{"id":49911,"date":"2015-04-27T06:15:35","date_gmt":"2015-04-27T06:15:35","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=49911"},"modified":"2020-02-17T14:34:47","modified_gmt":"2020-02-17T13:34:47","slug":"el-fabricante-de-urnas-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-fabricante-de-urnas-miguel-angel-diaz-camacho\/","title":{"rendered":"<!--:es-->El fabricante de urnas | Miguel \u00c1ngel D\u00edaz Camacho<!--:--><!--:gl-->O fabricante de urnas | Miguel \u00c1ngel D\u00edaz Camacho<!--:--><!--:en-->The manufacturer of urns | Miguel \u00c1ngel D\u00edaz Camacho<!--:-->"},"content":{"rendered":"<p><!--:es--><figure id=\"attachment_49912\" aria-describedby=\"caption-attachment-49912\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-49912\" title=\"Copas-Museo-Hamar_MADC-(2)-low\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg\" alt=\"\" width=\"620\" height=\"373\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low-300x180.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-49912\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Foto: MADC, Museo Hedmark, Hamar, Noruega, Julio 2014.<\/span><\/figcaption><\/figure><\/p>\n<p style=\"text-align: justify;\">Los objetos reclaman, en ocasiones, la aparici\u00f3n de ciertas arquitecturas. Su antig\u00fcedad, su rareza o su valor los hacen dignos habitantes de espacios exclusivos, fuera ya de nuestro alcance y nuestras costumbres. Los objetos se liberan entonces de las fricciones que impone el uso cotidiano y ocupan el lugar sensible y protegido de la presea: enseres transformados por nosotros en dep\u00f3sitos de la memoria a modo de islas temporales irrenunciables. Dir\u00edamos, en t\u00e9rminos de <em>consanguineidad<\/em>, (re)cuerdos<sup><sup>1<\/sup><\/sup>.<\/p>\n<p style=\"text-align: justify;\">Durante la construcci\u00f3n del museo Hedmark en Hamar se encuentran numerosos restos arqueol\u00f3gicos y objetos procedentes de una fortaleza medieval anterior al recinto rural de principios del Siglo XIX<sup><sup>2<\/sup><\/sup>. Sverre Fehn fue el encargado de proyectar la exposici\u00f3n de dichos objetos en una de las m\u00e1s hermosas colecciones de urnas y soportes que jam\u00e1s se haya dise\u00f1ado. La idea era simple: a cada objeto, una arquitectura, es decir, una estructura, un espacio, una luz. Imposible resolver un soporte \u201ctipo\u201d para el arado, el busto, la garrafa, la copa o la bala de ca\u00f1\u00f3n. Los soportes rudimentarios de hierro o piedra se combinan con planos de madera tallada y delicadas estructuras de vidrio al servicio de la joya agr\u00edcola, dom\u00e9stica o militar <sup><sup>3<\/sup><\/sup>.<\/p>\n<p style=\"text-align: justify;\">La delicadeza de Fehn para con estas estructuras, consigue transformar objeto y soporte en una nueva experiencia unidad, una sola obra como resultante de distintas \u00e9pocas, materiales y artes aplicadas, pero genuina y singular bajo la cruda iluminaci\u00f3n natural. El sol aparece como \u00fanica l\u00e1mpara autorizada a desvelar los matices acu\u00e1ticos de los cristales, fundiendo vidrios medievales y contempor\u00e1neos en una alfombra de sombras claras e interior refulgente, sombras que revelan la posici\u00f3n suspendida de botellas y copas en el espacio (y en el tiempo). Frente al tradicional fondo oscuro del <em>bodeg\u00f3n<\/em>, los objetos aparecen aqu\u00ed sobreexpuestos a una luz brillante y saturada, adquiriendo dimensi\u00f3n espacial a trav\u00e9s del movimiento de las sombras y la incorporaci\u00f3n de la naturaleza exterior. En ocasiones la arquitectura nos reta desde la m\u00e1xima exigencia y la menor de las escalas; ser arquitecto consiste\u00a0aqu\u00ed en aprender el oficio y la alquimia del fabricante de urnas.<\/p>\n<p style=\"text-align: justify;\">Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto<br \/>\nMadrid. julio 2014. Autor de <em>Parr\u00e1fos de arquitectura<\/em>. <a href=\"https:\/\/twitter.com\/hashtag\/arquiparrafos?f=realtime&amp;src=hash\" target=\"_blank\" rel=\"noopener noreferrer\">#arquiParrafos<\/a><\/p>\n<p style=\"text-align: justify;\">Notas<br \/>\n<sup><sup>1<\/sup><\/sup> Recordar, <em>re-cordis<\/em>, volver a pasar por el coraz\u00f3n.<br \/>\n<sup><sup>2<\/sup><\/sup>\u00a0<a href=\"https:\/\/www.amazon.es\/gp\/search\/ref=sr_gnr_fkmr1?rh=i%3Astripbooks%2Ck%3ASverre&amp;keywords=Sverre&amp;ie=UTF8&amp;qid=1422095659\" target=\"_blank\" rel=\"noopener noreferrer\">Sverre Fenh<\/a>, Museo Hedmark, Hamar, Noruega 1967-1979, originalmente denominado <em>Archbishopric<\/em>. La independencia nacional noruega obtenida a principios del Siglo XX, tras casi 400 a\u00f1os de ocupaci\u00f3n danesa (<em>la Noche de 400 a\u00f1os<\/em>), convierte cualquier objeto anterior al Siglo XV en un tesoro de valor incalculable como s\u00edmbolo de la verdadera identidad nacional noruega.<br \/>\n<sup><sup>3<\/sup><\/sup> La experiencia previa de Sverre Fehn como dise\u00f1ador de exposiciones y delicados soportes para objetos se remonta al Pabell\u00f3n de Noruega en la Exposici\u00f3n Universal de Bruselas, 1956-58; la \u00f3ptica de la calle Prinsengate, Oslo, 1960; o el dise\u00f1o de la exposici\u00f3n de arte medieval en Hovikodden, 1972.<\/p>\n<p><!--:--><!--:en--><figure id=\"attachment_49912\" aria-describedby=\"caption-attachment-49912\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-49912\" title=\"Copas-Museo-Hamar_MADC-(2)-low\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg\" alt=\"\" width=\"620\" height=\"373\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low-300x180.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-49912\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Photo: MADC, Museo Hedmark, Hamar, Noruega, July 2014.<\/span><\/figcaption><\/figure><\/p>\n<p style=\"text-align: justify;\">The objects claim, in occasions, the appearance of certain architectures. His antiquity, his rarety or his value is done by worthy inhabitants of exclusive spaces, it was already of our scope and our customs. The objects are liberated then of the frictions that the daily use imposes and occupy the place sensitive and protected from the gem: chattels transformed by us into warehouses of the memory like temporary those cannot be waived islands. We would say, in terms of <em>related by blood<\/em>, (re)collections<sup><sup>1<\/sup><\/sup>.<\/p>\n<p style=\"text-align: justify;\">During the construction of the museum Hedmark in Hamar they find numerous archaeological remains and objects proceeding from a medieval strength previous to the rural enclosure of beginning of the 19th century<sup><sup>2<\/sup><\/sup>. Sverre Fehn was the manager of projecting the exhibition of the above mentioned objects in one of the most beautiful collections of urns and supports that have never been designed. The idea was simple: to every object, an architecture, that is to say, structures a, a space, a light. Impossible to solve a support \u201ctype\u201d for the plough, the bust, the carafe, the glass or the bullet of cannon. The rudimentary supports of iron or stone combine with planes of carved wood and delicate structures of glass to the service of the agricultural, domestic or military jewel<sup><sup>3<\/sup><\/sup>.<\/p>\n<p style=\"text-align: justify;\">Fehn&#8217;s sensitivity for with these structures, object and support manages to transform into a new experience unit, an alone work as resultant of different epochs, materials and applied arts, but genuine and singular under the raw natural lighting. The Sun appears as the only lamp authorized to reveal the aquatic shades of the crystals, fusing medieval and contemporary glasses in a carpet of clear shades and refulgent interior, shades that reveal the position suspended from bottles and glasses in the space (and in the time). Opposite to the traditional dark bottom of the<em> tavern<\/em>, the objects turn out to be here overexposed to a brilliant and saturated light, acquiring spatial dimension across the movement of the shades and the incorporation of the exterior nature. \u00a0In occasions the architecture challenges us from the maximum exigency and the menor of the scales; to be an architect consists of learning here the trade and the alchemy of the manufacturer of urns.<\/p>\n<p style=\"text-align: justify;\">Miguel \u00c1ngel D\u00edaz Camacho. Doctor Architect<\/p>\n<p>Madrid. july 2014. Author of <em>Parr\u00e1fos de arquitectura<\/em>. <a href=\"https:\/\/twitter.com\/hashtag\/arquiparrafos?f=realtime&#038;src=hash\" target=\"_blank\" rel=\"noopener noreferrer\">#arquiParrafos<\/a><\/p>\n<p style=\"text-align: justify;\">Notes<\/p>\n<p><sup><sup>1<\/sup><\/sup> Remember,<em> re-cordis<\/em>, to return to happen for the heart.<\/p>\n<p><sup><sup>2<\/sup><\/sup> <a href=\"https:\/\/www.amazon.es\/gp\/search\/ref=sr_gnr_fkmr1?rh=i%3Astripbooks%2Ck%3ASverre&amp;keywords=Sverre&amp;ie=UTF8&amp;qid=1422095659\" target=\"_blank\" rel=\"noopener noreferrer\">Sverre Fenh<\/a>, Hedmark Museum, Hamar, Noruega 1967-1979, originally named<em> Archbishopric<\/em>. The national Norwegian independence obtained at the beginning of the 20th century, after almost 400 years of Danish occupation (the <em>Night of 400 years<\/em>), turns any object previous to the 15th century into an exchequer of incalculable value as symbol of the real national Norwegian identity.<\/p>\n<p><sup><sup>3<\/sup><\/sup> Sverre Fehn&#8217;s previous experience like designer of exhibitions and delicate supports for objects goes back to the Pavilion of Norway in the Universal Exhibition of Brussels, 1956-58; the optics of the street Prinsengate, Oslo, 1960; or the design of the exhibition of medieval art in Hovikodden, 1972.<!--:--><!--:gl--><figure id=\"attachment_49912\" aria-describedby=\"caption-attachment-49912\" style=\"width: 620px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-49912\" title=\"Copas-Museo-Hamar_MADC-(2)-low\" src=\"http:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg\" alt=\"\" width=\"620\" height=\"373\" srcset=\"https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low.jpg 620w, https:\/\/veredes.es\/blog\/wp-content\/uploads\/2015\/01\/Copas-Museo-Hamar_MADC-2-low-300x180.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/a><figcaption id=\"caption-attachment-49912\" class=\"wp-caption-text\"><span style=\"color: #888888;\">Foto: MADC, Museo Hedmark, Hamar, Noruega, Xullo 2014.<\/span><\/figcaption><\/figure><\/p>\n<p style=\"text-align: justify;\">Os obxectos reclaman, en ocasi\u00f3ns, a aparici\u00f3n de certas arquitecturas. A s\u00faa antig\u00fcidade, a s\u00faa rareza ou o seu valor fanos dignos habitantes de espazos exclusivos, f\u00f3ra xa do noso alcance e os nosos costumes. Os obxectos lib\u00e9ranse ent\u00f3n das fricciones que imp\u00f3n o uso coti\u00e1n e ocupan o lugar sensible e protexido da presea: enseres transformados por n\u00f3s en dep\u00f3sitos da memoria a modo de illas temporais irrenunciables. Diriamos, en t\u00e9rminos de <em>consanguineidade<\/em>, (re)cordos<sup><sup>1<\/sup><\/sup>.<\/p>\n<p style=\"text-align: justify;\">Durante a construci\u00f3n do museo Hedmark en Hamar at\u00f3panse numerosos restos arqueol\u00f3gicos e obxectos procedentes dunha fortaleza medieval anterior ao recinto rural de principios do S\u00e9culo XIX<sup><sup>2<\/sup><\/sup>. Sverre Fehn foi o encargado de proxectar a exposici\u00f3n de devanditos obxectos nunha das m\u00e1is fermosas colecci\u00f3ns de urnas e soportes que xamais se dese\u00f1ou. A idea era simple: a cada obxecto, unha arquitectura, \u00e9 dicir, unha estrutura, un espazo, unha luz. Imposible resolver un soporte\u00a0\u201ctipo\u201d para o arado, o busto, a garrafa, a copa ou a bala de can\u00f3n. Os soportes rudimentarios de ferro ou pedra comb\u00ednanse con planos de madeira tallada e delicadas estruturas de vidro ao servizo da xoia agr\u00edcola, dom\u00e9stica ou militar<sup><sup>3<\/sup><\/sup>.<\/p>\n<p style=\"text-align: justify;\">A delicadeza de Fehn para con estas estruturas, consegue transformar obxecto e soporte nunha nova experiencia unidade, unha soa obra como resultante de distintas \u00e9pocas, materiais e artes aplicadas, pero genuina e singular baixo a cr\u00faa iluminaci\u00f3n natural. O sol aparece como \u00fanica l\u00e1mpada autorizada a desvelar os matices acu\u00e1ticos dos cristais, fundindo vidros medievais e contempor\u00e1neos nunha alfombra de sombras claras e interior refulgente, sombras que revelan a posici\u00f3n suspendida de botellas e copas no espazo (e no tempo). Fronte ao tradicional fondo escuro do <em>bodeg\u00f3n<\/em>, os obxectos aparecen aqu\u00ed sobreexpuestos a unha luz brillante e saturada, adquirindo dimensi\u00f3n espacial a trav\u00e9s do movemento das sombras e a incorporaci\u00f3n da natureza exterior. En ocasi\u00f3ns a arquitectura r\u00e9tanos desde a m\u00e1xima esixencia e a menor das escalas; ser arquitecto consiste aqu\u00ed en aprender o oficio e a alquimia do fabricante de urnas.<\/p>\n<p style=\"text-align: justify;\">Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto<\/p>\n<p>Madrid. xullo 2014. Autor de <em>Parr\u00e1fos de arquitectura<\/em>. <a href=\"https:\/\/twitter.com\/hashtag\/arquiparrafos?f=realtime&#038;src=hash\" target=\"_blank\" rel=\"noopener noreferrer\">#arquiParrafos<\/a><\/p>\n<p style=\"text-align: justify;\">Notas<\/p>\n<p><sup><sup>1<\/sup><\/sup> Recordar, <em>re-cordis<\/em>, volver a pasar polo coraz\u00f3n.<\/p>\n<p><sup><sup>2<\/sup><\/sup> <a href=\"https:\/\/www.amazon.es\/gp\/search\/ref=sr_gnr_fkmr1?rh=i%3Astripbooks%2Ck%3ASverre&amp;keywords=Sverre&amp;ie=UTF8&amp;qid=1422095659\" target=\"_blank\" rel=\"noopener noreferrer\">Sverre Fenh<\/a>, Museo Hedmark, Hamar, Noruega 1967-1979, orixinalmente denominado <em>Archbishopric<\/em>. A independencia nacional noruega obtida a principios do S\u00e9culo XX, tras case 400 anos de ocupaci\u00f3n danesa (a <em>Noite de 400 ano<\/em>s), converte calquera obxecto anterior ao S\u00e9culo XV nun tesouro de valor incalculable como s\u00edmbolo da verdadeira identidade nacional noruega.<\/p>\n<p><sup><sup>3<\/sup><\/sup> A experiencia previa de Sverre Fehn como dise\u00f1ador de exposici\u00f3ns e delicados soportes para obxectos rem\u00f3ntase ao Pabell\u00f3n de Noruega na Exposici\u00f3n Universal de Bruxelas, 1956-58; a \u00f3ptica da r\u00faa Prinsengate, Oslo, 1960; ou o dese\u00f1o da exposici\u00f3n de arte medieval en Hovikodden, 1972.<!--:--><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Los objetos reclaman, en ocasiones, la aparici\u00f3n de ciertas arquitecturas. Su antig\u00fcedad, su rareza o su valor los hacen dignos habitantes de espacios exclusivos, fuera ya de nuestro alcance y nuestras costumbres. Los objetos se liberan entonces de las fricciones que impone el uso cotidiano y ocupan el lugar sensible y protegido de la presea: [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":49912,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6818,6547,2641,4503,431,6465,1564,2066,2353],"class_list":["post-49911","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-nordica","tag-arquitectura-noruega","tag-construir","tag-diseno-de-mobiliario","tag-diseno-industrial","tag-miguel-angel-diaz-camacho","tag-objeto","tag-proyectar","tag-sverre-fehn"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>El fabricante de urnas | Miguel \u00c1ngel D\u00edaz Camacho<\/title>\n<meta name=\"description\" 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