{"id":67533,"date":"2019-01-07T00:02:16","date_gmt":"2019-01-06T23:02:16","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=67533"},"modified":"2018-04-23T19:45:28","modified_gmt":"2018-04-23T17:45:28","slug":"dibrujo-sergio-miguel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/dibrujo-sergio-miguel\/","title":{"rendered":"[:es]El dibrujo | Sergio de Miguel[:gl]O dibruxo | Sergio de Miguel[:en]The dibrujo | Sergio de Miguel[:]"},"content":{"rendered":"

[:es]

\"Escalera\"
Escalera<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abEn manos del arquitecto, el la\u0301piz constituye un puente entre la mente que imagina y la imagen que aparece en la hoja de papel; en el e\u0301xtasis del trabajo, el dibujante olvida tanto su mano como el la\u0301piz y la imagen emerge como si fuera una proyeccio\u0301n automa\u0301tica de la mente que imagina; o quiza\u0301 sea la mano la que verdaderamente imagina en tanto que existe en la vida del mundo, la realidad del espacio, materia y tiempo, la condicio\u0301n fi\u0301sica misma del objeto imaginado.\u00bb<\/p>\n

Juhani Pallasmaa, –La mano que piensa<\/a>-.<\/p>\n<\/blockquote>\n

Las destrezas, la inteligencia creativa y las capacidades conceptuales de todo aquel que busca satisfacer un resultado fi\u0301sico pasan siempre por el canal de nuestra extremidad ma\u0301s preparada, ma\u0301s ha\u0301bil y capaz, y alli\u0301 se produce una suerte de traduccio\u0301n ma\u0301gica, inesperada. Emerge una fascinacio\u0301n, una atraccio\u0301n incontrolada, un hechizo que traslada la atencio\u0301n, y disloca el significado.<\/p>\n

Debajo del dibujo de la mano atenta hay mucho ma\u0301s que una representacio\u0301n. Aparecen co\u0301digos de interpretacio\u0301n que surgen de la memoria<\/a> y de esa sabiduri\u0301a que, efectivamente, es existencial pero tambie\u0301n corporal. La mano detenta un poder de transformacio\u0301n y figuracio\u0301n inmenso.<\/p>\n

El la\u0301piz<\/a> dibuja no so\u0301lo lo que ve, tambie\u0301n lo que se puede llegar a ver, ma\u0301s alla\u0301 de lo inmediato. Y esa generosa amplitud provoca que la mano y su dibujo sean capaces de alterar el a\u0301nimo y la intencio\u0301n.<\/p>\n

A veces, muchas veces, da la sensacio\u0301n de que el dibujo no naciera de la mente<\/a> del que lo realiza. Pareciera que tuviera vida propia y surgiera de un lugar no reconocible. Pero la mano, es palpable, ha sido quien lo ha producido. Sus movimientos<\/a>, podri\u0301amos pensar que inconscientes, han derivado en un producto tan esencial como asombroso.<\/p>\n

Esta\u0301 ahi\u0301 y su lectura y traduccio\u0301n pueden llevar a nuevas reflexiones y sensaciones. No se\u0301 sabe porque\u0301, pero dice cosas que antes de aparecer ese dibujo no estaban.<\/p>\n

De nuestra capacidad<\/a> de sorpresa y embrujo ante lo que trasluce la mano depende nuestro poder de transformacio\u0301n.<\/p>\n

No en vano el verbo dibujar viene del france\u0301s \u00abdeboisser\u00bb<\/em>, literalmente -labrar en madera-. Y de ahi\u0301 se ha venido a conjugar todo lo relacionado con debastar, esbozar, esculpir… y obrar.<\/p>\n

Cua\u0301nta madera<\/a>.<\/p>\n

Sergio de Miguel, Doctor arquitecto
\nMadrid, noviembre 2017
\nPublicado en Grupo docente y de investigaci\u00f3n para la arquitectura\u00a0Grupo 4!\u00a0de la ETSAM.<\/em><\/span><\/p>\n

[:gl]

\"Escalera\"
Escada<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abEn mans do arquitecto, o a\u0301 piz constit\u00fae unha ponte entre a mente que imaxina e a imaxe que aparece na folla de papel; na \u00e9xtase do traballo, o debuxante esquece tanto a s\u00faa man como o lapis e a imaxe emerxe coma se fose unha proxecci\u00f3n autom\u00e1tica da mente que imaxina; ou quiz\u00e1 sexa a man a que verdadeiramente imaxina en tanto que existe na vida do mundo, a realidade do espazo, materia e tempo, a condici\u00f3n f\u00edsica mesma do obxecto imaxinado.\u00bb<\/p>\n

Juhani Pallasmaa, –A man que pensa<\/a>-.<\/p>\n<\/blockquote>\n

As destrezas, a intelixencia creativa e as capacidades conceptuais de todo aquel que busca satisfacer un resultado f\u00edsico pasan sempre pola canle da nosa extremidade m\u00e1is preparada, m\u00e1is h\u00e1bil e capaz, e al\u00ed prod\u00facese unha sorte de traduci\u00f3n m\u00e1xica, inesperada. Emerxe unha fascinaci\u00f3n, unha atracci\u00f3n incontrolada, un feitizo que traslada a atenci\u00f3n, e disloca o significado.<\/p>\n

Debaixo do debuxo da man atenta hai moito m\u00e1is que unha representaci\u00f3n. Aparecen c\u00f3digos de interpretaci\u00f3n que xorden da memoria <\/a>e desa sabedor\u00eda que, efectivamente, \u00e9 existencial pero tam\u00e9n corporal. A man detenta un poder de transformaci\u00f3n e figuraci\u00f3n inmenso.<\/p>\n

O lapis<\/a> debuxa non s\u00f3 o que ve, tam\u00e9n o que se pode chegar a ver, m\u00e1is al\u00f3 do inmediato. E esa xenerosa amplitude provoca que a man e o seu debuxo sexan capaces de alterar o \u00e1nimo e a intenci\u00f3n.<\/p>\n

\u00c1s veces, moitas veces, d\u00e1 a sensaci\u00f3n de que o debuxo non nacese da mente<\/a> do que o realiza. Parecese que tivese vida propia e xurdise dun lugar non reconocible. Pero a man, \u00e9 palpable, foi quen o produza. Os seus movimentos<\/a>, poderiamos pensar que inconscientes, derivaron nun produto tan esencial como asombroso.<\/p>\n

Est\u00e1 a\u00ed e a s\u00faa lectura e traduci\u00f3n poden levar a novas reflexi\u00f3ns e sensaci\u00f3ns. Non sei sabe porqu\u00e9, pero di cousas que antes de aparecer ese debuxo non estaban.<\/p>\n

Da nosa capacidade<\/a>\u00a0de sorpresa e encanto ante o que trasluce a man depende o noso poder de transformaci\u00f3n.<\/p>\n

Non en balde o verbo debuxar v\u00e9n do franc\u00e9s \u00abdeboisser\u00bb<\/em>, literalmente -labrar en madeira-. E de ahi\u00ed veuse a conxugar todo o relacionado con debastar, esbozar, esculpir… e obrar.<\/p>\n

Canta madeira<\/a>.<\/p>\n

Sergio de Miguel, Doutor arquitecto
\nMadrid, novembro 2017
\nPublicado en Grupo docente e de investigaci\u00f3n para a arquitectura Grupo 4! da ETSAM.<\/em><\/span><\/p>\n

[:en]

\"Escalera\"
Stairs<\/span><\/figcaption><\/figure><\/p>\n
\n

\u00abIn hands of the architect, the la’piz constitutes a bridge between the mind that he imagines and the image that appears in the leaf of paper; in the ecstasy of the work, the draftsman forgets both his hand and the pencil and the image emerges as if it was an automatic projection of the mind that he imagines; or probably it is the hand the one that really he imagines while it exists in the life of the world, the reality of the space, matter and time, the physical condition itself of the imagined object.\u00bb<\/p>\n

Juhani Pallasmaa, –The hand that he thinks<\/a>-.<\/p>\n<\/blockquote>\n

The skills, the creative intelligence and the conceptual capacities of everything that one that seeks to satisfy a result fi’sico spend always for the channel of our most prepared, more skilful and capable extremity, and there there takes place a luck of magic, unexpected translation. It emerges a fascination, an uncontrolled attraction, a charm that the atencio’n moves, and dislocates the meaning.<\/p>\n

Under the drawing of the attentive hand it is much more than a representation. There appear codes of interpretation that arise from the memory<\/a> and of this wisdom that, really, is existential but also corporal. The hand holds an immense power of transformation and imagination.<\/p>\n

The pencil<\/a>\u00a0draws not only what sees, also what it is possible to manage to see, beyond the immediate thing. And this generous extent provokes that the hand and his drawing are capable of altering the spirit and the intention.<\/p>\n

Sometimes, often, it gives the sensation that the drawing was not born of the mind<\/a> of the one that realizes it. It seemed that it had own life and was arising from a not recognizable place. But the hand, it is palpable, has been the one who has produced it. His movements<\/a>, we might think that unconscious, they have derived in a product so essential as amazing.<\/p>\n

It is there and his reading and translation they can lead to new reflections and sensations. Do not be know porqu\u00e9, but he says things that before this drawing appears were not.<\/p>\n

On our capacity<\/a> of surprise and spell before what it reveals the hand our power of transformation depends.<\/p>\n

Not uselessly the verb to draw comes from the Frenchman \u00abdeboisser<\/em>\u00ab, literally – to work in wood-. And of ahi\u00ed one has come to bring together everything related with debastar, to outline, esculpir … and to act.<\/p>\n

What a lot of wood<\/a>.<\/p>\n

Sergio de Miguel,\u00a0PhD architect
\nMadrid, november 2017
\nPublished in educational Group and of investigation for the architecture Group 4! Of the ETSAM.<\/em><\/span><\/p>\n

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

[:es] \u00abEn manos del arquitecto, el la\u0301piz constituye un puente entre la mente que imagina y la imagen que aparece en la hoja de papel; en el e\u0301xtasis del trabajo, el dibujante olvida tanto su mano como el la\u0301piz y la imagen emerge como si fuera una proyeccio\u0301n automa\u0301tica de la mente que imagina; o […]<\/p>\n","protected":false},"author":24,"featured_media":67537,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[1512,4935,362,3113,2298,424,1862,530,1595,659,1873,1541,789,3255,2496,920,7188,1021,1985,1147,1149,2112,5945,3015,5276,3311,1278],"class_list":["post-67533","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-en-la-memoria","tag-complejidad","tag-conocimiento","tag-creatividad","tag-dibujar","tag-dibujo","tag-eficiencia","tag-estrategias","tag-francisco-javier-saenz-de-oiza","tag-habitar","tag-imagen","tag-juhani-pallasmaa","tag-lenguaje","tag-memoria","tag-movimiento","tag-naturaleza","tag-observar","tag-pensamiento","tag-pensar","tag-reconocimiento","tag-recorrido","tag-representacion","tag-sergio-de-miguel","tag-simbolismo","tag-simbolo","tag-tecnica-tradicional","tag-teoria"],"yoast_head":"\n[:es]El dibrujo | Sergio de Miguel[:gl]O dibruxo | Sergio de Miguel[:en]The dibrujo | Sergio de Miguel[:] - 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