{"id":54349,"date":"2015-03-27T06:50:03","date_gmt":"2015-03-27T06:50:03","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=54349"},"modified":"2022-11-18T16:45:22","modified_gmt":"2022-11-18T15:45:22","slug":"modelos-antonio-s-rio-vazquez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/modelos-antonio-s-rio-vazquez\/","title":{"rendered":"[:es]Modelos | Antonio S. R\u00edo V\u00e1zquez[:gl]Modelos | Antonio S. R\u00edo V\u00e1zquez[:en]Models | Antonio S. R\u00edo V\u00e1zquez [:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
Auditorio en la nueva f\u00e1brica de Sargadelos\u00a0| Archivo de Xos\u00e9 D\u00edaz<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abEl Laboratorio registra un extenso n\u00famero de intentos y teor\u00edas que van desde las de Ruskin y Morris, a los racionalistas, constructivistas y productivistas rusos con su Vchutemas, y otros laboratorios, hasta las \u00faltimas experiencias de Bill, Maldonado, etc., pasando por el ejemplo m\u00e1s conocido en occidente del Bauhaus\u00bb.<\/em><\/p>\n

Fragmento del manifiesto del Laboratorio de Formas<\/p>\n<\/blockquote>\n

Actualmente se expone en la galer\u00eda Jos\u00e9 de la Mano<\/a> de Madrid la muestra Monika Buch. Una espa\u00f1ola en la HfG de Ulm (1956-1958)<\/em>, un recorrido por los trabajos acad\u00e9micos de la \u00fanica persona<\/a> de nacionalidad espa\u00f1ola que realiz\u00f3 sus estudios en la c\u00e9lebre escuela alemana, dos a\u00f1os despu\u00e9s de su fundaci\u00f3n en 1953.<\/p>\n

Como se recuerda en el cat\u00e1logo de la exposici\u00f3n<\/a>,<\/p>\n

\n

\u00abEl programa de estudios de la HfG \u2014Hochschule f\u00fcr Gestaltung \/ HfG Ulm<\/a>\u2014 comienza con un curso b\u00e1sico, Grundkurs<\/em>, com\u00fan para todos los alumnos, cuyo principal objetivo es la iniciaci\u00f3n visual. \u00c9ste es posiblemente el cambio m\u00e1s significativo respecto a cualquier modelo precedente: se abandonan posiciones subjetivo-expresionistas (Itten<\/a>, Klee<\/a>, Kandinsky<\/a>) o experimentos formalistas (Moholy-Nagy<\/a>) a favor del estudio de la percepci\u00f3n y las leyes que la rigen\u00bb.<\/p>\n<\/blockquote>\n

Hace poco tiempo, otra exposici\u00f3n itinerante, llamada Modelos de Ulm 1953-1968. El dise\u00f1o de la nueva Alemania<\/em><\/a>, conmemoraba los cincuenta a\u00f1os de la fundaci\u00f3n de la escuela, pionera en la ense\u00f1anza, la investigaci\u00f3n y el desarrollo proyectual en todas las escalas del dise\u00f1o: desde el tratamiento de la informaci\u00f3n gr\u00e1fica a la arquitectura.<\/p>\n

Entre otras sedes, los Modelos de Ulm<\/em> se expusieron en las antiguas f\u00e1bricas de Sargadelos<\/a> (Cervo, Lugo). All\u00ed pudimos observar el trabajo de ilustres profesores como Otl Aicher<\/a>, Tom\u00e1s Maldonado<\/a> o Max Bill<\/a>, y la herencia que recibieron, de una manera tan directa como cr\u00edtica, desde la Bauhaus<\/a>, de d\u00f3nde tambi\u00e9n proced\u00edan algunos de los docentes, como Josef Albers<\/a>, Johannes Itten<\/a>, Walter Peterhans<\/a> o el propio Max Bill<\/a>, autor tambi\u00e9n de los edificios<\/a> de la nueva escuela.<\/p>\n

Resultaba simb\u00f3lico disfrutar de esta exposici\u00f3n en un marco tan significativo como la antigua f\u00e1brica de Sargadelos, en el mismo lugar d\u00f3nde durante los siglos XIX y XX se produjeron dos de los momentos m\u00e1s importantes en la historia del dise\u00f1o industrial en Galicia: Inicialmente, el esp\u00edritu ilustrado de Antonio Raimundo Ib\u00e1\u00f1ez<\/a> logr\u00f3, con su empresa de loza, satisfacer una necesidad de mercado vincul\u00e1ndola a los recursos propios de la zona, contando con la primera siderurgia integral de la pen\u00ednsula y convirti\u00e9ndose en una manufactura cer\u00e1mica pionera al introducir en Espa\u00f1a los sistemas mec\u00e1nicos de producci\u00f3n.<\/p>\n

Despu\u00e9s, en el a\u00f1o 1968, y como parte de un amplio proyecto<\/a> iniciado con anterioridad en el exilio argentino de la mano de Isaac D\u00edaz Pardo<\/a> y Luis Seoane<\/a> L\u00f3pez, se restaura la actividad industrial en Sargadelos. Ese gran prop\u00f3sito, bajo el acertado nombre de \u00abLaboratorio de Formas\u00bb incorporaba investigaci\u00f3n, creaci\u00f3n, debate, divulgaci\u00f3n… desde el dise\u00f1o editorial hasta la arquitectura de los nuevos centros de producci\u00f3n, ideas introducidas en un manifiesto fundacional que, adem\u00e1s de sus intenciones, dejaba constancia de sus influencias y precedentes. Al igual que la \u00a0HfG de Ulm, el Laboratorio de Formas gener\u00f3 un modelo propio, que servir\u00eda para conducir a Galicia hacia la modernidad recuperando la industria desarrollada previamente en Sargadelos por Raimundo Ib\u00e1\u00f1ez, qui\u00e9n dej\u00f3 escrito:<\/p>\n

\n

\u00abLa poblaci\u00f3n es la que constituye la riqueza y la fuerza de los Estados. No puede sostener el progresar sino por medio de la industria, f\u00e1bricas, comercio y navegaci\u00f3n, cuyos ramos son el poderoso agente de la industria, que es la primera, la m\u00e1s esencial e indispensable de las artes\u00bb.<\/em><\/p>\n<\/blockquote>\n

Antonio S. R\u00edo V\u00e1zquez\u00a0. Doctor arquitecto
\nA Coru\u00f1a. marzo 2015<\/p>\n

[:en]

\"\"<\/a>
Audience in Sargadelos’s new factory | Xos\u00e9 D\u00edaz’s File<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abEl Laboratorio registra un extenso n\u00famero de intentos y teor\u00edas que van desde las de Ruskin y Morris, a los racionalistas, constructivistas y productivistas rusos con su Vchutemas, y otros laboratorios, hasta las \u00faltimas experiencias de Bill, Maldonado, etc., pasando por el ejemplo m\u00e1s conocido en occidente del Bauhaus<\/em>\u00bb.<\/em><\/p>\n

Fragment of the manifest of the Laboratory of Forms<\/p>\n<\/blockquote>\n

Nowadays\u00a0Jos\u00e9 de la Mano<\/a> gallery in Madrid exposes the sample Monika Buch. A Spanish woman in the HfG of Ulm (1956-1958)<\/em>, a tour for the academic works of the only person<\/a> of Spanish nationality who realized his studies in the famous German school, two years after his foundation in 1953.<\/p>\n

Since it is remembered in the catalogue of the exhibition<\/a>,<\/p>\n

\n

\u00abThe program of studies of the HfG –Hochschule f\u00fcr Gestaltung \/ HfG Ulm<\/a>– begins with a basic course, Grundkurs<\/em>, commonly for all the pupils, whose principal aim is the visual initiation. This one is possibly the most significant change with regard to any previous model: positions give up subjectively expressionists (Itten<\/a>, Klee<\/a>, Kandinsky<\/a>) or formalist experiments (Moholy-Nagy<\/a>) in favour of the study of the perception and the laws that govern it\u00bb.<\/p>\n<\/blockquote>\n

It does a little time, another itinerant exhibition, called Models of Ulm 1953-1968. The design of the new Germany<\/em><\/a>, he was commemorating fifty years of the foundation of the school, pioneer in the education, the investigation and the development proyectual in all the scales of the design: from the design of the information to the architecture.<\/p>\n

Between other headquarters, the Models of Ulm<\/em> were exposed in Sargadelos’s former factories <\/a>(Cervo, Lugo). There we could observe the work of illustrious teachers as Otl Aicher<\/a>, Tom\u00e1s Maldonado<\/a> or Max Bill<\/a>, and the inheritance that – already from his initial intentions – they were receiving, in a way as direct as critique, of the Bauhaus<\/a>, wherefrom also there were coming some of the teachers, as\u00a0Josef Albers<\/a>, Johannes Itten<\/a>, Walter Peterhans<\/a> or the own Max Bill<\/a>,, author also from the\u00a0buildings<\/a> of the new school.<\/p>\n

It was turning out to be symbolic to enjoy this exhibition in a frame as significant as Sargadelos’s former factory, in the place where during the XIXth and XXth century there took place two of the most important moments in the history of the industrial design in Galicia: First, Antonio Raimundo Ib\u00e1\u00f1ez<\/a>‘s illustrated spirit managed, with his company of crockery, to satisfy a need of market linking her to the own resources of the zone, possessing the first integral siderurgy of the peninsula and turning into the first ceramic manufacture that introduced in Spain mechanical systems of production.<\/p>\n

Later, in the year 1968, and as part of a wide project initiated previously in the Argentine exile of the hand of Isaac D\u00edaz Pardo<\/a> and Luis Seoane<\/a>, the industrial activity is restored in Sargadelos. This great intention, under the guessed right name of \u00bb Laboratory of Forms \u00bb it was incorporating investigation, creation, debate, spreading … from the publishing design up to the architecture of the new centers of production, ideas got in a manifest fundacional that, besides his intentions, was leaving witness of his influences and precedents. As Ulm in Germany, the Laboratory of Forms generated an own model, who would serve to lead Galicia towards the modernity recovering the industry developed before in Sargadelos by Raimundo Ib\u00e1\u00f1ez, who left writing:<\/p>\n

\n

\u00abThe population is the one that constitutes the wealth and the force of the States. It cannot support progress but by means of the industry, factories, trade and navigation, which branches are the powerful agent of the industry, who is the first one, the most essential and indispensable of the arts\u00bb.<\/em><\/p>\n<\/blockquote>\n

Antonio S. R\u00edo V\u00e1zquez . Doctor architect
\nA Coru\u00f1a. march 2015<\/p>\n

[:gl]

\"\"<\/a>
Auditorio na nova f\u00e1brica de Sargadelos | Arquivo de Xos\u00e9 D\u00edaz<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abO Laboratorio rexistra un extenso n\u00famero de intentos e teor\u00edas que van dende as de Ruskin e Morris, aos racionalistas, constructivistas e productivistas rusos co seu Vchutemas, e outros laboratorios, ata as \u00faltimas experiencias de Bill, Maldonado, etc., pasando polo exemplo m\u00e1is co\u00f1ecido en occidente do Bauhaus\u00bb.<\/em><\/p>\n

Fragmento do manifesto do Laboratorio de Formas<\/p>\n<\/blockquote>\n

Actualmente exponse na galer\u00eda\u00a0Jos\u00e9 de la Mano<\/a> de Madrid a mostra Monika Buch. Unha espa\u00f1ola na HfG de Ulm<\/em> (1956-1958), un percorrido polos traballos acad\u00e9micos da\u00a0\u00fanica persoa<\/a> de nacionalidade espa\u00f1ola que realizou os seus estudos na c\u00e9lebre escola alem\u00e1, dous anos despois da s\u00faa fundaci\u00f3n en 1953.<\/p>\n

Como se recorda no\u00a0cat\u00e1logo da exposici\u00f3n<\/a>,<\/p>\n

\n

\u00abO programa de estudos da HfG\u00a0\u2014Hochschule f\u00fcr Gestaltung \/ HfG Ulm<\/a>\u2014 comeza cun curso b\u00e1sico, Grundkurs,<\/em> com\u00fan para todos os alumnos, cuxo principal obxectivo \u00e9 a iniciaci\u00f3n visual. Este \u00e9 posiblemente o cambio m\u00e1is significativo respecto a calquera modelo precedente: aband\u00f3nanse posici\u00f3ns subxectivo-expresionistas (Itten<\/a>, Klee<\/a>, Kandinsky<\/a>) ou experimentos formalistas (Moholy-Nagy<\/a>) a favor do estudo da percepci\u00f3n e as leis que a rexen\u00bb.<\/p>\n<\/blockquote>\n

Fai pouco tempo, outra exposici\u00f3n itinerante, chamada Modelos de Ulm 1953-1968. O dese\u00f1o da nova Alema\u00f1a<\/em><\/a>, conmemoraba os cincuenta anos da fundaci\u00f3n da escola, pioneira no ensino, a investigaci\u00f3n e o desenvolvemento proyectual en todas as escalas do dese\u00f1o: dende o dese\u00f1o da informaci\u00f3n \u00e1 arquitectura.<\/p>\n

Entre outras sedes, os Modelos de Ulm<\/em> expux\u00e9ronse nas\u00a0antigas f\u00e1bricas de Sargadelos<\/a> (Cervo, Lugo). Al\u00ed puidemos observar o traballo de ilustres profesores como Otl Aicher<\/a>, Tom\u00e1s Maldonado<\/a> ou Max Bill<\/a>, e a herdanza que -xa dende as s\u00faas intenci\u00f3ns iniciais- recib\u00edan, dun xeito tan directo como cr\u00edtica, da Bauhaus<\/a>, de onde tam\u00e9n proced\u00edan alg\u00fans dos docentes, como\u00a0Josef Albers<\/a>, Johannes Itten<\/a>, Walter Peterhans<\/a> ou o propio\u00a0Max Bill<\/a>, autor tam\u00e9n dos\u00a0edificios<\/a> da nova escola.<\/p>\n

Resultaba simb\u00f3lico gozar desta exposici\u00f3n nun marco tan significativo como a antiga f\u00e1brica de Sargadelos, no lugar onde durante os s\u00e9culos XIX e XX se produciron dous dos momentos m\u00e1is importantes na historia do dese\u00f1o industrial en Galicia: Primeiro, o esp\u00edrito ilustrado de\u00a0Antonio Raimundo Ib\u00e1\u00f1ez<\/a> logrou, coa s\u00faa empresa de louza, satisfacer unha necesidade de mercado vincul\u00e1ndoa aos recursos propios da zona, contando coa primeira siderurxia integral da pen\u00ednsula e convert\u00e9ndose na primeira manufactura cer\u00e1mica que introduciu en Espa\u00f1a sistemas mec\u00e1nicos de produci\u00f3n.<\/p>\n

Despois, no ano 1968, e como parte dun amplio proxecto<\/a> iniciado con anterioridade no exilio arxentino da man de\u00a0Isaac D\u00edaz Pardo<\/a> e Luis Seoane<\/a>, rest\u00e1urase a actividade industrial en Sargadelos. Ese gran prop\u00f3sito, baixo o acertado nome de \u00abLaboratorio de Formas\u00bb incorporaba investigaci\u00f3n, creaci\u00f3n, debate, divulgaci\u00f3n… dende o dese\u00f1o editorial ata a arquitectura dos novos centros de produci\u00f3n, ideas introducidas nun manifesto fundacional que, ademais das s\u00faas intenci\u00f3ns, deixaba constancia das s\u00faas influencias e precedentes. Ao igual que Ulm en Alema\u00f1a, o Laboratorio de Formas xerou un modelo propio, que servir\u00eda para conducir a Galicia cara \u00e1 modernidade recuperando a industria desenvolvida previamente en Sargadelos por Raimundo Ib\u00e1\u00f1ez, quen deixou escrito:<\/p>\n

\n

\u00abA poboaci\u00f3n \u00e9 a que constit\u00fae a riqueza e a forza dos Estados. Non pode soster o progresar sen\u00f3n por medio da industria, f\u00e1bricas, comercio e navegaci\u00f3n, cuxos ramos son o poderoso axente da industria, que \u00e9 a primeira, a m\u00e1is esencial e indispensable das artes\u00bb.<\/em><\/p>\n<\/blockquote>\n

Antonio S. R\u00edo V\u00e1zquez . Doutor arquitecto
\nA Coru\u00f1a. marzo 2015<\/p>\n

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

[:es] \u00abEl Laboratorio registra un extenso n\u00famero de intentos y teor\u00edas que van desde las de Ruskin y Morris, a los racionalistas, constructivistas y productivistas rusos con su Vchutemas, y otros laboratorios, hasta las \u00faltimas experiencias de Bill, Maldonado, etc., pasando por el ejemplo m\u00e1s conocido en occidente del Bauhaus\u00bb. Fragmento del manifiesto del Laboratorio […]<\/p>\n","protected":false},"author":12,"featured_media":54351,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[11774,4024,199,7337,431,619,2658,11735,4228,11773,10689,885,3682,1605,8503,7335,1707,9491,5661,11771,11772,5176,8175,11775],"class_list":["post-54349","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-antonio-raimundo-ibanez","tag-antonio-s-rio-vazquez","tag-bauhaus","tag-dessau","tag-diseno-industrial","tag-galicia","tag-isaac-diaz-pardo","tag-johannes-itten","tag-john-ruskin","tag-jose-de-la-mano","tag-josef-albers","tag-laszlo-moholy-nagy","tag-luis-seoane-lopez","tag-max-bill","tag-otl-aicher","tag-paul-klee","tag-sargadelos","tag-tomas-maldonado","tag-ulm","tag-vjutemas","tag-vkhutemas","tag-walter-peterhans","tag-wassily-kandinsky","tag-xose-diaz"],"yoast_head":"\nModelos | Antonio S. 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