{"id":65924,"date":"2017-10-16T00:05:48","date_gmt":"2017-10-15T22:05:48","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=65924"},"modified":"2018-04-24T10:17:09","modified_gmt":"2018-04-24T08:17:09","slug":"apolo-dionisos-la-arquitectura-argentina-martin-marcos","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/apolo-dionisos-la-arquitectura-argentina-martin-marcos\/","title":{"rendered":"[:es]Apolo y Dionisos en la arquitectura argentina | Mart\u00edn Marcos[:gl]Apolo e Dionisos en la arquitectura argentina | Mart\u00edn Marcos[:en]Apolo and Dionisos in the Argentine architecture | Mart\u00edn Marcos[:]"},"content":{"rendered":"

[:es]

\"Mario
Mario Roberto \u00c1lvarez | Fuente: grandespymes.com.ar<\/a><\/span><\/figcaption><\/figure><\/p>\n

La idea de recurrir a las figuras de Apolo y Dionisos es deudora del profesor de la ETSAB-UPC, Javier Ferr\u00e1ndiz Gabriel y su libro Apolo y Dionisos. El temperamento en la arquitectura moderna<\/em><\/a>.1<\/sup> En \u00e9l plantea un ensayo de an\u00e1lisis de la arquitectura moderna basado en la dualidad raz\u00f3n-sentimiento para as\u00ed poder separa y explica los aspectos racionales de los puramente emotivos en una obra o proceso proyectual.<\/p>\n

La referencia con Nietzsche y sus especulaciones tempranas alrededor de estos dioses de la mitolog\u00eda griega en El origen de la Tragedia<\/em>, termin\u00f3 dando un fuerte car\u00e1cter simb\u00f3lico al dueto. En tiempos en que la arquitectura ya no sostiene verdades tan inamovibles sino m\u00e1s bien interpretaciones subjetivas de cada autor, estas figuras parecen cobrar mayor pertinencia y vigencia.<\/p>\n

Confrontar lo apol\u00edneo y lo dionisiaco en el an\u00e1lisis y estudio de la arquitectura contempor\u00e1nea resulta muy estimulante y casi siempre verifica que una buena obra de arquitectura debe tener algo de los dos componentes y que de la habilidad en su combinaci\u00f3n y sinergia surgen los mejores ejemplos, los de mayor espesor intelectual, los m\u00e1s complejos y potentes. Hay mucho para aprender de uno y otro enfoque, y m\u00e1s que confrontarlos hay que entenderlos para complementarlos y enriquecerlos. Animarnos a salir de nuestra propia zona de confort y hacer el esfuerzo de aprender del otro, del distinto, del diferente a nosotros.<\/p>\n

En este punto las obras de \u00c1lvarez<\/a> y Testa<\/a> siguen siendo de una enorme importancia did\u00e1ctica, ya que pueden ser visitadas, vividas y sentidas hasta en sus m\u00ednimos detalles. A diferencia de otras grandes obras de la arquitectura internacional que estudiamos, las de los autores argentinos que se encuentran en nuestras ciudades tienen ese plus de valor pedag\u00f3gico que resulta de la comparaci\u00f3n inmediata, de la posibilidad de verificar esas diversidades. Entre ellas, edificios p\u00fablicos como la Biblioteca Nacional o el Teatro Municipal General San Martin son lecciones superlativas que nunca se agotan y que nos permiten abordar distintas l\u00f3gicas proyectuales, materialidades, texturas, escalas, espacialidades, relaciones con la ciudad y formas de ser recorridas.<\/p>\n

\"Teatro
Teatro San Mart\u00edn, su gran obra (1954)\u00a0|\u00a0Fuente: wikipedia.org<\/a><\/span><\/figcaption><\/figure>\n

\u00c1lvarez y Testa contin\u00faan vivos en ellas y nos siguen ense\u00f1ando desde la mejor arquitectura. Hacer m\u00e1s con menos parece ser su imperativo moral, y en esa coincidencia vuelven a reconocerse como decididos e ideol\u00f3gicamente modernos. Cada estudiante de arquitectura que se enfrenta con ellas tiene la oportunidad de entablar un dialogo \u00edntimo con ambos maestros. Seguramente ellos estar\u00e1n all\u00ed dispuestos a contarnos sus secretos, pero s\u00f3lo si sabemos preguntar, si hemos aprendido a mirar intencionadamente y a saber formular las preguntas correctas.<\/p>\n

Esta muestra tambi\u00e9n intenta contribuir en esa b\u00fasqueda, desmitificar ciertos encasillamientos facilistas y proponernos lecturas m\u00e1s complejas y sutiles.<\/p>\n

\"Clorindo
Clorindo Testa muestra a la presidenta Cristina Fern\u00e1ndez de Kirchner, una maqueta en la Biblioteca Nacional. Tambi\u00e9n la acompa\u00f1an Florencio Randazzo y Horacio Gonz\u00e1lez\u00a0|\u00a0Fuente:\u00a0wikipedia.org<\/a><\/span><\/figcaption><\/figure>\n

Clorindo Testa sol\u00eda decir que su m\u00e9todo era producto de una imaginaci\u00f3n dirigida y que nunca se permit\u00eda ning\u00fan tipo de desborde ni de irracionalidad2<\/sup>. Mario Roberto \u00c1lvarez manten\u00eda con orgullo que \u00e9l s\u00f3lo ten\u00eda unas pocas ideas3<\/sup> pero que lo obsesionaban en la b\u00fasqueda de la perfecci\u00f3n. Cabe preguntarse:<\/p>\n

\n

\u00ab\u00bfD\u00f3nde encontrar a Apolo y d\u00f3nde a Dionisos? \u00bfEs viable asociarlos de manera casi autom\u00e1tica o justamente habr\u00e1 que descubrir las pulsiones m\u00e1s brillantes en sus aparentes contradicciones, en esas tensiones duales que nos desplazan de lo obvio?\u00bb<\/p>\n<\/blockquote>\n

Como veremos, trat\u00e1ndose de \u00c1lvarez y Testa, casi nunca es lo obvio.<\/p>\n

Mart\u00edn Marcos. Arquitecto, urbanista, Director MARQ-SCA (Museo de Arquitectura y Dise\u00f1o de Buenos Aires) y Profesor Titular FADU UBA
\nBuenos Aires. Octubre\u00a02017<\/p>\n

Notas:<\/p>\n

1 <\/sup>Ferr\u00e1ndiz Gabriel, Javier. \u201cApolo y Dionisos. El Temperamento en la arquitectura moderna\u201d<\/em><\/a>. Alfaomega- Ediciones UPC, 2001. Barcelona.<\/p>\n

4<\/sup> De Brea, Ana; Dagnino, Tom\u00e1s. \u201cSe\u00f1ores arquitectos\u2026 Di\u00e1logos con Mario Roberto \u00c1lvarez y Clorindo Testa\u201d<\/a>.<\/em> Ediciones UBROC, 1999. Buenos Aires.<\/p>\n

2<\/sup> Pazos, Luis; \u201cClorindo Testa: El arte para habitar\u201d. Revista Somos, 1977. Buenos Aires.<\/p>\n

3 <\/sup>Jurado, Miguel;\u00a0 \u201cMuri\u00f3 Mario Roberto \u00c1lvarez\u201d<\/a>. ARQ Clar\u00edn, 2011. Buenos Aires.<\/p>\n

[:gl]

\"Mario
Mario Roberto \u00c1lvarez | Fonte: grandespymes.com.ar<\/a><\/span><\/figcaption><\/figure><\/p>\n

A idea de recorrer \u00e1s figuras de Apolo e Dionisos \u00e9 debedora do profesor da ETSAB-UPC, Javier Ferr\u00e1ndiz Gabriel e o seu libro Apolo\u00a0e Dionisos. O temperamento na arquitectura moderna<\/em><\/a>.1<\/sup>\u00a0Nel exp\u00f3n un ensaio de an\u00e1lise da arquitectura moderna baseado na dualidade raz\u00f3n-sentimento para as\u00ed poder separa e explica os aspectos racionais dos puramente emotivos nunha obra ou proceso proyectual.<\/p>\n

A referencia con Nietzsche e as s\u00faas especulaci\u00f3ns temper\u00e1s ao redor destes deuses da mitolox\u00eda grega na Orixe da Traxedia<\/em>, terminou dando un forte car\u00e1cter simb\u00f3lico ao dueto. En tempos en que a arquitectura xa non sost\u00e9n verdades tan inamovibles sen\u00f3n m\u00e1is ben interpretaci\u00f3ns subxectivas de cada autor, estas figuras parecen cobrar maior pertinencia e vixencia.<\/p>\n

Confrontar o apol\u00edneo e o dionisiaco na an\u00e1lise e estudo da arquitectura contempor\u00e1nea resulta moi estimulante e case sempre verifica que unha boa obra de arquitectura debe ter algo dos dous compo\u00f1entes e que da habilidade na s\u00faa combinaci\u00f3n e sinerxia xorden os mellores exemplos, os de maior espesor intelectual, os m\u00e1is complexos e potentes. Hai moito para aprender dun e outro enfoque, e m\u00e1is que confrontalos hai que entendelos para complementalos e enriquecelos. Animarnos a sa\u00edr de nosa propia zona de confort e facer o esforzo de aprender do outro, do distinto, do diferente a n\u00f3s.<\/p>\n

Neste punto as obras de \u00c1lvarez<\/a>\u00a0e\u00a0Testa <\/a>seguen sendo dunha enorme importancia did\u00e1ctica, xa que poden ser visitadas, vividas e sentidas ata nos seus m\u00ednimos detalles. A diferenza doutras grandes obras da arquitectura internacional que estudamos, as dos autores arxentinos que se atopan nas nosas cidades te\u00f1en ese plus de valor pedag\u00f3xico que resulta da comparaci\u00f3n inmediata, da posibilidade de verificar esas diversidades. Entre elas, edificios p\u00fablicos como a Biblioteca Nacional ou o Teatro Municipal Xeneral San Martin son lecci\u00f3ns superlativas que nunca se esgotan e que nos permiten abordar distintas l\u00f3xicas proyectuales, materialidades, texturas, escalas, espacialidades, relaci\u00f3ns coa cidade e formas de ser percorridas.<\/p>\n

\"Teatro
Teatro San Mart\u00edn, su gran obra (1954)\u00a0|\u00a0Fonte: wikipedia.org<\/a><\/span><\/figcaption><\/figure>\n

\u00c1lvarez e Testa contin\u00faan vivos nelas e s\u00e9guennos ensinando desde a mellor arquitectura. Facer m\u00e1is con menos parece ser o seu imperativo moral, e nesa coincidencia volven reco\u00f1ecerse como decididos e ideol\u00f3gicamente modernos. Cada estudante de arquitectura que se enfronta con elas ten a oportunidade de establecer un dialogo \u00edntimo con ambos os mestres. Seguramente eles estar\u00e1n al\u00ed dispostos a contarnos os seus segredos, pero s\u00f3 se sabemos preguntar, se aprendemos a mirar intencionadamente e a saber formular as preguntas correctas.<\/p>\n

Esta mostra tam\u00e9n tenta contribu\u00edr nesa procura, desmitificar certos encasillamientos facilistas e propo\u00f1ernos lecturas m\u00e1is complexas e sut\u00eds.<\/p>\n

\"Clorindo
Clorindo Testa mostra a presidenta Cristina Fern\u00e1ndez de Kirchner, unha maqueta na Biblioteca Nacional. Tam\u00e9n a acompa\u00f1an Florencio Randazzo\u00a0e Horacio Gonz\u00e1lez\u00a0|\u00a0Fonte:\u00a0wikipedia.org<\/a><\/span><\/figcaption><\/figure>\n

Clorindo Testa adoitaba dicir que o seu m\u00e9todo era produto dunha imaxinaci\u00f3n dirixida e que nunca se permit\u00eda ning\u00fan tipo de desborde nin de irracionalidade2<\/sup>.\u00a0Mario Roberto \u00c1lvarez manti\u00f1a con orgullo que el s\u00f3 ti\u00f1a unhas poucas ideas3<\/sup>\u00a0pero que o obsesionaban na procura da perfecci\u00f3n. Cabe preguntarse:<\/p>\n

\u00abOnde atopar a Apolo e onde a Dionisos? \u00c9 viable asocialos de maneira case autom\u00e1tica ou xustamente haber\u00e1 que descubrir as pulsi\u00f3ns m\u00e1is brillantes nas s\u00faas aparentes contradici\u00f3ns, nesas tensi\u00f3ns duais que nos desprazan do obvio?\u00bb<\/p>\n

Como veremos, trat\u00e1ndose de \u00c1lvarez e Testa, case nunca \u00e9 o obvio.<\/p>\n

Mart\u00edn Marcos. Arquitecto, urbanista, Director MARQ-SCA (Museo de Arquitectura\u00a0e Dese\u00f1o de Bos Aires)\u00a0e Profesor Titular FADU UBA
\nBos Aires. Outubro 2017<\/p>\n

Notas:<\/p>\n

1 <\/sup>Ferr\u00e1ndiz Gabriel, Javier. \u201cApolo\u00a0e Dionisos.\u00a0O Temperamento na arquitectura moderna\u201d<\/em><\/a>. Alfaomega- Ediciones UPC, 2001. Barcelona.<\/p>\n

4<\/sup> De Brea, Ana; Dagnino, Tom\u00e1s. \u201cSe\u00f1ores arquitectos\u2026 Di\u00e1logos con Mario Roberto \u00c1lvarez\u00a0e Clorindo Testa\u201d<\/a>.<\/em> Ediciones UBROC, 1999. Buenos Aires.<\/p>\n

2<\/sup> Pazos, Luis; \u201cClorindo Testa: El arte para habitar\u201d. Revista Somos, 1977. Bos Aires.<\/p>\n

3 <\/sup>Jurado, Miguel;\u00a0 \u201cMuri\u00f3 Mario Roberto \u00c1lvarez\u201d<\/a>. ARQ Clar\u00edn, 2011. Bos Aires.<\/p>\n

[:en]

\"Mario
Mario Roberto \u00c1lvarez | Source: grandespymes.com.ar<\/a><\/span><\/figcaption><\/figure><\/p>\n

The idea of resorting to the figures of Apollo and Dionisos is a debtor of the teacher of the ETSAB-UPC, Javier Ferr\u00e1ndiz Gabriel and his book Apollo\u00a0and\u00a0Dionisos.\u00a0The temperament in the modern architecture<\/em><\/a>.1<\/sup>\u00a0In him raises a test of analysis of the modern architecture based on the duality reason – feeling for power like that separates and explains the rational aspects of the purely emotive ones in a work or project process.<\/p>\n

The reference with Nietzsche and his early speculations about these gods of the Greek mythology in The origin of the Tragedy<\/em>, ended up by giving a strong symbolic character to the duet. In times in which the architecture already does not support so unremovable truths but rather subjective interpretations of every author, these figures seem to receive major relevancy and force.<\/p>\n

To confront the Apollonian thing and the Dionysian thing in the analysis and study of the contemporary architecture turns out to be very stimulant and almost always it checks that a good work of architecture must have something of both components and that from the skill in his combination and synergy the best examples arise, those of major intellectual thickness, the most complex and powerful. It is necessary much to learn of one and another approach, and more than them to border it is necessary to understand them to complement them and enrich them. To encourage to go out for us of our own zone of comfort and to do the effort to learn of other one, from the different one, of the different one to we.<\/p>\n

In this point \u00c1lvarez<\/a>\u00a0and\u00a0Testa<\/a>‘s works and Head continue performing an enormous didactic importance, since they can be visited, lived and felt even in his minimal details. Unlike other big works of the international architecture that we study, those of the Argentine authors who are in our cities have this bonus of pedagogic value that ensues from the immediate comparison, of the possibility of checking these diversities. Between them, public buildings like the National Library or the Municipal General San Martin Theatre are superlative lessons that never become exhausted and that allow us to approach different logics proyectuales, materialities, textures, scales, espacialidades, relate with the city and ways of being crossed.<\/p>\n

\"Teatro
St. Martin Theatre, his great work (1954)\u00a0| Source: wikipedia.org<\/a><\/span><\/figcaption><\/figure>\n

\u00c1lvarez and Testa continue alive in them and continue teaching us from the best architecture. To do more with less seems to be his moral imperative, and in this coincidence they return to be recognized like decided and ideologically modern. Every student of architecture who faces them has the opportunity to begin an intimate dialog with both teachers. Surely they will be there ready to his secrets count to us, but only if we can ask, if we have learned to look meaningfully and to be able to formulate the correct questions.<\/p>\n

This sample also tries to contribute in this search, to demythologize certain encasillamientos facilistas and to propose us more complex and subtle readings.<\/p>\n

\"Clorindo
Clorindo Tests a model shows to the chairwoman Cristina Fernandez de Kirchner, in the National Library. Also Florencio Randazzo and Horace Gonzalez accompany her\u00a0| Source:\u00a0wikipedia.org<\/a><\/span><\/figcaption><\/figure>\n

Clorindo Tests it was in the habit of saying that his method was a product of a directed imagination and that no type of overflow was allowing itself not of irrationality2\u00a0<\/sup>ever. Mario Roberto \u00c1lvarez was supporting proudly that he only had a few ideas3<\/sup> but that they were obsessing it in the search of the perfection. It is necessary to ask:<\/p>\n

Clorindo Testa sol\u00eda decir que su m\u00e9todo era producto de una imaginaci\u00f3n dirigida y que nunca se permit\u00eda ning\u00fan tipo de desborde ni de irracionalidad2<\/sup>. Mario Roberto \u00c1lvarez manten\u00eda con orgullo que \u00e9l s\u00f3lo ten\u00eda unas pocas ideas3<\/sup> pero que lo obsesionaban en la b\u00fasqueda de la perfecci\u00f3n. Cabe preguntarse:<\/p>\n

\n

\u00abWhere to find Apollo and where to Dionisos? It is viable to associate them in an almost automatic way or exactly there will be necessary to discover the most brilliant drives in his apparent contradictions, in these dual tensions that displace us of the obvious thing?\u00bb<\/p>\n<\/blockquote>\n

Since we will see, treating itself about \u00c1lvarez and Head, almost it is never the obvious thing.<\/p>\n

Mart\u00edn Marcos. Architect, town planner, Director MARQ-SCA (Museum of Architecture and Design of Buenos Aires) and Teacher To title FADU UBA
\nBuenos Aires. October 2017<\/p>\n

Notes:<\/p>\n

1 <\/sup>Ferr\u00e1ndiz Gabriel, Javier. \u201cApolo y Dionisos. El Temperamento en la arquitectura moderna\u201d<\/em><\/a>. Alfaomega- Ediciones UPC, 2001. Barcelona.<\/p>\n

4<\/sup> De Brea, Ana; Dagnino, Tom\u00e1s. \u201cSe\u00f1ores arquitectos\u2026 Di\u00e1logos con Mario Roberto \u00c1lvarez y Clorindo Testa\u201d<\/a>.<\/em> Ediciones UBROC, 1999. Buenos Aires.<\/p>\n

2<\/sup> Pazos, Luis; \u201cClorindo Testa: El arte para habitar\u201d. Revista Somos, 1977. Buenos Aires.<\/p>\n

3 <\/sup>Jurado, Miguel;\u00a0 \u201cMuri\u00f3 Mario Roberto \u00c1lvarez\u201d<\/a>. ARQ Clar\u00edn, 2011. Buenos Aires.<\/p>\n

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

[:es] La idea de recurrir a las figuras de Apolo y Dionisos es deudora del profesor de la ETSAB-UPC, Javier Ferr\u00e1ndiz Gabriel y su libro Apolo y Dionisos. El temperamento en la arquitectura moderna.1 En \u00e9l plantea un ensayo de an\u00e1lisis de la arquitectura moderna basado en la dualidad raz\u00f3n-sentimiento para as\u00ed poder separa y […]<\/p>\n","protected":false},"author":42,"featured_media":65927,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[13123,6592,147,6591,668,13122,13125,815,2396,3867,13126,1278,13124],"class_list":["post-65924","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-ana-de-brea","tag-arquitectura-argentina","tag-arquitectura-moderna","tag-clorindo-testa","tag-historia","tag-javier-ferrandiz-gabriel","tag-luis-pazos","tag-maestro","tag-mario-roberto-alvarez","tag-martin-marcos","tag-miguel-jurado","tag-teoria","tag-tomas-dagnino"],"yoast_head":"\n[:es]Apolo y Dionisos en la arquitectura argentina | Mart\u00edn 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