{"id":71339,"date":"2019-04-08T00:01:58","date_gmt":"2019-04-07T22:01:58","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=71339"},"modified":"2022-02-04T08:45:54","modified_gmt":"2022-02-04T07:45:54","slug":"brasileno-esencial-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/brasileno-esencial-oscar-tenreiro-degwitz\/","title":{"rendered":"[:es]Otro brasile\u00f1o esencial | \u00d3scar Tenreiro Degwitz[:gl]Outro brasileiro esencial | \u00d3scar Tenreiro Degwitz[:en]Another essential Brazilian | \u00d3scar Tenreiro Degwitz[:]"},"content":{"rendered":"

[:es]

\"Una
Una acuarela de Lucio Costa de un rinc\u00f3n colonial brasile\u00f1o, hecha en 1927<\/span><\/figcaption><\/figure><\/p>\n

Este deambular por el legado de Oscar Niemeyer<\/a><\/strong> lo lleva a uno a la cultura brasile\u00f1a. Y dentro de ella la arquitectura como expresi\u00f3n aceptada, promovida e integrada a una suerte de \u201cser\u201d nacional. Porque ese trayecto del hombre centenario y excepcional es tambi\u00e9n el trayecto de una cultura.<\/p>\n

Para comprobar lo dicho basta referirse a Lucio Costa<\/strong><\/a> (1902-1998) como figura tutelar, personaje callado, tranquilo y enormemente agudo, que fue no s\u00f3lo gestor del proceso de abrir a Brasil hacia la arquitectura moderna, sino que actu\u00f3 como compa\u00f1ero de ruta que deja en manos de aquel a quien acompa\u00f1a la palabra principal cuando corresponde, como es el caso de Niemeyer, o como v\u00ednculo instrumental gracias a su papel de consejero y referencia.<\/p>\n

Y el libro que public\u00f3 Maria Elisa su hija, arquitecta y mujer de gran cultura, poco despu\u00e9s de su muerte, escrito y organizado casi enteramente por \u00e9l mismo, ayuda no s\u00f3lo a situar su contribuci\u00f3n al pensamiento sobre arquitectura, sino la amplitud de sus intereses, su relaci\u00f3n con el mundo brasile\u00f1o que elabora ideas, que debate, que discurre, que produce; informa sobre su obra de arquitecto-dise\u00f1ador y constructor, modesta podr\u00eda decirse pero marcada por una fe rigurosa en los postulados de la modernidad que cultiv\u00f3 activamente, acompa\u00f1ada de una b\u00fasqueda en el legado de la sombra, los corredores, la tranquilidad heredada de la arquitectura colonial, b\u00fasquedas que interrumpi\u00f3 en un momento dado para entregarse mejor a su papel de mediaci\u00f3n e intercesi\u00f3n.<\/p>\n

La totalidad de una vida.<\/strong><\/p>\n

En sus p\u00e1ginas se incluyen sus numerosos escritos, casi todos destinados a razonar para impulsar decisiones del sector pol\u00edtico o ayudar a tomar conciencia de los valores de la arquitectura y sus consecuencias urbanas. Otros, muchos, de car\u00e1cter personal, escritos con estilo conciso y hermoso. Y muchas referencias a su vida familiar, a la herencia espiritual de sus padres, Joaqu\u00edn y Alina, \u00e9l ingeniero naval; sus hijas Helena y Maria Elisa. Y como presencia permanente la relaci\u00f3n con Le Corbusier<\/a>, estrecha y reflexiva, de la cual tuve una muestra inesperada al leer muchos a\u00f1os atr\u00e1s, en la Fundaci\u00f3n LC, una carta personal donde relata de un modo que me conmovi\u00f3 hasta las l\u00e1grimas la muerte de Leleta, su esposa y entra\u00f1able compa\u00f1era, en un accidente de autom\u00f3vil que marc\u00f3 su vida. Relaci\u00f3n que lo llev\u00f3, estaba casualmente en Francia en ese momento, a trasladarse con Charlotte Perriand<\/a><\/strong> hasta Roquebrunne-Cap Martin, a buscar el cad\u00e1ver de Le Corbusier para trasladarlo hasta Par\u00eds pernoctando a medio camino en una celda del convento de La Tourette. El t\u00edtulo del libro subraya lo que su autor quiso de \u00e9l, mostrar no s\u00f3lo su obra sino el mundo de sus intereses, su espacio intelectual y afectivo, que es en definitiva lo que hace a un hombre: \u201cLucio Costa, registro de una vivencia\u201d.<\/p>\n

Y por supuesto que en el libro hay documentos sobre Brasilia. Est\u00e1 la Memoria Descriptiva con la que acompa\u00f1\u00f3 su propuesta en el concurso para el Plan Maestro. Si una vez hace casi cincuenta a\u00f1os ese texto despert\u00f3 en m\u00ed una gran admiraci\u00f3n, hoy sigue siendo una muestra de esa especie de chispa, de toque de \u201cgenio\u201d en el sentido de Robert Graves<\/a> (saltar m\u00e1s all\u00e1 de lo inmediato, de lo predecible) que es el principio organizativo de esa extraordinaria ciudad. En \u00e9l se capta el concepto b\u00e1sico de lo que es la ciudad, de su \u201cser\u201d en el sentido m\u00e1s amplio del t\u00e9rmino, m\u00e1s all\u00e1 de las simples aplicaciones de t\u00e9cnicas de vialidad o transporte, de especulaciones econ\u00f3micas, de tecnicismos que esquivan la cuesti\u00f3n central: una ciudad es hoy y ser\u00e1 siempre una propuesta de construcci\u00f3n dentro de un orden.<\/p>\n

Respeto y reflexi\u00f3n desde el Poder.<\/strong><\/p>\n

He dicho ya demasiado que en la presencia de Lucio Costa, en el respeto que le tuvo el Poder Pol\u00edtico, en su labor de intermediario, est\u00e1 la clave de que Brasilia sea una realidad indiscutible, m\u00e1s all\u00e1 de reservas o preguntas. Pero Lucio no es una casualidad. Lucio se hizo y realiz\u00f3 en una sociedad que lo respet\u00f3 y le abri\u00f3 su alma. No sin luchas desde luego, pero se impuso el respeto a un punto de vista, a una forma de ver el mundo que marc\u00f3 un punto alto, muy alto. Eso no es poca cosa. Por cosas como \u00e9sta y por otras muchas que viven en mi intimidad, he admirado siempre a ese pa\u00eds y lo que representa.<\/p>\n

Y dejo para terminar esta reflexi\u00f3n:<\/p>\n

\n

\u00bfQu\u00e9 hace que en un pa\u00eds se le encargue la construcci\u00f3n de la Residencia Presidencial a su m\u00e1s grande arquitecto vivo, d\u00e1ndole total libertad porque se trata de un lugar mod\u00e9lico, singular, que es de todos y sobre todo de una cultura?<\/p>\n<\/blockquote>\n

Y por el contrario<\/p>\n

\n

\u00bfCu\u00e1l mecanismo hace que en un lugar del mundo muy cercano al anterior se entregue una tarea similar a un arquitecto allegado o amigo \u201cdel partido\u201d de gobierno, en busca de un \u201cneo colonial\u201d de buenas maneras, con corredores y jardines de cierto tono, sin repercusi\u00f3n cultural alguna?<\/p>\n<\/blockquote>\n

Buena pregunta para todos nosotros, en este pa\u00eds cruzado por la mezquindad.<\/p>\n

El libro de Lucio incluye como separata una carta que con ocasi\u00f3n de su cumplea\u00f1os 95 le escribi\u00f3 el Presidente de Brasil Fernando Enrique Cardoso en 1997, que incluye estas frases:<\/p>\n

\n

\u201cUsted sabe de mi admiraci\u00f3n por su obra y por su contribuci\u00f3n singular al desarrollo en el Brasil de un pensamiento y una pr\u00e1ctica arquitect\u00f3nica y urban\u00edstica\u201d\u2026<\/p>\n

\u201custed est\u00e1 entre aquellos que, en este siglo, contribuyeron a inventar y construir un Brasil que se hace moderno sin dejar de ser brasile\u00f1o\u201d\u2026<\/p>\n<\/blockquote>\n

Manifestaciones as\u00ed desde el Poder, sinceras y respetuosas, conocedoras de la persona, contribuyen a formar una tradici\u00f3n y hacen grande a una sociedad. Ayudan a responder las dos preguntas anteriores.<\/p>\n

Porque Lucio, efectivamente, construy\u00f3 un modo de pensar que abri\u00f3 puertas a una cultura.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela,\u00a0junio 2009
\nEntre lo Cierto y lo Verdadero <\/em><\/span><\/p>\n

[:gl]

\"Una
Unha acuarela de Lucio Costa dun recuncho colonial brasileiro, feita en 1927<\/span><\/figcaption><\/figure><\/p>\n

Leste deambular polo legado de Oscar Niemeyer<\/a><\/strong> l\u00e9vao a un \u00e1 cultura brasileira. E dentro dela a arquitectura como expresi\u00f3n aceptada, promovida e integrada a unha sorte de \u201cser\u201d nacional. Porque ese traxecto do home centenario e excepcional \u00e9 tam\u00e9n o traxecto dunha cultura.<\/p>\n

Para comprobar o devandito basta referirse a Lucio Costa<\/strong><\/a> (1902-1998) como figura tutelar, personaxe calado, tranquilo e enormemente agudo, que foi non s\u00f3 xestor do proceso de abrir a Brasil cara \u00e1 arquitectura moderna, sen\u00f3n que actuou como compa\u00f1eiro de ruta que deixa en mans daquel a quen acompa\u00f1a a palabra principal cando corresponde, como \u00e9 o caso de Niemeyer, ou como v\u00ednculo instrumental grazas ao seu papel de conselleiro e referencia.<\/p>\n

E o libro que publicou Maria Elisa a s\u00faa filla, arquitecta e muller de gran cultura, pouco despois da s\u00faa morte, escrito e organizado case enteiramente por el mesmo, axuda non s\u00f3 a situar a s\u00faa contribuci\u00f3n ao pensamento sobre arquitectura, sen\u00f3n a amplitude dos seus intereses, a s\u00faa relaci\u00f3n co mundo brasileiro que elabora ideas, que debate, que discorre, que produce; informa sobre a s\u00faa obra de arquitecto-dese\u00f1ador e construtor, modesta poder\u00eda dicirse pero marcada por unha fe rigorosa nos postulados da modernidade que cultivou activamente, acompa\u00f1ada dunha procura no legado da sombra, os corredores, a tranquilidade herdada da arquitectura colonial, procuras que interrompeu nun momento dado para entregarse mellor ao seu papel de mediaci\u00f3n e intercesi\u00f3n.<\/p>\n

A totalidade dunha vida.<\/strong><\/p>\n

Nas s\u00faas p\u00e1xinas incl\u00faense os seus numerosos escritos, case todos destinados a razoar para impulsar decisi\u00f3ns do sector pol\u00edtico ou axudar a tomar conciencia dos valores da arquitectura e as s\u00faas consecuencias urbanas. Outros, moitos, de car\u00e1cter persoal, escritos con estilo conciso e fermoso. E moitas referencias \u00e1 s\u00faa vida familiar, \u00e1 herdanza espiritual dos seus pais, Joaqu\u00edn e Alina, el enxe\u00f1eiro naval; as s\u00faas fillas Helena e Maria Elisa. E como presenza permanente a relaci\u00f3n con Le Corbusier<\/a>, estreita e reflexiva, da cal tiven unha mostra inesperada ao ler moitos anos atr\u00e1s, na Fundaci\u00f3n LC, unha carta persoal onde relata dun modo que me conmoveu ata as b\u00e1goas a morte de Leleta, a s\u00faa esposa e entra\u00f1able compa\u00f1eira, nun accidente de autom\u00f3bil que marcou a s\u00faa vida. Relaci\u00f3n que o levou, estaba casualmente en Francia nese momento, a trasladarse con Charlotte Perriand<\/a><\/strong> ata Roquebrunne- Cap Martin, a buscar o cad\u00e1ver de Le Corbusier para trasladalo ata Par\u00eds pernoitando a medio cami\u00f1o nunha cela do convento da Tourette. O t\u00edtulo do libro subli\u00f1a o que o seu autor quixo del, mostrar non s\u00f3 a s\u00faa obra sen\u00f3n o mundo dos seus intereses, o seu espazo intelectual e afectivo, que \u00e9 en definitiva o que fai a un home:<\/p>\n

\n

\u201cLucio Costa, rexistro dunha vivencia\u201d.<\/p>\n<\/blockquote>\n

E por suposto que no libro hai documentos sobre Bras\u00edlia. Est\u00e1 a Memoria Descritiva coa que acompa\u00f1ou a s\u00faa proposta no concurso para o Plan Mestre. Se unha vez fai case cincuenta anos ese texto espertou en min unha gran admiraci\u00f3n, hoxe segue sendo unha mostra desa especie de fa\u00edsca, de toque de \u201cxenio\u201d no sentido de Robert Graves<\/a> (saltar m\u00e1is al\u00f3 do inmediato, do predicible) que \u00e9 o principio organizativo desa extraordinaria cidade. Nel c\u00e1ptase o concepto b\u00e1sico do que \u00e9 a cidade, do seu \u201cser\u201d no sentido m\u00e1is amplo do termo, m\u00e1is al\u00f3 das simples aplicaci\u00f3ns de t\u00e9cnicas de vialidad ou transporte, de especulaci\u00f3ns econ\u00f3micas, de tecnicismos que esquivan a cuesti\u00f3n central: unha cidade \u00e9 hoxe e ser\u00e1 sempre unha proposta de construci\u00f3n dentro dunha orde.<\/p>\n

Respecto e reflexi\u00f3n desde o Poder. <\/strong><\/p>\n

Dixen xa demasiado que na presenza de Lucio Costa, no respecto que lle tivo o Poder Pol\u00edtico, no seu labor de intermediario, est\u00e1 a clave de que Bras\u00edlia sexa unha realidade indiscutible, m\u00e1is al\u00f3 de reservas ou preguntas. Pero Lucio non \u00e9 unha casualidade. Lucio f\u00edxose e realizou nunha sociedade que o respectou e abriulle a s\u00faa alma. Non sen loitas desde logo, pero imp\u00faxose o respecto a un punto de vista, a unha forma de ver o mundo que marcou un punto alto, moi alto. Iso non \u00e9 pouca cousa. Por cousas como esta e por outras moitas que viven na mi\u00f1a intimidade, admirei sempre a ese pa\u00eds e o que representa.<\/p>\n

E deixo para terminar esta reflexi\u00f3n:<\/p>\n

\n

Que fai que nun pa\u00eds enc\u00e1rgueselle a construci\u00f3n da Residencia Presidencial \u00e1 s\u00faa m\u00e1is grande arquitecto vivo, d\u00e1ndolle total liberdade porque se trata dun lugar mod\u00e9lico, singular, que \u00e9 de todos e sobre todo dunha cultura?<\/p>\n<\/blockquote>\n

E pola contra<\/p>\n

\n

Cal mecanismo fai que nun lugar do mundo moi pr\u00f3ximo ao anterior entr\u00e9guese unha tarefa similar a un arquitecto achegado ou amigo \u201cdo partido\u201d de goberno, en busca dun \u201c neo colonial\u201d de boas maneiras, con corredores e xard\u00edns de certo ton, sen repercusi\u00f3n cultural algunha?<\/p>\n<\/blockquote>\n

Boa pregunta para todos n\u00f3s, neste pa\u00eds cruzado pola mezquindad.<\/p>\n

O libro de Lucio incl\u00fae como separata unha carta que con ocasi\u00f3n dos seus aniversarios 95 escribiulle o Presidente de Brasil Fernando Enrique Cardoso en 1997, que incl\u00fae estas frases:<\/p>\n

\n

\u201cUsted sabe de mi admiraci\u00f3n por su obra y por su contribuci\u00f3n singular al desarrollo en el Brasil de un pensamiento y una pr\u00e1ctica arquitect\u00f3nica y urban\u00edstica\u201d\u2026<\/p>\n

\u201cvostede est\u00e1 entre aqueles que, neste s\u00e9culo, contribu\u00edron a inventar e constru\u00edr un Brasil que se fai moderno sen deixar de ser brasileiro\u201d\u2026<\/p>\n<\/blockquote>\n

Manifestaci\u00f3ns as\u00ed desde o Poder, sinceras e respectuosas, co\u00f1ecedoras da persoa, contrib\u00faen a formar unha tradici\u00f3n e fan grande a unha sociedade. Axudan a responder as d\u00faas preguntas anteriores.<\/p>\n

Porque Lucio, efectivamente, constru\u00edu un modo de pensar que abriu portas a unha cultura.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, xu\u00f1o 2009
\nEntre\u00a0o Certo\u00a0e\u00a0o Verdadeiro <\/em><\/span><\/p>\n

[:en]

\"Una
A watercolor of Lucio Costa from a Brazilian colonial corner, made in 1927<\/span><\/figcaption><\/figure><\/p>\n

This wandering through the legacy of Oscar Niemeyer<\/a><\/strong> takes one to the Brazilian culture. And within it architecture as an accepted expression, promoted and integrated into a kind of national \u201cbeing\u201d. Because that journey of centennial and exceptional man is also the path of a culture.<\/p>\n

To verify what has been said, it is enough to refer to Lucio Costa<\/strong><\/a> (1902-1998) as a tutelary figure, a quiet, calm and enormously acute character, who was not only the manager of the process of opening Brazil towards modern architecture, but acted as a road companion who leaves in the hands of the one who accompanies the main word when appropriate, as is the case of Niemeyer, or instrumental link thanks to his role as adviser and reference.<\/p>\n

And the book published by Maria Elisa, his daughter, architect and woman of great culture, shortly after his death, written and organized almost entirely by himself, helps not only to place his contribution to thinking about architecture, but the breadth of his interests , its relation with the Brazilian world that elaborates ideas, that debates, that flows, that produces; reports on his work as architect-designer and builder, modest could be said but marked by a rigorous faith in the postulates of modernity that he actively cultivated, accompanied by a search for the legacy of the shadow, the corridors, the tranquility inherited from architecture colonial, searches that interrupted at a given time to better deliver themselves to their role of mediation and intercession.<\/p>\n

The whole of a life.<\/strong><\/p>\n

Its pages include its numerous writings, almost all of them aimed at reasoning in order to promote decisions in the political sector or helping to become aware of the values of architecture and its urban consequences. Others, many, personal, written with concise and beautiful style. And many references to his family life, to the spiritual heritage of his parents, Joaqu\u00edn and Alina, the naval engineer; his daughters Helena and Maria Elisa. And as a permanent presence the relationship with Le Corbusier<\/a>, close and reflective, of which I had an unexpected show when reading many years ago, in the LC Foundation, a personal letter where he relates in a way that moved me to tears the death of Leleta , his wife and dear companion, in a car accident that marked his life. Relationship that led him, was coincidentally in France at that time, to move with Charlotte Perriand<\/a><\/strong> to Roquebrunne-Cap Martin, to find the corpse of Le Corbusier to move him to Paris spending the night halfway in a cell of the convent of La Tourette. The title of the book emphasizes what the author wanted of him, to show not only his work but the world of his interests, his intellectual and affective space, which is what ultimately makes a man:<\/p>\n

\n

\u201cLucio Costa, record of an experience\u201d.<\/p>\n<\/blockquote>\n

And of course in the book there are documents about Brasilia. There is the Descriptive Report with which he accompanied his proposal in the contest for the Master Plan. If once almost fifty years ago that text aroused great admiration in me, today it remains a sample of that kind of spark, of a touch of \u201cgenius\u201d in the sense of Robert Graves<\/a> (to jump beyond the immediate, of the predictable ) which is the organizing principle of this extraordinary city. It captures the basic concept of what the city is, its \u201cbeing\u201d in the broadest sense of the term, beyond the simple applications of road or transport techniques, economic speculations, technicalities that avoid the issue central: a city is today and will always be a proposal of construction within an order.<\/p>\n

Respect and reflection from the Power.<\/strong><\/p>\n

I have already said too much that in the presence of Lucio Costa, in the respect that the Political Power had for him, in his work as an intermediary, is the key that Brasilia is an indisputable reality, beyond reservations or questions. But Lucio is not a coincidence. Lucio was made and realized in a society that respected him and opened his soul. Not without struggles of course, but respect was imposed on a point of view, a way of seeing the world that marked a high point, very high. That is no small thing. For things like this and many others who live in my privacy, I have always admired that country and what it represents.<\/p>\n

And I leave to finish this reflection:<\/p>\n

\n

What makes a country responsible for the construction of the Presidential Residence to its greatest living architect, giving it total freedom because it is a model, unique, that belongs to everyone and especially a culture?<\/p>\n<\/blockquote>\n

And on the contrary<\/p>\n

\n

What mechanism makes a task similar to a close architect or friend \u00abof the party\u00bb of government, in search of a \u00abneo colonial\u00bb in good manners, with corridors and gardens of a certain place in the world very close to the previous one? tone, without any cultural impact?<\/p>\n<\/blockquote>\n

Good question for all of us, in this country crossed by pettiness.<\/p>\n

Lucio’s book includes as a separate letter a letter that, on the occasion of his 95th birthday, was written by the President of Brazil Fernando Enrique Cardoso in 1997, which includes these phrases:<\/p>\n

\n

\u201cYou know of my admiration for his work and for his singular contribution to the development in Brazil of an architectural and urbanistic thought and practice\u201d\u2026<\/p>\n

\u201cYou are among those who, in this century, contributed to invent and build a Brazil that becomes modern without ceasing to be Brazilianl Brasil de un pensamiento y una pr\u00e1ctica arquitect\u00f3nica y urban\u00edstica\u201d\u2026<\/p>\n<\/blockquote>\n

Manifestations like this from the Power, sincere and respectful, knowing the person, contribute to form a tradition and make a society great. They help answer the two previous questions.<\/p>\n

Because Lucio, indeed, built a way of thinking that opened doors to a culture.<\/p>\n

\u00d3scar Tenreiro Degwitz, Architect.
\nVenezuela,\u00a0juny 2009
\nEntre lo Cierto y lo Verdadero <\/em><\/span><\/p>\n

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[:es] Este deambular por el legado de Oscar Niemeyer lo lleva a uno a la cultura brasile\u00f1a. Y dentro de ella la arquitectura como expresi\u00f3n aceptada, promovida e integrada a una suerte de \u201cser\u201d nacional. Porque ese trayecto del hombre centenario y excepcional es tambi\u00e9n el trayecto de una cultura. 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