{"id":61673,"date":"2016-09-05T00:45:24","date_gmt":"2016-09-04T22:45:24","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=61673"},"modified":"2023-04-29T12:45:08","modified_gmt":"2023-04-29T10:45:08","slug":"las-elipsis-arquitectonicas-pedro-hernandez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/las-elipsis-arquitectonicas-pedro-hernandez\/","title":{"rendered":"[:es]De las elipsis (arquitect\u00f3nicas) | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Das elipses (arquitect\u00f3nicas) | Pedro Hern\u00e1ndez[:en]Of the (architectural) ellipses | Pedro Hern\u00e1ndez[:]"},"content":{"rendered":"

[:es]

\"\u2018La
\u2018La elipsis arquitect\u00f3nica\u2019 en el Centro Cultural Universitario Tlatelolco | Autor: Pedro Hern\u00e1ndez<\/span><\/figcaption><\/figure><\/p>\n

En 1996, Bernard Tschumi escribe \u2018Violence of Architecture\u2019 \u2013<\/i>un cap\u00edtulo del libro Architecture and disjunction<\/a>\u2013 <\/i>en el que presenta a la arquitectura como un elemento en constante tensi\u00f3n: entre el cuerpo que la ocupa el espacio y la geometr\u00eda que\u00a0 contiene al cuerpo. La disyuntiva de Tschumi hace que el arquitecto deba decidir si se inclina de uno u otro lado o trata de salvaguardar, en la medida de lo posible, el equilibrio entre ambas partes.<\/p>\n

Una elipsis es una omisi\u00f3n. Algo que se elimina sin que por ello afecte al significado del conjunto. En el caso de la arquitectura: si esta se posiciona a favor de uno de los lados antes mencionados, limit\u00e1ndose a la construcci\u00f3n de espacios \u2013m\u00e1s o menos bellos\u2013 y eludiendo hablar sobre el uso \u2013que no funci\u00f3n\u2013 est\u00e1 presentado esa elipsis en su narraci\u00f3n. Bien es cierto que al proyectar objetos (arquitecturas), imaginamos c\u00f3mo se puede vivir el espacio. Pero la arquitectura \u2013y el territorio\u2013 ofrece muchas posibilidades de las imaginadas. \u00c9ste es el punto en el que se sit\u00faa \u2018La elipsis arquitect\u00f3nica\u2019.<\/p>\n

\"\u2018La
\u2018La elipsis arquitect\u00f3nica\u2019 en el Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure>\n

Inaugurada el 27 de febrero (2013) en el Centro Cultural Universitario Tlatelolco y curada por Ruth Estevez y Javier Toscano, recoge distintas piezas art\u00edsticas que se enfrentan a la arquitectura, pero construyendo unas otras narrativas desde sus mismas herramientas: planos, fotograf\u00edas, maquetas y mapas\u2026 Estos elementos, en otras manos, muestran la arquitectura m\u00e1s all\u00e1 de sus posibilidades concebidas en origen, desvelando lo no mencionado, descubriendo lo oculto, demostrando nuevas posibilidades m\u00e1s all\u00e1 de cualquier supuesto funcionalismo.<\/p>\n

El acercamiento a la exhibici\u00f3n podr\u00eda realizarse en torno a dos tiempos \u2013en ocasiones mezclados\u2013 situados antes o despu\u00e9s de que se realice la arquitectura. El primero, el antes, trabaja con los mecanismos de producci\u00f3n \u2013como la planta arquitect\u00f3nica\u2013 para desarrollar mundos posibles capaces de contar el universo personal del artista o la situaci\u00f3n pol\u00edtica de un pa\u00eds, tal y como ocurre en Self portrait as a building<\/em> de\u00a0Mark Manders<\/a> o las Heliograf\u00edas<\/i> de Luca Frei<\/a>.<\/p>\n

\"\u2018La
\u2018La elipsis arquitect\u00f3nica\u2019 en el Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure>\n

El otro extremo, el despu\u00e9s, experimenta la arquitectura una vez levantada, ilustrando aquellas situaciones ocultas u olvidadas por la memoria. Enrique Je\u017eik<\/a> ajemplifica a la perfecci\u00f3n esta\u00a0b\u00fasqueda\u00a0de un recuerdo silenciado tras los muros al recuperar la fat\u00eddica historia del mismo Tlatelolco en 1968; por su parte, \u2018White Marble Everyday\u2019<\/i> de Clarissa Tossin<\/a>, descubre el coste real que supone el mantenimiento de los ic\u00f3nicos edificios de Brasilia, y Jordi Colomer construye nuevas formas de recorrer la arquitectura y experimentarla: su Istanbul map <\/i>descubre en las azoteas una nueva forma de deriva urbana con personajes que no se limitan a aquellos movimientos que damos por sentado en la ciudad. Similar idea recogen las cartograf\u00edas de Larissa Fassler<\/a>, marcando los recorridos que realizan en la Plaza de la Concordia personajes marginales como ladrones, vendedores o pandilleros.<\/p>\n

Trabajos que ilustran la tensi\u00f3n establecida por Tschumi: la arquitectura no s\u00f3lo como un hecho est\u00e9tico y acabado, sino como un espacio que puede ser afectado y modificado por el que lo habita. Ah\u00ed cabe destacar la mirada de Tania Candiani <\/a>sobre el uso real que ofrece el espacio dom\u00e9stico de la habitaci\u00f3n moderna (o lo que es lo mismo, la cocina), heredera de un supuesto funcionalismo que med\u00eda hasta los movimientos que una persona (mujer) deber\u00eda hacer. Esos estudios son repetidos ahora ilustrando la tensi\u00f3n del proyecto y la realidad vivida. Una idea que tambi\u00e9n resume\u00a0a la perfecci\u00f3n la obra de Jos\u00e9 Jim\u00e9nez Ortiz: Un mapa no es el territorio<\/em>.<\/p>\n

\"CTossin,
White Marble Everyday, 2009, de Clarissa Tossin, en \u2018La elipsis arquitect\u00f3nica\u2019 en el Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure>\n

La exposici\u00f3n adem\u00e1s re\u00fane trabajos del colectivo madrile\u00f1o Democracia<\/a>, Jimmie Durham<\/a>, Luca Frei<\/a>i, Mark Manders<\/a>, Erik Olofsen; Matt Mullican<\/a>, Esteban Azuela <\/a>y Anri Sala<\/a>; complet\u00e1ndose con un libro que acompa\u00f1a la muestra y compila estudios e investigaciones que expanden la exposici\u00f3n en el tiempo y permiten ampliar las ideas presentadas:\u00a0una invitaci\u00f3n a pensar en la vida que el espacio ofrece\u2026 u omite.<\/p>\n

\"Now
Now here, Place de la Concorde V, 2013 de Larissa Fassler en \u2018La elipsis arquitect\u00f3nica\u2019 en el Centro Cultural Universitario Tlatelolco<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nCiudad de M\u00e9xico. noviembre 2015[:gl]

\"\u2018La
\u2018A elipse arquitect\u00f3nica\u2019 no Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure><\/p>\n

En 1996, Bernard Tschumi escribe \u2018Violence of Architecture\u2019<\/i> \u2013<\/i>un cap\u00edtulo do libro Architecture and disjunction\u2013 <\/a><\/i> no que presenta \u00e1 arquitectura como un elemento en constante tensi\u00f3n: entre o corpo que a ocupa o espazo e a xeometr\u00eda que\u00a0 cont\u00e9n ao corpo. A disxuntiva de Tschumi fai que o arquitecto deba decidir se se inclina dun ou outro lado ou trata de salvagardar, na medida do posible, o equilibrio entre ambas as partes.<\/p>\n

Unha elipsis \u00e9 unha omisi\u00f3n. Algo que se elimina sen que por iso afecte o significado do conxunto. No caso da arquitectura: se esta sit\u00faase a favor dun dos lados antes mencionados, limit\u00e1ndose \u00e1 construci\u00f3n de espazos \u2013m\u00e1is ou menos belos\u2013 e eludindo falar sobre o uso \u2013que non funci\u00f3n\u2013 est\u00e1 presentado esa elipsis na s\u00faa narraci\u00f3n. Ben \u00e9 certo que ao proxectar obxectos (arquitecturas), imaxinamos como se pode vivir o espazo. Pero a arquitectura ?e o territorio? ofrece moitas posibilidades das imaxinadas. Este \u00e9 o punto no que se sit\u00faa \u2018A elipse arquitect\u00f3nica\u2019.<\/p>\n

\"\u2018La
\u2018A elipse arquitect\u00f3nica\u2019 no Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure>\n

Inaugurada o 27 de febreiro (2013) no Centro Cultural Universitario Tlatelolco e curada por Ruth Estevez e Javier Toscano, recolle distintas pezas art\u00edsticas que se enfrontan \u00e1 arquitectura, pero constru\u00edndo unas outras narrativas desde as s\u00faas mesmas ferramentas: planos, fotograf\u00edas, maquetas e mapas\u2026 Estes elementos, noutras mans, mostran a arquitectura m\u00e1is al\u00f3 das s\u00faas posibilidades concibidas en orixe, desvelando o non mencionado, descubrindo o oculto, demostrando novas posibilidades m\u00e1is al\u00f3 de calquera suposto funcionalismo.<\/p>\n

O achegamento \u00e1 exhibici\u00f3n poder\u00eda realizarse ao redor de dous tempos \u2013en ocasi\u00f3ns mesturados\u2013 situados antes ou despois de que se realice a arquitectura. O primeiro, o antes, traballa cos mecanismos de produci\u00f3n \u2013como a planta arquitect\u00f3nica\u2013 para desenvolver mundos posibles capaces de contar o universo persoal do artista ou a situaci\u00f3n pol\u00edtica dun pa\u00eds, tal e como ocorre en Self portrait as a building<\/em> de Mark Manders<\/a> ou as Heliograf\u00edas<\/i> de Luca Frei<\/a>.<\/p>\n

\"\u2018La
\u2018A elipse arquitect\u00f3nica\u2019no Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure>\n

O outro extremo, o despois, experimenta a arquitectura unha vez levantada, ilustrando aquelas situaci\u00f3ns ocultas ou esquecidas pola memoria. Enrique Je\u017eik<\/a> ajemplifica \u00e1 perfecci\u00f3n esta procura dun recordo silenciado tras os muros ao recuperar a fat\u00eddica historia do mesmo Tlatelolco en 1968; pola s\u00faa banda, \u2018White Marble Everyday\u2019<\/i> de Clarissa Tossin<\/a>, descobre o custo real que sup\u00f3n o mantemento dos ic\u00f3nicos edificios de Bras\u00edlia, e Jordi Colomer constr\u00fae novas formas de percorrer a arquitectura e experimentala: o seu Istanbul map<\/i> descobre nas azoteas unha nova forma de deriva urbana con personaxes que non se limitan a aqueles movementos que damos por sentado na cidade. Similar idea recollen as cartograf\u00edas de Larissa Fassler<\/a>, marcando os percorridos que realizan na Praza da Concordia personaxes marxinais como ladr\u00f3ns, vendedores ou pandilleros.<\/p>\n

Traballos que ilustran a tensi\u00f3n establecida por Tschumi: a arquitectura non s\u00f3 como un feito est\u00e9tico e acabado, sen\u00f3n como un espazo que pode ser afectado e modificado polo que o habita. A\u00ed cabe destacar a mirada de Tania Candiani <\/a>sobre o uso real que ofrece o espazo dom\u00e9stico da habitaci\u00f3n moderna (ou o que \u00e9 o mesmo, a coci\u00f1a), herdeira dun suposto funcionalismo que med\u00eda ata os movementos que unha persoa (muller) deber\u00eda facer. Eses estudos son repetidos agora ilustrando a tensi\u00f3n do proxecto e a realidade vivida. Unha idea que tam\u00e9n resume \u00e1 perfecci\u00f3n a obra de Jos\u00e9 Jim\u00e9nez Ortiz: Un mapa non \u00e9 o territorio<\/em>.<\/p>\n

\"CTossin,
White Marble Everyday, 2009, de Clarissa Tossin, en \u2018A elipse arquitect\u00f3nica\u2019 no Centro Cultural Universitario Tlatelolco.<\/span><\/figcaption><\/figure>\n

A exposici\u00f3n ademais re\u00fane traballos do colectivo madrile\u00f1o Democracia<\/a>, Jimmie Durham<\/a>, Luca Frei<\/a>i, Mark Manders<\/a>, Erik Olofsen; Matt Mullican<\/a>, Esteban Azuela <\/a>e Anri Sala<\/a>; complet\u00e1ndose cun libro que acompa\u00f1a a mostra e compila estudos e investigaci\u00f3ns que expanden a exposici\u00f3n no tempo e permiten ampliar as ideas presentadas: unha invitaci\u00f3n para pensar na vida que o espazo ofrece\u2026 ou omite.<\/p>\n

\"Now
Now here, Place de la Concorde V, 2013 de Larissa Fassler en \u2018A elipse arquitect\u00f3nica\u2019 no Centro Cultural Universitario Tlatelolco<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nCiudad de M\u00e9xico. novembro 2015[:en]

\"\u2018La
\u2018The architectural ellipsis\u2019 in the Tlatelolco Universitary Cultural Center.<\/span><\/figcaption><\/figure><\/p>\n

In 1996, Bernard Tschumi writes \u2018Violence of Architecture\u2019 \u2013<\/i>a chapter of the book Architecture and disjunction<\/a>\u2013<\/i> in the one that he presents to the architecture as an element in constant tension: between the body that occupies the space and the geometry that it contains to the body. Tschumi’s dilemma does that the architect should decide if he inclines of one or another side or tries to safeguard, as far as possible, the balance between both parts.<\/p>\n

An ellipsis is an omission. Something that is eliminated without for it it concerns the meaning of the set. In case of the architecture: if this one is positioned in favour of one of the sides before mentioned, limiting itself to the construction of spaces – more or less or less beautiful – and eluding to speak on the use – that not function – is presented this ellipsis in his story. Well it is true that on having projected objects (architectures), we imagine how it is possible to live through the space. But the architecture – and the territory – offers many possibilities of the imagined ones. This one is the point in the one that places \u2018The architectural ellipsis\u2019.<\/p>\n

\"\u2018La
\u2018The architectural ellipsis\u2019 in the Tlatelolco Universitary Cultural Center.<\/span><\/figcaption><\/figure>\n

Inaugurated on February 27 (2013) in the Cultural University Center Tlatelolco and treated by Ruth Estevez and Javier Toscano, he gathers different artistic pieces that face the architecture, but constructing a few other narratives from the same tools: planes, photographies, models and maps \u2026 These elements, in other hands, show the architecture beyond his possibilities conceived in origin, revealing not mentioned, discovering secret, demonstrating new possibilities beyond any supposition funcionalism.<\/p>\n

The approximation to the exhibition might be realized concerning two times – in occasions mixed – placed before or after the architecture is realized. The first one, before, works with the mechanisms of production – as the architectural plant – to develop possible worlds capable of counting the personal universe of the artist or the political situation of a country, as it happens in Self portrait as a building<\/em> by Mark Manders<\/a> or the Heliograf\u00edas<\/i> by Luca Frei<\/a>.<\/p>\n

\"\u2018La
\u2018The architectural ellipsis\u2019 in the Tlatelolco Universitary Cultural Center.<\/span><\/figcaption><\/figure>\n

Another end, later, experiences the architecture once elevated, illustrating those situations secret or forgotten by the memory. Enrique Je\u017eik<\/a> ajemplifica to the perfection this search of a recollection silenced after the walls on having recovered the fatidical history of the same Tlatelolco in 1968; for your part, \u2018White Marble Everyday\u2019<\/i> by Clarissa Tossin<\/a>, discovers the royal cost that the maintenance of the ic\u00f3nicos supposes buildings of Brasilia, and\u00a0Jordi Colomer constructs new ways of crossing the architecture and to experience it: his Istanbul map<\/em> discovers in the roofs a new form of urban drift with prominent figures who do not limit themselves to those movements that we give seated in the city. Similar idea they gather Larissa Fassler<\/a>‘s cartographies, marking the tours that there realize in the Concord Square marginal as thieving, selling prominent figures or racketeers.<\/p>\n

Works that illustrate the tension established by Tschumi: the architecture not only as an aesthetic and finished fact, but as a space that can be affected and modified by the one that lives it. There it is necessary to emphasize Tania Candiani<\/a>‘s look on the royal use that it offers the domestic space of the modern room (or what is the same thing, the kitchen), inheritor of a supposition funcionalismo that was measuring up to the movements that a person (woman) should do. These studies are repeated now illustrating the tension of the project and the lived reality. An idea that also summarizes to the perfection Jos\u00e9 Jim\u00e9nez Ortiz’s work: A map is not the territory.<\/em><\/p>\n

\"CTossin,
White Marble Everyday, 2009, de Clarissa Tossin, in \u2018The architectural ellipsis\u2019 in the Tlatelolco Universitary Cultural Center.<\/span><\/figcaption><\/figure>\n

The exhibition in addition assembles works of the colectivo madrile\u00f1o Democracia<\/a>, Jimmie Durham<\/a>, Luca Frei<\/a>i, Mark Manders<\/a>, Erik Olofsen; Matt Mullican<\/a>, Esteban Azuela <\/a>and Anri Sala<\/a>; being completed by a book that accompanies the sample and compiles studies and investigations that expand the exhibition in the time and allow to extend the presented ideas: an invitation to think about the life that the space offers \u2026 or omits.<\/p>\n

\"Now
Now here, Place de la Concorde V, 2013 by Larissa Fassler in \u2018The architectural ellipsis\u2019 in the Tlatelolco Universitary Cultural Center<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 architect
\nCiudad de M\u00e9xico. november 2015[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] En 1996, Bernard Tschumi escribe \u2018Violence of Architecture\u2019 \u2013un cap\u00edtulo del libro Architecture and disjunction\u2013 en el que presenta a la arquitectura como un elemento en constante tensi\u00f3n: entre el cuerpo que la ocupa el espacio y la geometr\u00eda que\u00a0 contiene al cuerpo. La disyuntiva de Tschumi hace que el arquitecto deba decidir si […]<\/p>\n","protected":false},"author":36,"featured_media":61677,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12632,7089,7125,12449,155,160,3651,318,319,12622,12627,12621,12629,7481,5907,516,12631,556,12460,3451,659,698,737,12628,12623,12626,4506,4505,12624,12620,828,12619,12630,12466,12625,1286],"class_list":["post-61673","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-anri-sala","tag-arquitectura-francesa","tag-arquitectura-funcionalista","tag-arte","tag-arte-contemporaneo","tag-artista","tag-bernard-schumi","tag-ciudad","tag-ciudad-contemporanea","tag-clarissa-tossin","tag-colectivo-democracia","tag-enrique-jezik","tag-erik-olofsen","tag-espacio-domestico","tag-espacio-privado","tag-espacio-publico","tag-esteban-azuela","tag-exposicion","tag-fotografia","tag-funcionalismo","tag-habitar","tag-ilustracion","tag-investigacion","tag-jimmie-durham","tag-jordi-colomer","tag-jose-jimenez-ortiz","tag-la-periferia-domestica","tag-landa-hernandez","tag-larissa-fassler","tag-luca-frei","tag-maqueta","tag-mark-manders","tag-matt-mullican","tag-pintura","tag-tania-candiani","tag-territorio"],"yoast_head":"\n[:es]De las elipsis (arquitect\u00f3nicas) | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Das elipses (arquitect\u00f3nicas) | Pedro Hern\u00e1ndez[:en]Of the (architectural) ellipses | Pedro Hern\u00e1ndez[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]De las elipsis (arquitect\u00f3nicas) | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Das elipses (arquitect\u00f3nicas) | Pedro Hern\u00e1ndez[:en]Of the (architectural) ellipses | Pedro Hern\u00e1ndez[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/las-elipsis-arquitectonicas-pedro-hernandez\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]De las elipsis (arquitect\u00f3nicas) | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Das elipses (arquitect\u00f3nicas) | Pedro 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