{"id":55440,"date":"2015-06-26T06:37:51","date_gmt":"2015-06-26T04:37:51","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=55440"},"modified":"2020-03-16T15:03:51","modified_gmt":"2020-03-16T14:03:51","slug":"asuntos-pendientes-silvia-blanco-agueira","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/asuntos-pendientes-silvia-blanco-agueira\/","title":{"rendered":"[:es]Asuntos pendientes | Silvia Blanco Ag\u00fceira[:gl]Asuntos pendentes | Silvia Blanco Ag\u00fceira[:en]Unfinished business | Silvia Blanco Ag\u00fceira[:]"},"content":{"rendered":"

[:es]

\"Masey,<\/a>
Masey, Jack y Morgan, Conway Lloyd. Cold War Confrontations<\/a>. Z\u00fcrich: Lars M\u00fcller Publishers, 2008.<\/span><\/figcaption><\/figure><\/p>\n

En mayo de 1958 el arquitecto y cr\u00edtico italiano Bruno Zevi lanz\u00f3 un ataque furibundo contra la Exposici\u00f3n Universal de Bruselas, describi\u00e9ndola como una feria de las vanidades, en la que cada edificio luchaba por la atenci\u00f3n del p\u00fablico1<\/sup>. Incluso Miguel Fisac bram\u00f3 contra el alarde estructural, el formalismo est\u00e9ril y la extravagancia arquitect\u00f3nica sin contenido presentes en dicho evento2<\/sup>. Ni tan siquiera los pabellones m\u00e1s discretos y de menor escala se libraron de aquellas voces cr\u00edticas que condenaron el espect\u00e1culo planteado, al convertir la tecnolog\u00eda en un elemento fetiche para dise\u00f1adores y arquitectos3<\/sup>.<\/p>\n

Esta reprobaci\u00f3n derivaba del eslogan elegido para la Expo58, el cual llevaba por t\u00edtulo \u00abPor un mundo m\u00e1s humano\u00bb. A trav\u00e9s de \u00e9l se reclamaba una mayor atenci\u00f3n hacia los conflictos e injusticias del mundo, aunque no quedase muy claro c\u00f3mo este compromiso con el humanismo deb\u00eda incorporarse a la arquitectura, o si era necesario hacer evidentes los problemas dom\u00e9sticos de un pa\u00eds en un evento que supon\u00eda un escaparate p\u00fablico. Sin embargo, hubo quien s\u00ed lo hizo: qui\u00e9n mostr\u00f3 sus miserias y problemas internos al mundo, antes de que los dem\u00e1s los aventasen. Frente a lo que se podr\u00eda esperar, este ejercicio de autocr\u00edtica y de psicoan\u00e1lisis en plena guerra fr\u00eda lo realiz\u00f3 un pa\u00eds como los Estados Unidos. Envuelta en una atractiva y multicolor piel, la propuesta denominada Unfinished Business4<\/sup>, <\/em>que se podr\u00eda traducir como \u00abasuntos pendientes\u00bb, complement\u00f3 al pabell\u00f3n oficial y se situ\u00f3 junto al mismo en el recinto de Heysel.<\/p>\n

La construcci\u00f3n era extra\u00f1a en muchos sentidos. No fue financiada por el gobierno estadounidense, sino por una revista relacionada con el mundo de las finanzas \u2013Fortune\u2013<\/em>, que se convirti\u00f3 en patrocinadora del Departamento de Estado. No fue dise\u00f1ada por un arquitecto, sino por un ilustrador de cuentos infantiles de origen holand\u00e9s, Leo Lionni, que era el director creativo de la revista. Y no era un solo edificio, sino que eran tres vol\u00famenes, situados sobre un jard\u00edn y conectados entre s\u00ed. Cada uno de ellos, con una altura de seis metros, representaban el pasado, el presente y el futuro, respectivamente. La primera pieza, de aspecto plegado, fue empapelada en su interior con un confuso collage de peri\u00f3dicos estadounidenses donde se pod\u00edan leer titulares relacionados con el urbanismo, el agotamiento de los recursos naturales y el racismo. La segunda pieza, la del presente, mostraba las investigaciones realizadas y los pasos dados para solucionar los problemas anteriormente mencionados. Pero fue curiosamente la tercera, la del futuro, la que result\u00f3 m\u00e1s incendiaria: en sus paredes lisas hab\u00eda una gran fotograf\u00eda donde se ve\u00eda a ni\u00f1os de distintas razas (blanca, negra y asi\u00e1tica) formando un corro, lo que enerv\u00f3 los \u00e1nimos de los pol\u00edticos segregacionistas. Tanto es as\u00ed que en abril de 1958 fueron enviadas delegaciones a Bruselas, exigiendo fotograf\u00edas del presunto agravio5<\/sup>.<\/p>\n

\":<\/a>
Interior del tercer volumen, con la fotograf\u00eda m\u00e1s controvertida: ni\u00f1os de distintas razas jugando y uniendo sus manos. Fuente: Masey, Jack y Morgan, Conway Lloyd. Cold War Confrontations<\/a>. Z\u00fcrich: Lars M\u00fcller Publishers, 2008.<\/span><\/figcaption><\/figure>\n

Los informes sobre el extra\u00f1o artefacto fueron contundentes y comenzaron las modificaciones, cierres y renovaciones que obligaron al propio Lionni a volar a Bruselas apresuradamente. Tantas clausuras y aperturas hicieron que al final nadie supiese en Estados Unidos si la construcci\u00f3n estaba abierta o cerrada, pues en el mes de agosto a\u00fan llegaban cr\u00edticas, a pesar de que la imagen de la discordia hab\u00eda ido encogiendo hasta volverse insignificante, sepultada bajo las letras de una canci\u00f3n infantil<\/a>6<\/sup>. A mediados de ese mismo mes, los tres vol\u00famenes albergaron nuevos contenidos tem\u00e1ticos, relacionados con la salud, la educaci\u00f3n y el bienestar. La censura se impuso as\u00ed en el lugar donde se pretend\u00eda mostrar justo lo contrario: la libertad de los medios de comunicaci\u00f3n estadounidenses para generar un debate libre7<\/sup>. Seg\u00fan los diarios belgas de la \u00e9poca, los espectadores no pudieron evitar sentirse turbados al ver, c\u00f3mo paso a paso, el desconocimiento, el miedo y los prejuicios iban asestando navajazos a la inocencia.<\/p>\n

Silvia Blanco Ag\u00fceira, doctora arquitecta
\nViveiro, junio 2015<\/p>\n

Notas:<\/p>\n

1<\/sup> Zevi, Bruno, \u201cBruxelles 1958: primi interrogative\u201d, L\u2019architettura<\/em>, cronache e storia<\/em> 31 (1958): 4.<\/p>\n

2<\/sup> Fisac, Miguel, \u00abExposici\u00f3n Universal de Bruselas\u00bb, Blanco y Negro<\/em>, 2398 (1958).<\/p>\n

3<\/sup> Persitz, Alexandre, \u201cNotes et Images\u201d, Architecture D\u2019Aujourd\u2019hui<\/em> 81 (1958): 94.<\/p>\n

4<\/sup> Los medios belgas lo rebautizaron como \u00abUnfinished Work\u00bb.<\/p>\n

5<\/sup> Quek, Raymond; Deane, Darren y Butler, Sarah (eds.), Nationalism and Architecture<\/em> (Surrey: Ashgate Publishing Company, 2012), 86.<\/p>\n

6<\/sup> \u00abRing Around the Rosie\u00bb.<\/p>\n

7<\/sup> Mallo, \u00c1lvaro; Blanco, Silvia y Carballo, Francisco: \u00abDenostada Bx\u00b458\u00bb (Conferencia impartida dentro del curso Secretos de la Arquitectura, Fundaci\u00f3n Luis Seoane, A Coru\u00f1a, 19 de mayo de 2014).<\/p>\n

Este texto ha sido realizado a partir de la informaci\u00f3n recopilada por el grupo \u00abBRXLLS\u00b458\u00bb, centrado en la investigaci\u00f3n sobre los pabellones que conformaron la Exposici\u00f3n Universal de Bruselas de 1958. M\u00e1s informaci\u00f3n: grupo BRXLS58<\/a> o BRXLS58@groups.facebook.com<\/em><\/p>\n

[:gl]

\"Masey,<\/a>
Masey, Jack y Morgan, Conway Lloyd. Cold War Confrontations<\/a>. Z\u00fcrich: Lars M\u00fcller Publishers, 2008.<\/span><\/figcaption><\/figure><\/p>\n

En maio de 1958 o arquitecto e cr\u00edtico italiano Bruno Zevi lanzou un ataque furibundo contra a Exposici\u00f3n Universal de Bruxelas, describ\u00edndoa como unha feira das vaidades, na que cada edificio loitaba pola atenci\u00f3n do p\u00fablico1<\/sup>. Mesmo Miguel Fisac bramou contra o alarde estrutural, o formalismo est\u00e9ril e a extravagancia arquitect\u00f3nica sen contido presentes en dito evento2<\/sup>. Nin tan sequera os pavill\u00f3ns m\u00e1is discretos e de menor escala se libraron daquelas voces cr\u00edticas que condenaron o espect\u00e1culo formulado, ao converter a tecnolox\u00eda nun elemento fetiche para dese\u00f1adores e arquitectos3<\/sup>.<\/p>\n

Esta reprobaci\u00f3n derivaba do slogan elixido para a Expo58, o cal levaba por t\u00edtulo \u00abPor un mundo m\u00e1is humano\u00bb. A trav\u00e9s del reclam\u00e1base unha maior atenci\u00f3n cara aos conflitos e inxustizas do mundo, a\u00ednda que non quedase moi claro como este compromiso co humanismo deb\u00eda incorporarse \u00e1 arquitectura, ou se era necesario facer evidentes os problemas dom\u00e9sticos dun pa\u00eds nun evento que supo\u00f1\u00eda un escaparate p\u00fablico. Non obstante, houbo quen si o fixo: quen mostrou as s\u00faas miserias e problemas internos ao mundo, antes de que os demais os aventasen. Fronte ao que se poder\u00eda esperar, este exercicio de autocr\u00edtica e de psican\u00e1lise en plena guerra fr\u00eda realizouno un pa\u00eds como os Estados Unidos. Envolvida nunha atractiva e multicolor pel, a proposta denominada Unfinished Business4<\/sup>,<\/em> que se poder\u00eda traducir como \u00abasuntos pendentes\u00bb, complementou ao pavill\u00f3n oficial e situouse xunto a este no recinto de Heysel.<\/p>\n

A construci\u00f3n era estra\u00f1a en moitos sentidos. Non foi financiada polo goberno estadounidense, sen\u00f3n que por unha revista non relacionada co mundo das finanzas –Fortune<\/em>-, que se converteu en patrocinadora do Departamento de Estado. Non foi dese\u00f1ada por un arquitecto, sen\u00f3n por un ilustrador de contos infant\u00eds de orixe holandesa, Leo Lionni, que era o director creativo da revista. E non era un s\u00f3 edificio, sen\u00f3n que eran tres volumes, situados sobre un xard\u00edn e conectados entre si. Cada un deles, cunha altura de seis metros, representaban o pasado, o presente e o futuro, respectivamente. A primeira peza, de aspecto pregado, foi empapelada no seu interior cunha confusa colaxe de xornais estadounidenses onde se pod\u00edan ler titulares relacionados co urbanismo, o esgotamento dos recursos naturais e o racismo. A segunda peza, a do presente, mostraba as investigaci\u00f3ns realizadas e os pasos dados para solucionar os problemas anteriormente mencionados. Pero foi curiosamente a terceira, a do futuro, a que resultou m\u00e1is incendiaria: nas s\u00faas paredes lisas hab\u00eda unha gran fotograf\u00eda onde se v\u00eda nenos de distintas razas (branca, negra e asi\u00e1tica) formando unha roda, o que enervou os \u00e1nimos dos pol\u00edticos segregacionistas. Tanto \u00e9 as\u00ed que en abril de 1958 foron enviadas delegaci\u00f3ns a Bruxelas, esixindo fotograf\u00edas do presunto agravio5<\/sup>.<\/p>\n

\":<\/a>
Interior do terceiro volumen, ca fotograf\u00eda mais controvertida: nenos de distintas razas xogando e unindo as s\u00faas mans. Fonte: Masey, Jack e Morgan, Conway Lloyd. Cold War Confrontations<\/a>. Z\u00fcrich: Lars M\u00fcller Publishers, 2008.<\/span><\/figcaption><\/figure>\n

Os informes sobre o estra\u00f1o artefacto foron contundentes e comezaron as modificaci\u00f3ns, peches e renovaci\u00f3ns que obrigaron o propio Lionni a voar a Bruxelas apresuradamente. Tantas clausuras e aperturas fixeron que ao final ningu\u00e9n soubese en Estados Unidos se a construci\u00f3n estaba aberta ou pechada, pois no mes de agosto a\u00ednda chegaban cr\u00edticas, a pesar de que a imaxe da discordia fora encollendo ata volverse insignificante, sepultada baixo as letras dunha canci\u00f3n infantil<\/a>6<\/sup>. A mediados dese mesmo mes, os tres volumes albergaron novos contidos tem\u00e1ticos, relacionados coa sa\u00fade, a educaci\u00f3n e o benestar. A censura imp\u00faxose as\u00ed no lugar onde se pretend\u00eda mostrar xusto o contrario: a liberdade dos medios de comunicaci\u00f3n estadounidenses para xerar un debate libre7<\/sup>. Segundo os diarios belgas da \u00e9poca, os espectadores non puideron evitar sentirse turbados ao ver, como paso a paso, o desco\u00f1ecemento, o medo e os prexu\u00edzos \u00edan asestando navalladas \u00e1 inocencia.<\/p>\n

Silvia Blanco Ag\u00fceira, doutora arquitecta
\nViveiro, xu\u00f1o 2015<\/p>\n

Notas:<\/p>\n

1<\/sup> Zevi, Bruno, \u201cBruxelles 1958: primi interrogative\u201d, L\u2019architettura<\/em>, cronache e storia<\/em> 31 (1958): 4.<\/p>\n

2<\/sup> Fisac, Miguel, \u00abExposici\u00f3n Universal de Bruselas\u00bb, Blanco y Negro<\/em>, 2398 (1958).<\/p>\n

3<\/sup> Persitz, Alexandre, \u201cNotes et Images\u201d, Architecture D\u2019Aujourd\u2019hui<\/em> 81 (1958): 94.<\/p>\n

4<\/sup> Los medios belgas lo rebautizaron como \u00abUnfinished Work\u00bb.<\/p>\n

5<\/sup> Quek, Raymond; Deane, Darren y Butler, Sarah (eds.), Nationalism and Architecture<\/em> (Surrey: Ashgate Publishing Company, 2012), 86.<\/p>\n

6<\/sup> \u00abRing Around the Rosie\u00bb.<\/p>\n

7<\/sup> Mallo, \u00c1lvaro; Blanco, Silvia y Carballo, Francisco: \u00abDenostada Bx\u00b458\u00bb (Conferencia impartida dentro do curso Segredos da Arquitectura, Fundaci\u00f3n Luis Seoane, A Coru\u00f1a, 19 de maio de 2014).<\/p>\n

Este texto foi realizado a partir da informaci\u00f3n recompilada polo grupo \u00abBRXLLS\u00b458\u00bb, centrado na investigaci\u00f3n sobre os pavill\u00f3ns que conformaron a Exposici\u00f3n Universal de Bruxelas de 1958. M\u00e1is informaci\u00f3n: grupo BRXLS58<\/a> ou BRXLS58@groups.facebook.com<\/em><\/p>\n

[:en]

\"Masey,<\/a>
Masey, Jack y Morgan, Conway Lloyd. Cold War Confrontations<\/a>. Z\u00fcrich: Lars M\u00fcller Publishers, 2008.<\/span><\/figcaption><\/figure><\/p>\n

In May, 1958 the architect and critical Italian Bruno Zevi threw a furious assault against the Universal Exhibition of Brussels, describing it as a fair of the pretenses, in which every building was fighting for the attention of the public1<\/sup>. Enclosed Michael Fisac roared against the structural ostentation, the sterile formalism and the architectural extravagancy without content present in the above mentioned event2<\/sup>. Not so at least the most discreet pavilions and of minor it climbs they got away themselves from those critical voices that condemned the raised spectacle, when the technology turned into an element fetish for designers and architects3<\/sup>.<\/p>\n

This reproof was deriving from the slogan chosen for the Expo58, which was going for title \u00bb For a more human world \u00ab. Across him one was claiming a major attention towards the conflicts and injustices of the world, though it was not remaining very clear how this commitment with the humanism had to join to the architecture, or if it was necessary to make the domestic problems of a country evident in an event that supposed a public shop window.\u00a0Nevertheless, there had the one who yes did it: the one who showed his miseries and internal problems to the world, before the others were fanning them. Opposite to what might be waited, this exercise of self-criticism and of psychoanalysis in full cold war it realized a country as the United States. Wrapped in an attractive and multicolored skin, the offer named Unfinished Business4<\/sup>, <\/em>which might be translated as \u00abunsolved matters\u00bb, complemented to the official pavilion and placed together with the same one in Heysel’s enclosure.<\/p>\n

The construction was strange in many senses. It was not financed by the American government, but by a magazine related to the world of the finance – Fortune-, who turned in sponsoring of the Department of State. It was not designed by an architect, but by an illustrator of infantile stories of Dutch origin, Leo Lionni, who was the creative director of the magazine. And it was not an alone building, but they were three volumes placed on a garden and connected between yes. Each of them, with a height of six meters, were representing the past, the present and the future, respectively. The first piece, of folded aspect, was wrapped in his interior by a confused collage of American newspapers where there could be read holders related to the urbanism, the depletion of the natural resources and the racism. The second piece, that of the present, was showing the realized investigations and the steps given to solve the problems previously mentioned. But it was curiously the third one, that of the future, which turned out to be more incendiary: in his smooth walls there was a great photography where one saw children of different races (white, black and Asian) forming a circle, which enervated the spirits of the political segregationists. So much it is so in April, 1958 delegations were sent to Brussels, demanding photographies of the supposed damage5<\/sup>.<\/p>\n

\":<\/a>
Interior of the third volume, with the most controversial photography: children of different races playing and joining his hands. Source: Masey, Jack and Morgan, Conway Lloyd. Cold War Confrontations<\/a>. Z\u00fcrich: Lars M\u00fcller Publishers, 2008.<\/span><\/figcaption><\/figure>\n

The reports on the strange appliance were forceful and began the modifications, closings and renovations that forced the own Lionni to demolish Brussels hurriedly. So many closing and openings did that ultimately nobody knew in The United States if the construction was opened or closed, since in I shrivel still critiques were coming, in spite of the fact that the image of the discord had been shrinking up to becoming insignificant, buried under the letters of an infantile song<\/a>6<\/sup>. In the middle of the same month, three volumes sheltered new thematic contents, related to the health, the education and the well-being. The censorship was imposed this way in the place where just person was trying to show him the opposite: the freedom of the American mass media to generate a free debate7<\/sup>. According to the Belgian diaries of the epoch, the spectators could not avoid feel disturbed on having seen, how stepwise, the ignorance, the fear and the prejudices were aiming slashes at the innocence.<\/p>\n

Silvia Blanco Ag\u00fceira, phD architect
\nViveiro, juny 2015<\/p>\n

Notes:<\/p>\n

1<\/sup> Zevi, Bruno, \u201cBruxelles 1958: primi interrogative\u201d, L\u2019architettura<\/em>, cronache e storia<\/em> 31 (1958): 4.<\/p>\n

2<\/sup> Fisac, Miguel, \u00abExposici\u00f3n Universal de Bruselas\u00bb, Blanco y Negro<\/em>, 2398 (1958).<\/p>\n

3<\/sup> Persitz, Alexandre, \u201cNotes et Images\u201d, Architecture D\u2019Aujourd\u2019hui<\/em> 81 (1958): 94.<\/p>\n

4<\/sup> Los medios belgas lo rebautizaron como \u00abUnfinished Work\u00bb.<\/p>\n

5<\/sup> Quek, Raymond; Deane, Darren y Butler, Sarah (eds.), Nationalism and Architecture<\/em> (Surrey: Ashgate Publishing Company, 2012), 86.<\/p>\n

6<\/sup> \u00abRing Around the Rosie\u00bb.<\/p>\n

7<\/sup> Mallo, \u00c1lvaro; Blanco, Silvia and Carballo, Francisco: \u00abDenostada Bx\u00b458\u00bb (Conferencia impartida dentro del curso Secretos de la Arquitectura, Fundaci\u00f3n Luis Seoane, A Coru\u00f1a, 19 de mayo de 2014).<\/p>\n

This text has been realized from the information compiled by the group \u00bb BRXLLS ‘ 58 \u00ab, centred on the investigation on the pavilions that shaped the Universal Exhibition of Brussels of 1958. More information: grupo BRXLS58<\/a> o BRXLS58@groups.facebook.com<\/em><\/p>\n

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

[:es] En mayo de 1958 el arquitecto y cr\u00edtico italiano Bruno Zevi lanz\u00f3 un ataque furibundo contra la Exposici\u00f3n Universal de Bruselas, describi\u00e9ndola como una feria de las vanidades, en la que cada edificio luchaba por la atenci\u00f3n del p\u00fablico1. Incluso Miguel Fisac bram\u00f3 contra el alarde estructural, el formalismo est\u00e9ril y la extravagancia arquitect\u00f3nica […]<\/p>\n","protected":false},"author":23,"featured_media":55441,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[11988,5803,2631,147,9132,4766,223,11991,13626,557,11989,5789,668,11990,11987,3327,972,1021,11986],"class_list":["post-55440","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alexandre-persitz","tag-arquitectura-espanola","tag-arquitectura-moderna","tag-arquitectura-norteamericana","tag-bruno-zevi","tag-bruselas","tag-conway-lloyd-morgan","tag-expo58","tag-exposicion-universal","tag-francisco-carballo","tag-fundacion-luis-seoane","tag-historia","tag-jack-masey","tag-leo-lionni","tag-miguel-fisac","tag-pabellon","tag-pensamiento","tag-silvia-blanco-agueira"],"yoast_head":"\nAsuntos pendientes | Silvia Blanco Ag\u00fceira<\/title>\n<meta name=\"description\" content=\"Asuntos pendientes\" \/>\n<meta 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