{"id":65224,"date":"2017-10-13T00:03:13","date_gmt":"2017-10-12T22:03:13","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=65224"},"modified":"2023-01-28T10:27:48","modified_gmt":"2023-01-28T09:27:48","slug":"ingenieria-del-ingenio-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/ingenieria-del-ingenio-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Ingenier\u00eda del Ingenio | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Enxe\u00f1er\u00eda do Enxe\u00f1o | Miguel \u00c1ngel D\u00edaz Camacho[:en]Engineering of the Ingenuity | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Imagen
Imagen incluida en Wilhide, Elisabeth; \u00abEdwin Lutyens, Designing in the English Tradition<\/a>\u00ab, London, Pavilion, 2000, p\u00e1g. 180.<\/span><\/figcaption><\/figure><\/p>\n

La arquitectura solicita una cierta predisposici\u00f3n ante el hallazgo, algo parecido a un estado de expectaci\u00f3n. El placer del descubrimiento es adictivo, estimulante desde la militancia del m\u00e1s contumaz de los ingenios, a menudo \u00edntimamente relacionado con el sentido del humor y, en \u00faltima instancia, la inteligencia.\u00a0Imaginamos que precisamente a esto se refiere Alejandro de la Sota<\/a> cuando afirma de forma luminosa que la arquitectura \u00abda risa\u00bb, para concluir\u00a0inmediatamente despu\u00e9s con un doloroso \u00abla vida no<\/em>\u00ab. Su manera de bromear era decir la verdad.<\/p>\n

El banco que aparece en la imagen cumple ahora m\u00e1s de 100 a\u00f1os. Se trata de un dise\u00f1o de\u00a0Edwin Lutyens<\/a> para el jard\u00edn de la casa de Ednaston Manor<\/a> (1912-19), uno de los proyectos que el arquitecto brit\u00e1nico aborda desde la\u00a0variante neocl\u00e1sica del estilo\u00a0Queen Anne.<\/em>1 <\/sup>La incorporaci\u00f3n de una enorme rueda en un extremo y dos asideros en el otro, transforma el banco en una forma extra\u00f1a de carruaje, un artefacto desde luego muy poco\u00a0neocl\u00e1sico\u00a0<\/em>que permite su f\u00e1cil transporte. Imaginamos la sonrisa taimada de Lutyens ante esta criatura engendrada como un injerto, a medio camino entre la c\u00f3moda y el carret\u00f3n: un objeto sin duda alejado de los c\u00e1nones culturales de su espacio y tiempo.2<\/sup><\/p>\n

La arquitectura necesita del ingenio como instrumento de transformaci\u00f3n de las rutinas del mundo. Desde la predisposici\u00f3n ante el hallazgo se despliega en el fondo una forma determinada de conocimiento, una mirada higi\u00e9nica que nos libera de la tentaci\u00f3n de tomarnos demasiado en serio: perder la\u00a0gravedad.\u00a0<\/em>Como si la imaginaci\u00f3n fuese no ya<\/p>\n

\n

\u00abm\u00e1s importante que el conocimiento\u00bb (Einstein),<\/p>\n<\/blockquote>\n

sino literalmente, m\u00e1s ligera. Tan ligera que lo grande se hiciera peque\u00f1o y lo peque\u00f1o grande; tan ligera que lo importante no fuera sino aquello verdaderamente secundario.3<\/sup><\/p>\n

Reivindicamos para la arquitectura un sentido m\u00e1s all\u00e1 de la medida y la escala; un sentido menos tangible y ortodoxo, pero no por ello menos necesario y conveniente; un sentido al margen de la gravedad y de la t\u00e9cnica; un sentido que nos devuelva las razones del humor. Una ingenier\u00eda del ingenio.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Junio\u00a02015.
\nAutor de\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1 <\/sup>Continuando con la idea de proyectar casas para jardines y no a la inversa, Lutyens prestar\u00e1 gran atenci\u00f3n al paisaje como organismo dentro del cual debe surgir la arquitectura.<\/p>\n

2 <\/sup>La movilidad del banco no es un asunto menor, pues permite reconfigurar continuamente la mirada sobre el jard\u00edn, transformando un territorio habitualmente conocido y estable en un paisaje cambiante y movedizo, no ya por la posici\u00f3n impredecible de los bancos, sino por las nuevas perspectivas y situaciones que \u00e9stos ahora nos ofrecen.<\/p>\n

3 <\/sup>Imposible no recordar aqu\u00ed las puertas levadizas de O\u00edza en \u00abOtras puertas<\/a>\u00ab, o el acceso de la vivienda del conserje en el proyecto Alejandro de Sota para el Museo Provincial de Le\u00f3n, acceso principal del edificio del antiguo Obispado, reservando una peque\u00f1a puerta secundaria como nuevo acceso \u00abprincipal\u00bb al museo.<\/p>\n

[:gl]

\"Imagen
Imaxe incluida no\u00a0Wilhide, Elisabeth; \u00abEdwin Lutyens, Designing in the English Tradition<\/a>\u00ab, London, Pavilion, 2000, p\u00e1x. 180.<\/span><\/figcaption><\/figure><\/p>\n

A arquitectura solicita unha certa predisposici\u00f3n ante o achado, algo parecido a un estado de expectaci\u00f3n. O pracer do descubrimento \u00e9 adictivo, estimulante desde a militancia do m\u00e1is contumaz dos enxe\u00f1os, a mi\u00fado intimamente relacionado co sentido do humor e, en \u00faltima instancia, a intelixencia. Imaxinamos que precisamente a isto ref\u00edrese Alejandro de la Sota<\/a> cando afirma de forma luminosa que a arquitectura \u00abd\u00e1 risa\u00bb, para conclu\u00edr inmediatamente despois cun doloroso \u00aba vida non<\/em>\u00ab. A s\u00faa maneira de chancear era dicir a verdade.<\/p>\n

O banco que aparece na imaxe cumpre agora m\u00e1is de 100 anos. Tr\u00e1tase dun dese\u00f1o de Edwin Lutyens<\/a> para o xard\u00edn da casa de Ednaston Manor<\/a> (1912-19), un dos proxectos que o arquitecto brit\u00e1nico aborda desde a variante neocl\u00e1sica do estilo Queen Anne.<\/em>1\u00a0<\/sup>A incorporaci\u00f3n dunha enorme roda nun extremo e dous asideros no outro, transforma o banco nunha forma estra\u00f1a de carruaxe, un artefacto desde logo moi pouco neocl\u00e1sico<\/em> que permite o seu f\u00e1cil transporte. Imaxinamos o sorriso taimada de Lutyens ante esta criatura procreada como un enxerto, a medio cami\u00f1o entre a c\u00f3moda e o carret\u00f3n: un obxecto sen d\u00fabida afastado dos canons culturais do seu espazo e tempo.2<\/sup><\/p>\n

A arquitectura necesita do enxe\u00f1o como instrumento de transformaci\u00f3n das rutinas do mundo. Desde a predisposici\u00f3n ante o achado despr\u00e9gase no fondo unha forma determinada de co\u00f1ecemento, unha mirada hixi\u00e9nica que nos libera da tentaci\u00f3n de tomarnos demasiado en serio: perder a gravidade<\/em>. Coma se a imaxinaci\u00f3n fose non xa<\/p>\n

\n

\u00abm\u00e1is importante que o co\u00f1ecemento\u00bb (Einstein<\/a>),<\/p>\n<\/blockquote>\n

sen\u00f3n literalmente, m\u00e1is lixeira. Tan lixeira que o grande fix\u00e9sese pequeno e o pequeno grande; tan lixeira que o importante non fose sen\u00f3n aquilo verdadeiramente secundario.3<\/sup><\/p>\n

Reivindicamos para a arquitectura un sentido m\u00e1is al\u00f3 da medida e a escala; un sentido menos tanxible e ortodoxo, pero non por iso menos necesario e conveniente; un sentido \u00e1 marxe da gravidade e da t\u00e9cnica; un sentido que nos devolva as raz\u00f3ns do humor. Unha enxe\u00f1er\u00eda do enxe\u00f1o.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Xu\u00f1o\u00a02015.
\nAutor de\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1 <\/sup>Continuando coa idea de proxectar casas para xard\u00edns e non \u00e1 inversa, Lutyens prestar\u00e1 gran atenci\u00f3n \u00e1 paisaxe como organismo dentro do cal debe xurdir a arquitectura.<\/p>\n

2 <\/sup>A mobilidade do banco non \u00e9 un asunto menor, pois permite reconfigurar continuamente a mirada sobre o xard\u00edn, transformando un territorio habitualmente co\u00f1ecido e estable nunha paisaxe cambiante e movedizo, non xa pola posici\u00f3n impredicible dos bancos, sen\u00f3n polas novas perspectivas e situaci\u00f3ns que estes agora ofr\u00e9cennos.<\/p>\n

3 <\/sup>Imposible non lembrar aqu\u00ed as portas levadizas de O\u00edza en \u00abOutras portas<\/a>\u00ab, ou o acceso da vivenda do conserxe no proxecto Alejandro de Sota para o Museo Provincial de Le\u00f3n, acceso principal do edificio do antigo Bispado, reservando unha pequena porta secundaria como novo acceso \u00abprincipal\u00bb ao museo.<\/p>\n

[:en]

\"Imagen
Imagen is included in Wilhide, Elisabeth; \u00abEdwin Lutyens, Designing in the English Tradition<\/a>\u00ab, London, Pavilion, 2000, p\u00e1g. 180.<\/span><\/figcaption><\/figure><\/p>\n

The architecture requests a certain predisposition before the finding, something similar to a condition of expectation. The pleasure of the discovery is addictive, stimulant from the militancy of the most contumacious of the ingenuities, often intimately related to the sense of the humor and, in last instance, the intelligence. We imagine that precisely to this Alejandro de la Sota<\/a> refers when it affirms of luminous form that the architecture \u00abgives laugh\u00bb, to conclude immediately later with the painful one \u00abthe life not\u00bb<\/em>. His way of joking was to tell the truth.<\/p>\n

The bank that appears in the image expires now more than 100 years. It is a question of Edwin Lutyens<\/a>‘s design for the garden of the house of Ednaston Manor<\/a> (1912-19), one of the projects that the British architect approaches from the neoclassic variant of the style Queen Anne.<\/em>1\u00a0<\/sup>The incorporation of an enormous wheel in an end and two handles in other one, the bank transforms into a strange form of carriage, an appliance certainly very slightly neoclassic<\/em> that allows his easy transport. We imagine Lutyens’s crafty smile before this creature generated as a graft, to half a way between the commode and the cart: an object undoubtedly removed from the cultural c\u00e1nones of his space and time.2<\/sup><\/p>\n

The architecture needs from the ingenuity as instrument of transformation of the routines of the world. From the predisposition before the finding despliega in the bottom a certain form of knowledge, a hygienic look that liberates us of the temptation from taking us too seriously: to lose the gravity. As if the imagination was not already<\/p>\n

\u00abmore importantly than the knowledge\u00bb (Einstein),<\/p><\/blockquote>\n

but literally, more light. So light that the big thing was becoming small and the big small thing; so light that the important thing was not but that one really secundario.3<\/sup><\/p>\n

We claim for the architecture a sense beyond the measure and the scale; a less tangible and orthodox sense, but not for less necessary and suitable it; a sense to the margin of the gravity and of the technology; a sense that returns the reasons of the humor to us. An engineering of the ingenuity.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD Architect
\nMadrid. Juny 2015.
\nAuthor of the\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notes:<\/p>\n

1 <\/sup>Continuing with the idea of projecting houses for gardens and not inversely, Lutyens will give great attention to the landscape as organism inside which the architecture must arise.<\/p>\n

2 <\/sup>The mobility of the bank is not a minor matter, since it allows to re-form constant the look on the garden, transforming a habitually known and stable territory into a changeable and movable landscape, not already for the unpredictable position of the banks, but for the new perspectives and situations that these now offer us.<\/p>\n

3 <\/sup>Impossible not to remember here O\u00edza’s that can be raised doors in \u00abOther doors<\/a>\u00ab, or the access of the housing of the janitor in the project Alejandro of Jack for the Provincial Museum of Le\u00f3n, principal access of the building of the former Bishopric, reserving a small secondary door as new \u00abprincipal\u00bb access to the museum.<\/p>\n

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

[:es] La arquitectura solicita una cierta predisposici\u00f3n ante el hallazgo, algo parecido a un estado de expectaci\u00f3n. El placer del descubrimiento es adictivo, estimulante desde la militancia del m\u00e1s contumaz de los ingenios, a menudo \u00edntimamente relacionado con el sentido del humor y, en \u00faltima instancia, la inteligencia.\u00a0Imaginamos que precisamente a esto se refiere Alejandro […]<\/p>\n","protected":false},"author":5,"featured_media":65225,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[6575,93,7446,9266,362,1595,659,668,712,6465,1021,1865,1278],"class_list":["post-65224","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-albert-einstein","tag-alejandro-de-la-sota","tag-arquitectura-inglesa","tag-arquitectura-neoclasica","tag-conocimiento","tag-francisco-javier-saenz-de-oiza","tag-habitar","tag-historia","tag-ingenieria","tag-miguel-angel-diaz-camacho","tag-pensamiento","tag-reflexion","tag-teoria"],"yoast_head":"\n[:es]Ingenier\u00eda del Ingenio | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Enxe\u00f1er\u00eda do Enxe\u00f1o | Miguel \u00c1ngel D\u00edaz Camacho[:en]Engineering of the Ingenuity | Miguel \u00c1ngel D\u00edaz Camacho[:] - veredes<\/title>\n<meta name=\"description\" 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