{"id":69448,"date":"2018-08-03T00:01:44","date_gmt":"2018-08-02T22:01:44","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=69448"},"modified":"2025-09-15T19:30:45","modified_gmt":"2025-09-15T17:30:45","slug":"analogias-del-arte-total-marcelo-gardinetti","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/analogias-del-arte-total-marcelo-gardinetti\/","title":{"rendered":"[:es]Analog\u00edas del arte total | Marcelo Gardinetti[:gl]Analox\u00edas d\u00e1 arte total | Marcelo Gardinetti[:en]Analogies of total art | Marcelo Gardinetti[:]"},"content":{"rendered":"

[:es]

\"Tableau
Tableau I Mondrian<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cHay una vieja conciencia del tiempo, y hay otra nueva. La primera atiende al individualismo. La nueva tiende hacia lo universal\u201d.<\/em><\/p>\n

Manifiesto De Stijl, 1918<\/p>\n<\/blockquote>\n

\u00a0Las semejanzas compositivas existentes entre la obra pict\u00f3rica Tableau I realizada por Piet Mondrian<\/strong><\/a> en 1920 y el dise\u00f1o de la elevaci\u00f3n de calle del caf\u00e9 De Unie de J.J.P. Oud<\/strong><\/a> de 1924, responden a los principios enunciados en el manifiesto n\u00ba I del movimiento De Stijl<\/a><\/strong>. Este suceso resulta parad\u00f3jico teniendo en cuenta los hechos acontecidos con anterioridad a la construcci\u00f3n de la obra.<\/p>\n

Oud, miembro de activa participaci\u00f3n en la fundaci\u00f3n del grupo, nunca firmo el manifiesto fundacional. Su actividad arquitect\u00f3nica no estuvo aferrada a ning\u00fan discurso de vanguardia, relatos que consideraba apropiados para la pintura. Tampoco acordaba con los conceptos de Mondrian, quien declaraba que los principios est\u00e9ticos subyacentes a todas las formas art\u00edsticas nac\u00edan de la pintura.<\/p>\n

\"\u00a9Museo
\u00a9Museo Ludwig de Colonia<\/span><\/figcaption><\/figure>\n

Bajo estas condiciones en 1921 se produjo la ruptura en la relaci\u00f3n entre Oud y Theo van Doesburg<\/a><\/strong> y su alejamiento paulatino del grupo. Sin embargo, cuando le encomiendan el dise\u00f1o de la fachada del caf\u00e9 De Unie, Oud plantea una composici\u00f3n que respeta los conceptos b\u00e1sicos neoplasticistas: un equilibrado juego geom\u00e9trico con planos de colores dispuestos en forma horizontal y vertical.<\/p>\n

La semejanza en la disposici\u00f3n y equilibrio de planos en la fachada con la obra pict\u00f3rica mencionada, convalida la afirmaci\u00f3n de Mondrian que tanto disgustaba al propio Oud. La elevaci\u00f3n es tratada como un plano con relieves, donde columnas, ventanas, planos ciegos y canaletas adquieren un valor art\u00edstico. Los \u00fanicos elementos tridimensionales que se destacan del plano de fachada son los carteles identificadores del local.<\/p>\n

\"Foto
Foto hist\u00f3rica, autor desconocido.<\/span><\/figcaption><\/figure>\n

La obra ten\u00eda una finalidad temporal. Se propone para ocupar un terreno bald\u00edo por un plazo no mayor a los 10 a\u00f1os. Es probable que Oud optara por un dise\u00f1o que rompe la hist\u00f3rica tradici\u00f3n de frentes escalonados en la ciudad, animado por el car\u00e1cter temporal de la obra.<\/p>\n

El Caf\u00e9 De Unie es la \u00fanica obra del grupo De Stijl que ratifica los conceptos vertidos por Mondrian. El car\u00e1cter ic\u00f3nico de la obra evito su demolici\u00f3n en los plazos estipulados. Sin embargo, el bombardeo a Rotterdam de 1940 puso fin al edificio, reconstruido en 1986 en un terreno similar cercano al sitio de emplazamiento original, bajo la direcci\u00f3n del arquitecto Carel Weeber<\/a><\/strong>.<\/p>\n

\"\u00a9Hans
\u00a9Hans R van der Woude\/Panoramio<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti . arquitecto
\nLa Plata.\u00a0Julio 2018<\/p>\n

[:gl]

\"Tableau
Tableau I Mondrian<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cHai unha vella conciencia do tempo, e hai outra nova. A primeira atende ao individualismo. A nova tende cara ao universal\u201d.<\/em><\/p>\n

Manifiesto De Stijl, 1918<\/p>\n<\/blockquote>\n

As semellanzas compositivas existentes entre a obra pict\u00f3rica Tableau I realizada por Piet Mondrian<\/strong><\/a>\u00a0en 1920 e o dese\u00f1o da elevaci\u00f3n de r\u00faa do caf\u00e9 De Unie de J.J.P. Oud<\/strong><\/a> de 1924, responden os principios enunciados no manifesto n\u00ba I do movemento De Stijl<\/a><\/strong>. Este suceso resulta paradoxal tendo en conta os feitos acontecidos con anterioridade \u00e1 construci\u00f3n da obra.<\/p>\n

Oud, membro de activa participaci\u00f3n na fundaci\u00f3n do grupo, nunca asino o manifesto fundacional. A s\u00faa actividade arquitect\u00f3nica non estivo aferrada a ning\u00fan discurso de vangarda, relatos que consideraba apropiados para a pintura. Tampouco acordaba cos conceptos de Mondrian, quen declaraba que os principios est\u00e9ticos subxacentes a todas as formas art\u00edsticas nac\u00edan da pintura.<\/p>\n

\"\u00a9Museo
\u00a9Museo Ludwig de Colonia<\/span><\/figcaption><\/figure>\n

Baixo estas condici\u00f3ns en 1921 produciuse a ruptura na relaci\u00f3n entre Oud e Theo van Doesburg<\/a><\/strong> e o seu afastamento paulatino do grupo. Con todo, cando lle encomendan o dese\u00f1o da fachada do caf\u00e9 De Unie, Oud exp\u00f3n unha composici\u00f3n que respecta os conceptos b\u00e1sicos neoplasticistas: un equilibrado xogo xeom\u00e9trico con planos de cores dispostas en forma horizontal e vertical.<\/p>\n

A semellanza na disposici\u00f3n e equilibrio de planos na fachada coa obra pict\u00f3rica mencionada, valida a afirmaci\u00f3n de Mondrian que tanto desgustaba ao propio Oud. A elevaci\u00f3n \u00e9 tratada como un plano con relevos, onde columnas, xanelas, planos cegos e canaletas adquiren un valor art\u00edstico. Os \u00fanicos elementos tridimensionales que se destacan do plano de fachada son os carteis identificadores do local.<\/p>\n

\"Foto
Foto hist\u00f3rica, autor desco\u00f1ecido.<\/span><\/figcaption><\/figure>\n

A obra ti\u00f1a unha finalidade temporal. Proponse para ocupar un terreo bald\u00edo por un prazo non maior aos 10 anos. \u00c9 probable que Oud optase por un dese\u00f1o que rompe a hist\u00f3rica tradici\u00f3n de frontes graduadas na cidade, animado polo car\u00e1cter temporal da obra.<\/p>\n

O Caf\u00e9 De Unie \u00e9 a \u00fanica obra do grupo De Stijl que ratifica os conceptos vertidos por Mondrian. O car\u00e1cter ic\u00f3nico da obra evito a s\u00faa demolici\u00f3n nos prazos estipulados. Con todo, o bombardeo a R\u00f3terdan de 1940 puxo fin ao edificio, reconstru\u00eddo en 1986 nun terreo similar pr\u00f3ximo ao sitio de emprazamento orixinal, baixo a direcci\u00f3n do arquitecto Carel Weeber<\/a><\/strong>.<\/p>\n

\"\u00a9Hans
\u00a9Hans R van der Woude\/Panoramio<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti . arquitecto
\nLa Plata. Xullo 2018<\/p>\n

[:en]

\"Tableau
Tableau I Mondrian<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cThere is an old time consciousness, and there is a new one. The first attends to individualism. The new tends toward the universal\u201d.<\/em><\/p>\n

Manifiesto De Stijl, 1918<\/p>\n<\/blockquote>\n

The compositional similarities between the pictorial work Tableau I by Piet Mondrian<\/strong><\/a> in 1920 and the design of the street elevation of the De Unie caf\u00e9 by J.J.P. Oud<\/strong><\/a> of 1924, respond to the principles enunciated in the manifesto no. I of the De Stijl<\/a><\/strong> movement. This event is paradoxical taking into account the events that occurred prior to the construction of the work.<\/p>\n

Oud, member of active participation in the founding of the group, never signed the founding manifesto. His architectural activity was not attached to any avant-garde discourse, stories that he considered appropriate for painting. Neither agreed with the concepts of Mondrian, who declared that the aesthetic principles underlying all artistic forms were born of painting.<\/p>\n

\"\u00a9Museo
\u00a9Ludwig Museum in Colonia<\/span><\/figcaption><\/figure>\n

Under these conditions in 1921 there was a break in the relationship between Oud and Theo van Doesburg<\/a><\/strong> and their gradual withdrawal from the group. However, when he is commissioned to design the fa\u00e7ade of the De Unie caf\u00e9, Oud proposes a composition that respects the basic neoplasticist concepts: a balanced geometric game with colored planes arranged horizontally and vertically.<\/p>\n

The similarity in the arrangement and balance of plans in the fa\u00e7ade with the aforementioned pictorial work, validates Mondrian’s statement that displeased the Oud himself. The elevation is treated as a plane with reliefs, where columns, windows, blind planes and gutters acquire an artistic value. The only three-dimensional elements that stand out from the facade plan are the signs identifying the premises.<\/p>\n

\"Foto
Historical photo, unknown author.<\/span><\/figcaption><\/figure>\n

The work had a temporary purpose. It is proposed to occupy a vacant lot for a period no longer than 10 years. It is likely that Oud opted for a design that breaks the historic tradition of staggered fronts in the city, encouraged by the temporary nature of the work.<\/p>\n

Caf\u00e9 De Unie is the only work of the De Stijl group that ratifies the concepts poured by Mondrian. The iconic character of the work prevented its demolition within the stipulated deadlines. However, the bombing of Rotterdam in 1940 put an end to the building, rebuilt in 1986 on similar land near the original site, under the direction of architect\u00a0Carel Weeber<\/a><\/strong>.<\/p>\n

\"\u00a9Hans
\u00a9Hans R van der Woude\/Panoramio<\/span><\/figcaption><\/figure>\n

Marcelo Gardinetti . architect
\nLa Plata.\u00a0July 2018<\/p>\n

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

[:es] \u201cHay una vieja conciencia del tiempo, y hay otra nueva. La primera atiende al individualismo. La nueva tiende hacia lo universal\u201d. Manifiesto De Stijl, 1918 \u00a0Las semejanzas compositivas existentes entre la obra pict\u00f3rica Tableau I realizada por Piet Mondrian en 1920 y el dise\u00f1o de la elevaci\u00f3n de calle del caf\u00e9 De Unie de […]<\/p>\n","protected":false},"author":4,"featured_media":69453,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[12448,12449,12096,3032,17493,4985,7581,4390,12466,4654],"class_list":["post-69448","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura","tag-arte","tag-carel-weeber","tag-de-stijl","tag-jacobus-johannes-pieter-oud","tag-marcelo-gardinetti","tag-neoplasticismo","tag-piet-mondrian","tag-pintura","tag-theo-van-doesburg"],"yoast_head":"\n[:es]Analog\u00edas del arte total | Marcelo Gardinetti[:gl]Analox\u00edas d\u00e1 arte total | Marcelo Gardinetti[:en]Analogies of total art | Marcelo Gardinetti[:] - 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