{"id":54414,"date":"2015-04-17T05:51:32","date_gmt":"2015-04-17T05:51:32","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=54414"},"modified":"2021-06-08T08:27:27","modified_gmt":"2021-06-08T06:27:27","slug":"dreyer-y-haring-jorge-gorostiza","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/dreyer-y-haring-jorge-gorostiza\/","title":{"rendered":"Dreyer y H\u00e4ring | Jorge GorostizaDreyer e H\u00e4ring | Jorge GorostizaDreyer and H\u00e4ring | Jorge Gorostiza"},"content":{"rendered":"

<\/p>\n

\n
\"\"<\/a>
Fotograf\u00eda publicitaria de Michael<\/em><\/span><\/figcaption><\/figure>\n<\/div>\n

En 1924 se estren\u00f3 Michael<\/a>,<\/em> dirigida por Carl Theodor Dreyer<\/a>, que\u00a0entonces a\u00fan no era le prestigioso cineasta reconocido en el todo el mundo; s\u00f3lo hab\u00eda sido el responsable\u00a0de cinco pel\u00edculas en su pa\u00eds y para \u00e9sta lo hab\u00eda contratado una de las productoras m\u00e1s importantes de Europa, la\u00a0alemana UFA<\/a>.<\/p>\n

El creador de los espacios\u00a0de Michael<\/em> fue el arquitecto Hugo H\u00e4ring<\/a> que entonces ten\u00eda cuarenta y dos a\u00f1os, hab\u00eda compartido un estudio con Mies van der Rohe<\/a> y se hab\u00eda unido a Der Ring<\/a>, llegando a tener el cargo de secretario de este grupo antecesor del CIAM<\/a>. En 1924 acababa de empezar la construcci\u00f3n de su edificio m\u00e1s conocido, la granja Garkau<\/a>, cerca de L\u00fcbeck, que finalizar\u00eda el a\u00f1o siguiente, cuando comenzar\u00eda a edificar otra edificaci\u00f3n notable, una f\u00e1brica de salchichas<\/a> en Neustadt, Holstein.<\/p>\n

En una entrevista Dreyer declar\u00f3:<\/div>\n
\n

\u00abColabor\u00e9 en la realizaci\u00f3n de los decorados pero realmente el que los realiz\u00f3 fue un arquitecto que comprendi\u00f3 mis deseos y consigui\u00f3 algo asombroso. Se llamaba Hugo H\u00f9ring<\/em> (sic). Nunca hab\u00eda hecho decorados para el cine y no volvi\u00f3 a hacerlos, ya que tras rodar <\/em>Michael, volvi\u00f3 a su verdadera profesi\u00f3n de arquitecto. Fue una especie de intervalo en su carrera (tengamos en cuenta que por aquel entonces no se constru\u00edan muchas casas nuevas), un divertimento, una fantas\u00eda que se permiti\u00f3<\/em>\u00bb.<\/p>\n<\/blockquote>\n

Est\u00e1n muy bien los dos adjetivos que emplea Dreyer:\u00a0divertimento y fantas\u00eda, para calificar un trabajo excelente, basta ver la pel\u00edcula para comprobar c\u00f3mo H\u00e4ring, un arquitecto que empleaba un lenguaje innovador en sus edificios, en su trabajo como escen\u00f3grafo cre\u00f3 unos ambientes recargados y poco modernos para caracterizar a los personajes, sobre todo, al pintor academicista, enamorado de su modelo, el propio Michael del t\u00edtulo. Una vez m\u00e1s cineasta y arquitecto lograron un resultado \u00f3ptimo\u00a0gracias a su colaboraci\u00f3n interdisciplinar.<\/p>\n

Jorge Gorostiza, arquitecto. Autor del blog Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, febrero 2015<\/p>\n

<\/p>\n

\n
\"\"<\/a>
Michael’<\/em>s advertising photography<\/span><\/figcaption><\/figure>\n<\/div>\n

In 1924\u00a0Michael<\/a>,<\/em> had the premiere, directed by\u00a0Carl Theodor Dreyer<\/a>, who at the time still was not him prestigious filmmaker recognized in the whole world; only he had been the person in charge of five movies in his country and for this one it had been contracted by one of the most important producers of Europe, the German UFA<\/a>.<\/p>\n

The creator of Michael<\/em>‘s spaces was the architect\u00a0Hugo H\u00e4ring<\/a> who at the time was forty two years old, he had shared a study with\u00a0Mies van der Rohe<\/a> and had joined\u00a0Der Ring<\/a>, managing to have the secretary’s post of this preceding group of the\u00a0CIAM<\/a>. In 1924 it had just begun the construction of his most known building, the farm\u00a0Garkau<\/a>, near L\u00fcbeck, which it would finish the following year, when it would begin to build another notable building, a\u00a0factory of sausages<\/a> in Neustadt, Holstein.<\/p>\n

In an interview Dreyer he declared:<\/div>\n
\n

\u00abI collaborated in the accomplishment of the sets but really the one that realized them was an architect who understood my desires and obtained something amazing. He was called Hugo H\u00f9ring (sic). It had never done sets for the cinema and it did not return to do them, since after Michael rolling, it returned to his architect’s real profession. It was a species of interval in his career (let’s bear in mind that in those days many new houses were not constructed), a divertimento, a fantasy that was allowed\u00bb<\/em>.<\/p>\n<\/blockquote>\n

They are very nice both adjectives that Dreyer uses: divertimento and fantasy, to qualify an excellent work, is enough to see the movie to verify how H\u00e4ring, an architect who was using an innovative language in his buildings, in his work like set designer created a few overloaded and slightly modern environments to characterize the prominent figures, especially, to the painter academicista, inspired love with his model, the own Michael of the title. Once again filmmaker and architect achieved an ideal result thanks to his collaboration to interdiscipline.<\/p>\n

Jorge Gorostiza, architect. Author of the blog Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, february 2015<\/p>\n

<\/p>\n

\n
\"\"<\/a>
Fotograf\u00eda publicitaria de Michael<\/em><\/span><\/figcaption><\/figure>\n<\/div>\n

En 1924 estreouse Michael<\/a><\/em>, dirixida por\u00a0Carl Theodor Dreyer<\/a>, que ent\u00f3n a\u00ednda non era lle prestixioso cineasta reco\u00f1ecido no todo o mundo; s\u00f3 fora o responsable de cinco pel\u00edculas no seu pa\u00eds e para esta contrat\u00e1rao unha das produtoras m\u00e1is importantes de Europa, a alem\u00e1 UFA<\/a>.<\/p>\n

O creador dos espazos de\u00a0Michael<\/em> foi o arquitecto\u00a0Hugo H\u00e4ring<\/a> que ent\u00f3n ti\u00f1a corenta e dous anos, compartira un estudo con\u00a0Mies van der Rohe<\/a> e un\u00edrase a\u00a0Der Ring<\/a>, chegando a ter o cargo de secretario deste grupo antecesor do\u00a0CIAM<\/a>. En 1924 acababa de empezar a construci\u00f3n do seu edificio m\u00e1is co\u00f1ecido, a granxa\u00a0Garkau<\/a>, preto de L\u00fcbeck, que finalizar\u00eda o ano seguinte, cando comezar\u00eda a edificar outra edificaci\u00f3n notable, unha\u00a0f\u00e1brica de salchichas<\/a> en Neustadt, Holstein.<\/p>\n

Nunha entrevista Dreyer declarou:<\/div>\n
\n

\u00abColaborei na realizaci\u00f3n dos decorados pero realmente o que os realizou foi un arquitecto que comprendeu os meus desexos e conseguiu algo asombroso. Cham\u00e1base Hugo H\u00f9ring (sic). Nunca fixera decorados para o cine e non volveu facelos, xa que tras rodar Michael, volveu \u00e1 s\u00faa verdadeira profesi\u00f3n de arquitecto. Foi unha especie de intervalo na s\u00faa carreira (te\u00f1amos en conta que por aquel ent\u00f3n non se constru\u00edan moitas casas novas), un divertimento, unha fantas\u00eda que se permitiu<\/em>\u00bb.<\/p>\n<\/blockquote>\n

Est\u00e1n moi ben os dous adxectivos que emprega Dreyer: divertimento e fantas\u00eda, para cualificar un traballo excelente, abonda ver a pel\u00edcula para comprobar como H\u00e4ring, un arquitecto que empregaba unha linguaxe innovadora nos seus edificios, no seu traballo como escen\u00f3grafo creou uns ambientes recargados e pouco modernos para caracterizar os personaxes, sobre todo, ao pintor academicista, namorado do seu modelo, o propio Michael do t\u00edtulo. Unha vez m\u00e1is cineasta e arquitecto lograron un resultado \u00f3ptimo grazas \u00e1 s\u00faa colaboraci\u00f3n interdisciplinar.<\/p>\n

Jorge Gorostiza, arquitecto. Autor do blogue Arquitectura+Cine+Ciudad<\/em><\/span>
\nSanta Cruz de Tenerife, febreiro 2015<\/p>\n

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

En 1924 se estren\u00f3 Michael, dirigida por Carl Theodor Dreyer, que\u00a0entonces a\u00fan no era le prestigioso cineasta reconocido en el todo el mundo; s\u00f3lo hab\u00eda sido el responsable\u00a0de cinco pel\u00edculas en su pa\u00eds y para \u00e9sta lo hab\u00eda contratado una de las productoras m\u00e1s importantes de Europa, la\u00a0alemana UFA. El creador de los espacios\u00a0de Michael […]<\/p>\n","protected":false},"author":34,"featured_media":54415,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,1460,5951],"tags":[12448,6553,11778,5376,12471,11780,2427,2154,502,11779,1593,865],"class_list":["post-54414","post","type-post","status-publish","format-standard","has-post-thumbnail","category-capturas","category-cine","category-slider-principal","tag-arquitectura","tag-arquitectura-alemana","tag-carl-theodor-dreyer","tag-ciam","tag-cine","tag-der-ring","tag-escenario-artistico","tag-escenografia","tag-escenografo","tag-hugo-haring","tag-jorge-gorostiza","tag-mies-van-der-rohe"],"yoast_head":"\nDreyer y H\u00e4ring | Jorge Gorostiza<\/title>\n<meta name=\"description\" content=\"Dreyer y H\u00e4ring\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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