{"id":69505,"date":"2018-09-21T00:01:36","date_gmt":"2018-09-20T22:01:36","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=69505"},"modified":"2018-06-14T14:23:04","modified_gmt":"2018-06-14T12:23:04","slug":"la-condicion-moral-los-materiales-javier-mozas","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-condicion-moral-los-materiales-javier-mozas\/","title":{"rendered":"[:es]La condicion moral de los materiales | Javier Mozas [:gl]A condicion moral dos materiais | Javier Mozas [:en]The moral condition of the materials | Javier Mozas [:]"},"content":{"rendered":"

[:es]

\"Mies
Mies van der Rohe con A James Speyer y George Danforth en el estudio del Departamento de Arquitectura, Armor Institute, Chicago, 1939 |\u00a0Mies van der Rohe, Lehre und Schule. Werner Blaser. 1977<\/a><\/span><\/figcaption><\/figure><\/p>\n

Mies van der Rohe<\/strong> ten\u00eda la creencia de que el arte de la construcci\u00f3n deb\u00eda de basarse en los materiales. En el programa docente que envi\u00f3 a Henry T. Heald<\/strong><\/a>, decano del Instituto Armour (m\u00e1s tarde se convertir\u00eda en el Instituto de Tecnolog\u00eda de Illinois), el 10 de diciembre de 1937, inclu\u00eda tres categor\u00edas, Medios, Fines y Planificaci\u00f3n-Creaci\u00f3n.<\/p>\n

Los estudiantes deb\u00edan iniciarse en la arquitectura con unos conocimientos de teor\u00eda general y una formaci\u00f3n profesional, para despu\u00e9s profundizar en el estudio de los materiales, es decir, en los medios con los que se construye.<\/p>\n

Pero<\/p>\n

\n

\u00bfqu\u00e9 significaban los materiales para Mies? <\/strong><\/p>\n<\/blockquote>\n

Ante todo una b\u00fasqueda de la verdad. Mies atribu\u00eda a cada material una condici\u00f3n moral que correspond\u00eda con sus propiedades y que estaba corroborada por el uso y la tradici\u00f3n. Seg\u00fan Mies, solamente una utilizaci\u00f3n de los materiales desde su verdadera esencia podr\u00eda salvar a la arquitectura de la idolatr\u00eda del objeto. Lo mismo que un escrito de Cicer\u00f3n llev\u00f3 a san Agust\u00edn al estudio de la filosof\u00eda, los textos de san Agust\u00edn conduc\u00edan a Mies en su b\u00fasqueda de la verdad. A la personalidad retra\u00edda de Mies le sentaban moralmente bien los preceptos de san Agust\u00edn, que propugnan que la verdad no ha de buscarse en el mundo exterior, sino que \u00e9sta se alcanza a trav\u00e9s de la meditaci\u00f3n y de la mirada hacia el interior de uno mismo.<\/p>\n

La verdad habita en el hombre interior, escribi\u00f3 san Agust\u00edn.<\/p>\n

En el discurso inaugural1<\/sup>\u00a0que pronunci\u00f3 Mies, en noviembre de 1938, al asumir el cargo de Director de la Secci\u00f3n de Arquitectura del Instituto\u00a0Armour indic\u00f3 a los estudiantes que, m\u00e1s all\u00e1 de los fines y antes que la formalizaci\u00f3n, est\u00e1 el\u00a0\u201cdisciplinario camino de los materiales\u201d.<\/strong><\/p>\n

\n

\u201c\u00bfD\u00f3nde aparece con m\u00e1s claridad la trabaz\u00f3n de una casa o de un edificio, m\u00e1s que en las construcciones de madera de los antiguos?\u201d (…)<\/p>\n

\u201cEn la construcci\u00f3n en piedra encontramos lo mismo. Qu\u00e9 sentimiento natural habla desde ella. Qu\u00e9 clara comprensi\u00f3n del material, qu\u00e9 seguridad en su utilizaci\u00f3n, qu\u00e9 sentido de aquello que se puede y se sabe hacer en piedra. \u00bfD\u00f3nde encontramos tal dominio en la estructura? \u00bfD\u00f3nde encontramos m\u00e1s fuerza sana y belleza natural que aqu\u00ed? Con qu\u00e9 comprensible claridad descansa una viga de cubierta sobre esas viejas paredes de piedra, y con qu\u00e9 sentido cortamos una puerta en esas paredes.\u201d (…)<\/p>\n

\u201cEl ladrillo es otro maestro de ense\u00f1anza. Qu\u00e9 espiritual es ya su formato, peque\u00f1o, manejable, bueno para cualquier finalidad. Qu\u00e9 l\u00f3gica muestra su sistema de proporciones. Qu\u00e9 vitalidad su juego de aparejos. Qu\u00e9 soberan\u00eda posee el m\u00e1s sencillo pa\u00f1o de pared. Pero qu\u00e9 disciplina requiere ese material. As\u00ed, cada material posee sus propias cualidades, que se deben conocer para poder trabajar con \u00e9l\u201d.2<\/sup><\/p>\n<\/blockquote>\n

Mies consideraba que el aprendizaje de los materiales era un trabajo arduo y largo y su meta era<\/p>\n

\n

\u201cconseguir el orden en el caos incurable de nuestros d\u00edas\u201d.<\/strong><\/p>\n<\/blockquote>\n

Ese mismo mes, doce d\u00edas antes de que pronunciara este discurso, tuvieron lugar los primeros antecedentes del horror.<\/p>\n

Mantener el orden frente al caos fue un dif\u00edcil reto que se impusieron, en aquel momento, las democracias occidentales frente a los totalitarismos.<\/p>\n

Un orden racional, reticular y modular que casaba bien con palabras como econom\u00eda, serie y producci\u00f3n, principios-base del fordismo<\/a><\/em> americano y su producci\u00f3n masiva para una demanda masiva. Sin embargo, Am\u00e9rica no se sent\u00eda a gusto con Mies cuando hablaba con ese sentimiento profundo sobre arquitectura. Al pragmatismo americano se le evaporaban, por la acci\u00f3n del mercado, todos los conceptos morales sobre los que Mies pretend\u00eda solidificar su teor\u00eda, como los principios inamovibles de la arquitectura y la b\u00fasqueda de la verdad a trav\u00e9s de los materiales.<\/p>\n

En Am\u00e9rica, a Mies se le entend\u00eda mejor cuando hablaba de tecnolog\u00eda.<\/p>\n

Con \u00e9l se consigui\u00f3 identificar al progreso de la tecnolog\u00eda americana\u00a0con una arquitectura basada en el rigor constructivo, en la esbeltez y en la transparencia que proporcionan el acero y el vidrio.<\/p>\n

\n

\u201cEso vale tambi\u00e9n para el acero y el hormig\u00f3n. Reconocemos que no se consigue nada por el material, sino s\u00f3lo por el correcto uso del material. Tampoco los nuevos materiales nos aseguran una superioridad. Cada materia vale lo que hacemos con ella\u201d.3<\/sup><\/p>\n<\/blockquote>\n

Mies termin\u00f3 su discurso en el Armour diciendo:<\/p>\n

\n

\u201cNo hay nada m\u00e1s ligado a la meta y sentido de nuestro trabajo que la profunda palabra de san Agust\u00edn: \u2018Lo bello es el resplandor de la verdad\u201d.4<\/sup><\/p>\n<\/blockquote>\n

Javier Mozas, arquitecto,\u00a0a+t research group<\/a>
\nVitoria-Gasteiz,\u00a0junio 2004<\/p>\n

Notas.<\/p>\n

1 <\/sup>Inaugural Address. 1938. Neumeyer. Artless Word. 316-317. T\u00edtulo original: Antrittsrede als Direktor der Architekturabteilung am Armour Institute of Technology, 20 de noviembre de 1938. W. Blaser: Mies van der Rohe, Lehre und Schule<\/a>, 1977.<\/p>\n

2<\/sup>\u00a0Ob. cit. 1.<\/p>\n

3<\/sup>\u00a0Ob. cit. 1.<\/p>\n

4<\/sup>\u00a0Ob. cit. 1.<\/p>\n

Texto completo publicado originalmente en la revista a+t 23<\/strong><\/a>. 2004.\u00a0pag. 4-9, y en\u00a0Rashomon. La triple verdad de la arquitectura<\/a>.<\/strong><\/em><\/span><\/p>\n

[:gl]

\"Mies
Mies van der Rohe con A James Speyer y George Danforth\u00a0no estudio do Departamento de Arquitectura, Armor Institute, Chicago, 1939 |\u00a0Mies van der Rohe, Lehre und Schule. Werner Blaser. 1977<\/a><\/span><\/figcaption><\/figure><\/p>\n

Mies van der Rohe<\/strong> ti\u00f1a a crenza de que a arte da construci\u00f3n deb\u00eda de basearse nos materiais. No programa docente que enviou a Henry T. Heald<\/strong><\/a>, decano do Instituto Armour (m\u00e1is tarde converter\u00edase no Instituto de Tecnolox\u00eda de Illinois), o 10 de decembro de 1937, inclu\u00eda tres categor\u00edas, Medios, Fins e Planificaci\u00f3n-Creaci\u00f3n.<\/p>\n

Os estudantes deb\u00edan iniciarse na arquitectura cuns co\u00f1ecementos de teor\u00eda xeral e unha formaci\u00f3n profesional, para despois profundar no estudo dos materiais, \u00e9 dicir, nos medios cos que se constr\u00fae.<\/p>\n

Pero<\/p>\n

\n

que significaban os materiais para Mies? <\/strong><\/p>\n<\/blockquote>\n

Ante todo unha procura da verdade. Mies atribu\u00eda a cada material unha condici\u00f3n moral que correspond\u00eda coas s\u00faas propiedades e que estaba corroborada polo uso e a tradici\u00f3n. Segundo Mies, soamente unha utilizaci\u00f3n dos materiais desde a s\u00faa verdadeira esencia poder\u00eda salvar \u00e1 arquitectura da idolatr\u00eda do obxecto. O mesmo que un escrito de Cicer\u00f3n levou a san Agust\u00edn ao estudo da filosof\u00eda, os textos de san Agust\u00edn conduc\u00edan a Mies na s\u00faa procura da verdade. \u00c1 personalidade retra\u00edda de Mies sent\u00e1banlle moralmente ben os preceptos de san Agust\u00edn, que propugnan que a verdade non ha de buscarse no mundo exterior, sen\u00f3n que esta alc\u00e1nzase a trav\u00e9s da meditaci\u00f3n e da mirada cara ao interior dun mesmo.<\/p>\n

A verdade habita no home interior, escribiu san Agust\u00edn.<\/p>\n

No discurso inaugural1<\/sup> que pronunciou Mies, en novembro de 1938, ao asumir o cargo de Director da Secci\u00f3n de Arquitectura do Instituto Armour indicou aos estudantes que, m\u00e1is al\u00f3 dos fins e antes que a formalizaci\u00f3n, est\u00e1 o \u201cdisciplinario cami\u00f1o dos materiais<\/strong>\u201d.<\/p>\n

\n

\u201cOnde aparece con m\u00e1is claridade a trabaz\u00f3n dunha casa ou dun edificio, m\u00e1is que nas construci\u00f3ns de madeira dos antigos?\u201d (…)<\/p>\n

\u201cNa construci\u00f3n en pedra atopamos o mesmo. Que sentimento natural fala desde ela. Que clara comprensi\u00f3n do material, que seguridade na s\u00faa utilizaci\u00f3n, que sentido daquilo que se pode e s\u00e1bese facer en pedra. Onde atopamos tal dominio na estrutura? Onde atopamos m\u00e1is forza sa e beleza natural que aqu\u00ed? Con que comprensible claridade descansa unha viga de cuberta sobre esas vellas paredes de pedra, e con que sentido cortamos unha porta nesas paredes.\u201d (…)<\/p>\n

\u201cO ladrillo \u00e9 outro mestre de ensino. Que espiritual \u00e9 xa o seu formato, pequeno, manexable, bo para calquera finalidade. Que l\u00f3xica mostra o seu sistema de proporci\u00f3ns. Que vitalidade o seu xogo de aparellos. Que soberan\u00eda pos\u00fae o m\u00e1is sinxelo pano de parede. Pero que disciplina require ese material. As\u00ed, cada material pos\u00fae as s\u00faas propias calidades, que se deben co\u00f1ecer para poder traballar con el\u201d.2<\/sup><\/p>\n<\/blockquote>\n

Mies consideraba que a aprendizaxe dos materiais era un traballo arduo e longo e a s\u00faa meta era<\/p>\n

\n

\u201cconseguir a orde no caos incurable dos nosos d\u00edas\u201d.<\/strong><\/p>\n<\/blockquote>\n

Ese mesmo mes, doce d\u00edas antes de que pronunciase este discurso, tiveron lugar os primeiros antecedentes do horror.<\/p>\n

Manter o orde fronte ao caos foi un dif\u00edcil reto que se impuxeron, naquel momento, as democracias occidentais fronte aos totalitarismos.<\/p>\n

Unha orde racional, reticular e modular que casaba ben con palabras como econom\u00eda, serie e produci\u00f3n, principios-basee do fordismo<\/a><\/em> americano e a s\u00faa produci\u00f3n masiva para unha demanda masiva. Con todo, Am\u00e9rica non sent\u00eda a gusto con Mies cando falaba con ese sentimento profundo sobre arquitectura. Ao pragmatismo americano se lle evaporaban, pola acci\u00f3n do mercado, todos os conceptos morais sobre os que Mies pretend\u00eda solidificar a s\u00faa teor\u00eda, como os principios inamovibles da arquitectura e a procura da verdade a trav\u00e9s dos materiais.<\/p>\n

En Am\u00e9rica, a Mies entend\u00edaselle mellor cando falaba de tecnolox\u00eda.<\/p>\n

Con el conseguiuse identificar o progreso da tecnolox\u00eda americana cunha arquitectura baseada no rigor construtivo, na esbeltez e na transparencia que proporcionan o aceiro e o vidro.<\/p>\n

\n

\u201cIso vale tam\u00e9n para o aceiro e o formig\u00f3n. Reco\u00f1ecemos que non se consegue nada polo material, sen\u00f3n s\u00f3 polo correcto uso do material. Tampouco os novos materiais aseg\u00farannos unha superioridade. Cada materia vale o que facemos con ela\u201d.3<\/sup><\/p>\n<\/blockquote>\n

Mies terminou o seu discurso no Armour dicindo:<\/p>\n

\n

\u201cNon hai nada m\u00e1is ligado \u00e1 meta e sentido do noso traballo que a profunda palabra de san Agust\u00edn: \u2018O belo \u00e9 o resplandor da verdade\u201d.4<\/sup><\/p>\n<\/blockquote>\n

Javier Mozas, arquitecto,\u00a0a+t research group<\/a>
\nVitoria-Gasteiz, xu\u00f1o 2004<\/p>\n

Notas.<\/p>\n

1 <\/sup>Inaugural Address. 1938. Neumeyer. Artless Word. 316-317. T\u00edtulo orixinal: Antrittsrede als Direktor der Architekturabteilung am Armour Institute of Technology, 20 de novembro de 1938. W. Blaser: Mies van der Rohe, Lehre und Schule<\/a>, 1977.<\/p>\n

2<\/sup>\u00a0Ob. cit. 1.<\/p>\n

3<\/sup>\u00a0Ob. cit. 1.<\/p>\n

4<\/sup>\u00a0Ob. cit. 1.<\/p>\n

Texto completo publicado orixinalmente na revista a+t 23<\/strong><\/a>. 2004.\u00a0pax. 4-9,\u00a0e en\u00a0Rashomon.\u00a0A triple verdade da arquitectura<\/a>.<\/strong><\/em><\/span><\/p>\n

[:en]

\"Mies
Mies van der Rohe with A James Speyer and George Danforth in the studio of the Architecture Department, Armour Institute, Chicago, 1939 |\u00a0Mies van der Rohe, Lehre und Schule. Werner Blaser. 1977<\/a><\/span><\/figcaption><\/figure><\/p>\n

Mies van der Rohe<\/strong> ten\u00eda la creencia de que el arte de la construcci\u00f3n deb\u00eda de basarse en los materiales. En el programa docente que envi\u00f3 a Henry T. Heald<\/strong><\/a>, decano del Instituto Armour (m\u00e1s tarde se convertir\u00eda en el Instituto de Tecnolog\u00eda de Illinois), el 10 de diciembre de 1937, inclu\u00eda tres categor\u00edas, Medios, Fines y Planificaci\u00f3n-Creaci\u00f3n.<\/p>\n

Mies van der Rohe<\/strong> had the belief that the art of construction should be based on materials. In the teaching program he sent to Henry T. Heald<\/strong><\/a>, dean of the Armor Institute (later to become the Illinois Institute of Technology), on December 10, 1937, it included three categories, Media, Purposes, and Planning-Creation.<\/p>\n

The students had to start in architecture with a knowledge of general theory and a professional training, to then deepen in the study of materials, that is, in the media with which it is built.<\/p>\n

But<\/p>\n

\n

What did the materials mean for Mies? <\/strong><\/p>\n<\/blockquote>\n

First of all a search for the truth. Mies attributed to each material a moral condition that corresponded to its properties and that was corroborated by use and tradition. According to Mies, only a use of the materials from their true essence could save the architecture of the idolatry of the object. Just as a letter of Cicero led Saint Augustine to the study of philosophy, the texts of Saint Augustine led Mies in his search for the truth. To the withdrawn personality of Mies, the precepts of St. Augustine were morally correct, which advocates that the truth is not to be sought in the external world, but that it is achieved through meditation and the look within oneself.<\/p>\n

The truth dwells in the inner man, wrote Saint Augustine.<\/p>\n

In the opening speech1<\/sup>\u00a0that Mies delivered in November 1938, when he assumed the position of Director of the Architecture Section of the Armor Institute, he indicated to the students that, beyond the aims and before the formalization, is the \u201cdisciplinary path of the materials\u201d.<\/strong><\/p>\n

\n

\u201cWhere does the interlocking of a house or a building appear more clearly, than in the wooden constructions of the ancients?\u201d (…)<\/p>\n

\u201cIn the construction in stone we find the same thing. What natural feeling speaks from her. What a clear understanding of the material, what safety in its use, what sense of what you can and know how to do in stone. Where do we find such dominance in the structure? Where do we find more healthy strength and natural beauty than here? With what understandable clarity a roof beam rests on those old stone walls, and with what sense we cut a door in those walls.\u201d (…)<\/p>\n

\u201cThe brick is another teaching teacher. How spiritual it is and its format, small, manageable, good for any purpose. What logic shows your system of proportions. What vitality your rigging game. What sovereignty has the simplest wall cloth. But what discipline does this material require? Thus, each material has its own qualities, which must be known in order to work with it\u201d.2<\/sup><\/p>\n<\/blockquote>\n

Mies considered that learning materials was a long and arduous task and his goal was<\/p>\n

\n

\u201cGet order in the incurable chaos of our days\u201d.<\/strong><\/p>\n<\/blockquote>\n

That same month, twelve days before he delivered this speech, the first antecedents of horror took place.<\/p>\n

Maintaining order in the face of chaos was a difficult challenge imposed, at that time, by Western democracies against totalitarianism.<\/p>\n

A rational, reticular and modular order that matched well with words such as economy, series and production, base principles of American Fordism<\/em><\/a> and its massive production for a massive demand. However, America did not feel comfortable with Mies when she spoke with that deep feeling about architecture. American pragmatism evaporated, through the action of the market, all the moral concepts on which Mies intended to solidify his theory, such as the immovable principles of architecture and the search for truth through materials.<\/p>\n

In America, Mies was better understood when talking about technology.<\/p>\n

With it, it was possible to identify the progress of American technology with an architecture based on the constructive rigor, the slenderness and the transparency provided by steel and glass.<\/p>\n

\n

\u201cThat also applies to steel and concrete. We recognize that nothing is achieved by the material, but only by the correct use of the material. Neither the new materials assure us superiority. Every subject is worth what we do with it.\u201d.3<\/sup><\/p>\n<\/blockquote>\n

Mies ended his speech at the Armor saying:<\/p>\n

\n

\u201cThere is nothing more linked to the goal and meaning of our work than the profound words of St. Augustine: ‘The beautiful is the radiance of truth\u201d.4<\/sup><\/p>\n<\/blockquote>\n

Javier Mozas, architect,\u00a0a+t research group<\/a>
\nVitoria-Gasteiz,\u00a0juny 2004<\/p>\n

Notes.<\/p>\n

1 <\/sup>Inaugural Address. 1938. Neumeyer. Artless Word. 316-317. Original title: Antrittsrede als Direktor der Architekturabteilung am Armour Institute of Technology, November 20, 1938. W. Blaser: Mies van der Rohe, Lehre und Schule<\/a>, 1977.<\/p>\n

2<\/sup>\u00a0Ob. cit. 1.<\/p>\n

3<\/sup>\u00a0Ob. cit. 1.<\/p>\n

4<\/sup>\u00a0Ob. cit. 1.<\/p>\n

Full text originally published in the revista a+t 23<\/strong><\/a>. 2004.\u00a0page. 4-9, y en\u00a0Rashomon. The triple truth of architecture<\/a>.<\/strong><\/em><\/span><\/p>\n

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

[:es] Mies van der Rohe ten\u00eda la creencia de que el arte de la construcci\u00f3n deb\u00eda de basarse en los materiales. En el programa docente que envi\u00f3 a Henry T. Heald, decano del Instituto Armour (m\u00e1s tarde se convertir\u00eda en el Instituto de Tecnolog\u00eda de Illinois), el 10 de diciembre de 1937, inclu\u00eda tres categor\u00edas, […]<\/p>\n","protected":false},"author":14,"featured_media":69508,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[365,9930,668,3219,841,7058,865,2628,2726,1021,1271,1278],"class_list":["post-69505","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-construccion","tag-fundacion-mies-van-der-rohe","tag-historia","tag-javier-mozas","tag-material","tag-materialidad","tag-mies-van-der-rohe","tag-mit","tag-nueva-tecnologia","tag-pensamiento","tag-tecnologia","tag-teoria"],"yoast_head":"\n[:es]La condicion moral de los materiales | Javier Mozas [:gl]A condicion moral dos materiais | Javier Mozas [:en]The moral condition of the materials | Javier Mozas [:] - 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