manufacture of the light, the luminous artifice that would allow the modification of ancient bosses of conduct. Nevertheless, one is in the habit of obviating often a not less fundamental component for the fact of living, a present spectrum in the bonfire and the light, an energy as immaterial as fervent servidora of the light: the heat.<\/p>\n

In few occasions there has been related the radiance of a light or an area to his thermal revelation, an invisible and almost residual halo for the great<\/em> architecture. In the\u00a0\u201cIron House\u201d 2<\/sup><\/sup> Alvar Aalto cenitalmente proposes an elegant central illuminated porch across a series of 40 lucernarios organized in reticle of 5 for 8. It is a question basically of the type used in Viipuri but evolved thanks to the incorporation of an exterior blanket<\/em> of artificial light, a sum of individual stars<\/em> placed on the circular glass that finishes off each of the cylindrical hollows. The development is not minor: on the one hand the porch is equally illuminated during the day and the night; for other one, the lamps melt the copious winters snowfalls and enable the use of the lucernario at any time of the year in Helsinki.<\/p>\n

To the margin of the deliberate exercise of perceptive alteration in the night-day3<\/sup><\/sup>, it interests here the ingenious thermal contribution of the lights, making visible a process that often slips by inside the configuration of the space. The capacity of the lamps to melt the snow not only turns out to be an evidently practical fact: his disappearance visibiliza a process of heat liberation often secret in turbulences and air movements in the interior space. The heat exercises a powerful capacity of transformation on the fluids that wrap and affect us. The heat incubates us and returns to us to prenatal free situations of all entropy; Dennis Oppenheim was representing well this process across his installation\u00a0\u201cAging\u201d 4<\/sup><\/sup>. Also though from another perspective, architects like\u00a0Philippe Rahm<\/a> have pledged in reconciling the nature corpuscular of the light with his ascending thermodynamic one, cartografiando the variations of temperature or relative dampness with the precision of the scientist who operates from the monitoring of a habitat. What have they jointly Aalto, Oppenheim and Rahm? Well, all of them have worked with the light as instrument for visibilizar the heat.<\/p>\n

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

Madrid. april 2014<\/p>\n

Notes:<\/p>\n

1<\/sup><\/sup> The attention calls the design of lamps of oil and supports for candles in the Wright’s first works in Oak Park at the end of the 19th century and beginning of the XXth.<\/p>\n

2<\/sup><\/sup> Commercial building and of Offices\u00a0\u201cRautatalo\u201d, Helsinki, I compete 1952, construction 1953-55. Nicknamed \u201cIron House\u201ddue to the name of his proprietary \u201cThe Association of Iron Dealers\u201d.<\/p>\n

3<\/sup><\/sup> That we will treat in another occasion.<\/p>\n

4<\/sup><\/sup> The installation \u201cAging\u201d (1974) exposed in the Building Sabatini of the National Museum Center of Art He reigns Sofia inside the project \u201cDENNIS OPPENHEIM. Workshop of investigation on funds of the MNCARS\u201d, Madrid on April 19 to November 3, 2005. A series of figures of wax raised and aligned before identical separated areas of infrared light a variable distance in crescendo<\/em>; the light was allowing to observe the figures while the heat was fusing and made them twist in a slow change of position. Some of them were sitting down, others were falling down of knees before falling down and to be eliminated shaping a formless and disfigured mass. The interest of the work resides in making visible a variable that rarely can be observed in the sculpture: the heat.<\/p>\n

\"\"<\/a>
Aalto, Rautatalo 1953-55<\/span><\/figcaption><\/figure><\/p>\n

Que a arquitectura non \u00e9 posible sen a luz resulta tan evidente como inexacto. O polo menos incompleto. Efectivamente, tantas veces se nos dixo xa, a luz pode ser a materia prima da arquitectura, a s\u00faa substancia. Certo. Non hai tanto o ciclo da vida organiz\u00e1base en torno ao ciclo solar e a arquitectura convocaba a penumbra ao abeiro de noites estreladas1<\/sup><\/sup>. A electricidade estimular\u00eda a m\u00e1xica capacidade dos homes para a fabricaci\u00f3n da luz, o artificio luminoso que permitir\u00eda a modificaci\u00f3n de patr\u00f3ns ancestrais de conduta. Non obstante, ad\u00f3itase obviar con frecuencia un compo\u00f1ente non menos fundamental para o feito de habitar, un espectro presente na cacharela e a luminaria, unha enerx\u00eda tan inmaterial como fervente servidora da luz: a calor.<\/p>\n

En contadas ocasi\u00f3ns relacionouse o resplandor dunha luminaria ou un foco coa s\u00faa revelaci\u00f3n t\u00e9rmica, un halo invisible e case residual para a gran<\/em> arquitectura. Na\u00a0\u201cIron House\u201d 2<\/sup><\/sup> Alvar Aalto prop\u00f3n un elegante adro central iluminado cenitalmente a trav\u00e9s dunha serie de 40 lucernarios organizados en ret\u00edcula de 5 por 8. Tr\u00e1tase basicamente do tipo utilizado en Viipuri pero evolucionado grazas \u00e1 incorporaci\u00f3n dunha manta<\/em> exterior de luz artificial, unha suma de estrelas<\/em> individuais situadas sobre o vidro circular que remata cada un dos ocos cil\u00edndricos. O perfeccionamento non \u00e9 menor: por un lado o adro enc\u00f3ntrase igualmente iluminado durante o d\u00eda e a noite; por outro, as l\u00e1mpadas derreten as nevadas copiosas do inverno e habilitan o uso do lucernario en calquera momento do ano en Helsinki.<\/p>\n

\u00c1 marxe do deliberado exercicio de alteraci\u00f3n perceptiva noite-d\u00eda3<\/sup><\/sup>, interesa aqu\u00ed a enxe\u00f1osa achega t\u00e9rmica das luminarias, facendo visible un proceso que a mi\u00fado pasa inadvertido dentro da configuraci\u00f3n do espazo. A capacidade das l\u00e1mpadas para derreter a neve non s\u00f3 resulta un feito evidentemente pr\u00e1ctico: a s\u00faa desaparici\u00f3n visibiliza un proceso de liberaci\u00f3n de calor a mi\u00fado oculto en turbulencias e movementos de aire no espazo interior. A calor exerce unha poderosa capacidade de transformaci\u00f3n sobre os flu\u00eddos que nos envolven e afectan. A calor inc\u00fabanos e dev\u00f3lvenos a situaci\u00f3ns prenatais libres de toda entrop\u00eda; Dennis Oppenheim representaba ben este proceso a trav\u00e9s da s\u00faa instalaci\u00f3n\u00a0\u201cAging\u201d 4<\/sup><\/sup>. Tam\u00e9n a\u00ednda que dende outra perspectiva, arquitectos como\u00a0Philippe Rahm<\/a> se empe\u00f1aron en reconciliar a natureza corpuscular da luz coa s\u00faa ascendente termodin\u00e1mica, cartografando as variaci\u00f3ns de temperatura ou humidade relativa coa precisi\u00f3n do cient\u00edfico que opera dende a monitorizaci\u00f3n dun h\u00e1bitat. \u00bfQue te\u00f1en en com\u00fan Aalto, Oppenheim e Rahm? Ben, todos eles traballaron coa luz como instrumento para visibilizar a calor.<\/p>\n

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

Madrid. abril 2014<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Chama a atenci\u00f3n o dese\u00f1o de l\u00e1mpadas de aceite e soportes para velas nas primeiras obras de Wright en Oak Park a finais do S\u00e9culo XIX e principios do XX.<\/p>\n

2<\/sup><\/sup> Edificio Comercial e de Oficinas \u201cRautatalo\u201d, Helsinki, concurso 1952, construci\u00f3n 1953-55. Alcumado\u00a0\u201cIron House\u201d debido ao nome dos seus propietarios \u201cThe Association of Iron Dealers\u201d.<\/p>\n

3<\/sup><\/sup> Que trataremos noutra ocasi\u00f3n.<\/p>\n

4<\/sup><\/sup> La instalaci\u00f3n\u00a0\u201cAging\u201d (1974) exp\u00faxose no Edificio Sabatini del Museo Nacional Centro de Arte Reina Sof\u00eda dentro do proxecto \u201cDENNIS OPPENHEIM. Taller de investigaci\u00f3n sobre fondos do MNCARS\u201d, Madrid 19 de abril ao 3 de novembro 2005. Unha serie de figuras de cera ergueitas e ali\u00f1adas ante id\u00e9nticos focos de luz infravermella separados unha distancia variable in crescendo; a luz permit\u00eda observar as figuras mentres a calor as fund\u00eda e fac\u00eda retorcer nun lento cambio de posici\u00f3n. Algunhas sent\u00e1banse, outras ca\u00edan de xeonllos antes de tombarse e desaparecer conformando unha masa informe e desfigurada. O interese da obra reside en facer visible unha variable que rara vez se pode observar na escultura: a calor.<\/p>\n

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

Que la arquitectura no es posible sin la luz resulta tan evidente como inexacto. O al menos incompleto. Efectivamente, tantas veces se nos ha dicho ya, la luz puede ser la materia prima de la arquitectura, su sustancia. Cierto. No hace tanto el ciclo de la vida se organizaba en torno al ciclo solar y […]<\/p>\n","protected":false},"author":5,"featured_media":45889,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[102,10869,605,659,2270,810,6465,10870,10867,10868,2066,1271],"class_list":["post-45887","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alvar-aalto","tag-dennis-oppenheim","tag-frank-lloyd-wright","tag-habitar","tag-idear","tag-luz","tag-miguel-angel-diaz-camacho","tag-p","tag-philippe-rahm","tag-philippe-rahm-architectes","tag-proyectar","tag-tecnologia"],"yoast_head":"\nVisibilizar el calor | Miguel \u00c1ngel D\u00edaz Camacho<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Visibilizar el calor | Miguel \u00c1ngel D\u00edaz CamachoVisibilizar a calor | Miguel \u00c1ngel D\u00edaz 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