{"id":48724,"date":"2014-02-05T06:28:08","date_gmt":"2014-02-05T05:28:08","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=48724"},"modified":"2021-12-20T15:26:02","modified_gmt":"2021-12-20T14:26:02","slug":"los-eames-y-billy-wilder-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/los-eames-y-billy-wilder-jorge-gorostiza\/","title":{"rendered":"Los Eames y Billy Wilder | Jorge GorostizaOs Eames e Billy Wilder | Jorge GorostizaThe Eames and Billy Wilder | Jorge Gorostiza"},"content":{"rendered":"

\"\"<\/a>
Maqueta de la casa de Wilder proyectada por los Eames<\/span><\/figcaption><\/figure><\/p>\n

Creo que no hace falta decir qui\u00e9nes fueron Billy Wilder, ni tampoco Ray y Charles Eames (siempre se suele poner a Charles primero quiz\u00e1s por ser hombre). Lo que quiz\u00e1s se conozca menos es la amistad que les uni\u00f3 durante muchos a\u00f1os.<\/p>\n

Seg\u00fan Tom Wood en su libro The Bright Side of Billy Wilder, t<\/em>raducido en Espa\u00f1a como \u00bfQui\u00e9n diantres eres Billy Wilder? <\/em>(Laertes, Barcelona, 1990):<\/p>\n

\n

\u00abWilder conoce a Eames y ha admirado su obra desde que \u00e9ste<\/em> [el autor y\/o el traductor espa\u00f1ol del libro cree que Eames es un s\u00f3lo arquitecto], a mediados de los a\u00f1os cuarenta, cre\u00f3 para \u00e9l una silla de palisandro y cuero. Durante muchos a\u00f1os se han intercambiado muebles y pinturas y, en una ocasi\u00f3n, en 1948, Billy encarg\u00f3 a\u00a0Eames el dise\u00f1o de una casa. Compr\u00f3 un terreno en Beverly Hills para construir esa casa y acab\u00f3 tan excitado con el proyecto que sol\u00eda pasarse los fines de semana examinando el dise\u00f1o con el arquitecto y bombarde\u00e1ndolo con sugerencias<\/em>\u00ab.<\/p>\n<\/blockquote>\n

Los present\u00f3 el dise\u00f1ador gr\u00e1fico Alvin Lusting<\/a> que entonces usaba el garaje de la casa de Wilder en North Beverly Drive como estudio. Parece ser que los Eames hicieron el montaje de una secuencia de El h\u00e9roe solitario<\/a><\/em> (The Spirit of St. Louis<\/em>, 1957), tambi\u00e9n se cuenta que durante el rodaje de esa pel\u00edcula Wilder descansaba, acost\u00e1ndose en bancos y cualquier lugar que encontrase y le solicit\u00f3 a los arquitectos que le dise\u00f1asen una chaise longue<\/em> para no tener que buscar un lugar improvisado donde descansar, muchos a\u00f1os despu\u00e9s, en 1968, ellos crearon una butaca tan larga como para poder descabezar un sue\u00f1o, pero estrecha para que ese sue\u00f1o no durase mucho tiempo, al parecer Wilder coment\u00f3 que para acostarse dos personas uno deber\u00eda ser como una escultura de Guiacometti.<\/p>\n

S\u00ed es cierto que muchos a\u00f1os antes Wilder les encarg\u00f3 una casa para \u00e9l y su inteligente y bella esposa, Audrey Young, que hab\u00eda sido cantante de una big-band<\/em> y aparece fugazmente en D\u00edas sin huella<\/em> (The Lost Weekend<\/em>, 1945). Wood escribe sobre su boda:<\/p>\n

\n

\u00abLa fuga de Billy con Audrey, en 1949, revel\u00f3 en \u00e9l una vena rom\u00e1ntica cuya existencia sospechaban pocas personas. Acompa\u00f1ados por Eames y su mujer, Wilder y la se\u00f1orita Young viajaron en coche hasta Nevada, donde pod\u00edan casarse sin respetar los tres d\u00edas de espera preliminares. La intenci\u00f3n original de la pareja era casarse en la primera ciudad de Nevada a la que llegasen. Pero a Billy no le gust\u00f3 el aspecto de la primera ciudad. Insisti\u00f3 en encontrar un sitio m\u00e1s apropiado, y siguieron viajando. <\/em>Por fin llegaron a una poblaci\u00f3n al gusto de Billy. Pero antes de dar su visto bueno a la celebraci\u00f3n de la ceremonia, Billy insisti\u00f3 en conocer al alcalde de la ciudad para asegurarse de que fuese un hombre respetable y hogare\u00f1o. La fortuna quiso que el alcalde estuviese lavando los platos de la comida cuando el grupo de fugados dio con \u00e9l. Era aqu\u00e9l todo un detalle dom\u00e9stico y Billy aguant\u00f3 todo el solemne ritual sin hacer ni una observaci\u00f3n ingeniosa o sarc\u00e1stica. Despu\u00e9s de la ceremonia, el grupo viaj\u00f3 hasta el lago Tahoe. Durante toda esa parte del recorrido, Wilder estuvo anormalmente silencioso<\/em>\u00ab.<\/p>\n<\/blockquote>\n

Wood escribe sobre esta casa que<\/p>\n

\n

\u00abAunque Eames es considerado como uno de los exponentes m\u00e1s destacados del dise\u00f1o moderno, Billy iba tan por delante de \u00e9l en algunas de las ideas que Eames acababa mareado. \u201cLo que nos impresionaba no era tanto su audacia como la constante punter\u00eda de sus intenciones\u201d, recuerda Eames. \u201cNo utiliz\u00f3 la casa como un pretexto para despliegues de ingenio; tal vez su mayor contribuci\u00f3n consisti\u00f3 en intuir d\u00f3nde hab\u00eda elementos de mal gusto en el plan que nosotros hab\u00edamos elaborado.\u201d Aquella casa, que iba a parecer una gigantesca caja de zapatos, no lleg\u00f3 a construirse. Hab\u00eda sido dise\u00f1ada para un soltero y Wilder ech\u00f3 a perder el proyecto cas\u00e1ndose antes de que se pusieran los cimientos<\/em>\u00ab.<\/p>\n<\/blockquote>\n

La casa no lleg\u00f3 a construirse, pero los dibujos y maquetas (como la que acompa\u00f1a este texto y otras que pueden verse Architectural Digest<\/a><\/em>) dan una idea de lo interesante que pod\u00eda haber sido.<\/p>\n

Jorge Gorostiza, arquitecto. Autor del blog Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, febrero 2014<\/p>\n

\"\"<\/a>
Maqueta de la casa de Wilder proyectada por los Eames<\/span><\/figcaption><\/figure><\/p>\n

I believe that it is not necessary to say those who were Billy Wilder, either Ray and Charles Eames (always it is in the habit of putting to Chat first probably for being a man). What probably is known less is the friendship that joined them for many years.<\/p>\n

According to Tom Wood in his book The Bright Side of Billy Wilder<\/em> translated in Spain as \u00bfQui\u00e9n diantres eres Billy Wilder?<\/em><\/em> (Laertes, Barcelona, 1990):<\/p>\n

\n

\u00ab<\/em>Wilder knows Eames and has admired his work since this one [the author and \/ or the Spanish translator of the book believes that Eames is one only architect], in the middle of the forties, created for him a chair of rosewood and leather. For many years furniture and paintings have been interchanged and, in an occasion, in 1948, Billy entrusted to Eames the design of a house. He bought an area in Beverly Hills to construct this house and finished so excited with the project that was in the habit of passing the weekends examining the design with the architect and bombarding it with suggestions<\/em>\u00ab.<\/p>\n<\/blockquote>\n

They were presented by the graphical designer\u00a0Alvin Lusting<\/a> who at the time was using the garage of Wilder’s house in North Beverly Drive as study. It seems to be that the Eames did the assembly of a sequence of The Spirit of St. Louis<\/em><\/a>, 1957, also one tells him that during the filming of this movie Wilder it was resting, going to bed in banks and any place that he was finding and it requested him the architects who were designing a chaise longue<\/em> not to have to look for an unexpected place where to rest, many years later, in 1968, they created an armchair as long as to be able descabezar a dream, but it reduces in order that this dream did not last a lot of time, apparently Wilder commented that two persons went to bed one it should be like Guiacometti’s sculpture.<\/p>\n

Yes it is true that many years before Wilder entrusted them a house for him and his intelligent and beautiful wife, Audrey Young, who had been a singer of a big-band and appears fleetingly in\u00a0The Lost Weekend<\/em>, 1945. Wood writes on his wedding:<\/p>\n

\n

\u00abBilly’s escape with Audrey, in 1949, revealed in him a romantic vein which existence few persons were suspecting. Accompanied by Eames and his wife, Wilder and miss Young travelled in car up to Nevada, where they could marry without respecting three preliminary days of wait. The original intention of the pair was to marry in the first city of Nevada to which they were coming. But Billy did not like the aspect of the first city. It insisted on finding a more appropriate site, and they continued travelling. Finally they came to a population to Billy’s taste. But before giving his I dress well to the celebration of the ceremony, Billy insisted on knowing the mayor of the city to make sure itself that was a respectable and homeloving man. The fortune wanted that the mayor was washing the plates of the food when the group of escaped met him. That one was the whole domestic detail and Billy bore the whole solemn ritual without doing not even an ingenious or sarcastic observation. After the ceremony, the group travelled up to the lake Tahoe. During all this part of the tour, Wilder was anormalmente silently\u00bb.<\/em><\/p>\n<\/blockquote>\n

Wood writes on this house that<\/p>\n

\n

\u00abThough Eames is considered to be one of the exponents most distinguished from the modern design, Billy was going so ahead of him in some of the ideas that Eames was ending annoyed. \u00abWhat was impressing us was not both his audacity and the constant aim of his intentions\u00bb, he remembers Eames.\u00bbThe house did not use as a pretext for unfoldings ingenuities; maybe his major contribution consisted of feeling where there were elements of evil I please in the plan that we had elaborated. \u00abThat house, which was going to look like a gigantic box of shoes, did not manage to be constructed. It had been designed for a bachelor and Wilder began to lose the project marrying before they were putting on the foundations\u00bb.<\/em><\/p>\n<\/blockquote>\n

The house did not manage to be constructed, but the drawings and models (as the one that accompanies this text and others that can turns Architectural Digest<\/a><\/em>) give an idea of the interesting thing that could have been.<\/p>\n

Jorge Gorostiza, architect. Author of the blog Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

Santa Cruz de Tenerife, february 2014<\/p>\n

\"\"<\/a>
Maqueta da casa de Wilder proxectada polos Eames<\/span><\/figcaption><\/figure><\/p>\n

Creo que non fai falta dicir quen foi Billy Wilder, nin tampouco Ray e Charles Eames (sempre se adoita po\u00f1er a Charles primeiro quizais por ser home). O que quizais se co\u00f1eza menos \u00e9 a amizade que os uniu durante moitos anos.<\/p>\n

Segundo Tom Wood no seu libro The Bright Side of Billy Wilder<\/em>, traducido en Espa\u00f1a como \u00bfQuen diantres es Billy Wilder?<\/em> (Laertes, Barcelona, 1990):<\/p>\n

\n

\u00abWilder co\u00f1ece a Eames e admirou a s\u00faa obra dende que este [o autor e\/ou o tradutor espa\u00f1ol do libro cre que Eames \u00e9 un s\u00f3 arquitecto], a mediados dos anos corenta, creou para el unha cadeira de palisandro e coiro. Durante moitos anos intercambi\u00e1ronse mobles e pinturas e, nunha ocasi\u00f3n, en 1948, Billy encargou a Eames o dese\u00f1o dunha casa. Comprou un terreo en Beverly Hills para constru\u00edr esa casa e rematou tan excitado co proxecto que adoitaba pasarse os fins de semana examinando o dese\u00f1o co arquitecto e bombarde\u00e1ndoo con suxesti\u00f3ns<\/em>\u00ab.<\/p>\n<\/blockquote>\n

Presentounos o dese\u00f1ador gr\u00e1fico Alvin Lusting<\/a>g que ent\u00f3n usaba o garaxe da casa de Wilder en North Beverly Drive como estudo. Parece ser que os Eames fixeron a montaxe dunha secuencia de O h\u00e9roe solitario<\/a><\/em> (The Spirit of St. Louis,<\/em> 1957), tam\u00e9n se conta que durante a rodaxe desa pel\u00edcula Wilder descansaba, deit\u00e1ndose en bancos e calquera lugar que encontrase e solicitoulle aos arquitectos que lle dese\u00f1aran unha chaise longue<\/em> para non ter que buscar un lugar improvisado onde descansar, moitos anos despois, en 1968, eles crearon unha butaca tan longa como para poder descabezar un sono, pero estreita para que ese sono non durase moito tempo, ao parecer Wilder comentou que para deitarse d\u00faas persoas un deber\u00eda ser como unha escultura de Guiacometti.<\/p>\n

Si \u00e9 certo que moitos anos antes Wilder lles encargou unha casa para el e a s\u00faa intelixente e bela esposa, Audrey Young, que fora cantante dunha big-band<\/em> e aparece fugazmente en\u00a0D\u00edas sen pegada<\/em> (The Lost Weekend<\/em>, 1945). Wood escribe sobre a s\u00faa voda:<\/p>\n

\n

\u00abA fuga de Billy con Audrey, en 1949, revelou nel unha vea rom\u00e1ntica cuxa existencia sospeitaban poucas persoas. Acompa\u00f1ados por Eames e a s\u00faa muller, Wilder e a se\u00f1orita Young viaxaron en coche ata Nevada, onde pod\u00edan casar sen respectar os tres d\u00edas de espera preliminares. A intenci\u00f3n orixinal da parella era casar na primeira cidade de Nevada \u00e1 que chegasen. Pero a Billy non lle gustou o aspecto da primeira cidade. Insistiu en encontrar un sitio m\u00e1is apropiado, e seguiron viaxando. Por fin chegaron a unha poboaci\u00f3n ao gusto de Billy. Pero antes de dar o seu visto e prace \u00e1 celebraci\u00f3n da cerimonia, Billy insistiu en co\u00f1ecer o alcalde da cidade para asegurarse de que fose un home respectable e caseiro. A fortuna quixo que o alcalde estivese a lavar os pratos da comida cando o grupo de fuxidos deu con el. Era aquel todo un detalle dom\u00e9stico e Billy aguantou todo o solemne ritual sen facer nin unha observaci\u00f3n enxe\u00f1osa ou sarc\u00e1stica. Despois da cerimonia, o grupo viaxou ata o lago Tahoe. Durante toda esa parte do percorrido, Wilder estivo anormalmente silencioso\u00bb.<\/em><\/p>\n<\/blockquote>\n

Wood escribe sobre esta casa que<\/p>\n

\n

\u00abA\u00ednda que Eames \u00e9 considerado como un dos expo\u00f1entes m\u00e1is destacados do dese\u00f1o moderno, Billy \u00eda tan por diante del nalgunhas das ideas que Eames acababa mareado. \u00abO que nos impresionaba non era tanto a s\u00faa audacia coma a constante puntar\u00eda das s\u00faas intenci\u00f3ns\u00bb, recorda Eames. \u00abNon utilizou\u00bb a casa como un pretexto para despregamentos de enxe\u00f1o; talvez a s\u00faa maior contribuci\u00f3n consistiu en intu\u00edr onde hab\u00eda elementos de mal gusto no plan que n\u00f3s elaboraramos. \u00abAquela casa, que \u00eda parecer unha xigantesca caixa de zapatos, non chegou a constru\u00edrse. Fora dese\u00f1ada para un solteiro e Wilder botou a perder o proxecto casando antes de que se puxesen os alicerces\u00bb.<\/em><\/p>\n<\/blockquote>\n

A casa non chegou a constru\u00edrse, pero os debuxos e maquetas (como a que acompa\u00f1a este texto e outras que poden verse\u00a0Architectural Digest<\/a><\/em>) dan unha idea do interesante que pod\u00eda ter sido.<\/p>\n

Jorge Gorostiza, arquitecto. Autor do blogue Arquitectura+Cine+Ciudad<\/em><\/span><\/p>\n

Santa Cruz de Tenerife, febreiro 2014<\/p>\n

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

Creo que no hace falta decir qui\u00e9nes fueron Billy Wilder, ni tampoco Ray y Charles Eames (siempre se suele poner a Charles primero quiz\u00e1s por ser hombre). Lo que quiz\u00e1s se conozca menos es la amistad que les uni\u00f3 durante muchos a\u00f1os. Seg\u00fan Tom Wood en su libro The Bright Side of Billy Wilder, traducido […]<\/p>\n","protected":false},"author":34,"featured_media":48736,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1460,5951],"tags":[9470,11293,11200,147,11199,3864,3555,12471,424,428,688,1593,828,3558,2793,11197],"class_list":["post-48724","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-cine","category-slider-principal","tag-alberto-giacometti","tag-alvin-lustig","tag-architectural-digest","tag-arquitectura-moderna","tag-audrey-young","tag-billy-wilder","tag-charles-eames","tag-cine","tag-dibujo","tag-disenador-grafico","tag-idea","tag-jorge-gorostiza","tag-maqueta","tag-ray-eames","tag-raycharles-eames","tag-tom-wood"],"yoast_head":"\nLos Eames y Billy Wilder | Jorge Gorostiza<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: Los Eames y 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