{"id":63722,"date":"2017-03-31T00:34:39","date_gmt":"2017-03-30T22:34:39","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=63722"},"modified":"2019-11-05T18:42:12","modified_gmt":"2019-11-05T17:42:12","slug":"huellas-coberturas-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/huellas-coberturas-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Huellas y coberturas | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Pegadas e coberturas | Miguel \u00c1ngel D\u00edaz Camacho[:en]Fingerprints and coverages | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Pabell\u00f3n
Pabell\u00f3n de Brasil en la Exposici\u00f3n Internacional de Osaka, Jap\u00f3n, Paulo Mendes da Rocha, 1970 | Fotograf\u00eda: Fujita Architects Office<\/span><\/figcaption><\/figure><\/p>\n

La arquitectura nace desde la minuciosa ordenaci\u00f3n de huellas y coberturas. En ocasiones una de ellas ser\u00e1 suficiente. La huella se establece como un vestigio, una se\u00f1al, una grabadura o una emergencia sobre el paisaje: la tierra como<\/p>\n

\n

\u00abla forma m\u00e1s simple de la arquitectura\u00bb.1<\/sup><\/p>\n<\/blockquote>\n

El hecho de extender al aire una superficie protectora, tender una cobertura como quien tiende un puente o una red, supone una segunda acci\u00f3n complementaria, pero independiente, de la primera: los estratos tierra – aire establecen para s\u00ed mismos una suerte de privilegios y servidumbres.<\/p>\n

En 1949 J\u00d8rn Utzon descubre durante un viaje de estudio a M\u00e9xico las plataformas mayas en la pen\u00ednsula de Yucat\u00e1n. Sus dibujos muestran la autoridad del plano sobre la selva, verdadero instrumento geogr\u00e1fico de activaci\u00f3n del paisaje. La monta\u00f1a como una huella prominente, un territorio artificial, un monumento naturalizado a modo de t\u00famulo funerario, indicio de la vida valerosa del guerrero ilustre. Por otro lado, los dibujos de nubes sobre el mar realizados por el propio Utzon en \u00abPlataformas y Mesetas\u00bb,2<\/sup>\u00a0constituyen una referencia directa a la importancia de la cobertura sobre el horizonte, nubes precisamente separadas de \u00e9ste, independientes de la salinidad y el movimiento de las mareas, completamente libres a su naturaleza.<\/p>\n

El proyecto<\/a> de Paulo Mendes da Rocha en Osaka 1970, resuelve con esmero la aproximaci\u00f3n de ambos estratos3<\/sup>. Por un lado la tierra como topograf\u00eda de formas suaves y redondeadas, dir\u00edamos \u00abde nueva levadura\u00bb,4<\/sup> como el pan desplegado en forma de paisaje habitado, como la cueva de tiempo inmemorial. Por otro lado, la cubierta de hormig\u00f3n levita sobre la suave geograf\u00eda desde tan solo cuatro puntos de apoyo, gracias en este caso a la t\u00e9cnica del pre-tensado: un horizonte a\u00e9reo de orden estructural y geom\u00e9trico completamente ajeno a la orograf\u00eda inferior terrestre. Nubes y monta\u00f1as, ligereza y pesantez, naturaleza y artificio. La dial\u00e9ctica hegeliana o la arquitectura como gravitaci\u00f3n, el\u00a0juego sabio<\/em>\u00a0de superposiciones bajo la luz. La arquitectura como articulaci\u00f3n de huellas y coberturas.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Febrero\u00a02015.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Lloyd Wright, Frank. \u00abThe future of architecture<\/a>\u00ab, Horizon Press, NY, 1953. Edici\u00f3n consultada \u00abEl futuro de la arquitectura<\/a>\u00ab, Buenos Aires, Poseid\u00f3n, 2008, p\u00e1g. 33.<\/p>\n

2<\/sup> \u00abPlataformas y Mesetas: ideas de un arquitecto dan\u00e9s<\/a>\u00ab, J\u00d8rn Utzon 1954.<\/p>\n

3<\/sup> Pabell\u00f3n de Brasil en la Exposici\u00f3n Internacional de Osaka, Jap\u00f3n, Paulo Mendes da Rocha<\/a>, 1970.<\/p>\n

4<\/sup>\u00a0Rodr\u00edguez, Claudio. Casi una Leyenda<\/a>, Barcelona, Tusquets, 2006, \u00abNuevo d\u00eda\u00bb, p\u00e1g. 31.[:gl]

\"Pabell\u00f3n
Pavill\u00f3n de Brasil na Exposici\u00f3n Internacional de Osaka, Jap\u00f3n, Paulo Mendes da Rocha, 1970 | Fotograf\u00eda: Fujita Architects Office<\/span><\/figcaption><\/figure><\/p>\n

A arquitectura nace desde a minuciosa ordenaci\u00f3n de pegadas e coberturas. En ocasi\u00f3ns unha delas ser\u00e1 suficiente. A pegada establ\u00e9cese como un vestixio, un sinal, unha grabadura ou unha emerxencia sobre a paisaxe: a terra como<\/p>\n

\n

\u00aba forma m\u00e1is simple da arquitectura\u00bb.1<\/sup><\/p>\n<\/blockquote>\n

O feito de estender ao aire unha superficie protectora, tender unha cobertura como quen tende unha ponte ou unha rede, sup\u00f3n unha segunda acci\u00f3n complementaria, pero independente, da primeira: os estratos terra – aire establecen para si mesmos unha sorte de privilexios e servidumes.<\/p>\n

En 1949 J\u00d8rn Utzon descobre durante unha viaxe de estudo a M\u00e9xico as plataformas mayas na pen\u00ednsula de Iucat\u00e1n. Os seus debuxos mostran a autoridade do plano sobre a selva, verdadeiro instrumento xeogr\u00e1fico de activaci\u00f3n da paisaxe. A monta\u00f1a como unha pegada prominente, un territorio artificial, un monumento naturalizado a modo de t\u00famulo funerario, indicio da vida valerosa do guerreiro ilustre. Doutra banda, os debuxos de nubes sobre o mar realizados polo propio Utzon en \u00abPlataformas e Mesetas\u00bb,2<\/sup> constit\u00faen unha referencia directa \u00e1 importancia da cobertura sobre o horizonte, nubes precisamente separadas deste, independentes da salinidade e o movemento das mareas, completamente libres \u00e1 s\u00faa natureza.<\/p>\n

O proxecto<\/a> de Paulo Mendes d\u00e1 Rocha en Osaka 1970, resolve con esmero a aproximaci\u00f3n de ambos os estratos3. Por unha banda a terra como topograf\u00eda de formas suaves e redondeadas, diriamos \u00abde novo fermento\u00bb,4<\/sup> como o pan despregado en forma de paisaxe habitada, como a cova de tempo inmemorial. Doutra banda, a cuberta de formig\u00f3n levita sobre a suave xeograf\u00eda desde tan s\u00f3 catro puntos de apoio, grazas neste caso \u00e1 t\u00e9cnica do pre-tensado: un horizonte a\u00e9reo de orde estrutural e xeom\u00e9trica completamente alleo \u00e1 orograf\u00eda inferior terrestre. Nubes e monta\u00f1as, lixeireza e pesantez, natureza e artificio. A dial\u00e9ctica hegeliana ou a arquitectura como gravitaci\u00f3n, o xogo sabio<\/em> de superposiciones baixo a luz. A arquitectura como articulaci\u00f3n de pegadas e coberturas.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Febreiro\u00a02015.
\nAutor de Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Lloyd Wright, Frank. \u00abThe future of architecture<\/a>\u00ab, Horizon Press, NY, 1953. Edici\u00f3n consultada \u00abEl futuro de la arquitectura<\/a>\u00ab, Buenos Aires, Poseid\u00f3n, 2008, p\u00e1g. 33.<\/p>\n

2<\/sup> \u00abPlataformas e\u00a0Mesetas: ideas dun arquitecto dan\u00e9s<\/a>\u00ab, J\u00d8rn Utzon 1954.<\/p>\n

3<\/sup> Pavill\u00f3n de Brasil na Exposici\u00f3n Internacional de Osaka, Jap\u00f3n, Paulo Mendes da Rocha<\/a>, 1970.<\/p>\n

4<\/sup>\u00a0Rodr\u00edguez, Claudio. Casi unha Lenda<\/a>, Barcelona, Tusquets, 2006, \u00abNovo d\u00eda\u00bb, p\u00e1x. 31.[:en]

\"Pabell\u00f3n
Brazil Pavilion in the International Exhibition of Osaka, Japan, Paulo Mendes da Rocha, 1970 | Photography: Fujita Architects Office<\/span><\/figcaption><\/figure><\/p>\n

The architecture is born from the meticulous arrangement of fingerprints and coverages. In occasions one of them will be sufficient. The fingerprint is established as a vestige, a sign, an engraving or an emergency on the landscape: the land like<\/p>\n

\n

\u00abthe simplest form of the architecture\u00bb.1<\/sup><\/p>\n<\/blockquote>\n

The fact of extending to the air a protective surface, of stretching a coverage like who it builds bridges or a network, supposes the second complementary, but independent action, of the first one: the strata land – air establish for yes same a luck of privileges and servitudes.<\/p>\n

In 1949 J\u00d8rn Utzon it discovers during a trip of study to Mexico the Mayan platforms in the peninsula of Yucatan. His drawings show the authority of the plane on the jungle, real geographical instrument of activation of the landscape. The mountain like a prominent fingerprint, an artificial territory, a monument naturalized like funeral tomb, indication of the courageous life of the illustrious warrior. On the other hand, the drawings clouds on the sea realized by the own Utzon in \u00abPlatforms and Plateaus\u00bb,2 <\/sup>constitute a direct reference to the importance of the coverage on the horizon, clouds precisely separated from this one, independent from the salinity and the movement of the tides, completely free to his nature.<\/p>\n

Paulo Mendes da Rocha’s project <\/a>in Osaka 1970, solves neatly the approximation of both estratos3. On the one hand the land as topography of soft and rounded forms, we would say \u00bb of new yeast \u00ab, 4 as the bread opened in the shape of inhabited landscape, as the cave of immemorial time. On the other hand, the cover of concrete Levite on the soft geography from only four points of support, graces in this case to the technology of the pre – tightened: an air horizon of structural and geometric order completely foreign to the low terrestrial orography. Clouds and mountains, lightness and pesantez, nature and artifice. The Hegelian dialectics or the architecture as gravitation, the wise game<\/em> of overlappings under the light. The architecture like joint of fingerprints and coverages.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD\u00a0Architect
\nMadrid. February 2015.
\nAuthor of\u00a0Parr\u00e1fos de arquitectura<\/em>. #arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Lloyd Wright, Frank. \u00abThe future of architecture<\/a>\u00ab, Horizon Press, NY, 1953. Consulted edition \u00abEl futuro de la arquitectura<\/a>\u00ab, Buenos Aires, Poseid\u00f3n, 2008, p\u00e1g. 33.<\/p>\n

2<\/sup> \u00abPlatforms and Plateaus: ideas of a Danish architect<\/a>\u00ab, J\u00d8rn Utzon 1954.<\/p>\n

3<\/sup>\u00a0Brazil Pavilion in the International Exhibition of Osaka, Japan, Paulo Mendes da Rocha<\/a>, 1970.<\/p>\n

4<\/sup>\u00a0Rodr\u00edguez, Claudio. Almost a Legend<\/a>, Barcelona, Tusquets, 2006, \u00abNew day\u00bb, page. 31.[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] La arquitectura nace desde la minuciosa ordenaci\u00f3n de huellas y coberturas. En ocasiones una de ellas ser\u00e1 suficiente. La huella se establece como un vestigio, una se\u00f1al, una grabadura o una emergencia sobre el paisaje: la tierra como \u00abla forma m\u00e1s simple de la arquitectura\u00bb.1 El hecho de extender al aire una superficie protectora, […]<\/p>\n","protected":false},"author":5,"featured_media":63723,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[12448,5864,143,7203,3657,605,6925,2774,815,6465,2196,1021,1865,1278],"class_list":["post-63722","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura","tag-arquitectura-brasilena","tag-arquitectura-contemporanea","tag-arquitectura-danesa","tag-arquitectura-japonesa","tag-frank-lloyd-wright","tag-georg-wilhelm-friedrich-hegel","tag-jorn-utzon","tag-maestro","tag-miguel-angel-diaz-camacho","tag-paulo-mendes-da-rocha","tag-pensamiento","tag-reflexion","tag-teoria"],"yoast_head":"\n[:es]Huellas y coberturas | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Pegadas e coberturas | Miguel \u00c1ngel D\u00edaz Camacho[:en]Fingerprints and coverages | Miguel \u00c1ngel D\u00edaz Camacho[:] - 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