{"id":63658,"date":"2017-03-13T00:05:21","date_gmt":"2017-03-12T23:05:21","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=63658"},"modified":"2022-06-13T09:28:54","modified_gmt":"2022-06-13T07:28:54","slug":"caso-bunshaft-apuntes-la-fragilidad-jose-antonio-sumay-rey","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/caso-bunshaft-apuntes-la-fragilidad-jose-antonio-sumay-rey\/","title":{"rendered":"[:es]El caso Bunshaft.\u00a0Apuntes sobre la fragilidad | Jos\u00e9 Antonio Sumay Rey[:gl]O caso Bunshaft.\u00a0Apuntamentos sobre a fraxilidade | Jos\u00e9 Antonio Sumay Rey[:en]The Bunshaft case. Notes on the fragility | Jos\u00e9 Antonio Sumay Rey[:]"},"content":{"rendered":"

[:es]

\"Nina
Nina y Gordon Bunshaft en la construcci\u00f3n de su casa de East Hampton, Nueva York. Fotograf\u00eda: Hans Namuth<\/span><\/figcaption><\/figure><\/p>\n

Pocos casos hay m\u00e1s paradigm\u00e1ticos sobre la cuesti\u00f3n de la conservaci\u00f3n de la arquitectura moderna que el caso Bunshaft. Hombre \u00e1spero y de pocas palabras, Gordon Bunshaft<\/a> (1909-1990) es conocido internacionalmente por la Lever House (1952) y por su trabajo en la firma Skidmore, Owings and Merrill (SOM) donde desarrollar\u00eda toda su carrera hasta 1979. Su obra se caracteriza por un delicado equilibrio entre forma y construcci\u00f3n destilando una elegante utilizaci\u00f3n de la t\u00e9cnica constructiva como se puede apreciar en obras tan significativas como la biblioteca Beinecke (1963) en Yale, el Chase Manhattan (1961) o el edificio Manufactures Trust (1954) ambos en Nueva York. Fuese por su trabajo directo o por su jerarqu\u00eda sobre otros arquitectos de la firma de Chicago, a mediados del siglo XX la obra de Bunshaft<\/a> ejerci\u00f3 una enorme influencia tanto en la imagen de Manhattan como en el <\/span>downtown <\/span><\/i>de varias ciudades americanas.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

En 1962, entre los grandes proyectos de SOM, Bunshaft construye su \u00fanica vivienda unifamiliar, para \u00e9l y su esposa Nina, en los Hamptons como retiro de fin de semana y sede de una colecci\u00f3n de arte contempor\u00e1neo que con gran criterio hab\u00eda reunido a lo largo de su vida. Conocida por el material con el que estaba revestida, la casa de travertino <\/a>era, junto a su jard\u00edn sobre Georgica Pond, un espacio privilegiado en el que poder disfrutar de la obra de Jean Dubuffet, Alberto Giacometti, Henry Moore o Joan Mir\u00f3.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller sal\u00f3n<\/span><\/figcaption><\/figure>\n

Sin hijos en el matrimonio, Bunshaft, que era miembro de la comisi\u00f3n de pintura y escultura del MoMA, y su esposa deciden que el museo ser\u00e1 el heredero de su colecci\u00f3n y su vivienda; hecho que se produce con el fallecimiento de Nina en mayo de 1994. El MoMA incorpora las esculturas y la pintura a su cat\u00e1logo y vende la vivienda, sin ninguna protecci\u00f3n, con la finalidad de constituir un fondo de adquisiciones que llevar\u00e1 el nombre de Gordon y Nina Bunshaft. La casa es comprada por la estrella de la televisi\u00f3n Martha Stewart en 1995 por un precio que super\u00f3 los 3 millones de d\u00f3lares.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Aunque parece ser que la intenci\u00f3n de la estrella era mantener la casa y para ello encarga una remodelaci\u00f3n interior a John Pawson, esta nunca se llegar\u00e1 a completar. Envuelta en pleitos con su vecino, con la reforma sin completar y el travertino desmontado Martha Stewart cede la casa a su hija Alexis quien la acabar\u00e1 vendiendo en 2004 al empresario textil\u00a0Donald Maharam que ser\u00e1 el que finalmente la derribe alegando su deplorable estado de conservaci\u00f3n. Ir\u00f3nicamente la empresa de Maharam se dedica a la producci\u00f3n de dise\u00f1os textiles de los Eames<\/a>, Gio Ponti<\/a> o Verner Panton pero esto no evit\u00f3 la demolici\u00f3n de la vivienda en 2005. Lo que nos queda de esta amarga historia son unos planos y las fant\u00e1sticas fotograf\u00edas <\/a>que en 1964 hizo Ezra Stoller<\/a>.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

El caso Bunshaft<\/a> recuerda al reciente descubrimiento del derribo de la casa Guzm\u00e1n de Alejandro de la Sota y la consiguiente pol\u00e9mica en redes sociales y prensa. Las circunstancias en las que se produce la demolici\u00f3n de ambos casos son muy diferentes pero los dos expresan la evidente dificultad de protecci\u00f3n del patrimonio moderno y comparten la desidia, el desprecio, la inacci\u00f3n de las instituciones y la ausencia de alguien que desee habitar la casa y respetarla.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Dec\u00eda Sota1\u00a0<\/sup>que el mayor problema de la arquitectura es la soluci\u00f3n de la vivienda y su entorno<\/span>. Arquitectos como Bunshaft o Sota pensaron en la vivienda como una manera de aproximarse a la forma de vida del ser humano y ambas fueron construidas en un compromiso con los medios e ideas de su tiempo. <\/span><\/p>\n

\n

\u201c<\/span>No hay obra sin idea<\/span><\/i>\u201d,2<\/sup><\/span>\u00a0<\/span><\/p>\n<\/blockquote>\n

dec\u00eda Sota y por lo tanto la demolici\u00f3n de estas arquitecturas significa la destrucci\u00f3n del pensamiento, la desaparici\u00f3n de una idea sobre una nueva forma posible y distinta del habitar.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Puede resultar obvio recordar que las casas pertenecen, no solo patrimonial sino sentimentalmente, a las familias y a la memoria de aquellos que las habitaron. La pervivencia de estas viviendas est\u00e1 vinculada desde su creaci\u00f3n a las familias que las convirtieron en su hogar. Sin ellas y en ausencia de personas dispuestas a vivirlas una casa comienza el camino descendente hacia la ruina. Sirvan como ejemplo los diferentes per\u00edodos de abandono que han sufrido obras maestras como la Tugendhat o la Savoye.<\/span><\/p>\n

Seg\u00fan Juhani Pallasmaa\u00a0<\/sup>la arquitectura de verdad siempre trata sobre la vida3<\/sup><\/span>; por ello la fragilidad de estas casas ha de entenderse como una met\u00e1fora de la propia fragilidad de la vida humana, de sus principios \u00e9ticos y su memoria. Al contrario que otras arquitecturas, que por estar insertadas en una trama urbana pertenecen al paisaje visual de las ciudades configurando su identidad y memoria, la vivienda moderna generalmente pertenece a la memoria \u00edntima de las familias y al reducido c\u00edrculo de los estudiosos y amantes de la arquitectura. Obras como la de Bunshaft y Sota buscaban una forma de habitar que reestableciese una relaci\u00f3n equilibrada entre el ser humano y la naturaleza: ambas disfrutaban de un entorno natural privilegiado, la Georgica Pond<\/a> en la casa de travertino y la ribera del r\u00edo Jarama en la Guzm\u00e1n. Ubicadas en la periferia de grandes ciudades y alejadas del \u00e1mbito p\u00fablico, sus derribos se producen con nocturnidad y su desaparici\u00f3n se descubre, casi siempre, por casualidad.<\/span><\/p>\n

\"Georgica
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

El caso Bunshaft nos advierte de que poco importa la relevancia de la arquitectura y el haber sido donada a una instituci\u00f3n sin \u00e1nimo de lucro y especializada en la conservaci\u00f3n del patrimonio art\u00edstico como el MoMA si no hay una adecuada y necesaria protecci\u00f3n de estas casas. Sin un profundo conocimiento y divulgaci\u00f3n social de estas arquitecturas, sin una actuaci\u00f3n conjunta de la propiedad y las instituciones p\u00fablicas y privadas, estas viviendas se convierten en objetos obsoletos cuya ubicaci\u00f3n en parcelas con un alto valor puede significar su sentencia de muerte.<\/span><\/p>\n

La desaparici\u00f3n o la muerte, tambi\u00e9n la de una casa, deja siempre abiertas m\u00e1s cuestiones que certezas, quiz\u00e1s la \u00fanica en los casos Bunshaft y Guzm\u00e1n sea que s\u00f3lo desde la advertencia de la fragilidad del legado de la vivienda moderna se podr\u00e1n evitar que acabemos hablando del caso Dom\u00ednguez o del caso Huarte. Al fin y al cabo, algo nos jugamos en ello pues, como dice Pallasmaa, sin estas obras las posibilidades de la morada humana, de nuestra comprensi\u00f3n de la modernidad y de nosotros mismos, ser\u00edan considerablemente m\u00e1s d\u00e9biles<\/span>.4\u00a0<\/sup><\/span><\/p>\n

\"La
La Casa Guzm\u00e1n. Archivo Fundaci\u00f3n Alejandro de la Sota<\/span><\/figcaption><\/figure>\n

Jos\u00e9 Antonio Sumay Rey. Doctor Arquitecto
\nMarzo de 2017, A Coru\u00f1a<\/p>\n

Notas:<\/p>\n

1<\/sup>. de la Sota, Alejandro.<\/a> \u201cEntrevista en revista M\u00e9todo (1968)\u201d. En Escritos conversaciones, conferencias<\/a>, ed. Mois\u00e9s Puente (Barcelona: Gustavo Gili, 2002)<\/span><\/p>\n

2<\/sup>. de la Sota, Alejandro. <\/a>\u201cMemoria de la casa Dom\u00ednguez\u201d. En <\/span>Alejandro de la Sota <\/span><\/i>(Madrid: Pronaos, 1989).<\/span><\/p>\n

3<\/sup>. Pallasmaa, Juhani.<\/a> \u201cIdentidad, intimidad y domicilio\u201d (1994). En Habitar <\/a>Pallasmaa, Juhani (Barcelona: Gustavo Gili, 2016)<\/span><\/p>\n

4<\/sup>.\u00a0Pallasmaa<\/a>, <\/span>op. cit.<\/span><\/i><\/p>\n

Bibliograf\u00eda:<\/p>\n

Adams, Nicholas. \u201cGordon Bunshaft: What convinces is conviction\u201d<\/a>. SOM Journal n\u00ba 9 (2014). https:com\/@SOM\/gordon-bunshaft-4a52e5b2852d#.ehsqny6y3\/\/medium.<\/a>\u00a0(Consultado el 2 de marzo de 2017)<\/p>\n

Krinsky, Carol Herselle. Gordon Bunshaft of Skidmore, Owings & Merrill<\/i>. New York<\/a>: The Architectural History Foundation<\/a>, 1983[:gl]

\"Nina
Nina e\u00a0Gordon Bunshaft na construcci\u00f3n de s\u00faa casa de East Hampton, Nova Iork. Fotograf\u00eda: Hans Namuth<\/span><\/figcaption><\/figure><\/p>\n

Poucos casos hai m\u00e1is paradigm\u00e1ticos sobre a cuesti\u00f3n da conservaci\u00f3n da arquitectura moderna que o caso Bunshaft. Home \u00e1spero e de poucas palabras, Gordon Bunshaft<\/a> (1909-1990) \u00e9 co\u00f1ecido internacionalmente pola Lever House (1952) e polo seu traballo na firma Skidmore, Owings and Merrill (SOM) onde desenvolver\u00eda toda a s\u00faa carreira ata 1979. A s\u00faa obra caracter\u00edzase por un delicado equilibrio entre forma e construci\u00f3n destilando unha elegante utilizaci\u00f3n da t\u00e9cnica construtiva como se pode apreciar en obras tan significativas como a biblioteca Beinecke (1963) en Yale, o Chase Manhattan (1961) ou o edificio Manufactures Trust (1954) ambos en Nova York. Fose polo seu traballo directo ou pola s\u00faa xerarqu\u00eda sobre outros arquitectos da firma de Chicago, a mediados do s\u00e9culo XX, a obra de Bunshaft<\/a> exerceu unha enorme influencia tanto na imaxe de Manhattan como no downtown de varias cidades americanas.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

En 1962, entre os grandes proxectos de SOM, Bunshaft constr\u00fae a s\u00faa \u00fanica vivenda unifamiliar, para el e a s\u00faa esposa Nina, nos Hamptons como retiro de fin de semana e s\u00e9 dunha colecci\u00f3n de arte contempor\u00e1nea que con gran criterio reunira ao longo da s\u00faa vida. Co\u00f1ecida polo material co que estaba revestida, a casa de travertino<\/a> era, xunto ao seu xard\u00edn sobre Georgica Pond, un espazo privilexiado no que poder gozar da obra de Jean Dubuffet, Alberto Giacometti, Henry Moore ou Joan Mir\u00f3.<\/p>\n

 <\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller sal\u00f3n<\/span><\/figcaption><\/figure>\n

Sen fillos no matrimonio, Bunshaft, que era membro da comisi\u00f3n de pintura e escultura do MoMA, e a s\u00faa esposa deciden que o museo ser\u00e1 o herdeiro da s\u00faa colecci\u00f3n e a s\u00faa vivenda; feito que se produce co falecemento de Nina en maio de 1994. O MoMA incorpora as esculturas e a pintura ao seu cat\u00e1logo e vende a vivenda, sen ningunha protecci\u00f3n, coa finalidade de constitu\u00edr un fondo de adquisicions que levar\u00e1 o nome de Gordon e Nina Bunshaft. A casa \u00e9 comprada pola estrela da televisi\u00f3n Martha Stewart en 1995 por un prezo que superou os 3 mill\u00f3ns de d\u00f3lares.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

A\u00ednda que parece ser que a intenci\u00f3n da estrela era manter a casa e para iso encarga unha remodelaci\u00f3n interior a John Pawson, esta nunca se chegar\u00e1 a completar. Envolta en preitos co seu veci\u00f1o, coa reforma sen completar e o travertino desmontado Martha Stewart cede a casa \u00e1 s\u00faa filla Alexis quen a acabar\u00e1 vendendo en 2004 ao empresario t\u00e9xtil Donald Maharam que ser\u00e1 o que finalmente a derribe alegando o seu deplorable estado de conservaci\u00f3n. Ir\u00f3nicamente a empresa de Maharam ded\u00edcase \u00e1 produci\u00f3n de dese\u00f1os textis dos Eames<\/a>, Gio Ponti<\/a> ou Verner Panton pero isto non evitou a demolici\u00f3n da vivenda en 2005. O que nos queda desta amarga historia son uns planos e as fant\u00e1sticas fotograf\u00edas <\/a>que en 1964 fixo Ezra Stoller<\/a>.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

O caso Bunshaft<\/a> recorda ao recente descubrimento do derribamento da casa Guzm\u00e1n de Alejandro de la Sota e a conseguinte pol\u00e9mica en redes sociais e prensa. As circunstancias nas que se produce a demolici\u00f3n de ambos casos son moi diferentes pero os dous expresan a evidente dificultade de protecci\u00f3n do patrimonio moderno e comparten o desleixo, o desprezo, a inacci\u00f3n das instituci\u00f3ns e a ausencia de algu\u00e9n que desexe habitar a casa e respectala.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Dic\u00eda Sota1\u00a0<\/sup><\/span>que o maior problema da arquitectura \u00e9 a soluci\u00f3n da vivenda e a s\u00faa contorna. Arquitectos como Bunshaft ou Sota pensaron na vivenda como un xeito de aproximarse \u00e1 forma de vida do ser humano e ambas foron constru\u00eddas nun compromiso cos medios e ideas do seu tempo.<\/p>\n

\n

\u201cNon hai obra sen idea\u201d,2<\/sup><\/p>\n<\/blockquote>\n

dic\u00eda Sota e polo tanto a demolici\u00f3n destas arquitecturas significa a destruci\u00f3n do pensamento, a desaparici\u00f3n dunha idea sobre unha nova forma posible e distinta do habitar.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Pode resultar obvio recordar que as casas pertencen, non s\u00f3 patrimonial sen\u00f3n sentimentalmente, \u00e1s familias e \u00e1 memoria daqueles que as habitaron. A pervivencia destas vivendas est\u00e1 vinculada desde a s\u00faa creaci\u00f3n \u00e1s familias que as converteron no seu fogar. Sen elas e en ausencia de persoas dispostas a vivilas unha casa comeza o cami\u00f1o descendente cara \u00e1 ru\u00edna. Sirvan como exemplo os diferentes per\u00edodos de abandono que sufriron obras mestras como a Tugendhat ou a Savoye.<\/p>\n

Segundo Juhani Pallasmaa\u00a0<\/sup>a arquitectura de verdade sempre trata sobre a vida3<\/sup><\/span>;<\/span> por iso a fraxilidade destas casas ha de entenderse como unha met\u00e1fora da propia fraxilidade da vida humana, dos seus principios \u00e9ticos e a s\u00faa memoria. Ao contrario que outras arquitecturas, que por estar inseridas nunha trama urbana pertencen \u00e1 paisaxe visual das cidades configurando a s\u00faa identidade e memoria, a vivenda moderna xeralmente pertence \u00e1 memoria \u00edntima das familias e ao reducido c\u00edrculo dos estudosos e amantes da arquitectura. Obras como a de Bunshaft e Sota buscaban unha forma de habitar que reestableciese unha relaci\u00f3n equilibrada entre o ser humano e a natureza: ambas gozaban dunha contorna natural privilexiada, a Georgica Pond<\/a> na casa de travertino e a ribeira do r\u00edo Jarama na Guzm\u00e1n. Situadas na periferia de grandes cidades e afastadas do \u00e1mbito p\u00fablico, os seus derrubamentos prod\u00facense con nocturnidade e a s\u00faa desaparici\u00f3n desc\u00fabrese, case sempre, por casualidade.<\/p>\n

\"Georgica
Travertine House, 1963, Gordon Bunshaft, Fotograf\u00eda: Ezra Stoller<\/span><\/figcaption><\/figure>\n

O caso Bunshaft adv\u00edrtenos de que pouco importa a relevancia da arquitectura e o ser doada a unha instituci\u00f3n sen \u00e1nimo de lucro e especializada na conservaci\u00f3n do patrimonio art\u00edstico como o MoMA se non hai unha adecuada e necesaria protecci\u00f3n destas casas. Sen un profundo co\u00f1ecemento e divulgaci\u00f3n social destas arquitecturas, sen unha actuaci\u00f3n conxunta da propiedade e as instituci\u00f3ns p\u00fablicas e privadas, estas vivendas conv\u00e9rtense en obxectos obsoletos cuxa ubicaci\u00f3n en parcelas cun alto valor pode significar a s\u00faa sentenza de morte.<\/p>\n

A desaparici\u00f3n ou a morte, tam\u00e9n a dunha casa, deixa sempre abertas m\u00e1is cuesti\u00f3ns que certezas, quizais a \u00fanica nos casos Bunshaft e Guzm\u00e1n sexa que s\u00f3 desde a advertencia da fraxilidade do legado da vivenda moderna poderase evitar que acabemos falando do caso Dom\u00ednguez ou do caso Huarte. \u00c1 fin e ao cabo, algo nos xogamos niso pois, como di Pallasmaa, sen estas obras as posibilidades da morada humana, da nosa comprensi\u00f3n da modernidade e de n\u00f3s mesmos, ser\u00edan considerablemente m\u00e1is feble<\/span>s<\/span>.4\u00a0<\/sup><\/span><\/p>\n

\"La
La Casa Guzm\u00e1n. Arquivo Fundaci\u00f3n Alejandro de la Sota<\/span><\/figcaption><\/figure>\n

Jos\u00e9 Antonio Sumay Rey. Doutor Arquitecto
\nMarzo\u00a0de 2016, A Coru\u00f1a<\/p>\n

Notas:<\/p>\n

1<\/sup>. de la Sota, Alejandro.<\/a> \u201cEntrevista en revista M\u00e9todo (1968)\u201d. En Escritos conversas, conferencias<\/a>, ed. Mois\u00e9s Puente (Barcelona: Gustavo Gili, 2002)<\/span><\/p>\n

2<\/sup>. de la Sota, Alejandro. <\/a>\u201cMemoria da casa Dom\u00ednguez\u201d. En <\/span>Alejandro de la Sota <\/span><\/i>(Madrid: Pronaos, 1989).<\/span><\/p>\n

3<\/sup>. Pallasmaa, Juhani.<\/a> \u201cIdentidade, intimidade e\u00a0domicilio\u201d (1994). En Habitar <\/a>Pallasmaa, Juhani (Barcelona: Gustavo Gili, 2016)<\/span><\/p>\n

4<\/sup>.\u00a0Pallasmaa<\/a>, <\/span>op. cit.<\/span><\/i><\/p>\n

Bibliograf\u00eda:<\/p>\n

Adams, Nicholas. \u201cGordon Bunshaft: What convinces is conviction\u201d<\/a>. SOM Journal n\u00ba 9 (2014). https:com\/@SOM\/gordon-bunshaft-4a52e5b2852d#.ehsqny6y3\/\/medium.<\/a>\u00a0(Consultado el 2 de marzo de 2017)<\/p>\n

Krinsky, Carol Herselle. Gordon Bunshaft of Skidmore, Owings & Merrill<\/i>. New York<\/a>: The Architectural History Foundation<\/a>, 1983[:en]

\"Nina
Nina and Gordon Bunshaft in the construction of his East Hampton’s house, New York. Photography: Hans Namuth<\/span><\/figcaption><\/figure><\/p>\n

Few cases there is more paradigmatic on the question of the conservation of the modern architecture that the case Bunshaft. Rough man and of few words, Gordon Bunshaft<\/a> (1909-1990) is known internationally by the Lever House (1952) and by his work in the signature Skidmore, Owings and Merrill (SOM) where it would develop all his career until 1979.\u00a0His work is characterized by a delicate balance between form and construction revealing an elegant utilization of the constructive technology like it can estimate in works as significant as the library Beinecke (1963) in Yale, the Chase Manhattan (1961) or the building Manufacture Trust (1954) both in New York. It was for his direct work or for his hierarchy on other architects of the signature of Chicago, in the middle of the 20th century Bunshaft<\/a>‘s work exercised an enormous influence both in the image of Manhattan and in the downtown<\/em> of several American cities.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller<\/span><\/figcaption><\/figure>\n

In 1962, between the big projects of SOM, Bunshaft he constructs his only one-family housing, for him and his wife Nina, in the Hamptons as retirement of weekend and headquarters of a collection of contemporary art that with great criterion had assembled along his life. Known by the material in which it was re-dressed, the travertine house<\/a> was make it, close to his garden on Georgica Pond, a privileged space in which to be able to enjoy the work of Jean Dubuffet, Alberto Giacometti, Henry Moore or Joan Miro.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller sal\u00f3n<\/span><\/figcaption><\/figure>\n

Without children in the marriage, Bunshaft, which was member of the commission of painting and sculpture of the MoMA, and his wife decide that the museum will be the inheritor of his collection and his housing; fact that takes place with Nina’s death in May, 1994. The MoMA incorporates the sculptures and the painting into his catalogue and sells the housing, without any protection, with the purpose of constituting a bottom of acquisitions that will take the name of Gordon and Nina Bunshaft. The house Martha Stewart is bought by the star of the television in 1995 by a price that overcame 3 million dollars.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Though it seems to be that the intention of the star was to support the house and for it he entrusts an interior remodeling to John Pawson, it will never manage to complete this one. Wrapped in lawsuits with his neighbor, with the reform without completing and the dismantled travertino Martha Stewart yields the house to his daughter Alexis who her will end up by selling in 2004 to the textile businessman Donald Maharam who will be the one that finally knocks down her invoking his deplorable condition of conservation. Ironically Maharam’s company devotes itself to the production of textile designs of the Eames<\/a>, Gio Ponti<\/a> or Verner Panton but this did not avoid the demolition of the housing in 2005. What we still have of this bitter history they are a few planes and the fantastic photographies<\/a> that in 1964 Ezra Stoller<\/a>\u00a0did.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller<\/span><\/figcaption><\/figure>\n

The Bunshaft case<\/a> resembles the recent discovery of the demolition of the Alejandro de la Sota’s house and Guzm\u00e1n\u00b4s house and the consequent polemic in social networks and presses. The circumstances in which there takes place the demolition of both cases are very different but the two express the evident difficulty of protection of the modern heritage and share the laziness, the scorn, the inaction of the institutions and the absence of someone who wants to live the house and to respect her.<\/span><\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller<\/span><\/figcaption><\/figure>\n

Sota1\u00a0<\/sup>was saying that the major problem of the architecture is the solution of the housing and his environment. Architects like Bunshaft or Jack thought about the housing as a way of coming closer the form of life of the human being and both were constructed in a commitment by the means and ideas of his time.<\/span><\/p>\n

\n

\u201cThere is no work without idea<\/span>\u201d,2<\/sup><\/span>\u00a0<\/span><\/p>\n<\/blockquote>\n

he was saying Jack and therefore the demolition of these architectures means the destruction of the thought, the disappearance of an idea on a new possible and different form of to live.<\/p>\n

\"Travertine
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller<\/span><\/figcaption><\/figure>\n

It is possible to turn out to be obvious to remember that the houses belong, not only patrimonial but sentimentally, to the families and in memory of those who lived them. The survival of these housings is linked from his creation to the families that turned them into his home. Without them and in absence of persons ready to a house live through them it begins the descending way towards the ruin. Serve as example the different periods of abandon that masterpieces have suffered as the Tugendhat or the Savoye.<\/p>\n

According to Juhani Pallasmaa the architecture indeed always treats on the life3<\/sup><\/span>; by it the fragility of these houses has to be understood as a metaphor of the own fragility of the human life, of his ethical beginning and his memory. Unlike other architectures, which for being inserted in an urban plot belong to the visual landscape of the cities forming his identity and memory, the modern housing generally belongs to the intimate memory of the families and to the limited circle of the experts and lovers of the architecture. Works like that of Bunshaft and Jack were looking for a way of living that it was re-establishing a relation balanced between the human being and the nature: both were enjoying a natural privileged environment, the Georgica Pond<\/a> in the house of travertino and the bank of the river Jarama in the Guzm\u00e1n. Located in the periphery of big cities and removed from the public area, his demolitions take place with nocturnidad and his disappearance reveals itself, almost always, accidentally.\u00a0<\/span><\/p>\n

\"Georgica
Travertine House, 1963, Gordon Bunshaft, Photography: Ezra Stoller<\/span><\/figcaption><\/figure>\n

The Bunshaft case warns us from that little imports the relevancy of the architecture and the been credit donated to an institution non-profit-making and specialized in the conservation of the art heritage as the MoMA if there is no a suitable and necessary protection of these houses. Without a deep knowledge and social spreading of these architectures, without a joint action of the property and the public and private institutions, these housings turn into obsolete objects which location in plots with a high value can mean his death sentence.<\/p>\n

The disappearance or the death, also that of a house, makes always more questions opened that certainties, probably the only one in the cases Bunshaft and Guzm\u00e1n is that only from the warning of the fragility of the legacy of the modern housing there will be able to be prevented from speaking about the case Dom\u00ednguez or about the case Huarte. In the end, a little we us play in it so, as says Pallasmaa, without these works the possibilities of the mansion it humanizes, of our comprehension of the modernity and of us themselves, they would be considerably weaker.4\u00a0<\/sup><\/span><\/p>\n

\"La
The Guzm\u00e1n House. Fundaci\u00f3n Alejandro de la Sota Archive<\/span><\/figcaption><\/figure>\n

Jos\u00e9 Antonio Sumay Rey. PhD\u00a0Architect
\nMarch\u00a02016, A Coru\u00f1a<\/p>\n

Notes:<\/p>\n

1<\/sup>. de la Sota, Alejandro.<\/a> \u201cEntrevista en revista M\u00e9todo (1968)\u201d. En Escritos conversaciones, conferencias<\/a>, ed. Mois\u00e9s Puente (Barcelona: Gustavo Gili, 2002)<\/span><\/p>\n

2<\/sup>. de la Sota, Alejandro. <\/a>\u201cMemoria de la casa Dom\u00ednguez\u201d. En <\/span>Alejandro de la Sota <\/span><\/i>(Madrid: Pronaos, 1989).<\/span><\/p>\n

3<\/sup>. Pallasmaa, Juhani.<\/a> \u201cIdentidad, intimidad y domicilio\u201d (1994). En Habitar <\/a>Pallasmaa, Juhani (Barcelona: Gustavo Gili, 2016)<\/span><\/p>\n

4<\/sup>.\u00a0Pallasmaa<\/a>, <\/span>op. cit.<\/span><\/i><\/p>\n

Bibliography:<\/p>\n

Adams, Nicholas. \u201cGordon Bunshaft: What convinces is conviction\u201d<\/a>. SOM Journal n\u00ba 9 (2014). https:com\/@SOM\/gordon-bunshaft-4a52e5b2852d#.ehsqny6y3\/\/medium.<\/a>\u00a0(Consulted on March 2, 2017)<\/p>\n

Krinsky, Carol Herselle. Gordon Bunshaft of Skidmore, Owings & Merrill<\/i>. New York<\/a>: The Architectural History Foundation<\/a>, 1983[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Pocos casos hay m\u00e1s paradigm\u00e1ticos sobre la cuesti\u00f3n de la conservaci\u00f3n de la arquitectura moderna que el caso Bunshaft. Hombre \u00e1spero y de pocas palabras, Gordon Bunshaft (1909-1990) es conocido internacionalmente por la Lever House (1952) y por su trabajo en la firma Skidmore, Owings and Merrill (SOM) donde desarrollar\u00eda toda su carrera hasta […]<\/p>\n","protected":false},"author":51,"featured_media":63663,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[93,2631,5865,147,9132,12899,3555,4503,11807,8737,8309,4502,8738,659,668,12900,12586,1541,785,865,8668,887,898,12898,977,12463,2787,1004,3558,2793,10901,1286,12901],"class_list":["post-63658","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-espanola","tag-arquitectura-gallega","tag-arquitectura-moderna","tag-arquitectura-norteamericana","tag-carol-herselle-krinsky","tag-charles-eames","tag-diseno-de-mobiliario","tag-eames-office","tag-ezra-stoller","tag-fundacion-alejandro-de-la-sota","tag-gio-ponti","tag-gordon-bunshaft","tag-habitar","tag-historia","tag-john-pawson","tag-jose-antonio-sumay-rey","tag-juhani-pallasmaa","tag-le-corbusier","tag-mies-van-der-rohe","tag-moises-puente","tag-moma","tag-movimiento-moderno","tag-nicholas-adams","tag-paisaje","tag-patrimonio","tag-patrimonio-cultural","tag-patrimonio-historico","tag-ray-eames","tag-raycharles-eames","tag-skidmore-owings-merrill","tag-territorio","tag-verner-panton"],"yoast_head":"\n[:es]El caso Bunshaft.\u00a0Apuntes sobre la fragilidad | Jos\u00e9 Antonio Sumay Rey[:gl]O caso Bunshaft.\u00a0Apuntamentos sobre a fraxilidade | Jos\u00e9 Antonio Sumay Rey[:en]The Bunshaft case. 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