{"id":67331,"date":"2018-02-05T00:02:40","date_gmt":"2018-02-04T23:02:40","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67331"},"modified":"2023-09-11T14:36:34","modified_gmt":"2023-09-11T12:36:34","slug":"buen-salvaje-estatus-arquitecto-contemporaneo-josep-lluis-mateo","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/buen-salvaje-estatus-arquitecto-contemporaneo-josep-lluis-mateo\/","title":{"rendered":"[:es]El buen salvaje. El estatus de un arquitecto contempor\u00e1neo | Josep Llu\u00eds Mateo[:gl]O bo salvaxe. O status dun arquitecto contempor\u00e1neo | Josep Llu\u00eds Mateo[:en]The noble savage. A Contemporary Architect\u2019s Status | Josep Llu\u00eds Mateo[:]"},"content":{"rendered":"

[:es]

\"Source
Fuente: Jean-Jacques Rousseau, \u00c9mile ou De l\u2019\u00e9ducation (1762). Autor: Jean Michel Moreau le Jeune.<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cGardez-vous de la puret\u00e9, c\u2019est le vitriol de l\u2019\u00e2me\u2026\u201d.<\/p>\n

Paul Val\u00e9ry<\/p>\n<\/blockquote>\n

El estatus de un arquitecto contempor\u00e1neo<\/strong><\/h5>\n

En el imaginario de la profesi\u00f3n de arquitecto han aparecido hist\u00f3ricamente diversos paradigmas. No tan lejano est\u00e1 el del genio cosmopolita globalizado, defendiendo la globalizaci\u00f3n y, en sus palabras, lo gen\u00e9rico, y proponiendo sin cesar nuevos horizontes, encontr\u00e1ndose \u00e9stos en Atlanta o en China. En el clima intelectual del fin de siglo esta figura profesional emergi\u00f3, con sus correspondientes sacerdotes (pienso en Rem Koolhaas<\/a>) y una amplia legi\u00f3n de, en muchos casos, menos sofisticadas figuras que se lanzaban apresurada y glotonamente sobre el amplio mercado en donde el estilo personal ic\u00f3nico, la confianza en la bondad extraterritorial de la t\u00e9cnica (ecos del high tech<\/em>) o simplemente restos de modernidades o clasicismos amanerados se aplicaban.<\/p>\n

La crisis econ\u00f3mica de principios de siglo, y la amplia conciencia colectiva frente a la devastaci\u00f3n producida por esta actitud han hecho que esta l\u00ednea de argumentaci\u00f3n, digamos cosmopolita y globalizadora, haya perdido su prestigio intelectual. Frente a ella, recientemente, hay muchos datos que anuncian la proposici\u00f3n de un nuevo mito con amplio consenso colectivo y medi\u00e1tico.<\/p>\n

Frente al ilustrado cosmopolita anterior, nos encontramos ahora en presencia del, utilizando la nomenclatura Rousseauniana1<\/sup>, Buen Salvaje2<\/sup><\/strong>. Rousseau, en abierta pol\u00e9mica contra la Ilustraci\u00f3n de los enciclopedistas volterianos, defend\u00eda como esencia de verdad y de pureza al \u201cbuen salvaje\u201d, al Emilio incontaminado en el mundo \u201cnatural\u201d.<\/p>\n

En nuestro campo los mitos presentes colectivamente activos parecen anunciar procesos semejantes.<\/p>\n

Frente a la globalizaci\u00f3n, defensa de lo local<\/strong>. Frente a lo cosmopolita, ruralismo<\/strong>. El artista ahora vive en el pueblo, preferentemente en lugares poco accesibles: las monta\u00f1as. Sean \u00e9stas los Alpes o los Pirineos.<\/p>\n

El buen salvaje tiene a gala desde\u00f1ar la tecnolog\u00eda, y en su aparente retiro de anacoreta por supuesto no tiene web, secretaria ni ninguno de los medios de comunicaci\u00f3n y organizaci\u00f3n habituales.<\/p>\n

Este personaje habla poco, pero cuando lo hace no siempre utiliza argumentos racionales, se encuentra c\u00f3modo en una cierta metaf\u00edsica cuasi religiosa. Temas queridos de su santoral son: la arquitectura como transmisora de emociones, el espacio como atm\u00f3sfera, la naturaleza como referencia primigenia, acultural, esencial.<\/p>\n

Emoci\u00f3n, atm\u00f3sfera, naturaleza,<\/strong> temas propios de esta actitud<\/h5>\n

Aqu\u00ed le a\u00f1adir\u00eda material<\/strong>. La visi\u00f3n corta que esta actitud exhibe orgullosamente, se encuentra con el mundo f\u00edsico del proyecto y hace de \u00e9l, frecuentemente, argumento central. El objeto acent\u00faa sus cualidades mat\u00e9ricas, su presencia3<\/sup><\/strong>\u00a0pr\u00f3xima, t\u00e1ctil, sensible, protagonista.<\/p>\n

La aparici\u00f3n de esta figura, entendible hist\u00f3ricamente como alternativa a las proposiciones anteriores ya claramente no pertinentes, no esconde \u2013 a mi juicio \u2013 su debilidad.<\/p>\n

Si fuera cierto su rural alejamiento de la escena urbana y global dejar\u00eda a esta proposici\u00f3n sin capacidad de intervenci\u00f3n fuera de su entorno, del pueblo. Significar\u00eda encontrarnos frente a una experiencia atractiva por lo arcaico y entra\u00f1able, sin posibilidades de desarrollo a mayores horizontes.<\/p>\n

En una historia como la nuestra en donde el cambio pese a todo es siempre protagonista, probablemente se est\u00e9n ya anunciando nuevas figuras en donde la globalizaci\u00f3n no suponga oposici\u00f3n a lo local, la inteligencia y la raz\u00f3n sean valores compartidos y sirvan para construir lenguajes y an\u00e1lisis globalmente comprensibles, la forma tenga sentido y no solo valor metaf\u00edsico, y la obertura cosmopolita sea un instrumento eficaz de construcci\u00f3n de lo nuevo.<\/p>\n

Josep Llu\u00eds Mateo. Doctor arquitecto
\nBarcelona,\u00a0febrero 2018<\/p>\n

Notas:<\/h6>\n

1<\/sup> Ver Cours sur Rousseau<\/a>,<\/em> Louis Althusser, Ed.\u00a0<\/span>Le temps des cerises. 1972.<\/span><\/p>\n

2<\/sup> \u201cEl mito del buen salvaje era s\u00f3lo una renovaci\u00f3n y la continuaci\u00f3n del mito de la Edad de oro; es decir de la perfecci\u00f3n del principio de cosas. El mito del buen salvaje es la creaci\u00f3n de una memoria [\u2026].\u201d Mircea Eliade, The Myth of the Noble Savage<\/a><\/em>\u201den Myths, Dreams and Mysteries, Harper & Row, 1975.<\/p>\n

3<\/sup> Gumbrecht, Hans Ulrich. Production of Presence: What Meaning Cannot Convey<\/a>.<\/em> Stanford University Press, 2004.<\/p>\n

[:gl]

\"Source
Fonte: Jean-Jacques Rousseau, \u00c9mile ou De l\u2019\u00e9ducation (1762). Autor: Jean Michel Moreau le Jeune.<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cGardez-vous de la puret\u00e9, c\u2019est le vitriol de l\u2019\u00e2me\u2026\u201d.<\/p>\n

Paul Val\u00e9ry<\/p>\n<\/blockquote>\n

O status dun arquitecto contempor\u00e1neo.<\/strong><\/p>\n

No imaxinario da profesi\u00f3n de arquitecto apareceron historicamente diversos paradigmas. Non tan afastado est\u00e1 o do xenio cosmopolita globalizado, defendendo a globalizaci\u00f3n e, nas s\u00faas palabras, o xen\u00e9rico, e propo\u00f1endo sen cesar novos horizontes, atop\u00e1ndose estes en Atlanta ou en China. No clima intelectual do fin de s\u00e9culo esta figura profesional emerxeu, cos seus correspondentes sacerdotes (penso en Rem Koolhaas) e unha ampla lexi\u00f3n de, en moitos casos, menos sofisticadas figuras que se lanzaban apresurada e glotonamente sobre o amplo mercado onde o estilo persoal ic\u00f3nico, a confianza na bondade extraterritorial da t\u00e9cnica (ecos do high tech) ou simplemente restos de modernidades ou clasicismos amanerados aplic\u00e1banse.<\/p>\n

A crise econ\u00f3mica de principios de s\u00e9culo, e a ampla conciencia colectiva fronte \u00e1 devastaci\u00f3n producida por esta actitude fixeron que esta li\u00f1a de argumentaci\u00f3n, digamos cosmopolita e globalizadora, perdese o seu prestixio intelectual. Fronte a ela, recentemente, hai moitos datos que anuncian a proposici\u00f3n dun novo mito con amplo consenso colectivo e medi\u00e1tico.<\/p>\n

Fronte ao ilustrado cosmopolita anterior, atop\u00e1monos agora en presenza do, utilizando a nomenclatura Rousseauniana1<\/sup>, Bo Salvaxe2<\/sup>.<\/strong>\u00a0Rousseau, en aberta pol\u00e9mica contra a Ilustraci\u00f3n dos enciclopedistas volterianos, defend\u00eda como esencia de verdade e de pureza ao \u201cbo salvaxe\u201d, ao Emilio incontaminado no mundo \u201cnatural\u201d.<\/p>\n

No noso campo os mitos presentes colectivamente activos parecen anunciar procesos semellantes.<\/p>\n

Fronte \u00e1 globalizaci\u00f3n, defensa do local<\/strong>. Fronte ao cosmopolita, ruralismo<\/strong>. O artista agora vive no pobo, preferentemente en lugares pouco accesibles: as monta\u00f1as. Sexan estas os Alpes ou os Pireneos..<\/p>\n

O bo salvaxe ten a gala desde\u00f1ar a tecnolox\u00eda, e no seu aparente retiro de anacoreta por suposto non ten web, secretaria nin ning\u00fan dos medios de comunicaci\u00f3n e organizaci\u00f3n habituais.<\/p>\n

Este personaxe fala pouco, pero cando o fai non sempre utiliza argumentos racionais, at\u00f3pase c\u00f3modo nunha certa metaf\u00edsica case relixiosa. Temas queridos do seu santoral son: a arquitectura como transmisora de emoci\u00f3ns, o espazo como atmosfera, a natureza como referencia primigenia, acultural, esencial.<\/p>\n

Emoci\u00f3n, atmosfera, natureza<\/strong>, temas propios desta actitude.<\/p>\n

Aqu\u00ed engadir\u00edalle material<\/strong>. A visi\u00f3n curta que esta actitude exhibe orgullosamente, at\u00f3pase co mundo f\u00edsico do proxecto e fai del, frecuentemente, argumento central. O obxecto acent\u00faa as s\u00faas calidades mat\u00e9ricas, a s\u00faa presenza3<\/sup><\/strong>\u00a0pr\u00f3xima, t\u00e1ctil, sensible, protagonista.<\/p>\n

A aparici\u00f3n desta figura, entendible historicamente como alternativa \u00e1s proposici\u00f3ns anteriores xa claramente non pertinentes, non esconde \u2013 ao meu xu\u00edzo \u2013 a s\u00faa debilidade.<\/p>\n

Se fose certo o seu rural afastamento da escena urbana e global deixar\u00eda a esta proposici\u00f3n sen capacidade de intervenci\u00f3n f\u00f3ra da s\u00faa contorna, do pobo. Significar\u00eda atoparnos fronte a unha experiencia atractiva polo arcaico e entra\u00f1able, sen posibilidades de desenvolvemento a maiores horizontes.<\/p>\n

Nunha historia como a nosa onde o cambio a pesar de todo \u00e9 sempre protagonista, probablemente est\u00e9anse xa anunciando novas figuras onde a globalizaci\u00f3n non supo\u00f1a oposici\u00f3n ao local, a intelixencia e a raz\u00f3n sexan valores compartidos e sirvan para constru\u00edr linguaxes e an\u00e1lises globalmente comprensibles, a forma te\u00f1a sentido e non s\u00f3 valor metaf\u00edsico, e a abertura cosmopolita sexa un instrumento eficaz de construci\u00f3n do novo.<\/p>\n

Josep Llu\u00eds Mateo. Doutor arquitecto
\nBarcelona,\u00a0febreiro 2018<\/p>\n

Notas:<\/p>\n

1<\/sup>\u00a0Ver \u201cCours sur Rousseau<\/a>\u201d, Louis Althusser, Ed.\u00a0<\/span>Le temps des cerises. 1972<\/span><\/p>\n

2<\/sup>\u00a0\u201cO mito do bo salvaxe era s\u00f3 unha renovaci\u00f3n e a continuaci\u00f3n do mito da Idade de ouro; \u00e9 dicir da perfecci\u00f3n do principio de cousas. O mito do bo salvaxe \u00e9 a creaci\u00f3n dunha memoria [\u2026].\u201d Mircea Eliade, \u201cThe Myth of the Noble Savage<\/a>\u201d in Myths, Dreams and Mysteries, Harper & Row, 1975<\/p>\n

3<\/sup>\u00a0Gumbrecht, Hans Ulrich. \u00abProduction of Presence: What Meaning Cannot Convey<\/a>\u00ab. Stanford University Press, 2004.<\/p>\n

[:en]<\/p>\n

\n
\n
\"Source
Source image main page: Rousseau, Jean-Jacques, \u00c9mile ou De l\u2019\u00e9ducation (1762). Author: Moreau le Jeune, Jean Michel.<\/span><\/figcaption><\/figure>\n
\n

\u201cGardez-vous de la puret\u00e9, c\u2019est le vitriol de l\u2019\u00e2me\u2026\u201d<\/p>\n

Paul Val\u00e9ry<\/p>\n<\/blockquote>\n

A Contemporary Architect\u2019s Status.<\/p>\n<\/div>\n<\/article>\n

\n
\n

The imaginary of the profession of architect has historically seen the emergence of various paradigms. One, not too distant, is that of the globalised cosmopolitan genius, defending globalisation and, to use its own terms, the generic, and constantly proposing new horizons, which he finds in Atlanta or in China. In the intellectual climate of the end of the century, this professional figure emerged with its corresponding priests and a numerous legion of, in many cases, less sophisticated figures who rushed greedily into the open marketplace where iconic personal style, faith in the extraterritorial goodness of technology (echoes of high tech) or, simply, remains of mannered forms of modernity or classicism were applied.<\/p>\n

The economic crisis at the beginning of the century and the widespread collective awareness of the devastation produced by this attitude have caused this line of\u2014let\u2019s call it cosmopolitan, globalising\u2014argument to lose its intellectual prestige. In more recent times, conversely, there is a great deal of data announcing the proposal of a new myth with a broad-based collective and media consensus.<\/p>\n

Now, rather than the enlightened cosmopolitan, we find ourselves in the presence of, to use Rousseauian1<\/sup>\u00a0terms, \u201cle bon sauvage\u201d (the noble savage<\/strong>)2<\/sup>.\u00a0Rousseau, openly at odds with the Enlightenment of the Voltairean Encyclopaedists, defended the \u201cnoble savage\u201d as the essence of truth and purity, an uncontaminated Emile in the \u201cnatural\u201d world.<\/span><\/span><\/p>\n

In our field, today\u2019s collectively active myths seem to be announcing similar processes.<\/p>\n

In the face of globalisation, defending the\u00a0local<\/strong>. In the face of cosmopolitanism,\u00a0ruralism<\/strong>. The artist now lives in a\u00a0village<\/strong>, preferably in out-of-the-way places.<\/span><\/p>\n

The noble savage is contemptuous of technology and, in his apparent withdrawal from the world, he has of course no web, no secretary, and none of the usual means of communication or organisation.<\/p>\n

This character speaks little and, when he does, he does not always use rational arguments; he is comfortable with a kind of quasi-religious metaphysics. The favoured themes of his own particular system of saints are architecture as the conveyor of emotions, space as atmosphere, and nature as a primitive, acultural, essential reference.<\/p>\n

Emotion<\/strong>,\u00a0atmosphere<\/strong>,\u00a0nature<\/strong>: themes that characterise this attitude.<\/span><\/p>\n

Here, I would add\u00a0material<\/strong>. The short view that this attitude takes pride in exhibiting meets the physical world of the project and often takes it as its central argument. The object accentuates its material qualities, its close\u00a0presence<\/strong>3<\/sup>\u00a0<\/strong>:\u00a0tactile, sensible, central.<\/span><\/span><\/p>\n

The appearance of this figure, understandable historically as an alternative to previous proposals that are clearly no longer relevant, does not, in my opinion, conceal its weakness.<\/p>\n

This rural distance from the urban and global scene would strip the proposal of the capacity to intervene anywhere other than its setting, the village. It would present us with an experience that is attractive because it is archaic and engaging, but devoid of potential for development in broader horizons.<\/p>\n

In a history such as ours, where change, despite everything, always occupies centre stage, new figures are probably already being announced for whom globalisation does not oppose the local; intelligence and reason are shared values that serve to build globally comprehensible languages and analyses; form has meaning, not just metaphysical value, and cosmopolitan openness is an effective instrument for the construction of the new.<\/p>\n

Josep Llu\u00eds Mateo.\u00a0PhD architect
\nBarcelona,\u00a0february\u00a02018<\/p>\n

Notes:<\/p>\n

1<\/sup>\u00a0See \u201cCours sur Rousseau<\/a>\u201d, Louis Althusser, Ed.\u00a0<\/span>Le temps des cerises. 1972<\/span><\/p>\n

2<\/sup>\u00a0\u201cThe myth of the noble savage was but a renewal and continuation of the myth of the Golden Age; that is, of the perfection of the beginning of things. The myth of the noble savage is the creation of a memory [\u2026].\u201d Mircea Eliade, \u201cThe Myth of the Noble Savage<\/a>\u201d in Myths, Dreams and Mysteries, Harper & Row, 1975<\/p>\n

3 <\/sup>Gumbrecht, Hans Ulrich. \u00abProduction of Presence: What Meaning Cannot Convey<\/a>\u00ab. Stanford University Press, 2004.<\/p>\n<\/div>\n<\/article>\n

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

[:es] \u201cGardez-vous de la puret\u00e9, c\u2019est le vitriol de l\u2019\u00e2me\u2026\u201d. Paul Val\u00e9ry El estatus de un arquitecto contempor\u00e1neo En el imaginario de la profesi\u00f3n de arquitecto han aparecido hist\u00f3ricamente diversos paradigmas. No tan lejano est\u00e1 el del genio cosmopolita globalizado, defendiendo la globalizaci\u00f3n y, en sus palabras, lo gen\u00e9rico, y proponiendo sin cesar nuevos horizontes, […]<\/p>\n","protected":false},"author":55,"featured_media":67332,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[12448,350,7166,391,5576,392,580,13423,668,13424,11832,13425,11726,1021,2173,11477,1278,2048],"class_list":["post-67331","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura","tag-comunicacion","tag-comunicar","tag-crisis","tag-crisis-como-oportunidad","tag-crisis-economica","tag-filosofia","tag-hans-ulrich-gumbrecht","tag-historia","tag-jean-jacques-rousseau","tag-josep-lluis-mateo","tag-louis-althusser","tag-paul-valery","tag-pensamiento","tag-rem-koolhaas","tag-sociedad-red","tag-teoria","tag-teoria-e-historia"],"yoast_head":"\n[:es]El buen salvaje. 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