{"id":65235,"date":"2017-12-22T00:03:43","date_gmt":"2017-12-21T23:03:43","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=65235"},"modified":"2020-03-06T18:00:34","modified_gmt":"2020-03-06T17:00:34","slug":"contemporaneos-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/contemporaneos-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Contempor\u00e1neos | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Contempor\u00e1neos | Miguel \u00c1ngel D\u00edaz Camacho[:en]Contemporary | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Fco.
Fco. Javier S\u00e1enz de O\u00edza en el Parten\u00f3n, Atenas 1984, revista El Croquis n.32-33, p\u00e1g. 19 (autor desconocido).<\/span><\/figcaption><\/figure><\/p>\n

El poeta argentino \u00a0se preguntaba sobre sus contempor\u00e1neos, estableciendo condiciones y modos de coexistencia m\u00e1s all\u00e1 de un tiempo y de una \u00e9poca:\u00a0\u00bfqui\u00e9nes son mis contempor\u00e1neos?<\/em>\u00a0se dec\u00eda. La pregunta despierta enorme inter\u00e9s, m\u00e1s a\u00fan en el momento actual, un presente desplazado y especulativo en el que la etiqueta \u00abcontempor\u00e1neo\u00bb se presenta como fiel acompa\u00f1ante de las m\u00e1s edulcoradas felon\u00edas: les propongo indagar desde su buscador favorito cualquier\u00a0cosa\u00a0<\/em>seguida del adjetivo -contempor\u00e1neo-\u00a0y\u00a0comprobar\u00e1n que lo expresado aqu\u00ed no responde a exageraci\u00f3n o desatino, especialmente si se buscan im\u00e1genes tecleando (en dos palabras como dir\u00eda el torero)\u00a0arquitectura contempor\u00e1nea<\/em>.<\/p>\n

En la imagen O\u00edza toma algunos apuntes en las ruinas del Parten\u00f3n en Atenas, pero no como el que registra el estado de un cad\u00e1ver, sino m\u00e1s bien como quien busca\u00a0el principio de un orden<\/a>, una sustancia arquitect\u00f3nica que habitara a trav\u00e9s del tiempo y la cultura:<\/p>\n

\n

\u00abEstoy m\u00e1s cerca de Alberti y de Palladio que los j\u00f3venes\u00bb.1<\/sup><\/p>\n<\/blockquote>\n

Como si los dos maestros del Renacimiento fueran en realidad sus contempor\u00e1neos m\u00e1s cercanos. Otros como Sou Fujimoto<\/a> han trabajado en los \u00faltimos a\u00f1os sobre una contemporaneidad suspendida, un\u00a0futuro primitivo\u00a0<\/em>en el que la arquitectura se presenta como un estadio de la memoria:<\/p>\n

\n

\u00abSiento que existo en un mundo en el cual todo -desde los albores de la civilizaci\u00f3n, el antiguo Egipto, incluso la modernidad y lo contempor\u00e1neo- contin\u00faa fluyendo de forma paralela. […] Hacer arquitectura es dise\u00f1ar ruinas con meticulosidad\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

La ruina puede representar el final, pero tambi\u00e9n el origen, de la arquitectura. Tal vez lo contempor\u00e1neo constituya un estado de inmanencia, una colecci\u00f3n de valores y afinidades electivas capaces de trascender, parafraseando a Warhol, nuestros\u00a0quince minutos de fama<\/em>.<\/p>\n

\n

\u00abSiempre puede uno encontrar contempor\u00e1neos en cualquier lugar del tiempo…\u00bb.3<\/sup><\/p>\n<\/blockquote>\n

La voz narrativa de Eduardo Galeano<\/a> nos propone un tejido humano Universal y conjuntivo, una genealog\u00eda siempre atenta al mundo y sus virajes, un principio fundacional de una cultura anterior incluso a la palabra. Conviene no confundir los destellos de lo fugaz, con los fluidos poderosos que conectan a los Hombres y sus contempor\u00e1neos.<\/p>\n

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

Notas:<\/p>\n

1<\/sup> Fco. Javier S\u00e1enz de O\u00edza, revista El Croquis n.32-33<\/a>, p\u00e1g. 18.<\/p>\n

2<\/sup> Sou Fujimoto, revista El Croquis n.151<\/a>, p\u00e1gs. 18 y 213.<\/p>\n

3<\/sup> \u00ab…y compatriotas en cualquier lugar del mundo\u00bb. Eduardo Galeano.\u00a0El libro de los abrazos<\/em><\/a>, Madrid, Siglo XXI, 2012, p\u00e1g. 231.[:gl]

\"Fco.
Fco. Javier S\u00e1enz de O\u00edza no\u00a0Parten\u00f3n, Atenas 1984, revista El Croquis n.32-33, p\u00e1x. 19 (autor desco\u00f1ecido).<\/span><\/figcaption><\/figure><\/p>\n

O poeta arxentino \u00a0pregunt\u00e1base sobre os seus contempor\u00e1neos, establecendo condici\u00f3ns e modos de coexistencia m\u00e1is al\u00f3 dun tempo e dunha \u00e9poca: quen son os meus contempor\u00e1neos?<\/em> dic\u00edase. A pregunta esperta enorme interese, m\u00e1is a\u00ednda no momento actual, un presente desprazado e especulativo no que a etiqueta \u00abcontempor\u00e1neo\u00bb pres\u00e9ntase como fiel acompa\u00f1ante das m\u00e1is edulcoradas felon\u00edas: prop\u00f3\u00f1olles indagar desde o seu buscador favorito calquera cousa seguida do adxectivo -contempor\u00e1neo- e comprobar\u00e1n que o expresado aqu\u00ed non responde a esaxeraci\u00f3n ou desatino, especialmente se se buscan imaxes tecleando (en d\u00faas palabras como dir\u00eda o toureiro) arquitectura contempor\u00e1nea.<\/em><\/p>\n

Na imaxe O\u00edza toma alg\u00fans apuntamentos nas ru\u00ednas do Parten\u00f3n en Atenas, pero non como o que rexistra o estado dun cad\u00e1ver, sen\u00f3n m\u00e1is ben como quen busca o principio dunha orde<\/em><\/a>, unha sustancia arquitect\u00f3nica que habitase a trav\u00e9s do tempo e a cultura:<\/p>\n

\n

\u00abEstou m\u00e1is preto de Alberti e de Palladio que os mozos\u00bb.1<\/sup><\/p>\n<\/blockquote>\n

Coma se os dous mestres do Renacemento fosen en realidade os seus contempor\u00e1neos m\u00e1is pr\u00f3ximos. Outros como Sou Fujimoto<\/a> traballaron nos \u00faltimos anos sobre unha contemporaneidad suspendida, un futuro primitivo<\/em> no que a arquitectura se presenta como un estadio da memoria:<\/p>\n

\n

\u00abSinto que existo nun mundo no cal todo -desde os albores da civilizaci\u00f3n, o antigo Exipto, incluso a modernidade e o contempor\u00e1neo- contin\u00faa flu\u00edndo de forma paralela. […] Facer arquitectura \u00e9 dese\u00f1ar ru\u00ednas con meticulosidade\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

A ru\u00edna pode representar o final, pero tam\u00e9n a orixe, da arquitectura. Talvez o contempor\u00e1neo constit\u00faa un estado de inmanencia, unha colecci\u00f3n de valores e afinidades electivas capaces de transcender, parafraseando a Warhol, os nosos quince minutos de fama.<\/em><\/p>\n

\n

\u00abSempre pode un atopar contempor\u00e1neos en calquera lugar do tempo…\u00bb.3<\/sup><\/p>\n<\/blockquote>\n

A voz narrativa de Eduardo Galeano<\/a> proponnos un tecido humano Universal e conjuntivo, unha xenealox\u00eda sempre atenta ao mundo e as s\u00faas viraxes, un principio fundacional dunha cultura anterior mesmo \u00e1 palabra. Conv\u00e9n non confundir os escintileos do fugaz, cos flu\u00eddos poderosos que conectan aos Homes e os seus contempor\u00e1neos.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Setembro 2015.
\nAutor de\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1<\/sup> Fco. Javier S\u00e1enz de O\u00edza, revista El Croquis n.32-33<\/a>, p\u00e1x. 18.<\/p>\n

2<\/sup> Sou Fujimoto, revista El Croquis n.151<\/a>, p\u00e1xs. 18 e\u00a0213.<\/p>\n

3<\/sup> \u00ab…e compatriotas en cualquera lugar do mundo\u00bb. Eduardo Galeano.\u00a0El libro de los abrazos<\/em><\/a>, Madrid, Siglo XXI, 2012, p\u00e1g. 231.[:en]

\"Fco.
Fco. Javier S\u00e1enz de O\u00edza in the\u00a0Parten\u00f3n, Atenas 1984, revista El Croquis n.32-33, pag. 19 (unknown author).<\/span><\/figcaption><\/figure><\/p>\n

The Argentine poet was wondering on his contemporary ones, establishing conditions and manners of coexistence beyond a time and an epoch: those who are my contemporary?<\/em> It was said. The awake enormous question interest, even more in the current moment, a displaced and speculative present in which the label \u00abcontemporary\u00bb appears as faithful accompanist of the most sweetened felonies: I propose them to investigate from his favorite seeker any thing followed by the adjective – contemporary – and they will verify that the expressed here does not answer to exaggeration or mistake, specially if images are looked being bad (in two words as the bullfighter would say) contemporary architecture.<\/em><\/p>\n

In the image O\u00edza it takes some notes in the ruins of the Parthenon in Athens, but not as the one that registers the condition of a corpse, but rather as whom it looks for the beginning of an order<\/em><\/a>, an architectural substance that he was living across the time and the culture:<\/p>\n

\n

\u00abI am more near Alberti and Palladio that the young persons\u00bb.1<\/sup><\/p>\n<\/blockquote>\n

As if both teachers of the Renaissance were actually his contemporary nearest ones. Others as Sou Fujimoto<\/a> have been employed in the last years on a suspended contemporaneousness, a primitive future<\/em> at the one that the architecture appears as a stadium of the memory:<\/p>\n

Como si los dos maestros del Renacimiento fueran en realidad sus contempor\u00e1neos m\u00e1s cercanos. Otros como Sou Fujimoto<\/a> han trabajado en los \u00faltimos a\u00f1os sobre una contemporaneidad suspendida, un\u00a0futuro primitivo\u00a0<\/em>en el que la arquitectura se presenta como un estadio de la memoria:<\/p>\n

\n

\u00abI feel that I exist in a world in which everything – from the whiteness of the civilization, the former Egypt, even the modernity and the contemporary thing – continues flowing of parallel form. […] To do architecture it is to design ruins with meticulousness\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

The ruin can represent the end, but also the origin, of the architecture. Maybe the contemporary thing constitutes a condition of immanence, a collection of values and elective affinities capable of coming out, paraphrasing Warhol, our fifteen minutes of reputation.<\/em><\/p>\n

\n

\u00abAlways one can find contemporary in the any place of the time…\u00bb.3<\/sup><\/p>\n<\/blockquote>\n

Eduardo Galeano<\/a>‘s narrative voice proposes us a human Universal and conjunctive fabric, a genealogy always attentive to the world and his turns, a beginning fundacional of a previous culture even to the word. It suits not to confuse the sparkles of the fleeting thing, with the powerful fluids that connect to the Men and his contemporary ones.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. PhD\u00a0Architect
\nMadrid. September 2015.
\nAuthor of the\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notes:<\/p>\n

1<\/sup> Fco. Javier S\u00e1enz de O\u00edza,\u00a0El Croquis n.32-33<\/a>, page\u00a018.<\/p>\n

2<\/sup> Sou Fujimoto,\u00a0El Croquis n.151<\/a>, pages. 18 and\u00a0213.<\/p>\n

3<\/sup> \u00ab… And compatriots in any place of the world\u00bb. Eduardo Galeano.\u00a0El libro de los abrazos<\/em><\/a>, Madrid, Siglo XXI, 2012, page. 231.[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] El poeta argentino \u00a0se preguntaba sobre sus contempor\u00e1neos, estableciendo condiciones y modos de coexistencia m\u00e1s all\u00e1 de un tiempo y de una \u00e9poca:\u00a0\u00bfqui\u00e9nes son mis contempor\u00e1neos?\u00a0se dec\u00eda. La pregunta despierta enorme inter\u00e9s, m\u00e1s a\u00fan en el momento actual, un presente desplazado y especulativo en el que la etiqueta \u00abcontempor\u00e1neo\u00bb se presenta como fiel acompa\u00f1ante […]<\/p>\n","protected":false},"author":5,"featured_media":65236,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[3352,11996,143,2631,2641,10705,1595,659,668,10565,6465,1021,2570,1278],"class_list":["post-65235","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-andrea-palladio","tag-andy-warhol","tag-arquitectura-espanola","tag-construir","tag-eduardo-galeano","tag-francisco-javier-saenz-de-oiza","tag-habitar","tag-historia","tag-leon-battista-alberti","tag-miguel-angel-diaz-camacho","tag-pensamiento","tag-sou-fujimoto","tag-teoria"],"yoast_head":"\n[:es]Contempor\u00e1neos | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Contempor\u00e1neos | Miguel \u00c1ngel D\u00edaz Camacho[:en]Contemporary | Miguel \u00c1ngel D\u00edaz Camacho[:] - 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En la actualidad desarrolla proyectos de arquitectura y urbanismo en Espa\u00f1a y Noruega.","sameAs":["https:\/\/madc.xyz\/","https:\/\/www.facebook.com\/diazcamacho","https:\/\/www.instagram.com\/madc_architecture\/","https:\/\/www.linkedin.com\/in\/madcarquitectos\/","https:\/\/x.com\/https:\/\/twitter.com\/MADCARQUITECTOS"],"url":"https:\/\/veredes.es\/blog\/author\/miguel-angel-diaz-camacho\/"}]}},"_links":{"self":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/65235","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/comments?post=65235"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/65235\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/65236"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=65235"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=65235"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=65235"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}