{"id":71777,"date":"2019-02-25T00:01:29","date_gmt":"2019-02-24T23:01:29","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=71777"},"modified":"2022-02-15T09:18:54","modified_gmt":"2022-02-15T08:18:54","slug":"los-arquitectos-diablo-privado-oscar-tenreiro-degwitz","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/los-arquitectos-diablo-privado-oscar-tenreiro-degwitz\/","title":{"rendered":"[:es]Los arquitectos y su diablo privado | \u00d3scar Tenreiro Degwitz[:gl]Os arquitectos e o seu dia\u00f1o privado | \u00d3scar Tenreiro Degwitz[:en]The architects and their private devil | \u00d3scar Tenreiro Degwitz[:]"},"content":{"rendered":"

[:es]

\"Gehry
Gehry y su ‘peineta’ | Fotograf\u00eda: M. Rojas | Fuente: laverdad.es\u00a0<\/a><\/span><\/figcaption><\/figure><\/p>\n

Dos cosas me quedaron grabadas de una lectura adolescente de El Diablo<\/a><\/em>, obra de Giovanni Papini <\/a>(1881-1956) que le produjo a su autor algunas dificultades con el mundo eclesi\u00e1stico. La primera, que el mayor \u00e9xito del esp\u00edritu malo es hacernos creer que no existe; la segunda la portada de esa edici\u00f3n, la cara del Diablo<\/em> pintada por Miguel \u00c1ngel<\/a> en su Juicio Final, asomando entre llamas y negruras en la esquina inferior derecha de esa Obra Maestra.<\/p>\n

Hoy me afilio m\u00e1s bien a la idea formulada por Carl Gustav Jung de que todos tenemos un lado luminoso y uno oscuro. El diablo est\u00e1 all\u00ed, en nosotros mismos, podr\u00edamos decir en tono simple, no afuera. Ya no lo buscamos en las brumas infernales.<\/p>\n

Un diablillo que hace de las suyas en todo ser humano es el de la Vanidad. Que parece muy caracter\u00edstico, por cierto, del mundo de los arquitectos. Pocas cosas pueden estimular m\u00e1s la vanidad que ver hacer realidad un edificio que ha nacido de unos esquemas hechos en la intimidad entre el papel (o la computadora) y el autor. Ver que se le destina mucho dinero, que se suman a su realizaci\u00f3n diversas disciplinas y t\u00e9cnicas y que, finalmente, se entregan a la tarea de construirla decenas, centenas y hasta millares de hombres.<\/p>\n

El Poder pol\u00edtico participa de esa vanidad. Cuando es autoritario siente debilidad especial por las grandes construcciones, a menos que la vanidad, como en el caso venezolano, consista en repartir d\u00f3lares rentistas que no provienen de una econom\u00eda productiva. Los dictadores quieren dejar huella de su paso a trav\u00e9s de la arquitectura, pero es tambi\u00e9n cierto que todo r\u00e9gimen, democr\u00e1tico o no, pone en pr\u00e1ctica el principio que ya una vez mencion\u00e9 en esta p\u00e1gina, de que todo programa pol\u00edtico se manifiesta en el dominio construido.<\/p>\n

Desde el punto de vista del Poder, pues, unos Juegos Ol\u00edmpicos traen como consecuencia natural hacer edificios que quieren ser vitrina de unos recursos econ\u00f3micos, humanos y tecnol\u00f3gicos. El r\u00e9gimen chino no pod\u00eda ser ajeno a ese impulso.<\/p>\n

Pero no busc\u00f3 el Estado chino a las personas, los talentos, formados por su Revoluci\u00f3n. No los busc\u00f3 en su propio pueblo que deb\u00eda estar, luego de sesenta a\u00f1os de exaltaci\u00f3n de los valores locales, ampliamente capacitado para hacer la tarea, Lo busc\u00f3 en la espesura capitalista. Y as\u00ed borr\u00f3 para siempre de su historia el lenguaje maniqueo \u201crevolucionario\u201d que una vez fue estandarte de su pol\u00edtica y que hoy se usa con desparpajo entre nosotros. Nombres provenientes de la madre del \u201cimperio\u201d (Foster<\/a>, ingl\u00e9s) o de la cuna del capital planetario (Herzog\u00a0& De Meuron<\/a>, suizos), de la naci\u00f3n que una vez fue refinado ejemplo del m\u00e1s rancio colonialismo (Koolhaas<\/a>, holand\u00e9s), o del enclave brit\u00e1nico en Ocean\u00eda (PTW Architects, Australia) que, sin duda hicieron muy bien su trabajo en asociaci\u00f3n con el sistema de Institutos de Arquitectura que funciona en China. No hay ning\u00fan nombre estadounidense, hab\u00eda que salvar determinadas apariencias.<\/p>\n

O sea que la vanidad del Estado revolucionario termina d\u00e1ndole un aval irrefutable al Star System<\/strong><\/a>, al tr\u00e1fico del \u00e9xito planetario. Y reconoce el fracaso del Estado totalitario que, adem\u00e1s, recurri\u00f3 para estas obras al enorme capital privado chino.<\/p>\n

\n

\u00bfY la vanidad de los arquitectos?<\/strong><\/p>\n<\/blockquote>\n

Cualquiera de los nombrados hubiera ganado en prestigio si declina los encargos a partir de la cr\u00edtica a una situaci\u00f3n pol\u00edtica que s\u00f3lo parece sostenerse en el contexto de una naci\u00f3n que por siglos ha sido v\u00edctima del vasallaje. Como lo ilustra Kafka en la historia del emperador cuyo mensajero cruza muros y recintos que llevan hacia otros muros y recintos hasta encontrar su muerte o el olvido. Pero esos arquitectos buscan el \u00e9xito y no el prestigio. Su inter\u00e9s no est\u00e1 en cultivar una visi\u00f3n integral del mundo y sus contradicciones, o del simple ser humano. Lo contrario, hablan del futuro de las ciudades a partir de Singapur, de Honk Kong o Shanghai, donde tienen contratos. Echamos de menos en ellos el deseo de entender con profundidad la realidad tal como lo intentaron los arquitectos que fundaron la modernidad. Porque si exceptuamos a Koolhaas, que ha hablado mucho, su discurso es filosof\u00eda de segunda con ropaje t\u00e9cnico, o postmoderno seg\u00fan convenga. En resumen, en todos ellos la vanidad hace de las suyas, y no aguantan, para decirlo en criollo, dos pedidas. Adem\u00e1s, en estos tiempos se piensa que renunciar al espect\u00e1culo ofrecido en bandeja de plata es insensatez. Se niega la existencia del diablo, o del diablillo privado. No existe.<\/p>\n

Un lector me escrib\u00eda dici\u00e9ndome que le importaban los edificios sin preguntar demasiado sobre lo que le dio origen. Tal vez eso puede tener todo el sentido del mundo cuando vemos al edificio lejos en el tiempo o deseamos \u201copinar\u201d en clave light. Porque todo edificio pertenece a una historia y nos habla de ella, all\u00e1 nosotros si lo escuchamos. Y adem\u00e1s, el arquitecto mismo, en el momento del encargo, enfrentado a un cliente, indaga sobre antecedentes, motivaciones, sobre las condiciones que determinar\u00e1n su trabajo. Y decide en consecuencia. A menos que se trate de un juego de intereses en el cual el cliente no tiene cara visible sino dinero o Poder y el arquitecto sea en realidad una corporaci\u00f3n sin rostro pero con habilidades que son su marca de f\u00e1brica. Y avidez de dinero. Eso es lo que est\u00e1 pasando en el mundo de la gran arquitectura globalizada: es un escenario donde la identidad es un estilo, una firma, que se ofrece al mejor postor.<\/p>\n

Y uno se pregunta si esa es la \u00fanica v\u00eda para un mundo globalizado en lo econ\u00f3mico y fragmentado en lo cultural. Con tantas desigualdades que convierten a Beijing en una vitrina inalcanzable. Como nos ocurre a los venezolanos cuando miramos hacia nuestros \u201cm\u00f3dulos\u201d de Barrio Adentro, nuestras tristes Escuelas, derruidos hospitales, perversas c\u00e1rceles y los edificios p\u00fablicos que nunca se terminan o se terminan mal, como todas las instalaciones deportivas recientes. Y eso luego de diez a\u00f1os plet\u00f3ricos de d\u00f3lares y palabras.<\/p>\n

Vistas as\u00ed las cosas, y no desde la posteridad neutral, uno echa de menos alg\u00fan NO<\/strong> con consecuencias, alguna capacidad para derrotar la vanidad en nombre de los viejos y desgastados principios.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, agosto 2008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span><\/p>\n

[:gl]

\"Gehry
Gehry\u00a0e\u00a0a s\u00faa ‘peineta’ | Fotograf\u00eda: M. Rojas<\/span><\/figcaption><\/figure><\/p>\n

D\u00faas cousas qued\u00e1ronme gravadas dunha lectura adolescente do\u00a0Dia\u00f1o<\/em><\/a>, obra de Giovanni Papini<\/a> (1881-1956) que lle produciu ao seu autor algunhas dificultades co mundo eclesi\u00e1stico. A primeira, que o maior \u00e9xito do esp\u00edrito malo \u00e9 facernos crer que non existe; a segunda a portada desa edici\u00f3n, a cara do Dia\u00f1o<\/em> pintada por Miguel Anxo no seu Xu\u00edzo Final, asomando entre chamas e negruras na esquina inferior dereita desa Obra Mestra.<\/p>\n

Hoxe af\u00edliome m\u00e1is ben \u00e1 idea formulada por Carl Gustav Jung de que todos temos un lado luminoso e un escuro. O dia\u00f1o est\u00e1 al\u00ed, en n\u00f3s mesmos, poderiamos dicir en ton simple, non f\u00f3ra. Xa non o buscamos nas brumas infernais.<\/p>\n

Un diablillo que fai das s\u00faas en todo ser humano \u00e9 o da Vaidade. Que parece moi caracter\u00edstico, por certo, do mundo dos arquitectos. Poucas cousas poden estimular m\u00e1is a vaidade que ver facer realidade un edificio que naceu duns esquemas feitos na intimidade entre o papel (ou a computadora) e o autor. Ver que se lle destina moito di\u00f1eiro, que se suman \u00e1 s\u00faa realizaci\u00f3n diversas disciplinas e t\u00e9cnicas e que, finalmente, entr\u00e9ganse \u00e1 tarefa de constru\u00edla decenas, centenas e ata milleiros de homes.<\/p>\n

O Poder pol\u00edtico participa desa vaidade. Cando \u00e9 autoritario sente debilidade especial polas grandes construci\u00f3ns, a menos que a vaidade, como no caso venezolano, consista en repartir d\u00f3lares rentistas que non prove\u00f1en dunha econom\u00eda produtiva. Os ditadores queren deixar pegada do seu paso a trav\u00e9s da arquitectura, pero \u00e9 tam\u00e9n certo que todo r\u00e9xime, democr\u00e1tico ou non, pon en pr\u00e1ctica o principio que xa unha vez mencionei nesta p\u00e1xina, de que todo programa pol\u00edtico manif\u00e9stase no dominio constru\u00eddo.<\/p>\n

Desde o punto de vista do Poder, pois, uns Xogos Ol\u00edmpicos traen como consecuencia natural facer edificios que queren ser vitrina duns recursos econ\u00f3micos, humanos e tecnol\u00f3xicos. O r\u00e9xime chin\u00e9s non pod\u00eda ser alleo a ese impulso.<\/p>\n

Pero non buscou o Estado chin\u00e9s \u00e1s persoas, os talentos, formados pola s\u00faa Revoluci\u00f3n. Non os buscou no seu propio pobo que deb\u00eda estar, logo de sesenta anos de exaltaci\u00f3n dos valores locais, amplamente capacitado para facer a tarefa, Buscouno na espesura capitalista. E as\u00ed borrou para sempre da s\u00faa historia a linguaxe maniqueo \u201crevolucionario\u201d que unha vez foi estandarte da s\u00faa pol\u00edtica e que hoxe se usa con desenvoltura entre n\u00f3s. Nomes provenientes da nai do \u201cimperio\u201d (Foster<\/a>, ingl\u00e9s) ou do berce do capital planetario (Herzog\u00a0& De Meuron<\/a>, su\u00edzos), da naci\u00f3n que unha vez foi refinado exemplo do m\u00e1is rancio colonialismo (Koolhaas<\/a>, holand\u00e9s), ou do enclave brit\u00e1nico en Ocean\u00eda (PTW Architects, Australia) que, sen d\u00fabida fixeron moi ben o seu traballo en asociaci\u00f3n co sistema de Institutos de Arquitectura que funciona en China. Non hai ning\u00fan nome estadounidense, hab\u00eda que salvar determinadas aparencias.<\/p>\n

Ou sexa que a vaidade do Estado revolucionario termina d\u00e1ndolle un aval irrefutable ao Star System<\/strong><\/a>, ao tr\u00e1fico do \u00e9xito planetario. E reco\u00f1ece o fracaso do Estado totalitario que, ademais, recorreu para estas obras ao enorme capital privado chin\u00e9s.<\/p>\n

\n

E a vaidade dos arquitectos?<\/strong><\/p>\n<\/blockquote>\n

Calquera dos nomeados ga\u00f1ase en prestixio se declina os encargos a partir da cr\u00edtica a unha situaci\u00f3n pol\u00edtica que s\u00f3 parece sosterse no contexto dunha naci\u00f3n que por s\u00e9culos foi v\u00edtima da vasalaxe. Como o ilustra Kafka na historia do emperador cuxo mensaxeiro cruza muros e recintos que levan cara a outros muros e recintos ata atopar a s\u00faa morte ou o esquecemento. Pero eses arquitectos buscan o \u00e9xito e non o prestixio. O seu interese non est\u00e1 en cultivar unha visi\u00f3n integral do mundo e as s\u00faas contradici\u00f3ns, ou do simple ser humano. O contrario, falan do futuro das cidades a partir de Singapura, de Honk Kong ou Xangai, onde te\u00f1en contratos. Botamos de menos neles o desexo de entender con profundidade a realidade tal como tent\u00e1rono os arquitectos que fundaron a modernidade. Porque se exceptuamos a Koolhaas, que falou moito, o seu discurso \u00e9 filosof\u00eda de segunda con roupaxe t\u00e9cnica, ou postmoderno segundo conve\u00f1a. En resumo, en todos eles a vaidade fai das s\u00faas, e non aguantan, para dicilo en criollo, d\u00faas pedidas. Ademais, nestes tempos p\u00e9nsase que renunciar ao espect\u00e1culo ofrecido en bandexa de prata \u00e9 insensatez. N\u00e9gase a existencia do dia\u00f1o, ou do diablillo privado. Non existe.<\/p>\n

Un lector escrib\u00edame dic\u00edndome que lle importaban os edificios sen preguntar demasiado sobre o que lle deu orixe. Talvez iso pode ter todo o sentido do mundo cando vemos ao edificio lonxe no tempo ou desexamos \u201copinar\u201d en clave lixeiro. Porque todo edificio pertence a unha historia e f\u00e1lanos dela, al\u00e1 n\u00f3s se o escoitamos. E ademais, o arquitecto mesmo, no momento do encargo, enfrontado a un cliente, indaga sobre antecedentes, motivaci\u00f3ns, sobre as condici\u00f3ns que determinar\u00e1n o seu traballo. E decide en consecuencia. A menos que se trate dun xogo de intereses no cal o cliente non ten cara visible sen\u00f3n di\u00f1eiro ou Poder e o arquitecto sexa en realidade unha corporaci\u00f3n sen rostro pero con habilidades que son a s\u00faa marca de f\u00e1brica. E avidez de di\u00f1eiro. Iso \u00e9 o que est\u00e1 a pasar no mundo da gran arquitectura globalizada: \u00e9 un escenario onde a identidade \u00e9 un estilo, unha firma, que se ofrece ao mellor ofertante.<\/p>\n

E un preg\u00fantase se esa \u00e9 a \u00fanica v\u00eda para un mundo globalizado no econ\u00f3mico e fragmentado no cultural. Con tantas desigualdades que converten a Beijing nunha vitrina inalcanzable. Como nos ocorre aos venezolanos cando miramos cara aos nosos \u201cm\u00f3dulos\u201d de Barrio Dentro, as nosas tristes Escolas, derruidos hospitais, perversos c\u00e1rceres e os edificios p\u00fablicos que nunca se terminan ou se terminan mal, como todas as instalaci\u00f3ns deportivas recentes. E iso logo de dez anos plet\u00f3ricos de d\u00f3lares e palabras.<\/p>\n

Vistas as\u00ed as cousas, e non desde a posteridade neutral, un bota de menos alg\u00fan NON<\/strong> con consecuencias, algunha capacidade para derrotar a vaidade en nome dos vellos e desgastados principios.<\/p>\n

\u00d3scar Tenreiro Degwitz, Arquitecto.
\nVenezuela, agosto 2008,
\nEntre o Certo e o\u00a0Verdadeiro<\/em><\/span><\/p>\n

[:en]

\"Gehry
Gehry\u00a0and his\u00a0‘comb’ | Fotograf\u00eda: M. Rojas<\/span><\/figcaption><\/figure><\/p>\n

Two things were recorded to me from a teenage reading of El Diablo<\/em><\/a>, by Giovanni Papini<\/a> (1881-1956), which gave the author some difficulties with the ecclesiastical world. The first, that the greatest success of the evil spirit is to make us believe that it does not exist; the second the cover of that edition, the face of the Devil<\/em> painted by Michelangelo in his Last Judgment, peeping between flames and blackness in the lower right corner of that Masterpiece.<\/p>\n

Today I join rather the idea formulated by Carl Gustav Jung that we all have a light side and a dark side. The devil is there, in ourselves, we could say in a simple tone, not outside. We no longer look for it in the infernal mists.<\/p>\n

An imp that makes his own in every human being is that of Vanity. Which seems very characteristic, by the way, of the world of architects. Few things can stimulate vanity more than to see a building that has been born from schemes made in the intimacy between paper (or the computer) and the author. Seeing that a lot of money is destined to him, that are added to his realization diverse disciplines and techniques and that, finally, they are delivered to the task of building it tens, hundreds and even thousands of men.<\/p>\n

Political power participates in that vanity. When it is authoritarian, it feels special weakness for big constructions, unless vanity, as in the Venezuelan case, consists of distributing rentier dollars that do not come from a productive economy. The dictators want to leave a mark of their passage through architecture, but it is also true that every regime, democratic or not, puts into practice the principle that I already mentioned on this page, that every political program manifests itself in the domain constructed.<\/p>\n

From the point of view of Power, then, the Olympic Games bring as a natural consequence buildings that want to be showcase of economic, human and technological resources. The Chinese regime could not be oblivious to that impulse.<\/p>\n

But the Chinese State did not seek the people, the talents, formed by its Revolution. He did not look for them in his own town that he should be, after sixty years of exaltation of local values, amply qualified to do the task, He looked for it in the capitalist thicket. And thus he erased the \u201crevolutionary\u201d Manichean language that was once a standard of his politics and that today is used with self-confidence among us. Names from the mother of the \u201cempire\u201d (Foster<\/a>, English) or from the cradle of planetary capital (Herzog\u00a0& De Meuron<\/a>, Swiss), from the nation that was once refined example of the most rancid colonialism (Koolhaas<\/a>, Dutch), or of the British enclave in Oceania (PTW Architects, Australia) that undoubtedly did their work very well in association with the system of Institutes of Architecture that works in China. There is no American name, certain appearances had to be saved.<\/p>\n

In other words, the vanity of the revolutionary State ends up giving an irrefutable endorsement to the Star System<\/strong><\/a>, to the traffic of planetary success. And he recognizes the failure of the totalitarian state that, in addition, used for these works the huge Chinese private capital.<\/p>\n

\n

And the vanity of the architects?<\/strong><\/p>\n<\/blockquote>\n

Any of those named would have gained in prestige if he declined the orders based on criticism of a political situation that only seems to be sustained in the context of a nation that for centuries has been the victim of vassalage. As Kafka illustrates in the story of the emperor whose messenger crosses walls and enclosures that lead to other walls and enclosures until he finds his death or oblivion. But those architects seek success and not prestige. His interest is not in cultivating an integral vision of the world and its contradictions, or of the simple human being. On the contrary, they talk about the future of cities from Singapore, Honk Kong or Shanghai, where they have contracts. We miss in them the desire to deeply understand reality as the architects who founded modernity tried it. Because if we except Koolhaas, who has talked a lot, his speech is second philosophy with technical, or postmodern clothing as appropriate. In short, in all of them vanity makes its own, and can not stand, to put it in Creole, two requests. In addition, in these times it is thought that giving up the show offered on a silver platter is foolish. The existence of the devil, or the private imp, is denied. Does not exist.<\/p>\n

A reader wrote to me telling me that he cared about buildings without asking too much about what originated him. Maybe that can make all the sense of the world when we see the building far away in time or we want to \u00abthink\u00bb in light code. Because every building belongs to a story and tells us about it, there we if we listen to it. And in addition, the architect himself, at the time of the assignment, faced a client, inquires about background, motivations, about the conditions that will determine his work. And decide accordingly. Unless it is a game of interests in which the client does not have a visible face but money or power and the architect is in reality a corporation without a face but with skills that are its trademark. And greed for money. That is what is happening in the world of the great globalized architecture: it is a scenario where the identity is a style, a signature, that is offered to the highest bidder.<\/p>\n

And one wonders if that is the only way for a globalized world in the economic and fragmented in the cultural. With so many inequalities that make Beijing an unattainable showcase. As we do to Venezuelans when we look at our \u201cmodules\u201d of Barrio Adentro, our sad schools, crumbling hospitals, perverse prisons and public buildings that never end or end badly, like all recent sports facilities. And that after ten years full of dollars and words.<\/p>\n

Thus seen things, and not from neutral posterity, one misses some NO<\/strong> with consequences, some ability to defeat vanity in the name of old and worn out principles.<\/p>\n

\u00d3scar Tenreiro Degwitz, Architect.
\nVenezuela, august 2008,
\nEntre lo Cierto y lo Verdadero<\/em><\/span><\/p>\n

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[:es] Dos cosas me quedaron grabadas de una lectura adolescente de El Diablo, obra de Giovanni Papini (1881-1956) que le produjo a su autor algunas dificultades con el mundo eclesi\u00e1stico. La primera, que el mayor \u00e9xito del esp\u00edritu malo es hacernos creer que no existe; la segunda la portada de esa edici\u00f3n, la cara del […]<\/p>\n","protected":false},"author":35,"featured_media":71778,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[143,6863,9558,665,668,3718,4798,2422,11762,1021,3719,2070,1103,1865,2173,1253],"class_list":["post-71777","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-arquitectura-contemporanea","tag-arquitectura-postmoderna","tag-foster-partners","tag-herzog-de-meuron","tag-historia","tag-jacques-herzog","tag-modelo-profesional","tag-norman-foster","tag-oscar-tenreiro-degwitz","tag-pensamiento","tag-pierre-de-meuron","tag-poder","tag-profesion","tag-reflexion","tag-rem-koolhaas","tag-star-system"],"yoast_head":"\n[:es]Los arquitectos y su diablo privado | 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