{"id":61808,"date":"2016-09-16T00:56:17","date_gmt":"2016-09-15T22:56:17","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=61808"},"modified":"2024-01-02T09:50:43","modified_gmt":"2024-01-02T08:50:43","slug":"tras-umbral-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/tras-umbral-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Tras el umbral | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Tralo limiar | Miguel \u00c1ngel D\u00edaz Camacho[:en]After the threshold | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Ampliaci\u00f3n
Ampliaci\u00f3n del cementerio de Camarma de Esteruelas, a escasa distancia de Alcal\u00e1 de Henares, Madrid, Espa\u00f1a<\/span><\/figcaption><\/figure><\/p>\n

Un cementerio es una balsa de tiempo, un hueco en el mundo que se llena y se vac\u00eda con nosotros. La met\u00e1fora de nuestras vidas como r\u00edos \u00abque van a dar a la mar\u00bb1 <\/sup>transformar\u00eda ese vac\u00edo en un vasto oc\u00e9ano figurado en cuyas profundidades abisales descansa la historia del Ser: el tiempo como un discurrir progresivo, con un principio y una hora final<\/i>. Sin embargo, interesa aqu\u00ed la idea de un tiempo c\u00edclico, sucesivo, un tiempo en el que el futuro remoto y el pasado inmemorial terminan por reconciliarse. En palabras de Octavio Paz<\/a>:<\/p>\n

\n

\u00abel hombre no es un animal de progreso, sino de regreso\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

A finales de los a\u00f1os 90 Carlos Puente proyecta la ampliaci\u00f3n del cementerio de Camarma de Esteruelas en Madrid<\/a>. El recinto est\u00e1 delimitado por la tapia existente y su reanudaci\u00f3n hacia el Sur, hermanadas por una cobertura tradicional como la miga de pan blanco: el revoco.<\/p>\n

\n

\u00abUn atrio en la entrada sirve como lugar de encuentro y espera y, a pesar de su sencillez, no reh\u00fasa mostrar una cierta solemnidad en su composici\u00f3n\u00bb.3<\/sup><\/p>\n<\/blockquote>\n

El interior\u00a0sim\u00e9trico\u00a0del umbral presenta una fachada desnuda, habitada tan solo por las ranuras en forma de cruz sobre la puerta, las sombras de una cornisa sin front\u00f3n o un reloj sin manillas.<\/p>\n

Entre el tiempo detenido del cementerio, at\u00e1vico e invasivo como la madreselva, y el presuroso tiempo exterior de las alarmas o los sem\u00e1foros, nos ocupa la densidad del umbral: su sombra nos acoge en un espacio entre tiempos,<\/i>\u00a0entre lo sagrado y lo secular. Advertidos por el reloj sin manillas, en el espacio umbralado parece resonar el mensaje del poeta:<\/p>\n

\n

\u00absomos el tiempo que nos queda\u00bb.4 <\/sup><\/p>\n<\/blockquote>\n

El tiempo circular de El Inmortal <\/a>de Borges en\u00a0El Aleph<\/i><\/a>. El tiempo espiral de Robert Smithson<\/a> en el Gran Lago Salado del desierto de Utah. El tiempo tras el umbral.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Enero 2015.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>. Coplas a la muerte de su padre<\/a><\/i>, Jorge Manrique<\/a> 1440-1479.<\/p>\n

2<\/sup>. Octavio Paz,\u00a0El Pa\u00eds, Babelia 1166, 29 de marzo de 2014. Publicado originalmente en Octavio Paz, Itinerario Po\u00e9tico<\/i><\/a>, editorial Atalanta.<\/p>\n

3<\/sup>. Carlos Puente, Forma y Memoria<\/i>, DPA 18<\/a>, Barcelona, Edicions UPC, 2002, p\u00e1g. 35.<\/p>\n

4<\/sup>. Jos\u00e9 Manuel Caballero Bonald<\/a>, Somos el tiempo que nos queda, en Marcas y Soliloquios<\/i><\/a>, Valencia, Pre-Textos 2013. Publicado originalmente en Memorias de Poco Tiempo<\/i>,<\/a> 1954.<\/p>\n

[:gl]

\"Ampliaci\u00f3n
Ampliaci\u00f3n do ceminterio de Camarma de Esteruelas, a escasa distancia de Alcal\u00e1 de Henares, Madrid, Espa\u00f1a<\/span><\/figcaption><\/figure><\/p>\n

Un cemiterio \u00e9 unha balsa de tempo, un oco no mundo que se enche e bal\u00e9irase connosco. A met\u00e1fora das nosas vidas como r\u00edos \u00abque van dar \u00e1 mar\u00bb1 <\/sup> transformar\u00eda ese baleiro nun vasto oc\u00e9ano figurado en cuxas profundidades abisais descansa a historia do Ser: o tempo como un discorrer progresivo, cun principio e unha hora final<\/em>. Con todo, interesa aqu\u00ed a idea dun tempo c\u00edclico, sucesivo, un tempo no que o futuro remoto e o pasado inmemorial terminan por reconciliarse. En palabras de Octavio Paz<\/a>:<\/p>\n

\n

\u00abo home non \u00e9 un animal de progreso, sen\u00f3n de regreso\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

A finais dos anos 90 Carlos Ponte proxecta a ampliaci\u00f3n do ceminterio de Camarma de Esteruelas en Madrid<\/a>. O recinto est\u00e1 delimitado pola tapia existente e a s\u00faa continuaci\u00f3n cara ao Sur, hermanadas por unha cobertura tradicional como a faragulla de pan branco: o revogo.<\/p>\n

\n

\u00abUn atrio na entrada serve como lugar de encontro e espera e, a pesar da s\u00faa sinxeleza, non reh\u00fasa mostrar unha certa solemnidade na s\u00faa composici\u00f3n\u00bb.3<\/sup><\/p>\n<\/blockquote>\n

O interior sim\u00e9trico do limiar presenta unha fachada espida, habitada tan s\u00f3 polas ranuras en forma de cruz sobre a porta, as sombras dunha cornixa sen front\u00f3n ou un reloxo sen manillas.<\/p>\n

Entre o tempo detido do cemiterio, at\u00e1vico e invasivo como a madreselva, e o presuroso tempo exterior das alarmas ou os sem\u00e1foros, oc\u00fapanos a densidade do limiar: a s\u00faa sombra ac\u00f3llenos nun espazo entre tempos<\/em>, entre o sacro e o secular. Advertidos polo reloxo sen manillas, no espazo umbralado parece resoar a mensaxe do poeta:<\/p>\n

\n

\u00absomos o tempo que nos queda\u00bb.4 <\/sup><\/p>\n<\/blockquote>\n

O tempo circular do Inmortal <\/a> de Borges no Aleph<\/i><\/a>. O tempo espiral de Robert Smithson<\/a> no Gran Lago Salgado do deserto de Utah. O tempo tralo limiar.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Xaneiro 2015.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>. Coplas a morte do seu pai<\/a><\/i>, Jorge Manrique<\/a> 1440-1479.<\/p>\n

2<\/sup>. Octavio Paz, El Pa\u00eds, Babelia 1166, 29 de marzo de 2014. Publicado orixinalmente en Octavio Paz, Itinerario Po\u00e9tico<\/i><\/a>, editorial Atalanta.<\/p>\n

3<\/sup>. Carlos Puente, Forma e Memoria<\/i>, DPA 18<\/a>, Barcelona, Edicions UPC, 2002, p\u00e1g. 35.<\/p>\n

4<\/sup>. Jos\u00e9 Manuel Caballero Bonald<\/a>, Somos o tempo que nos queda, en Marcas e Soliloquios<\/i><\/a>, Valencia, Pre-Textos 2013. Publicado orixinalmente en Memorias de Poco Tiempo<\/i>,<\/a> 1954.<\/p>\n

[:en]

\"Ampliaci\u00f3n
Extension of Camarma de Esteruelas’s cemetery, to scanty distance of Alcal\u00e1 de Henares, Madrid, Spain<\/span><\/figcaption><\/figure><\/p>\n

A cemetery is a raft of time, a hollow in the world that fills and empties with us. The metaphor of our lives like rivers \u00abthat are going to give to the sea\u00bb1 <\/sup> would transform this emptiness into a vast figurative ocean into whose abysmal depths it rests the history of the Being: the time like one to pass progressively, with a beginning and a final hour<\/em>. Nevertheless, it interests here the idea of a cyclical, successive time, a time in which the remote future and the immemorial past end for be reconciling. In Octavio Paz<\/a>‘s words:<\/p>\n

\n

\u00abthe man is not an animal of progress, but of return\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

At the end of the 90s Carlos Puente projects the extension of Camarma de Esteruelas’s cemetery in Madrid<\/a>. The enclosure is delimited by the existing wall and his resumption towards the South, related by a traditional coverage as the crumb of white bread: the revoke.<\/p>\n

\n

\u00abA porch in the entry serves as place of meeting and wait and, in spite of his simplicity, not refuses to show a certain solemnity in his composition\u00bb.3<\/sup><\/p>\n<\/blockquote>\n

The symmetrical interior of the threshold presents a nake front, lived only by the grooves in the shape of cross on the door, the shades of a cornice without fronton or a clock without manacles.<\/p>\n

Between the arrested time of the cemetery, atavistic and invasive as the honeysuckle, and the hasty exterior time of the alarms or the semaphores, us occupies the density of the threshold: his shade receives us in a space between times<\/em>, between the sacred thing and the secular thing. Warned by the clock without manacles, in the space umbralado the message of the poet seems to resound:<\/p>\n

\n

\u00abWe are the time that we still have\u00bb.4 <\/sup><\/p>\n<\/blockquote>\n

The circular time of The Inmortal <\/a>one of Borges in El Aleph<\/i><\/a>. The time Robert Smithson<\/a>‘s spiral in the Great Salty Lake of the desert of Utah. The time after the threshold<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD Architect
\nMadrid. January 2015.
\nAuthor of architecture paragrahs<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notes:<\/p>\n

1<\/sup>. Coplas a la muerte de su padre<\/a><\/i>, Jorge Manrique<\/a> 1440-1479.<\/p>\n

2<\/sup>. Octavio Paz, El Pa\u00eds, Babelia 1166, on March 29, 2014. Published originally in Octavio Paz, Itinerario Po\u00e9tico<\/i><\/a>, editorial Atalanta.<\/p>\n

3<\/sup>. Carlos Puente, Forma y Memoria<\/i>, DPA 18<\/a>, Barcelona, Edicions UPC, 2002, p\u00e1g. 35.<\/p>\n

4<\/sup>. Jos\u00e9 Manuel Caballero Bonald<\/a>, We are the time that we still have, in Marcas y Soliloquios<\/i><\/a>, Valencia, Pre-Textos 2013. Published originally in Memorias de Poco Tiempo<\/i>,<\/a> 1954.<\/p>\n

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

[:es] Un cementerio es una balsa de tiempo, un hueco en el mundo que se llena y se vac\u00eda con nosotros. La met\u00e1fora de nuestras vidas como r\u00edos \u00abque van a dar a la mar\u00bb1 transformar\u00eda ese vac\u00edo en un vasto oc\u00e9ano figurado en cuyas profundidades abisales descansa la historia del Ser: el tiempo como […]<\/p>\n","protected":false},"author":5,"featured_media":61810,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[2539,2631,9446,7137,150,5427,510,3639,12642,12643,6465,977,2787,5630,1286,1289],"class_list":["post-61808","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura-espanola","tag-arquitectura-madrilena","tag-arquitectura-popular","tag-arquitectura-tradicional","tag-carlos-puente","tag-espacio","tag-jorge-luis-borges","tag-jorge-manrique","tag-jose-manuel-caballero-bonald","tag-miguel-angel-diaz-camacho","tag-paisaje","tag-patrimonio-cultural","tag-robert-smithson","tag-territorio","tag-tiempo"],"yoast_head":"\n[:es]Tras el umbral | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Tralo limiar | Miguel \u00c1ngel D\u00edaz Camacho[:en]After the threshold | Miguel \u00c1ngel D\u00edaz Camacho[:] - 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