{"id":67394,"date":"2018-03-19T00:01:35","date_gmt":"2018-03-18T23:01:35","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67394"},"modified":"2023-05-02T09:21:23","modified_gmt":"2023-05-02T07:21:23","slug":"arquitecturas-del-dolor-inigo-garcia-odiaga","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitecturas-del-dolor-inigo-garcia-odiaga\/","title":{"rendered":"[:es]Arquitecturas del dolor | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitecturas da dor | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Architectures of the pain | \u00cd\u00f1igo Garc\u00eda Odiaga[:]"},"content":{"rendered":"

[:es]

\"Serre
Serre Road Cemetery, Edwin Lutyens (1869-1944)<\/span><\/figcaption><\/figure><\/p>\n

El final de la primera guerra mundial en 1918, dio paso a un pr\u00f3spero periodo de cambios pol\u00edticos y revoluciones sociales. Todos estos cambios tuvieron su reflejo en el arte y en la arquitectura, y ser\u00eda imposible dar una explicaci\u00f3n medianamente l\u00f3gica de las vanguardias rusas, el constructivismo o el estilo internacional, sin el contexto hist\u00f3rico surgido tras la Gran Guerra.\u00a0Pero si en algo destac\u00f3 la gran contienda Europea, fue en la tragedia humana que gener\u00f3 la contienda b\u00e9lica, hasta ser considerada el quinto conflicto m\u00e1s mort\u00edfero de la historia de la humanidad.<\/p>\n

Para reparar las secuelas del conflicto b\u00e9lico hab\u00eda sin duda una gran tarea de reconstrucci\u00f3n, pero tambi\u00e9n la arquitectura ser\u00eda necesaria para atender las necesidades del recuerdo, de la memoria o de la identidad. En definitiva, las necesidades del alma.\u00a0Como dijo \u00d3scar Tusquets:<\/p>\n

\n

\u201cHacer arquitectura para los muertos, o mejor, para los vivos que no quieren olvidar a sus muertos, ha sido siempre muy agradecido\u201d.<\/p>\n<\/blockquote>\n

En estos casos, la tensi\u00f3n del proyecto se debate entre dos cuestiones. La inmensa carga simb\u00f3lica, pelea entre lo sencillo de su funci\u00f3n concreta, y la complicaci\u00f3n de traer al proyecto lo trascendental y metaf\u00edsico. Es desde \u00e9sta dualidad, desde la que la arquitectura funeraria ha construido grandes monumentos a todo lo largo de la historia de la humanidad.<\/p>\n

Cuando el gobierno brit\u00e1nico atisbaba ya, la victoria en la guerra, seleccion\u00f3 un equipo de arquitectos para formar la Commonwealth War Graves Commission<\/strong>, cuya misi\u00f3n ser\u00eda dise\u00f1ar los monumentos que conmemorasen a los fallecidos durante el conflicto.\u00a0Tres de los arquitectos m\u00e1s destacados de la \u00e9poca, Sir Herbert Baker<\/strong><\/a>, Sir Reginald Blomfield<\/strong><\/a>, y Sir Edwin Lutyens<\/strong><\/a> pasaron a formar parte de este departamento. Lutyens se hab\u00eda encargado de dise\u00f1ar anteriormente los s\u00edmbolos del poder colonial del imperio brit\u00e1nico, as\u00ed que conoc\u00eda perfectamente el ansia simb\u00f3lica y conmemorativa de este encargo. A ellos se les encomend\u00f3 rendir con sus proyectos, homenaje a los fallecidos en las batallas de la guerra, pero tambi\u00e9n el de custodiar en esos espacios la memoria colectiva del horror de la guerra.<\/p>\n

Son m\u00e1s de cien los cementerios y monumentos que Lutyens y sus compa\u00f1eros dise\u00f1aron a lo largo de los a\u00f1os, y a pesar de sus diferentes dimensiones y emplazamientos todos guardan una cierta familiaridad, como si su gen\u00e9tica mantuviese un c\u00f3digo unitario.<\/p>\n

Los tres primeros proyectos se construyeron en Le Treport, Forceville y Louvencourt. De ellos, el levantado en Forceville result\u00f3 ser el m\u00e1s exitoso. Los arquitectos crearon un cementerio amurallado con l\u00e1pidas uniformes en un jard\u00edn. Para conmemorar todos los credos y ninguno al mismo tiempo, Edwin Lutyens recurri\u00f3 a las geometr\u00edas de las estructuras cl\u00e1sicas griegas, que con tanta claridad hab\u00eda aprendido en sus estudios sobre el Parten\u00f3n de Atenas. De este modo resolvi\u00f3 con ese lenguaje unitario y cl\u00e1sico todo un cat\u00e1logo de templetes, cenotafios, grader\u00edos, escalinatas, pin\u00e1culos, ermitas o vallados que los cementerios requer\u00edan.<\/p>\n

Pero la aportaci\u00f3n m\u00e1s emocionante de estos proyectos, se debe al paisajismo. Para el desarrollo de esta parte del proyecto fue clave la figura de Gertrude Jekyll<\/strong><\/a>, una influyente mujer dedicada a la horticultura, la jardiner\u00eda, as\u00ed como al arte y la escritura. Jekyll destac\u00f3 por su adscripci\u00f3n al Movimiento Arts & Crafts<\/strong>, gracias a lo cual conoci\u00f3 al arquitecto, Sir Edwin Lutyens, con el cual hab\u00eda creado numerosos jardines para villas en la campi\u00f1a inglesas.<\/p>\n

\"Serre
Serre Road Cemetery, Edwin Lutyens (1869-1944)<\/span><\/figcaption><\/figure>\n

Las tumbas individuales se disponen, en lo posible, en filas rectas y marcadas por l\u00e1pidas uniformes, la gran mayor\u00eda de los cuales est\u00e1n realizadas con piedra blanca Portlan. Peque\u00f1as diferencias formales, entre las piezas explican la condici\u00f3n cristiana, musulmana, jud\u00eda o atea del fallecido. Esta rigurosidad formal y geom\u00e9trica de las filas y columnas de l\u00e1pidas, convierte al conjunto en una escultura sobre el paisaje verde. Idea apoyada por la ausencia de cualquier forma de pavimentaci\u00f3n entre las filas, lo que contribuye a una simplicidad minimalista, que a\u00fan hoy cien a\u00f1os m\u00e1s tarde, dota a la intervenci\u00f3n de un lenguaje rotundo y contempor\u00e1neo. Sin estos proyectos, entendidos desde el punto de vista paisaj\u00edstico, en los que la naturaleza se convierte en un material m\u00e1s del proyecto, ser\u00eda dif\u00edcil entender el Land Art<\/strong> actual o el trabajo de artistas contempor\u00e1neos como el de Richard Long<\/strong> <\/a>o Walter de Mar\u00eda<\/strong><\/a>.<\/p>\n

Si cualquier memorial es un espacio de meditaci\u00f3n, los de los campos de batalla de la guerra del catorce, son particularmente sobrecogedores. Los inmensos campos plantados de cruces, parecen batallones sobre las laderas. Pero el paisaje de barrizales, trincheras y alambradas, que se levantaba en esos lugares durante la contienda, es ahora una pradera artificial.<\/p>\n

Un tapiz surrealista donde la hierba ha ocultado, construyendo una falsa naturalidad, un terreno herido por la barbarie humana que esos lugares, ahora buc\u00f3licos vivieron en su m\u00e1xima expresi\u00f3n. Tal vez, ese sea el legado que la Gran Guerra aport\u00f3 al campo de la arquitectura, el de hacer del dolor un material de construcci\u00f3n.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n.\u00a0Abril\u00a02014<\/p>\n

Publicado en ZAZPIKA abril.2014<\/em><\/span>[:gl]

\"Serre
Serre Road Cemetery, Edwin Lutyens (1869-1944)<\/span><\/figcaption><\/figure><\/p>\n

O final da primeira guerra mundial en 1918, deu paso a un pr\u00f3spero per\u00edodo de cambios pol\u00edticos e revoluci\u00f3ns sociais. Todos estes cambios tiveron o seu reflexo na arte e na arquitectura, e ser\u00eda imposible dar unha explicaci\u00f3n medianamente l\u00f3xica das vangardas rusas, o constructivismo ou o estilo internacional, sen o contexto hist\u00f3rico xurdido tras a Gran Guerra. Pero se en algo destacou a gran contenda Europea, foi na traxedia humana que xerou a contenda b\u00e9lica, ata ser considerada o quinto conflito m\u00e1is mort\u00edfero da historia da humanidade.<\/p>\n

Para reparar as secuelas do conflito b\u00e9lico hab\u00eda sen d\u00fabida unha gran tarefa de reconstruci\u00f3n, pero tam\u00e9n a arquitectura ser\u00eda necesaria para atender as necesidades do recordo, da memoria ou da identidade. En definitiva, as necesidades da alma. Como dixo \u00d3scar Tusquets:<\/p>\n

\n

\u201cFacer arquitectura para os mortos, ou mellor, para os vivos que non queren esquecer aos seus mortos, foi sempre moi agradecido\u201d.<\/p>\n<\/blockquote>\n

Nestes casos, a tensi\u00f3n do proxecto se debate entre d\u00faas cuesti\u00f3ns. A inmensa carga simb\u00f3lica, pelexa entre o sinxelo da s\u00faa funci\u00f3n concreta, e a complicaci\u00f3n de traer ao proxecto o transcendental e metaf\u00edsico. \u00c9 desde esta dualidade, desde a que a arquitectura funeraria ha constru\u00eddo grandes monumentos a todo o longo da historia da humanidade.<\/p>\n

Cando o goberno brit\u00e1nico atisbaba xa, a vitoria na guerra, seleccionou un equipo de arquitectos para formar a Commonwealth War Graves Commission<\/strong>, cuxa misi\u00f3n ser\u00eda dese\u00f1ar os monumentos que conmemorasen aos falecidos durante o conflito. Tres dos arquitectos m\u00e1is destacados da \u00e9poca, Sir Herbert Baker<\/strong><\/a>,\u00a0Sir Reginald Blomfield<\/strong><\/a>,\u00a0e\u00a0Sir Edwin Lutyens<\/strong><\/a> pasaron a formar parte deste departamento. Lutyens encargouse de dese\u00f1ar anteriormente os s\u00edmbolos do poder colonial do imperio brit\u00e1nico, as\u00ed que co\u00f1ec\u00eda perfectamente o ansia simb\u00f3lica e conmemorativa deste encargo. A eles encomend\u00f3uselles render cos seus proxectos, homenaxe aos falecidos nas batallas da guerra, pero tam\u00e9n o de custodiar neses espazos a memoria colectiva do horror da guerra.<\/p>\n

Son m\u00e1is de cen os cemiterios e monumentos que Lutyens e os seus compa\u00f1eiros dese\u00f1aron ao longo dos anos, e a pesar das s\u00faas diferentes dimensi\u00f3ns e emprazamentos todos gardan unha certa familiaridade, coma se a s\u00faa xen\u00e9tica mantivese un c\u00f3digo unitario.<\/p>\n

Os tres primeiros proxectos constru\u00edronse en Le Treport, Forceville e Louvencourt. Deles, o levantado en Forceville resultou ser o m\u00e1is exitoso. Os arquitectos crearon un cemiterio amurallado con l\u00e1pidas uniformes nun xard\u00edn. Para conmemorar todos os credos e ning\u00fan ao mesmo tempo, Edwin Lutyens recorreu \u00e1s xeometr\u00edas das estruturas cl\u00e1sicas gregas, que con tanta claridade aprendera nos seus estudos sobre o Parten\u00f3n de Atenas. Deste xeito resolveu con esa linguaxe unitaria e cl\u00e1sica todo un cat\u00e1logo de fornelos, cenotafios, bancadas, escalinatas, pin\u00e1culos, ermidas ou valados que os cemiterios requir\u00edan.<\/p>\n

Pero a achega m\u00e1is emocionante destes proxectos, d\u00e9bese ao paisajismo. Para o desenvolvemento desta parte do proxecto foi clave a figura de Gertrude Jekyll<\/strong><\/a>,\u00a0 unha influente muller dedicada \u00e1 horticultura, a xardiner\u00eda, as\u00ed como \u00e1 arte e a escritura. Jekyll destacou pola s\u00faa adscrici\u00f3n ao Movemento Arts & Crafts,<\/strong> grazas ao cal co\u00f1eceu ao arquitecto, Sir Edwin Lutyens, co cal creara numerosos xard\u00edns para vilas na campi\u00f1a inglesas.<\/p>\n

\"Serre
Serre Road Cemetery, Edwin Lutyens (1869-1944)<\/span><\/figcaption><\/figure>\n

As tumbas individuais disp\u00f3\u00f1ense, no posible, en filas rectas e marcadas por l\u00e1pidas uniformes, a gran maior\u00eda dos cales est\u00e1n realizadas con pedra branca Portlan. Pequenas diferenzas formais, entre as pezas explican a condici\u00f3n cristi\u00e1, musulm\u00e1, xud\u00eda ou atea do falecido. Esta rigorosidade formal e xeom\u00e9trica das filas e columnas de l\u00e1pidas, converte ao conxunto nunha escultura sobre a paisaxe verde. Idea apoiada pola ausencia de calquera forma de pavimentaci\u00f3n entre as filas, o que contrib\u00fae a unha simplicidade minimalista, que a\u00ednda hoxe cen anos m\u00e1is tarde, dota \u00e1 intervenci\u00f3n dunha linguaxe rotunda e contempor\u00e1nea. Sen estes proxectos, entendidos desde o punto de vista paisax\u00edstico, nos que a natureza se converte nun material m\u00e1is do proxecto, ser\u00eda dif\u00edcil entender o Land Art<\/strong> actual ou o traballo de artistas contempor\u00e1neos como o de Richard Long<\/strong>\u00a0<\/a>ou\u00a0Walter de Mar\u00eda<\/strong><\/a>..<\/p>\n

Se calquera memorial \u00e9 un espazo de meditaci\u00f3n, os dos campos de batalla da guerra do catorce, son particularmente sobrecogedores. Os inmensos campos plantados de cruces, parecen batall\u00f3ns sobre as ladeiras. Pero a paisaxe de bulleirais, trincheiras e aramados, que se levantaba neses lugares durante a contenda, \u00e9 agora unha prader\u00eda artificial.<\/p>\n

Un tapiz surrealista onde a herba ocultou, constru\u00edndo unha falsa naturalidade, un terreo ferido pola barbarie humana que eses lugares, agora buc\u00f3licos viviron na s\u00faa m\u00e1xima expresi\u00f3n. Talvez, ese sexa o legado que a Gran Guerra achegou ao campo da arquitectura, o de facer da dor un material de construci\u00f3n.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Arquitecto
\nSan Sebasti\u00e1n.\u00a0Abril\u00a02014<\/p>\n

Publicado en ZAZPIKA abril.2014<\/em><\/span>[:en]

\"Serre
Serre Road Cemetery, Edwin Lutyens (1869-1944)<\/span><\/figcaption><\/figure><\/p>\n

The end of the first world war in 1918, gave step to a prosperous period of political changes and social revolutions. All these changes had his reflection in the art and in the architecture, and it would be impossible to give a moderately logical explanation of the Russian forefronts, the constructivism or the international style, without the historical context arisen after the Great War. But if in something the great European contest stood out, it was in the human tragedy that generated the warlike contest, up to being considered to be the most deadly fifth conflict of the history of the humanity.<\/p>\n

To repair the sequels of the warlike conflict there was undoubtedly a great task of reconstruction, but also the architecture would be necessary to attend to the needs of the recollection, of the memory or of the identity. Definitively, the needs of the soul. As he said \u00d3scar Tusquets:<\/p>\n

\n

\u201cTo do architecture for the dead men, or better, for the alive ones who do not want to forget his dead men, it has been always very grateful\u201d.<\/p>\n<\/blockquote>\n

In these cases, the tension of the project is debated between two questions. The immense symbolic load, it fights between the simple of his concrete function, and the complication of bringing to the project the transcendental and metaphysical thing. There is from this one duality, from which the funeral architecture has constructed big monuments to everything long of the history of the humanity.<\/p>\n

When the British government was watching already, the victory in the war, it selected an equipment of architects to form the Commonwealth War Serious Commission<\/strong>, whose mission would be to design the monuments that they were commemorating to the deceased during the conflict. Three of the architects most distinguished from the epoch, \u00a0Sir Herbert Baker<\/strong><\/a>,\u00a0Sir Reginald Blomfield<\/strong><\/a>,\u00a0and\u00a0Sir Edwin Lutyens<\/strong><\/a> happened to form a part of this department. Lutyens had taken charge designing previously the symbols of the colonial power of the British empire, so it knew perfectly the symbolic and commemorative anxiety of this order. One entrusted them to exhaust with his projects, honoring the deceased in the battles of the war, but also of guarding in these spaces the collective memory of the horror of the war.<\/p>\n

They are more than hundred the cemeteries and monuments that Lutyens and his companions designed throughout the years, and in spite of his different dimensions and emplacements they all guard a certain familiarity, as if his genetics was supporting an unitary code.<\/p>\n

The first three projects constructed themselves in\u00a0Le Treport, Forceville and Louvencourt. Of them, raised in Forceville it turned out to be the most successful. The architects created a cemetery walled with uniform tablets in a garden. To commemorate all the creeds and none at the same time, Edwin Lutyens resorted to the geometries of the classic Greek structures, which with so many clarity he had learned in his studies on the Parthenon of Athens. Thus it solved with this unitary and classic language the whole catalogue of templetes, cenotaphs, grader\u00edos, perrons, pinnacles, hermitages or fences that the cemeteries were needing.<\/p>\n

But the most exciting contribution of these projects, owes to the landscape painting. For the development of this part of the project the figure of Gertrude Jekyll<\/strong><\/a>\u00a0was key, an influential woman dedicated to the horticulture, the gardening, as well as to the art and the writing. Jekyll emphasized for his adscription the Arts & Crafts\u00a0<\/strong>Movement, thanks to which it knew the architect, Sir Edwin Lutyens, with whom it had created numerous gardens for villas in the field Englishwomen.<\/p>\n

\"Serre
Serre Road Cemetery, Edwin Lutyens (1869-1944)<\/span><\/figcaption><\/figure>\n

The individual tombs arrange, in the possible thing, in rows straight and marked by uniform tablets, the great majority of which are realized by white stone Portlan. Small formal differences, between the pieces they explain the Christian, Moslem, Jewish or atheistic condition of the deceased.\u00a0This formal and geometric rigor of the rows and columns of tablets, it turns to the set in a sculpture on the green landscape. Idea supported by the absence of any form of paving between the rows, which he contributes to a minimalist simplicity, which still today hundred years later, it endows to the intervention of a round and contemporary language. Without these projects understood from the landscape point of view, in which the nature turns into one more material of the project, it would be difficult to understand the current Land Art<\/strong> or the work of contemporary artists as that of Richard Long<\/strong>\u00a0<\/a>or\u00a0Walter de Mar\u00eda<\/strong><\/a>.<\/p>\n

If any brief is a space of meditation, those of the battlefields of the war of fourteen, they are particularly impressive. The immense fields planted of crossings, look like battalions on the hillsides. But the landscape of clay-pits, trenches and wire fences, which was getting up in these places during the contest, is now an artificial meadow.<\/p>\n

A surrealistic tapestry where the grass has concealed, constructing a false naturalness, an area hurt by the human barbarism that these places, now bucolic they lived in his maximum expression. Maybe, this it is the legacy that the Great War contributed to the field of the architecture, of doing of the pain a material of construction.<\/p>\n

\u00cd\u00f1igo Garc\u00eda Odiaga. Architect
\nSan Sebasti\u00e1n.\u00a0April\u00a02014<\/p>\n

It\u00b4s published in ZAZPIKA April 2014<\/em><\/span>[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] El final de la primera guerra mundial en 1918, dio paso a un pr\u00f3spero periodo de cambios pol\u00edticos y revoluciones sociales. Todos estos cambios tuvieron su reflejo en el arte y en la arquitectura, y ser\u00eda imposible dar una explicaci\u00f3n medianamente l\u00f3gica de las vanguardias rusas, el constructivismo o el estilo internacional, sin el […]<\/p>\n","protected":false},"author":31,"featured_media":67395,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[9901,2539,7446,9577,12449,155,279,365,4546,13426,508,516,13427,4285,749,1519,2081,13429,1680,977,1820,10880,6359,1286,6988,13428],"class_list":["post-67394","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-constructivista","tag-arquitectura-del-paisaje","tag-arquitectura-inglesa","tag-arquitectura-monumental","tag-arte","tag-arte-contemporaneo","tag-cementerio","tag-construccion","tag-constructivismo-ruso","tag-edwin-landseer-lutyens","tag-escultura","tag-espacio-publico","tag-gertrude-jekyll","tag-inigo-garcia-odiaga","tag-jardineria","tag-land-art","tag-monumento","tag-nob","tag-oscar-tusquets-blanca","tag-paisaje","tag-politica","tag-revista-arts-architecture","tag-richard-long","tag-territorio","tag-tumba","tag-walter-de-maria"],"yoast_head":"\n[:es]Arquitecturas del dolor | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitecturas da dor | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Architectures of the pain | \u00cd\u00f1igo Garc\u00eda Odiaga[:] - veredes<\/title>\n<meta name=\"description\" content=\"Toda la informaci\u00f3n sobre: [:es]Arquitecturas del dolor | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitecturas da dor | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Architectures of the pain | \u00cd\u00f1igo Garc\u00eda Odiaga[:]\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/veredes.es\/blog\/arquitecturas-del-dolor-inigo-garcia-odiaga\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[:es]Arquitecturas del dolor | \u00cd\u00f1igo Garc\u00eda Odiaga[:gl]Arquitecturas da dor | \u00cd\u00f1igo Garc\u00eda Odiaga[:en]Architectures of the pain 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