{"id":69554,"date":"2019-01-14T00:01:12","date_gmt":"2019-01-13T23:01:12","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=69554"},"modified":"2019-01-14T09:30:43","modified_gmt":"2019-01-14T08:30:43","slug":"la-vida-las-casas-otra-manera-flexibles-javier-mozas","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/la-vida-las-casas-otra-manera-flexibles-javier-mozas\/","title":{"rendered":"[:es]Sobre la vida de las casas. Otra manera de ser flexibles | Javier Mozas[:gl]Sobre a vida das casas. Outra maneira de ser flexibles | Javier Mozas[:en]Concerning the life of houses. Another way of being flexible | Javier Mozas[:]"},"content":{"rendered":"

[:es]

\"Christopher
Christopher Cole. Casa de mu\u00f1ecas moderna. The Ultimate Doll’s House Book<\/a>. Dorling Kindersley Limited, Londres, 1994<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cEn esta habitaci\u00f3n (…), la se\u00f1ora Moreau decidi\u00f3 instalar su cocina. El decorador Henry Fleury concibi\u00f3 para ella una instalaci\u00f3n de vanguardia y anduvo pregonando por todas partes que ser\u00eda el prototipo de las cocinas del siglo XXI: un laboratorio culinario con un avance de una generaci\u00f3n sobre su \u00e9poca, dotado de los perfeccionamientos t\u00e9cnicos m\u00e1s sofisticados, equipado con hornos de ondas, placas autocalentadoras invisibles, robots electrodom\u00e9sticos teledirigidos capaces de ejecutar programas complejos de preparaci\u00f3n y cocci\u00f3n. (…)<\/p>\n

La cocinera de la se\u00f1ora Moreau, una borgo\u00f1esa robusta, natural de Paray-le-Monial, que respond\u00eda al nombre de Gertrude, no se dej\u00f3 enga\u00f1ar por aquellos groseros artificios y advirti\u00f3 en seguida a su se\u00f1ora que no guisar\u00eda nada en una cocina semejante, en la que nada estaba en su sitio y nada funcionaba como ella sab\u00eda. Reclam\u00f3 una verdadera cocina de gas con sus quemadores, una freidora de hierro colado, un tajo de madera y sobre todo un trastero donde poner las botellas vac\u00edas, las canastas de quesos,las cajas de fruta, los sacos de patatas, los lebrillos para lavar la verdura y el cesto de alambre para escurrir la ensalada.\u201d<\/p>\n<\/blockquote>\n

La dificultad de la arquitectura por entender la vida.<\/strong><\/p>\n

Los dos p\u00e1rrafos de la cita anterior pertenecen al libro de Georges Perec<\/a>, La vida instrucciones de uso<\/em><\/a>,1<\/sup> donde se apelotonan dentro de descripciones interminables y sin relaci\u00f3n aparente, las emociones, sentimientos y vivencias acaecidas hasta el a\u00f1o 1975, en un inmueble de viviendas del distrito diecisiete de Par\u00eds.<\/p>\n

El texto es un aut\u00e9ntico experimento para recrear la vida de este edificio en toda su complejidad. El propio Perec describe su novela como la visi\u00f3n desde la calle de todo lo que pasa en el interior de una casa de vecinos a la que se le hubiera quitado la fachada y en la que todos los aposentos fueran visibles al mismo tiempo.<\/p>\n

Es la misma sensaci\u00f3n que tenemos al contemplar una casa de mu\u00f1ecas de varios pisos con la tapa abierta. Lo que vemos es una aut\u00e9ntica exposici\u00f3n p\u00fablica de la secci\u00f3n del edificio. Ante lo inusual de esa imagen podr\u00edamos so\u00f1ar con relaciones, posibles o imposibles, recrear la secuencia de lo que ocurre a lo largo de todo un d\u00eda y actuar con despreocupaci\u00f3n infantil representando diferentes papeles y personajes.<\/p>\n

Aunque parezca asombroso, el mercado infantil funciona de la misma manera que el de los adultos.<\/p>\n

Es curioso, lo que ocurri\u00f3 con una casa de mu\u00f1ecas moderna, dise\u00f1ada y fabricada por el doctor Christopher Cole en los a\u00f1os setenta. Este m\u00e9dico comenz\u00f3 a fabricar casas de mu\u00f1ecas debido a su gran inter\u00e9s por la arquitectura. M\u00e1s tarde y una vez alcanzada la jubilaci\u00f3n se convirti\u00f3 en su afici\u00f3n de tiempo completo. De todas formas su casa de mu\u00f1ecas moderna era una casa de mu\u00f1ecas especial, ya que desarrollaba el concepto de flexibilidad asociado a lo moderno. Es decir una flexibilidad basada en la t\u00e9cnica, en artilugios m\u00f3viles y modificables.<\/p>\n

\n

\u201cLos suelos son extra\u00edbles y las paredes interiores est\u00e1n clavadas. Su dise\u00f1o permite que los ni\u00f1os organicen las habitaciones seg\u00fan los tama\u00f1os que quieran, sobre una estructura base determinada\u201d.2<\/sup><\/p>\n<\/blockquote>\n

Sin embargo, los ni\u00f1os, como muchos de los clientes que se acercan a los despachos de los arquitectos, demostraron ser m\u00e1s convencionales que las apetencias arquitect\u00f3nicas del doctor Cole, ya que prefirieron unas casas de mu\u00f1ecas de aspecto m\u00e1s tradicional. Por este motivo, Christopher Cole cambi\u00f3 sus planes y desech\u00f3 la fabricaci\u00f3n de este modelo de casa. Son muy escasos los ejemplos que quedan de este especial juguete.<\/p>\n

El aprendizaje particular de la noci\u00f3n de domesticidad, es un fen\u00f3meno lento, pero no cabe duda que todo el mundo, de una manera intuitiva e innata, lleva dentro de s\u00ed la definici\u00f3n de lo que tiene que ser un hogar. Es una idea primitiva de refugio, de cobijo seguro y de sentirse c\u00f3modo con el espacio.<\/p>\n

En cambio, la identificaci\u00f3n con el car\u00e1cter moderno de la arquitectura supone la existencia de un proceso cultural, que requiere esfuerzo, que no viene dado de antemano y que, muchas veces, se encuentra en contraposici\u00f3n con lo que habitualmente se entiende por un hogar acogedor. Desde el momento en que intervienen las convenciones culturales se pierde la espontaneidad y la arquitectura se aleja de la naturalidad de la vida.<\/p>\n

Javier Mozas, arquitecto,\u00a0a+t research group<\/a>
\nVitoria-Gasteiz,\u00a0marzo 2016<\/p>\n

Notas.<\/p>\n

1\u00a0<\/sup>Georges Perec<\/a>. La vida instrucciones de uso<\/a>. Editorial Anagrama. 1988.<\/p>\n

2\u00a0<\/sup>Christopher Cole: Casa de mu\u00f1ecas moderna. The Ultimate Doll\u2019s House Book<\/a>. Dorling Kindersley Limited, Londres, 1994. Para la versi\u00f3n espa\u00f1ola: El libro de las casas de mu\u00f1ecas<\/a>. Editorial Ra\u00edces, Tolosa, Guip\u00fazcoa, 1995.<\/p>\n

Art\u00edculo completo\u00a0en\u00a0a+t 13 Vivienda y Flexibilidad II<\/a>.<\/em><\/span><\/p>\n

[:gl]

\"Christopher
Christopher Cole. Casa de bonecas moderna. The Ultimate Doll’s House Book<\/a>. Dorling Kindersley Limited, Londres, 1994<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cNesta habitaci\u00f3n (…), a se\u00f1ora Moreau decidiu instalar a s\u00faa coci\u00f1a. O decorador Henry Fleury concibiu para ela unha instalaci\u00f3n de vangarda e andou pregoando por todas partes que ser\u00eda o prototipo das coci\u00f1as do s\u00e9culo XXI: un laboratorio culinario cun avance dunha xeraci\u00f3n sobre a s\u00faa \u00e9poca, dotado dos perfeccionamentos t\u00e9cnicos m\u00e1is sofisticados, equipado con fornos de ondas, placas autocalentadoras invisibles, robots electrodom\u00e9sticos teledirigidos capaces de executar programas complexos de preparaci\u00f3n e cocci\u00f3n. (…)<\/p>\n

A coci\u00f1eira da se\u00f1ora Moreau, unha borgo\u00f1esa robusta, natural de Paray-lle- Monial, que respond\u00eda o nome de Gertrude, non se deixou enganar por aqueles groseiros artificios e advertiu deseguido \u00e1 s\u00faa se\u00f1ora que non guisar\u00eda nada nunha coci\u00f1a semellante, na que nada estaba no seu sitio e nada funcionaba como ela sab\u00eda. Reclamou unha verdadeira coci\u00f1a de gas cos seus quemadores, unha freidora de ferro coado, un tallo de madeira e sobre todo un rocho onde po\u00f1er as botellas baleiras, as canastras de queixos,as caixas de froita, os sacos de patacas, os lebrillos para lavar a verdura e o cesto de arame para escurrir a ensalada.\u201d<\/p>\n<\/blockquote>\n

A dificultade da arquitectura por entender a vida.<\/strong><\/p>\n

Os dous par\u00e1grafos da cita anterior pertencen ao libro de Georges Perec<\/a>,\u00a0A\u00a0vida instruci\u00f3ns de uso<\/em><\/a>,1<\/sup> onde se apelotonan dentro de descrici\u00f3ns interminables e sen relaci\u00f3n aparente, as emoci\u00f3ns, sentimentos e vivencias acaecidas ata o ano 1975, nun inmoble de vivendas do distrito dezasete de Par\u00eds.<\/p>\n

O texto \u00e9 un aut\u00e9ntico experimento para recrear a vida deste edificio en toda a s\u00faa complexidade. O propio Perec describe a s\u00faa novela como a visi\u00f3n desde a r\u00faa de todo o que pasa no interior dunha casa de veci\u00f1os \u00e1 que se lle quitou a fachada e na que todos os aposentos fosen visibles ao mesmo tempo.<\/p>\n

\u00c9 a mesma sensaci\u00f3n que temos ao contemplar unha casa de bonecas de varios pisos coa tapa aberta. O que vemos \u00e9 unha aut\u00e9ntica exposici\u00f3n p\u00fablica da secci\u00f3n do edificio. Ante o inusual desa imaxe poderiamos so\u00f1ar con relaci\u00f3ns, posibles ou imposibles, recrear a secuencia do que ocorre ao longo de todo un d\u00eda e actuar con despreocupaci\u00f3n infantil representando diferentes papeis e personaxes.<\/p>\n

A\u00ednda que pareza asombroso, o mercado infantil funciona da mesma maneira que o dos adultos.<\/p>\n

\u00c9 curioso, o que ocorreu cunha casa de bonecas moderna, dese\u00f1ada e fabricada polo doutor Christopher Cole nos anos setenta. Este m\u00e9dico comezou a fabricar casas de bonecas debido ao seu gran interese pola arquitectura. M\u00e1is tarde e unha vez alcanzada a xubilaci\u00f3n converteuse na s\u00faa afecci\u00f3n de tempo completo. De todos os xeitos a s\u00faa casa de bonecas moderna era unha casa de bonecas especial, xa que desenvolv\u00eda o concepto de flexibilidade asociado ao moderno. \u00c9 dicir unha flexibilidade baseada na t\u00e9cnica, en dispositivos m\u00f3biles e modificables.<\/p>\n

\n

\u201cOs chans son extra\u00edbles e as paredes interiores est\u00e1n cravadas. O seu dese\u00f1o permite que os nenos organicen as habitaci\u00f3ns segundo os tama\u00f1os que queiran, sobre unha estrutura basee determinada\u201d.2<\/sup><\/p>\n<\/blockquote>\n

Con todo, os nenos, como moitos dos clientes que se achegan aos despachos dos arquitectos, demostraron ser m\u00e1is convencionais que as apetencias arquitect\u00f3nicas do doutor Cole, xa que preferiron unhas casas de bonecas de aspecto m\u00e1is tradicional. Por este motivo, Christopher Cole cambiou os seus plans e refugou a fabricaci\u00f3n deste modelo de casa. Son moi escasos os exemplos que quedan deste especial xoguete.<\/p>\n

A aprendizaxe particular da noci\u00f3n de domesticidad, \u00e9 un fen\u00f3meno lento, pero non cabe d\u00fabida que todo o mundo, dunha maneira intuitiva e innata, leva dentro de si a definici\u00f3n do que ten que ser un fogar. \u00c9 unha idea primitiva de refuxio, de acubillo seguro e de sentirse c\u00f3modo co espazo.<\/p>\n

En cambio, a identificaci\u00f3n co car\u00e1cter moderno da arquitectura sup\u00f3n a existencia dun proceso cultural, que require esforzo, que non v\u00e9n dado de antem\u00e1n e que, moitas veces, at\u00f3pase en contraposici\u00f3n co que habitualmente se entende por un fogar acolledor. Desde o momento en que interve\u00f1en as convenci\u00f3ns culturais p\u00e9rdese a espontaneidade e a arquitectura af\u00e1stase da naturalidade da vida.<\/p>\n

Javier Mozas, arquitecto,\u00a0a+t research group<\/a>
\nVitoria-Gasteiz,\u00a0marzo 2016<\/p>\n

Notas.<\/p>\n

1\u00a0<\/sup>Georges Perec<\/a>. La vida instrucciones de uso<\/a>. Editorial Anagrama. 1988.<\/p>\n

2 <\/sup>Christopher Cole: Casa de bonecas moderna. The Ultimate Doll\u2019s House Book<\/a>. Dorling Kindersley Limited, Londres, 1994. Para\u00a0a versi\u00f3n espa\u00f1ola: EO libro das casas de bonecas<\/a>. Editorial Ra\u00edces, Tolosa, Guip\u00fazcoa, 1995.<\/p>\n

Artigo completo\u00a0en\u00a0a+t 13 Vivenda\u00a0e Flexibilidade II<\/a>.<\/em><\/span><\/p>\n

[:en]

\"Christopher
Christopher Cole. The Ultimate Doll’s House Book<\/a>. Dorling Kindersley Limited, Londres, 1994<\/span><\/figcaption><\/figure><\/p>\n
\n

\u201cIn this room (…), Mrs Moreau decided to install her kitchen. The decorator Henry Fleury conceived an avant-garde design for her and began to proclaim that it would be the prototype of the twenty-first century kitchen: a culinary laboratory one generation ahead of its time, provided with the most sophisticated technical improvements, equipped with microwave ovens, invisible hotplates, remote-controlled household robots capable of carrying out complex programmes of preparation and cooking. (…)<\/em><\/p>\n

Mrs Moreau\u2019s cook, a stout woman from Paray-le-Monial in Burgundy, answering to the name of Gertrude, was not fooled by those vulgar contrivances and told the lady of the house without further ado that she would not cook anything in such a kitchen, in which nothing was in the right place and nothing worked in the way she was familiar with. She demanded a real cooker with gas burners, a cast iron fryer, a wooden block and especially a junk room where she could put empty bottles, the cheese baskets, boxes of fruit, sacks of potatoes, bowls for washing vegetables and the wire basket for draining the salad<\/em>.\u201d<\/p>\n<\/blockquote>\n

The difficulty architecture has in understanding life.<\/strong><\/p>\n

The two paragraphs quoted above are taken from the book by Georges Perec<\/a>, La vie mode d\u2019emploi<\/em><\/a>1, in which the emotions, feelings and experiences of the inhabitants of a block of apartments in XVII district in Paris up to 1975, are crammed together in interminable and seemingly unrelated descriptions.<\/p>\n

The text is a veritable experiment to recreate the life which goes on within this building in all its complexity. Perec describes his novel as a view from the street of everything that happens in a building from which the facade has been removed and in which all the rooms were visible at the same time.<\/p>\n

It is the same sensation that we have when we regard a multi-storey doll\u2019s house with the front facade off. What we see is the cross-section of the building, laid open for all the world to see. In view of the bizarre nature of this image, we could dream about possible or impossible relationships, imagine the sequence of events that occur throughout a day and with a child\u2019s lack of concern, acting out the different roles and characters.<\/p>\n

Although it might seem astonishing, the children\u2019s market operates in the same way as an adult\u2019s.<\/p>\n

What happened to a modern doll\u2019s house, designed and built by a doctor, Christopher Cole in the sixties, is curious. This doctor began to build doll\u2019s houses because of his great interest in architecture.<\/p>\n

Later on, when he retired, it became a full-time hobby. His modern doll\u2019s house was very special, however, as it developed the concept of flexibility associated with modern architectural design. In other words, flexibility based on technique, on mobile and modifiable gadgets.<\/p>\n

\n

\u201cThe floors are removable an the interior walls are nailed down. Its design allows children to size the rooms as they please, on a specific basic structure\u201d.2<\/sup><\/p>\n<\/blockquote>\n

However, children, like many of the people who commission work from architects, are more conventional in their taste than Doctor Cole, as they prefer doll\u2019s houses with a more traditional appearance.<\/p>\n

For this reason, Christopher Cole changed his plans and stopped making that particular model of house. Very few examples of this special toy remain.<\/p>\n

Learning the notion of domesticity, is a slow process, but there is no doubt that everyone, either intuitively or innately, forms his\/her own definition of what a home is. It is a primitive idea of a shelter, a safe refuge and of feeling at ease with space. On the other hand, identification with the modern nature of architecture assumes the existence of a cultural process, which requires effort, which has to be acquired and which, very often is found diagonally opposed to what is usually understood to be a cosy home. From the moment cultural conventions become involved, spontaneity is lost and architecture becomes divorced from the naturalness of life.<\/p>\n

Javier Mozas, arquitecto,\u00a0a+t research group<\/a>
\nVitoria-Gasteiz,\u00a0march\u00a02016<\/p>\n

Notas.<\/p>\n

1\u00a0<\/sup>Georges Perec<\/a>. La vie mode d\u2019emploi. Editorial. <\/a>Hachette. 1978.<\/p>\n

2\u00a0<\/sup>Christopher Cole: Modern doll house. The Ultimate Doll\u2019s House Book<\/a>. Dorling Kindersley Limited, Londres, 1994. For the Spanish version: El libro de las casas de mu\u00f1ecas<\/a>. Editorial Ra\u00edces, Tolosa, Guip\u00fazcoa, 1995.<\/p>\n

Complete article in a+t 13 Vivienda y Flexibilidad II<\/a>.<\/em><\/span><\/p>\n

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

[:es] \u201cEn esta habitaci\u00f3n (…), la se\u00f1ora Moreau decidi\u00f3 instalar su cocina. 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