{"id":59251,"date":"2016-02-22T06:44:46","date_gmt":"2016-02-22T05:44:46","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=59251"},"modified":"2022-04-28T13:26:19","modified_gmt":"2022-04-28T11:26:19","slug":"mi-casa-es-mi-castillo-jorge-meijide","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/mi-casa-es-mi-castillo-jorge-meijide\/","title":{"rendered":"[:es]Mi casa es mi castillo | Jorge Meijide[:en]My home is my castle | Jorge Meijide[:gl]O meu fogar \u00e9 o meu castelo | Jorge Meijide[:]"},"content":{"rendered":"

[:es]

\"The<\/a>
The Art of Living, Saul Steinberg, 1949<\/span><\/figcaption><\/figure><\/p>\n

Mi casa es mi castillo.<\/strong><\/p>\n

Edward Coke<\/a> formula esta conocida frase, \u201cFor a man\u2019s house is his castle\u201d,<\/em> a finales del siglo XVI. En ella el jurista ingl\u00e9s se refer\u00eda a la cuesti\u00f3n legal sobre la potestad del se\u00f1or de la casa de no dejar entrar a los hombres del rey <\/em>sin una causa legalmente justificada. Desde entonces dicha doctrina ha evolucionado de diversas maneras, pero la que nos interesa es aquella que establece la condici\u00f3n de privacidad que la casa conlleva. Un castillo, una casa, un espacio o colecci\u00f3n de espacios, alojan la vida privada de sus habitantes y permiten su intimidad en diversos grados. Esta arquitectura de la domus<\/em>, esta arquitectura dom<\/em>\u00e9<\/em>stica<\/em>, <\/em>que algunos califican de menor pero que es en cambio la m\u00e1s intensa de todas, es la que ahora nos interesa.<\/p>\n

La arquitectura, entre otras cosas, surge en relaci\u00f3n directa con la vida. Es su cobijo y su escenario. El espacio en arquitectura siempre es espacio vivido, siempre es espacio habitado. Vivido y habitado tanto por el que lo imagina, crea y construye como por el que lo disfruta, percibe y habita. Por ello los espacios tienen la capacidad de evocar tanto la presencia de las cosas presentes como las pasadas, al igual que evocan tambi\u00e9n las presencias, vivencias y recuerdos de las personas que los han habitado y recorrido. Habitar es vivir un espacio, es usarlo y es aprehenderlo. Habitar significa dejar huellas, <\/em>dec\u00eda Walter Benjamin<\/a>. Habitar un espacio es apropiarse de \u00e9l y las huellas que en ellos dejamos solo son visibles para el que las deja y no son transferibles. La experiencia es personal, la emoci\u00f3n es \u00edntima.<\/p>\n

La arquitectura es un arte de emoci\u00f3n y es un arte de pasi\u00f3n, de la emoci\u00f3n y de la pasi\u00f3n del hombre. De la emoci\u00f3n cuando se siente y se percibe. Cuando se habita. Y de la pasi\u00f3n necesaria para crearla, para darle forma y construirla. La arquitectura, la estancia que \u00e9sta conforma, es forma construida y habitada. Es, como dice Juan Navarro, una caja de resonancia, una habitaci\u00f3<\/em>n vacante<\/em> a la espera de esas impresiones<\/em>. Acciones y comportamientos que transcienden la funcionalidad del mero uso distributivo de los espacios.<\/p>\n

Habitar un espacio es hacerlo a la medida del hombre, esto es, sirviendo de marco y escena de su cotidianidad, de su privacidad frente a los otros y de la necesaria intimidad inmanente a nuestro ser. El espacio, la estancia del hombre, se torna denso en significados en tanto queda marcado por la vida que acoge en su interior. \u00c9sta se graba en sus l\u00edmites y resuena al ser habitada como la tecla del piano que guarda su nota hasta ser pulsada. El espacio as\u00ed entendido se transforma en contenedor sensible:<\/p>\n

\n

\u201cCada uni\u00f3n (entre cuartos) habla de un sistema de relaciones entre las partes que trasciende los problemas de mera composici\u00f3n, porque bajo ellos, hay otro m\u00e1s profundo de relaci\u00f3n de las personas que habitan esas formas. As\u00ed pues, no se trata de un asunto de simple forma, sino de sociolog\u00eda\u201d. 1<\/sup><\/sup><\/em><\/p>\n<\/blockquote>\n

Los espacios habitados act\u00faan como c\u00e1maras de resonancia de la vida, de sus habitantes, captadores y emisores sensoriales cuya compleja fenomenolog\u00eda constituye su verdadera esencia. Esa es la cualidad po\u00e9tica del espacio habitable. Esa es la cualidad de la arquitectura, la que conmueve. Es la misma cualidad que con la que se piensa<\/em> la arquitectura, sus espacios, composiciones y construcciones, a trav\u00e9s de la imaginaci\u00f3n creadora. Esa misma imaginaci\u00f3n a la que alude Quetglas cuando rotundamente habla de la arquitectura de Enric Miralles:<\/p>\n

\n

\u00abYo afirmo lo siguiente: hay que llamar arquitectura, no a unos objetos construidos de acuerdo a unas ciertas t\u00e9cnicas y materiales, sino a un modo de imaginar\u201d 2<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n

Eso es la arquitectura.<\/p>\n

La vida privada y los espacios dom\u00e9sticos inherentes a ella han ido perdiendo la connotaci\u00f3n de intimidad de la que gozaban hasta bien entrado el siglo XIX, tanto a trav\u00e9s de la evoluci\u00f3n de los propios espacios que la cobijaban como de la conducta social y personal que la amparaban, para irse poco a poco encaminando, inexorablemente, hacia el reflejo de la sociedad abierta y expuesta en la que vivimos actualmente; que si bien es m\u00e1s abierta, permisiva y expositiva, ha conducido, por contra, hacia una mayor y m\u00e1s profunda introspecci\u00f3n en el car\u00e1cter individual del sujeto. Hacia el ensimismamiento del habitante y la valoraci\u00f3n privada de la estancia habitable.<\/p>\n

Este camino hacia la introspecci\u00f3n, hacia el ensimismamiento, se refleja bien en estas palabras de Ortega:<\/p>\n

\n

\u201cEl hombre puede, de cuando en cuando, suspender su ocupaci\u00f3n directa de las cosas, desasirse de su derredor, desentenderse de \u00e9l, y sometiendo su facultad de atender a una torsi\u00f3n radical, volverse, por decirlo as\u00ed, de espaldas al mundo y meterse dentro de s\u00ed, atender a su propia intimidad o, lo que es igual, ocuparse de si mismo y no de lo otro, de las cosas…, o dicho con un espl\u00e9ndido vocablo que s\u00f3lo existe en nuestro idioma: que el hombre puede ensimismarse\u201d.<\/em><\/p>\n<\/blockquote>\n

Jorge Meijide . Arquitecto
\nCoru\u00f1a. Febrero 2016<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Cuartos sueltos<\/em>, Santiago de Molina. www.santiagodemolina.com<\/a>. Enero 2016.<\/p>\n

2 <\/sup><\/sup>No te hagas ilusiones,<\/em> Josep Quetglas. El Croquis 49\/59, pag. 22-27. Madrid. Septiembre 1991.[:en]

\"The<\/a>
The Art of Living, Saul Steinberg, 1949<\/span><\/figcaption><\/figure><\/p>\n

My home is my castle.<\/strong><\/p>\n

Edward Coke<\/a> formulates this known phrase, \u201cFor a man\u2019s house is his castle\u201d<\/em>, at the end of the 16th century. In her the jurist Englishman was referring to the legal question on the legal authority of the master of the house not to stop to enter the men of the king<\/em> without a reason legally well-taken. Since then the above mentioned doctrine has evolved of diverse ways, but the one that we are interested is that one that establishes the condition of privacy that the house carries. A castle, a house, a space or collection of spaces, they lodge the life deprived of his inhabitants and allow his intimacy in diverse degrees. This architecture of the domus<\/em>, this domestic<\/em> architecture, which some of they of them qualify of minor but which is on the other hand the most intense of all, is in the one that now we are interested.<\/p>\n

The architecture, among other things, arises in direct relation with the life. It is his cover and his scene. The space in architecture always is a life space, always it is an inhabited space. Lived and lived so much by the one that imagines it, believe and he constructs like for the one that enjoys it, perceives and lives. As it the spaces have the aptitude to evoke both the presence of the present things and the past ones, as there evoke also the presences, experiences and recollections of the persons that them have lived and tour. Living is to live through a space<\/em>, is to use it and is to apprehend it. To live means to leave fingerprints, was saying Walter Benjamin<\/a>. To live a space is to appropriate of him and the fingerprints that in them we make alone sound visible for the one that leaves them and they are not transferable. The experience is personal, the emotion is intimate.<\/p>\n

The architecture is an art of emotion and is an art of passion, of the emotion and of the passion of the man. Of the emotion when he feels and is perceived. When it is lived. And of the passion necessary to create it, to give him form and to construct it. The architecture, the stay that this one shapes, is a form constructed and inhabited. It is, as says Juan Navarro, a sound box, a vacant room<\/em> to the wait of these impressions. Actions and behaviors that transcienden the functionality of the mere distributive use of the spaces.<\/p>\n

La arquitectura es un arte de emoci\u00f3n y es un arte de pasi\u00f3n, de la emoci\u00f3n y de la pasi\u00f3n del hombre. De la emoci\u00f3n cuando se siente y se percibe. Cuando se habita. Y de la pasi\u00f3n necesaria para crearla, para darle forma y construirla. La arquitectura, la estancia que \u00e9sta conforma, es forma construida y habitada. Es, como dice Juan Navarro, una caja de resonancia, una habitaci\u00f3<\/em>n vacante<\/em> a la espera de esas impresiones<\/em>. Acciones y comportamientos que transcienden la funcionalidad del mero uso distributivo de los espacios.<\/p>\n

Living a space is to do it to the measure of the man, this is, using as frame and scene of his commonness, as his privacy opposite to others and as the necessary immanent intimacy our being. The space, the stay of the man, becomes dense in meanings while he remains marked by the life that receives in his interior. This one is recorded in his limits and resounds on having been lived as the key of the piano that guards his note up to being touched. The space like that understood transforms in sensitive container:<\/p>\n

\n

\u201cEvery union (between quarters) speaks about a system of relations between the parts that it comes out the problems of mere composition, because under them, there is deeper other one of relation of the persons who live these forms. This way so, it is not a question of a matter of simple form, but of sociology\u201d. 1<\/sup><\/sup><\/em><\/p>\n<\/blockquote>\n

The inhabited spaces act as resonance chambers of the life, of his inhabitants, captators and sensory issuers whose complex fenomenolog\u00eda constitutes his real essence. This it is the poetical quality of the inhabitable space. This it is the quality of the architecture, which it affects. It is the same quality that with that there are thought the architecture, his spaces, compositions and constructions, across the creative imagination. The same imagination to which Quetglas alludes when roundly he speaks about Enric Miralles’s architecture:<\/p>\n

\n

\u00abI affirm the following thing: it is necessary to call architecture, not to a few objects constructed from agreement to a few certain technologies and materials, but to a way of imagining\u201d 2<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n

It is the architecture.<\/p>\n

The private life and the domestic spaces inherent in she have been losing the connotation of intimacy of which they were enjoying up to entered good the 19th century, so much across the evolution of the own spaces that they were sheltering like of the social and personal conduct that they were protecting her, to be intending little by little, inexorably, towards the reflection of the company opened and exposed in that we live nowadays; that though it is more opened, permissive and explanatory, has driven, for against, towards the major one and deeper introspection in the individual character of the subject. Towards the absorption of the inhabitant and the valuation deprived of the inhabitable stay.<\/p>\n

This way towards the introspection, towards the absorption, is reflected well in these words of Imperial sand grouse:<\/p>\n

\n

\u201cThe man can suspend, every now and then, his direct occupation of the things, extricate of his contour, affect ignorance of him, and submitting his faculty to attend to a radical twist, to turn, for saying it this way, of backs to the world and to get inside yes, to attend to his own intimacy or, which is equal, to deal if same and not the different thing, the things …, or saying with a splendid word that only it exists in our language: that the man can ensimismarse\u201d.<\/em><\/p>\n<\/blockquote>\n

Jorge Meijide . Architect
\nCoru\u00f1a. February 2016<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Cuartos sueltos<\/em>, Santiago de Molina. www.santiagodemolina.com<\/a>. Enero 2016.<\/p>\n

2 <\/sup><\/sup>No te hagas ilusiones,<\/em> Josep Quetglas. El Croquis 49\/59, pag. 22-27. Madrid. Septiembre 1991.[:gl]

\"The<\/a>
The Art of Living, Saul Steinberg, 1949<\/span><\/figcaption><\/figure><\/p>\n

O meu fogar \u00e9 o meu castelo.<\/strong><\/p>\n

Edward Coke<\/a> Edward Coke formula esta co\u00f1ecida frase, \u201cFor a man\u2019s house is his castle\u201d<\/em>, a finais do s\u00e9culo XVI. Nela o xurista ingl\u00e9s refer\u00edase \u00e1 cuesti\u00f3n legal sobre a potestade do se\u00f1or da casa de non deixar entrar aos homes do rei<\/em> sen unha causa legalmente xustificada. Desde ent\u00f3n dita doutrina evolucionou de diversas maneiras, pero a que nos interesa \u00e9 aquela que establece a condici\u00f3n de privacidade que a casa leva. Un castelo, unha casa, un espazo ou colecci\u00f3n de espazos, aloxan a vida privada dos seus habitantes e permiten a s\u00faa intimidade en diversos graos. Esta arquitectura da domus<\/em>, esta arquitectura dom\u00e9stica<\/em>, que alg\u00fans cualifican de menor pero que \u00e9 en cambio a m\u00e1is intensa de todas, \u00e9 a que agora nos interesa.<\/p>\n

A arquitectura, entre outras cousas, xorde en relaci\u00f3n directa coa vida. \u00c9 o seu acubillo e o seu escenario. O espazo en arquitectura sempre \u00e9 espazo vivido, sempre \u00e9 espazo habitado. Vivido e habitado tanto polo que o imaxina, crea e constr\u00fae como polo que o goza, percibe e habita. Por iso os espazos te\u00f1en a capacidade de evocar tanto a presenza das cousas presentes como as pasadas, do mesmo xeito que evocan tam\u00e9n as presenzas, vivencias e recordos das persoas que os habitaron e percorrido. Habitar \u00e9 vivir un espazo<\/em>, \u00e9 usalo e \u00e9 aprehenderlo. Habitar significa deixar pegadas, dic\u00eda Walter Benjamin<\/a>.. Habitar un espazo \u00e9 apropiarse del e as pegadas que neles deixamos s\u00f3 son visibles para o que as deixa e non son transferibles. A experiencia \u00e9 persoal, a emoci\u00f3n \u00e9 \u00edntima.<\/p>\n

A arquitectura \u00e9 unha arte de emoci\u00f3n e \u00e9 unha arte de paix\u00f3n, da emoci\u00f3n e da paix\u00f3n do home. Da emoci\u00f3n cando sente e perc\u00edbese. Cando se habita. E da paix\u00f3n necesaria para creala, para darlle forma e constru\u00edla. A arquitectura, a estancia que esta conforma, \u00e9 forma constru\u00edda e habitada. \u00c9, como di Juan Navarro, unha caixa de resonancia, unha habitaci\u00f3n vacante<\/em> \u00e1 espera desas impresi\u00f3ns<\/em>. Acci\u00f3ns e comportamentos que transcienden a funcionalidade do mero uso distributivo dos espazos.<\/p>\n

Habitar un espazo \u00e9 facelo \u00e1 medida do home, isto \u00e9, servindo de marco e escena da s\u00faa cotidianidad, da s\u00faa privacidade fronte aos outros e da necesaria intimidade inmanente ao noso ser. O espazo, a estancia do home, t\u00f3rnase denso en significados en tanto queda marcado pola vida que acolle no seu interior. Esta gr\u00e1vase nos seus l\u00edmites e resoa ao ser habitada como a tecla do piano que garda a s\u00faa nota ata ser pulsada. O espazo as\u00ed entendido transf\u00f3rmase en colector sensible:<\/p>\n

\n

\u201cCada uni\u00f3n (entre cuartos) fala dun sistema de relaci\u00f3ns entre as partes que transcende os problemas de mera composici\u00f3n, porque baixo eles, hai outro m\u00e1is profundo de relaci\u00f3n das persoas que habitan esas formas. As\u00ed pois, non se trata dun asunto de simple forma, sen\u00f3n de socioloxg\u00eda\u201d. 1<\/sup><\/sup><\/em><\/p>\n<\/blockquote>\n

Os espazos habitados act\u00faan como c\u00e1maras de resonancia da vida, dos seus habitantes, captadores e emisores sensoriais cuxa complexa fenomenolog\u00eda constit\u00fae a s\u00faa verdadeira esencia. Esa \u00e9 a calidade po\u00e9tica do espazo habitable. Esa \u00e9 a calidade da arquitectura, a que conmove. \u00c9 a mesma calidade que coa que se pensa a arquitectura, os seus espazos, composici\u00f3ns e construci\u00f3ns, a trav\u00e9s da imaxinaci\u00f3n creadora. Esa mesma imaxinaci\u00f3n \u00e1 que alude Quetglas cando rotundamente fala da arquitectura de Enric Miralles:<\/p>\n

\n

\u00abEu afirmo o seguinte: hai que chamar arquitectura, non a uns obxectos constru\u00eddos de acordo a unhas certas t\u00e9cnicas e materiais, sen\u00f3n a un modo de imaxinar\u201d 2<\/sup><\/sup>.<\/em><\/p>\n<\/blockquote>\n

Eso \u00e9 a arquitectura.<\/p>\n

A vida privada e os espazos dom\u00e9sticos inherentes a ela foron perdendo a connotaci\u00f3n de intimidade da que gozaban ata ben entrado o s\u00e9culo XIX, tanto a trav\u00e9s da evoluci\u00f3n dos propios espazos que a acubillaban como da conduta social e persoal que a amparaban, para irse aos poucos encami\u00f1ando, inexorablemente, cara ao reflexo da sociedade aberta e exposta na que vivimos actualmente; que a\u00ednda que \u00e9 m\u00e1is aberta, permisiva e expositiva, conduciu, por contra, cara a unha maior e m\u00e1is profunda introspecci\u00f3n no car\u00e1cter individual do suxeito. Cara ao ensimismamiento do habitante e a valoraci\u00f3n privada da estancia habitable.<\/p>\n

Este cami\u00f1o cara \u00e1 introspecci\u00f3n, cara ao ensimismamiento, refl\u00edctese ben nestas palabras de Ortega:<\/p>\n

\n

\u201cO home pode, de cando en cando, suspender a s\u00faa ocupaci\u00f3n directa das cousas, desasirse da s\u00faa derredor, desentenderse del, e sometendo a s\u00faa facultade de atender a unha torsi\u00f3n radical, volverse, por dicilo as\u00ed, de costas ao mundo e meterse dentro de si, atender \u00e1 s\u00faa propia intimidade ou, o que \u00e9 igual, ocuparse de se mesmo e non do outro, das cousas…, ou devandito cun espl\u00e9ndido voc\u00e1bulo que s\u00f3 existe no noso idioma: que o home pode ensimesmarse\u201d.<\/em><\/p>\n<\/blockquote>\n

Jorge Meijide . Arquitecto
\nCoru\u00f1a. Febreiro 2016<\/p>\n

Notas:<\/p>\n

1<\/sup><\/sup> Cuartos soltos<\/em>, Santiago de Molina. www.santiagodemolina.com<\/a>. Xaneiro 2016.<\/p>\n

2 <\/sup><\/sup>No te fagas ilusi\u00f3ns,<\/em> Josep Quetglas. El Croquis 49\/59, pax. 22-27. Madrid. Setembro 1991.[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Mi casa es mi castillo. Edward Coke formula esta conocida frase, \u201cFor a man\u2019s house is his castle\u201d, a finales del siglo XVI. En ella el jurista ingl\u00e9s se refer\u00eda a la cuesti\u00f3n legal sobre la potestad del se\u00f1or de la casa de no dejar entrar a los hombres del rey sin una causa […]<\/p>\n","protected":false},"author":47,"featured_media":59252,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12373,3333,6401,7481,513,5907,516,2054,659,3462,3952,2358,1021,1865,12374,8599],"class_list":["post-59251","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-edward-coke","tag-enric-miralles","tag-espacio-colectivo","tag-espacio-domestico","tag-espacio-interior","tag-espacio-privado","tag-espacio-publico","tag-habitacion","tag-habitar","tag-jorge-meijide","tag-josep-quetglas","tag-juan-navarro-baldeweg","tag-pensamiento","tag-reflexion","tag-saul-steinberg","tag-walter-benjamin"],"yoast_head":"\n[:es]Mi casa es mi castillo | Jorge Meijide[:en]My home is my castle | Jorge Meijide[:gl]O meu fogar \u00e9 o meu castelo | Jorge Meijide[:] - 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