{"id":67315,"date":"2018-08-27T00:02:47","date_gmt":"2018-08-26T22:02:47","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67315"},"modified":"2018-08-23T19:51:45","modified_gmt":"2018-08-23T17:51:45","slug":"lecciones-del-arquetipo-miguel-angel-diaz-camacho","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/lecciones-del-arquetipo-miguel-angel-diaz-camacho\/","title":{"rendered":"[:es]Lecciones del arquetipo | Miguel \u00c1ngel D\u00edaz Camacho[:gl]Lecci\u00f3ns do arquetipo | Miguel \u00c1ngel D\u00edaz Camacho[:en]Lessons of the archetype | Miguel \u00c1ngel D\u00edaz Camacho[:]"},"content":{"rendered":"

[:es]

\"Secci\u00f3n\"
Secci\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

A principio de los a\u00f1os 20 en Alemania, un notable grupo de arquitectos tradicionalistas establecen -de manera individual- un modelo\u00a0sachlich<\/em>, objetivo, para el proyecto de arquitectura1<\/sup>. En realidad, la objetividad surge desde la com\u00fan aceptaci\u00f3n de un arquetipo, un origen simb\u00f3lico que forma parte del inconsciente colectivo en un determinado contexto.<\/p>\n

La clasificaci\u00f3n y estudio de todas y cada una de sus ligeras variaciones, permite identificar los elementos constantes de una serie, ya sea constructiva, distributiva o compositiva, habilitando la identificaci\u00f3n del tipo: el proyecto arquitect\u00f3nico como la interpretaci\u00f3n de un saber heredado.<\/p>\n

Curiosamente, ser\u00e1 la construcci\u00f3n la variable germinal de forma y habitabilidad, una suerte de condici\u00f3n preliminar:<\/p>\n

\n

\u00abPara Schmitthenner, en el proceso de construir, t\u00e9cnica significa siempre trabajo artesanal de cara al Proyecto moderno. El trabajo artesanal lleva impl\u00edcito un saber hacer (oficio) y la esencia del mismo consiste siempre en la reducci\u00f3n formal\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

Ni la forma, ni el estilo, ni tan siquiera la funci\u00f3n: la construcci\u00f3n es la arquitectura. El eco de esta afirmaci\u00f3n pudiera parecer algo anacr\u00f3nico e incluso descontextualizado, impropio de una contemporaneidad quebradiza y desmaterializada,\u00a0aburrida\u00a0e incluso por momentos irritante,\u00a0renderizada\u00a0<\/em>hasta la pr\u00e1ctica extenuaci\u00f3n de la arquitectura como configuraci\u00f3n material. No es as\u00ed.<\/p>\n

La observaci\u00f3n detenida de la secci\u00f3n tipo incluida por Schmitthenner<\/strong> en su libro\u00a0Gebaute Form<\/em>3<\/sup>, revela una enorme complejidad y diversidad de soluciones: los muros especializan su secci\u00f3n en funci\u00f3n de la carga soportada; la altura libre de los pisos resulta ligeramente distinta; la geometr\u00eda de los huecos se especializa en funci\u00f3n de la habitaci\u00f3n a la que sirven; la estructura horizontal de los forjados se aligera con la altura hasta alcanzar el vac\u00edo seminal de la cubierta.<\/p>\n

La construcci\u00f3n despliega la verdadera complejidad espacial de la arquitectura, antecede a la habitaci\u00f3n y su reconocimiento formal. En palabras de Peter Zumptor<\/strong><\/a>:<\/p>\n

\n

\u00abNo entiendo una manera de proyectar en la que la forma se decida primero y los materiales despu\u00e9s\u00bb.4<\/sup><\/p>\n<\/blockquote>\n

Como si antes incluso de la t\u00e9cnica -en su origen- se encontrara la materia con sus propias fortalezas y limitaciones. Remotas lecciones del arquetipo.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doctor Arquitecto
\nMadrid. Febrero\u00a02016.
\nAutor de\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1 <\/sup>Heinrich Tessenow,\u00a0Paul Schmitthenner, Paul Bonatz, etc.<\/p>\n

2 <\/sup>Jos\u00e9 Manuel Garc\u00eda Roig,\u00a0Paul Schmitthenner. <\/em>Proyecto de Arquitectura y Sachlichkeit<\/em><\/a>, Madrid, Mairea, 2011, p\u00e1g. 11.<\/p>\n

3\u00a0<\/sup>Gebaute Form. Variationen \u00fcber ein Thema mit 60 Zeichnungen im Faksimil\u00a0<\/em>(La forma construida. Variaciones sobre un tema con 60 dibujos en facs\u00edmil),\u00a0<\/em>Paul Schmitthenner, 1984.<\/p>\n

4 <\/sup>Peter Zumptor,\u00a0Di\u00e1logo con Peter Zumptor<\/em>, por Jos\u00e9 Manuel Cabrero. Entrevista completa<\/a>.<\/p>\n

 [:gl]

\"Secci\u00f3n\"
Secci\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

A principio dos anos 20 en Alema\u00f1a, un notable grupo de arquitectos tradicionalistas establecen -de maneira individual- un modelo sachlich<\/em>, obxectivo, para o proxecto de arquitectura1<\/sup>. En realidade, a obxectividade xorde desde a com\u00fan aceptaci\u00f3n dun arquetipo, unha orixe simb\u00f3lica que forma parte do inconsciente colectivo nun determinado contexto.<\/p>\n

A clasificaci\u00f3n e estudo de todas e cada unha das s\u00faas lixeiras variaci\u00f3ns, permite identificar os elementos constantes dunha serie, xa sexa construtiva, distributiva ou compositiva, habilitando a identificaci\u00f3n do tipo: o proxecto arquitect\u00f3nico como a interpretaci\u00f3n dun saber herdado.<\/p>\n

Curiosamente, ser\u00e1 a construci\u00f3n a variable germinal de forma e habitabilidade, unha sorte de condici\u00f3n preliminar:<\/p>\n

\n

\u00abPara Schmitthenner, no proceso de constru\u00edr, t\u00e9cnica significa sempre traballo artesanal de fronte ao Proxecto moderno. O traballo artesanal leva impl\u00edcito un saber facer (oficio) e a esencia do mesmo consiste sempre na reduci\u00f3n formal\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

Nin a forma, nin o estilo, nin tan sequera a funci\u00f3n: a construci\u00f3n \u00e9 a arquitectura. O eco desta afirmaci\u00f3n puidese parecer algo anacr\u00f3nico e mesmo descontextualizado, impropio dunha contemporaneidad quebradiza e desmaterializada, aburrida e mesmo por momentos irritante, renderizada<\/em> ata a pr\u00e1ctica extenuaci\u00f3n da arquitectura como configuraci\u00f3n material. Non \u00e9 as\u00ed.<\/p>\n

A observaci\u00f3n detida da secci\u00f3n tipo inclu\u00edda por Schmitthenner<\/strong> no seu libro Gebaute Form<\/em>3<\/sup>, revela unha enorme complexidade e diversidade de soluci\u00f3ns: os muros especializan a s\u00faa secci\u00f3n en funci\u00f3n da carga soportada; a altura libre dos pisos resulta lixeiramente distinta; a xeometr\u00eda dos ocos especial\u00edzase en funci\u00f3n da habitaci\u00f3n \u00e1 que serven; a estrutura horizontal dos forxados alix\u00e9irase coa altura ata alcanzar o baleiro seminal da cuberta.<\/p>\n

A construci\u00f3n desprega a verdadeira complexidade espacial da arquitectura, antecede \u00e1 habitaci\u00f3n e o seu reco\u00f1ecemento formal. En palabras de Peter Zumptor<\/strong><\/a>:<\/p>\n

\n

\u00abNon entendo unha maneira de proxectar na que a forma se decida primeiro e os materiais despois\u00bb.4<\/sup><\/p>\n<\/blockquote>\n

Coma se antes mesmo da t\u00e9cnica -na s\u00faa orixe- atop\u00e1sese a materia coas s\u00faas propias fortalezas e limitaci\u00f3ns. Remotas lecci\u00f3ns do arquetipo.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho. Doutor Arquitecto
\nMadrid. Febreiro\u00a02016.
\nAutor de\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notas:<\/p>\n

1 <\/sup>Heinrich Tessenow,\u00a0Paul Schmitthenner, Paul Bonatz, etc.<\/p>\n

2 <\/sup>Jos\u00e9 Manuel Garc\u00eda Roig,\u00a0Paul Schmitthenner. <\/em>Proyecto de Arquitectura y Sachlichkeit<\/em><\/a>, Madrid, Mairea, 2011, p\u00e1g. 11.<\/p>\n

3\u00a0<\/sup>Gebaute Form. Variationen \u00fcber ein Thema mit 60 Zeichnungen im Faksimil\u00a0<\/em>(A forma constru\u00edda. Variaci\u00f3ns sobre un tema con 60 debuxos en facs\u00edmile),\u00a0<\/em>Paul Schmitthenner, 1984.<\/p>\n

4 <\/sup>Peter Zumptor,\u00a0Di\u00e1logo con Peter Zumptor<\/em>, por Jos\u00e9 Manuel Cabrero. Entrevista completa<\/a>.<\/p>\n

 [:en]

\"Secci\u00f3n\"
Secci\u00f3n<\/span><\/figcaption><\/figure><\/p>\n

To beginning of the 20s in Germany, a notable group of traditionalist architects establish – in an individual way – a model sachlich<\/em>, objectively, for the project of architecture1<\/sup>.\u00a0Actually, the objectivity arises from the common acceptance of an archetype, a symbolic origin that forms a part of the unconscious group in a certain context.<\/p>\n

The classification and study of each and every of his light variations, it allows to identify the constant elements of a series, already be constructive, distributive or compositiva, enabling the identification of the type: the architectural project like the interpretation of one to know inherited.<\/p>\n

Curiously, it will be the construction the variable germinal of form and habitability, a luck of preliminary condition:<\/p>\n

\n

\u00abFor Schmitthenner, in the process of constructing, technology means always handcrafted work with a view to the modern Project. The handcrafted work takes implicitly one to be able to do (trade) and the essence of the same one consists always of the formal reduction\u00bb.2<\/sup><\/p>\n<\/blockquote>\n

Neither the form, nor the style, not so at least the function: the construction is the architecture. The echo of this affirmation could seem to be slightly anachronistic and an enclosed descontextualizado, improperly of a fragile contemporaneousness and desmaterializada, boring and even for moments irritant, rendered up<\/em> to the practical exhaustion of the architecture as material configuration. It is not like that.<\/p>\n

The arrested observation of the section type included by Schmitthenner<\/strong> in his book Gebaute Form<\/em>3<\/sup>, reveals an enormous complexity and diversity of solutions: the walls specialize his section depending on the supported load; the vertical clearance of the floors turns out to be lightly different; the geometry of the hollows specializes itself depending on the room to which they serve; the horizontal structure of the wrought ones gets lighter with the height up to reaching the seminal emptiness of the cover.<\/p>\n

The construction despliega the real spatial complexity of the architecture, precedes to the room and his formal recognition. In Peter Zumptor<\/strong><\/a>:’s words:<\/p>\n

\n

\u00abI do not understand a way of projecting in that the form is decided first and the materials later\u00bb.4<\/sup><\/p>\n<\/blockquote>\n

As if before even of the technology – in his origin – one was finding the matter with his own strengths and limitations. Remote lessons of the archetype.<\/p>\n

Miguel \u00c1ngel D\u00edaz Camacho.\u00a0PhD Architect
\nMadrid. February\u00a02016.
\nAuthor de\u00a0Parr\u00e1fos de arquitectura<\/em>.\u00a0#arquiParrafos<\/a><\/span><\/p>\n

Notes:<\/p>\n

1 <\/sup>Heinrich Tessenow,\u00a0Paul Schmitthenner, Paul Bonatz, etc.<\/p>\n

2 <\/sup>Jos\u00e9 Manuel Garc\u00eda Roig,\u00a0Paul Schmitthenner. <\/em>Proyecto de Arquitectura y Sachlichkeit<\/em><\/a>, Madrid, Mairea, 2011, p\u00e1g. 11.<\/p>\n

3\u00a0<\/sup>Gebaute Form. Variationen \u00fcber ein Thema mit 60 Zeichnungen im Faksimil (<\/em>The constructed form. Variations on a topic with 60 drawings in facsimile),\u00a0<\/em>Paul Schmitthenner, 1984.<\/p>\n

4 <\/sup>Peter Zumptor, Dialog with Peter Zumptor<\/em>, byJos\u00e9 Manuel Cabrero. Full interview<\/a>.<\/p>\n

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

[:es] A principio de los a\u00f1os 20 en Alemania, un notable grupo de arquitectos tradicionalistas establecen -de manera individual- un modelo\u00a0sachlich, objetivo, para el proyecto de arquitectura1. En realidad, la objetividad surge desde la com\u00fan aceptaci\u00f3n de un arquetipo, un origen simb\u00f3lico que forma parte del inconsciente colectivo en un determinado contexto. 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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\/67315","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=67315"}],"version-history":[{"count":0,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/posts\/67315\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media\/67316"}],"wp:attachment":[{"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/media?parent=67315"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/categories?post=67315"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/veredes.es\/blog\/wp-json\/wp\/v2\/tags?post=67315"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}