{"id":58290,"date":"2016-02-01T06:01:10","date_gmt":"2016-02-01T05:01:10","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=58290"},"modified":"2022-05-27T08:32:55","modified_gmt":"2022-05-27T06:32:55","slug":"la-tramoya-domestica-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-tramoya-domestica-miguel-angel-diaz-camacho\/","title":{"rendered":"La tramoya dom\u00e9stica | Miguel \u00c1ngel D\u00edaz CamachoThe domestic intrigue | Miguel \u00c1ngel D\u00edaz CamachoA tramoya dom\u00e9stica | Miguel \u00c1ngel D\u00edaz Camacho"},"content":{"rendered":"

\"Casa<\/a>
Casa con dos gr\u00faas de Alison y Peter Smithson, 1977<\/span><\/figcaption><\/figure><\/p>\n

La casa contempor\u00e1nea se ha convertido, entre otras cosas, en un gran almac\u00e9n. La cultura occidental ha multiplicado la necesidad de armarios y trasteros donde ordenar de forma pr\u00e1ctica todo el universo de accesorios dom\u00e9sticos corrientes: desde cajas de herramientas y escaleras plegables a disfraces y vestidos de fiesta; desde bicicletas y patines a cortinas, toallas y edredones; desde cajas con juguetes a muebles heredados que esperan su restauraci\u00f3n almacenando a su vez art\u00edculos para la decoraci\u00f3n navide\u00f1a, cumplea\u00f1os y otras celebraciones o fiestas. Un verdadero backstage <\/em>sobre el que no se ha prestado demasiada atenci\u00f3n en el desarrollo evolutivo de la tipolog\u00eda dom\u00e9stica. Salvo excepciones.<\/p>\n

En 1977 Alison y Peter Smithson presentan la propuesta \u00abCasa con dos gr\u00faas\u00bb 1<\/sup>, atendiendo la idea de almacenaje como instrumento que habilita la transformaci\u00f3n interior del espacio dom\u00e9stico:<\/p>\n

\n

\u00abLa casa con dos gr\u00faas est\u00e1 pensada para un hombre como yo, que a veces desear\u00eda guardar f\u00e1cilmente las cosas que no utiliza en aquel momento. Un hombre de una familia que saca cosas con motivo de una fiesta o cuando alguien regresa a su casa y luego quiere volver a guardarlas. Una familia a la que le gusta decorar su hogar\u00bb 2<\/sup>. <\/em><\/p>\n<\/blockquote>\n

La instalaci\u00f3n de dos gr\u00faas permite la conexi\u00f3n de la \u00faltima planta almac\u00e9n con la calle y, a su vez, con cada una de las estancias interiores a trav\u00e9s de un vac\u00edo central que conecta todos los niveles. Un montaje (en la imagen) muestra la capacidad de transformaci\u00f3n tambi\u00e9n exterior de la casa, gracias a la instalaci\u00f3n de estandartes, banderas, flores o tapices: la casa como un cuerpo y sus diferentes abrigos<\/em>.<\/p>\n

\n

\u00abSacarlo todo en cada estaci\u00f3n…mucho en invierno, poco en verano. Sacarlo todo para las fiestas…religiosas o familiares. Recogerlo para renovarse, por tristeza\u00bb 3<\/sup>.\u00a0<\/em><\/p>\n<\/blockquote>\n

Explosi\u00f3n e implosi\u00f3n. Alegr\u00eda y tristeza. Transformaci\u00f3n y abatimiento. La casa como el teatro mismo de la vida, con sus telones y sus m\u00e1scaras, con el brillo de las funciones de estreno y la oscuridad o el silencio que exige la introspecci\u00f3n del habitante actor4<\/sup>.<\/p>\n

La casa como el centro mismo de la existencia y sus alteraciones.\u00a0La casa como la verdadera f\u00e1brica de los sue\u00f1os.<\/p>\n

La casa y su tramoya dom\u00e9stica.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Diciembre 2014.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>. La propuesta \u00abCasa con dos gr\u00faas\u00bb se present\u00f3 al concurso Shinkenchicu <\/em>arbitrado por Peter Cook, obteniendo un premio especial. Ver Japan Architect, diciembre 1977 y febrero 1978; Architectural Design 11-12, 1978; ILA & UD Annual Report 1993-1994; Alison y Peter Smithson. De la casa del futuro a la casa de hoy<\/a>. Dirk van der Heuvel, Max Risselada, Barcelona, Ediciones Pol\u00edgrafa 2007.<\/p>\n

2<\/sup>. Peter Smithson, 6 de abril de 2000. Notas del archivo A&P Smithson. Publicado en \u00abDe la casa del futuro a la casa de hoy<\/a>\u00ab, Dirk van der Heuvel, Max Risselada, Barcelona, Pol\u00edgrafa 2007, p\u00e1g. 296.<\/p>\n

3<\/sup>. \u00cdbidem.<\/p>\n

4<\/sup>. Interesa aqu\u00ed el origen y significado doble de la palabra actor<\/em>, por un lado como alguien que act\u00faa o representa un papel (actor-oris<\/em>, actuar), y por otro como autor <\/em>que establece y dirige su propia existencia (agere<\/em>, hacer).<\/p>\n

\"Casa<\/a>
House with two derricks of Alison and Peter Smithson, 1977<\/span><\/figcaption><\/figure><\/p>\n

The contemporary house has turned, among other things, into a department store. The western culture has multiplied the need of cupboards and lumber rooms where to arrange of practical form the whole universe of domestic current accessories: from tool boxes and folding stairs to disguises and dresses of holiday; from bicycles and skates to curtains, towels and comforters; from boxes with toys to inherited furniture that wait for his restoration storing in turn articles for the Christmas decoration, birthday and other celebrations or holidays. A real backstage on the one that has not given himself too many attention in the evolutionary development of the domestic typology. Except exceptions.<\/p>\n

In 1977 Alyssum and Peter Smithson present the offer \u00abHouse with two derricks\u00bb 1<\/sup>, attending to the idea of storage as instrument that enables the interior transformation of the domestic space:<\/p>\n

\n

\u00abThe house with two derricks is thought for a man as me, who sometimes would want to guard easily the things that it does not use in that moment. A man of a family who extracts things on the occasion of a holiday or when someone returns to his house and then it wants to return to guard them. A family to the one that likes to decorate his home\u00bb 2<\/sup>. <\/em><\/p>\n<\/blockquote>\n

The installation of two derricks allows the connection of the last plant store with the street and, in turn, with each of the interior stays across a central emptiness that connects all the levels. An assembly (in the image) shows the capacity of transformation also exterior of the house, thanks to the installation of banners, flags, flowers or tapestries: the house like a body and his different coats<\/em>.<\/p>\n

\n

\u00abTo extract everything on every station … much in winter, little in summer. To extract everything for the holidays … religious or familiar. To gather it to be renewed, for sadness\u00bb 3<\/sup>. <\/em><\/p>\n<\/blockquote>\n

Explosion and implosion. Happiness and sadness. Transformation and discouragement. The house as the theatre itself of the life, with his curtains and his masks, with the sheen of the functions of premiere and the darkness or the silence that demands the introspection of the inhabitant actor4<\/sup>.<\/p>\n

The house like the center itself of the existence and his alterations. The house like the real factory of the dreams.<\/p>\n

The house and his domestic intrigue.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD Architect
\nMadrid. December 2014.
\nAuthor of the Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notes:<\/p>\n

1<\/sup>. The offer \u00abHouse with two derricks \u00bb he appeared to the contest Shinkenchicu<\/em> arbitrated by Peter Cook, obtaining a special prize. To see Japan Architect, December, 1977 and February, 1978; Architectural Design 11-12, 1978; ILA & UD Annual Report 1993-1994; Alison and Peter Smithson. From the house of the future to the today house<\/a>. Dirk van der Heuvel, Max Risselada, Barcelona, Ediciones Pol\u00edgrafa 2007.<\/p>\n

2<\/sup>. Peter Smithson, on April 6, 2000. Notes of the file A&P Smithson. Published in \u00abFrom the house of the future to the today house<\/a>\u00ab, Dirk van der Heuvel, Max Risselada, Barcelona, Pol\u00edgrafa 2007, p\u00e1g. 296.<\/p>\n

3<\/sup>. \u00cdbidem.<\/p>\n

4<\/sup>. Actor<\/em> is interested here in the origin and double meaning of the word, on the one hand as someone who operates or represents a paper (actor<\/em> – oris, in acting), and for other one as author<\/em> who establishes and directs his own existence (agere<\/em>, in doing).<\/p>\n

\"Casa<\/a>
Casa con dous guindastres de Alison e Peter Smithson, 1977<\/span><\/figcaption><\/figure><\/p>\n

A casa contempor\u00e1nea converteuse, entre outras cousas, nun gran almac\u00e9n. A cultura occidental multiplicou a necesidade de armarios e trasteiros onde ordenar de forma pr\u00e1ctica todo o universo de accesorios dom\u00e9sticos correntes: desde caixas de ferramentas e escaleiras plegables a disfraces e vestidos de festa; desde bicicletas e patines a cortinas, toallas e edredones; desde caixas con juguetes a mobles herdados que esperan a s\u00faa restauraci\u00f3n almacenando \u00e1 s\u00faa vez artigos para a decoraci\u00f3n navide\u00f1a, aniversario e outras celebraci\u00f3ns ou festas. Un verdadeiro backstage<\/em> sobre o que non se prestou demasiada atenci\u00f3n no desenvolvemento evolutivo da tipolox\u00eda dom\u00e9stica. Salvo excepci\u00f3ns.<\/p>\n

En 1977 Alison e Peter Smithson presentan a proposta \u00abCasa con dous guindastres\u00bb 1<\/sup>, atendendo a idea de almacenaje como instrumento que habilita a transformaci\u00f3n interior do espazo dom\u00e9stico:<\/p>\n

\n

\u00abA casa con dous guindastres est\u00e1 pensada para un home como eu, que \u00e1s veces desexar\u00eda gardar f\u00e1cilmente as cousas que non utiliza naquel momento. Un home dunha familia que saca cousas con motivo dunha festa ou cando algu\u00e9n regresa \u00e1 s\u00faa casa e logo quere volver gardalas. Unha familia \u00e1 que lle gusta decorar o seu fogar\u00bb 2<\/sup>. <\/em><\/p>\n<\/blockquote>\n

A instalaci\u00f3n de dous guindastres permite a conexi\u00f3n da \u00faltima planta almac\u00e9n coa r\u00faa e, \u00e1 s\u00faa vez, con cada unha das estancias interiores a trav\u00e9s dun baleiro central que conecta todos os niveis. Unha montaxe (na imaxe) mostra a capacidade de transformaci\u00f3n tam\u00e9n exterior da casa, grazas \u00e1 instalaci\u00f3n de estandartes, bandeiras, flores ou tapices: a casa como un corpo e os seus diferentes abrigos<\/em>.<\/p>\n

\n

\u00abSacalo todo en cada estaci\u00f3n…moito no inverno, pouco no ver\u00e1n. Sacalo todo para as festas…relixiosas ou familiares. Recollelo para renovarse, por tristeza\u00bb 3<\/sup>. <\/em><\/p>\n<\/blockquote>\n

Explosi\u00f3n e implosi\u00f3n. Alegr\u00eda e tristeza. Transformaci\u00f3n e abatimiento. A casa como o teatro mesmo da vida, coas s\u00faas telones e as s\u00faas m\u00e1scaras, co brillo das funci\u00f3ns do trinque e a escuridade ou o silencio que esixe a introspecci\u00f3n do habitante actor4<\/sup>.<\/p>\n

A casa como o centro mesmo da existencia e as s\u00faas alteraci\u00f3ns. A casa como a verdadeira f\u00e1brica dos so\u00f1os.<\/p>\n

A casa e a s\u00faa tramoya dom\u00e9stica.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Decembro 2014.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>. A propuesta \u00abCasa con dous guindastres\u00bb presentouse o concurso Shinkenchicu <\/em>arbitrado por Peter Cook, obtendo un premio especial. Ver Japan Architect, decembro 1977 e febreiro 1978; Architectural Design 11-12, 1978; ILA & UD Annual Report 1993-1994; Alison y Peter Smithson. Da casa do futuro a casa de hoxe<\/a>. Dirk van der Heuvel, Max Risselada, Barcelona, Ediciones Pol\u00edgrafa 2007.<\/p>\n

2<\/sup>. Peter Smithson, 6 de abril de 2000. Notas do arquivo A&P Smithson. Publicado en \u00abDa casa do futuro a casa de hoxe<\/a>\u00ab, Dirk van der Heuvel, Max Risselada, Barcelona, Pol\u00edgrafa 2007, p\u00e1g. 296.<\/p>\n

3<\/sup>. \u00cdbidem.<\/p>\n

4<\/sup>. Interesa aqu\u00ed a orixe e significado doble da palabra actor<\/em>, polo lado como algu\u00e9n que act\u00faa o representa un papel (actor-oris<\/em>, actuar), e por outro como autor <\/em>que establece e dirixe a s\u00faa propia existencia (agere<\/em>, hacer).<\/p>\n

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

La casa contempor\u00e1nea se ha convertido, entre otras cosas, en un gran almac\u00e9n. La cultura occidental ha multiplicado la necesidad de armarios y trasteros donde ordenar de forma pr\u00e1ctica todo el universo de accesorios dom\u00e9sticos corrientes: desde cajas de herramientas y escaleras plegables a disfraces y vestidos de fiesta; desde bicicletas y patines a cortinas, […]<\/p>\n","protected":false},"author":5,"featured_media":58293,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[6743,143,10555,12206,7481,815,10631,6465,2750,3640,1517,12465],"class_list":["post-58290","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-alison-smithson","tag-arquitectura-contemporanea","tag-dirk-van-der-heuvel","tag-ediciones-poligrafa","tag-espacio-domestico","tag-maestro","tag-max-risselada","tag-miguel-angel-diaz-camacho","tag-peter-cook","tag-peter-smithson","tag-peter-y-alison-smithson","tag-vivienda"],"yoast_head":"\nLa tramoya dom\u00e9stica | Miguel \u00c1ngel D\u00edaz Camacho<\/title>\n<meta name=\"description\" content=\"La tramoya dom\u00e9stica\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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