{"id":71898,"date":"2019-02-22T00:01:14","date_gmt":"2019-02-21T23:01:14","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=71898"},"modified":"2023-05-18T07:50:38","modified_gmt":"2023-05-18T05:50:38","slug":"extranos-domesticos-i-las-casas-extraordinarias-kiyoto-ota-pedro-hernandez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/extranos-domesticos-i-las-casas-extraordinarias-kiyoto-ota-pedro-hernandez\/","title":{"rendered":"[:es]Extra\u00f1os dom\u00e9sticos (I): Las casas extraordinarias de Kiyoto Ota | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Estra\u00f1os dom\u00e9sticos (I): As casas extraordinarias de Kiyoto Ota | Pedro Hern\u00e1ndez [:en]Domestic Strangers (I): The Extraordinary Houses by Kiyoto Ota | Pedro Hern\u00e1ndez [:]"},"content":{"rendered":"

[:es]

\"Extra\u00f1os
Casa de la Lluvia, al fondo. En primer plano a la derecha: Casa del Viento.<\/span><\/figcaption><\/figure><\/p>\n

Al entrar en el Museo Universitario del Chopo<\/a> aparecen tres peque\u00f1as casas. Decimos casas porque las reconocemos como tales: unos vol\u00famenes de madera con cubiertas inclinadas de un aspecto pintoresco, propio de los dibujos de lo que para un ni\u00f1o podr\u00eda ser una casa. Su concepci\u00f3n, sin embargo, dista por completo de los c\u00e1nones de la arquitectura: su tama\u00f1o es escaso, su espacio interior casi m\u00ednimo como para poder desarrollar en ellas alguna actividad y apenas caben unas pocas personas\u200a\u2014\u200aentre dos y cuatro\u200a\u2014\u200a; en resumen, distan mucho de ser funcionales.<\/p>\n

\"Extra\u00f1os
Casa del Viento.<\/span><\/figcaption><\/figure>\n

La primera\u200a\u2014\u200ala Casa de Alicia<\/em>\u200a\u2014\u200atiene dos puertas, una en cada extremo de la casa en una simetr\u00eda espejada; cada puerta da acceso a una escalera al final del cual aparece una peque\u00f1a ventana\u200a\u2014\u200ao puerta, seg\u00fan se mire\u200a\u2014\u200a. Remitiendo al texto de Lewis Carroll, Alicia en el pa\u00eds de las maravillas<\/em><\/a>, desde la escalera se juega la perspectiva: el acceso generoso de la puerta se reduce conforme asciende hasta que el espacio es tan peque\u00f1o como lo era la casa del conejo blanco para Alicia despu\u00e9s de que esta se comiera ese dulce\u200a\u2014\u200a\u201cEat me\u201d\u200a\u2014\u200aque le permit\u00eda hacerse gigante. Junto a ella, una segunda casa, con una planta de cruz y dos puertas de acceso, una enfrente de otra, permiten entrar a un lugar donde corre el viento de forma cuanto menos singular: de dentro hacia afuera: seis ventiladores impulsan el aire al exterior, haciendo que dentro del espacio siempre habite una generosa y fresca corriente. Por \u00faltimo, una casa, que recuerda a construcciones propias de zonas tropicales, aparece s\u00f3lo habitada por agua: llueve dentro pero no se trata de goteras: \u00e9sa es la idea original, invertir la cl\u00e1sica relaci\u00f3n de refugio interior frente a las inclemencias, trasladadas ahora al c\u00e1lido interior e impidiendo que nadie pueda entrar, al tiempo que el olor a madera mojada impregna de forma c\u00e1lida y por completo la atm\u00f3sfera en torno a ella.<\/p>\n

\"Extra\u00f1os
\u00dateruz.<\/span><\/figcaption><\/figure>\n

Tres casas \u201cde cuento\u201d imaginadas por el escultor japomexicano Kiyoto Ota<\/strong>, nacido en Sasebo, Nagasaki, en 1948 y profesor en la FAD-UNAM, quien, como apunta al describirlas no son casas sino que son como esculturas, o en todo caso, esculturas que, en nuestra memoria infantil, se nos muestran como casas. Estas tres mismas casas se completan en la exposici\u00f3n con otras tres piezas que pertenecen a su serie\u00a0\u00dateruz<\/em><\/strong>, desarrollada desde 2006, y que permite establecer de forma m\u00e1s clara las intenciones buscadas por Ota: a medio camino entre el nido, el huevo o el \u00fatero, esta serie nos muestra unas construcciones realizadas en maderas como encino, pino y cedro que invitan a experimentar con los sentidos en un esfuerzo por crear un lugar\u200a\u2014\u200aque no espacio, en las propias palabras del escultor\u200a\u2014\u200ac\u00e1lido y acogedor que recuerda al \u00fatero materno.<\/p>\n

Como respuesta, las tres casas extraordinarias se antojan m\u00e1s extra\u00f1as y menos acogedoras: permiten acceder a ellas pero no pueden ser habitadas por mucho tiempo: o son demasiado peque\u00f1as o demasiado incomodas o ya tienen su interior ocupado: son \u201ccontra\u00fateruz\u201d, refugios que niegan esa condici\u00f3n de refugio.<\/p>\n

\n

\u201cNo son lugares\u201d, <\/strong><\/p>\n<\/blockquote>\n

nos dice.<\/p>\n

Pero las construcciones de Ota, vistas no ya desde el campo de la escultura, sino desde la arquitectura, ofrecen una lectura radical e interesante, incluso m\u00e1s all\u00e1 de las pretensiones de su autor: la de devolver a la arquitectura su capacidad de crear nuevos mundos posibles, no necesariamente funcionales o utilitarios, s\u00ed mucho m\u00e1s m\u00e1gicos, propios de un universo infantil que a\u00f1os de disciplina han relatado al olvido y que nos recuerde que eso de la arquitectura no es sino esa cosa de organizar componentes materiales para construir con ellos nuevos sentidos sobre la realidad.<\/p>\n

\"Extra\u00f1os
Casa de Alicia.<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nMadrid. Febrero\u00a02019[:gl]

\"Casa
Casa da\u00a0Chuvia,\u00a0o fondo. En primeiro plano a dereita: Casa do Vento.<\/span><\/figcaption><\/figure><\/p>\n

Ao entrar no MMuseo Universitario do Chopo<\/a> aparecen tres pequenas casas. Dicimos casas porque as reco\u00f1ecemos como tales: uns volumes de madeira con cubertas inclinadas dun aspecto pintoresco, propio dos debuxos do que para un neno poder\u00eda ser unha casa. A s\u00faa concepci\u00f3n, con todo, dista por completo dos canons da arquitectura: o seu tama\u00f1o \u00e9 escaso, o seu espazo interior case m\u00ednimo como para poder desenvolver nelas algunha actividade e apenas caben unhas poucas persoas\u200a\u2014\u200aentre d\u00faas e catro\u200a\u2014\u200a; en resumo, distan moito de ser funcionais.<\/p>\n

\"Casa
Casa do Vento.<\/span><\/figcaption><\/figure>\n

A primeira\u200a\u2014\u200aa Casa de Alicia\u200a<\/em>\u2014\u200aten d\u00faas portas, unha en cada extremo da casa nunha simetr\u00eda espejada; cada porta d\u00e1 acceso a unha escaleira ao final do cal aparece unha pequena xanela\u200a\u2014\u200aou porta, segundo m\u00edrese\u200a\u2014\u200a. Remitindo ao texto de Lewis Carroll, Alicia no pa\u00eds das marabillas<\/em><\/a>, desde a escaleira x\u00f3gase a perspectiva: o acceso xeneroso da porta red\u00facese conforme ascende ata que o espazo \u00e9 tan pequeno como o era a casa do coello branco para Alicia despois de que esta com\u00e9sese ese doce\u200a\u2014\u200a\u201cEat me\u201d\u200a\u2014\u200aque lle permit\u00eda facerse xigante. Xunto a ela, unha segunda casa, cunha planta de cruz e d\u00faas portas de acceso, unha enfronte doutra, permiten entrar a un lugar onde corre o vento de forma canto menos singular: de dentro cara a f\u00f3ra: seis ventiladores impulsan o aire ao exterior, facendo que dentro do espazo sempre habite unha xenerosa e fresca corrente. Por \u00faltimo, unha casa, que lembra a construci\u00f3ns propias de zonas tropicais, aparece s\u00f3 habitada por auga: chove dentro pero non se trata de pingueiras: esa \u00e9 a idea orixinal, investir a cl\u00e1sica relaci\u00f3n de refuxio interior fronte \u00e1s inclemencias, trasladadas agora ao c\u00e1lido interior e impedindo que ningu\u00e9n poida entrar, \u00e1 vez que o cheiro a madeira mollada impregna de forma c\u00e1lida e por completo a atmosfera ao redor dela.<\/p>\n

\"\u00dateruz
\u00dateruz.<\/span><\/figcaption><\/figure>\n

Tres casas \u201cde conto\u201d imaxinadas polo escultor japomexicano Kiyoto Ota<\/strong>, nacido en Sasebo, Nagasaki, en 1948 e profesor na FAD- UNAM, quen, como apunta ao describilas non son casas sen\u00f3n que son como esculturas, ou en todo caso, esculturas que, na nosa memoria infantil, m\u00f3stransenos como casas. Estas tres mesmas casas compl\u00e9tanse na exposici\u00f3n con outras tres pezas que pertencen \u00e1 s\u00faa serie \u00dateruz<\/em><\/strong>, desenvolta desde 2006, e que permite establecer de forma m\u00e1is clara as intenci\u00f3ns buscadas por Ota: a medio cami\u00f1o entre o ni\u00f1o, o ovo ou o \u00fatero, esta serie m\u00f3stranos unhas construci\u00f3ns realizadas en madeiras como encino, pi\u00f1eiro e cedro que convidan a experimentar cos sentidos nun esforzo por crear un lugar\u200a\u2014\u200aque non espazo, nas propias palabras do escultor\u200a\u2014\u200ac\u00e1lido e acolledor que lembra ao \u00fatero materno.<\/p>\n

Como resposta, as tres casas extraordinarias ant\u00f3llanse m\u00e1is estra\u00f1as e menos acolledoras: permiten acceder a elas pero non poden ser habitadas por moito tempo: ou son demasiado pequenas ou demasiado incomodas ou xa te\u00f1en o seu interior ocupado: son \u201c contra\u00fateruz\u201d, refuxios que negan esa condici\u00f3n de refuxio.<\/p>\n

\n

\u201cNon son lugares\u201d, <\/strong><\/p>\n<\/blockquote>\n

nos dice.<\/p>\n

Pero as construci\u00f3ns de Ota, vistas non xa desde o campo da escultura, sen\u00f3n desde a arquitectura, ofrecen unha lectura radical e interesante, mesmo m\u00e1is al\u00f3 das pretensi\u00f3ns do seu autor: a de devolver \u00e1 arquitectura a s\u00faa capacidade de crear novos mundos posibles, non necesariamente funcionais ou utilitarios, si moito m\u00e1is m\u00e1xicos, propios dun universo infantil que anos de disciplina relataron ao esquecemento e que nos lembre que iso da arquitectura non \u00e9 sen\u00f3n esa cousa de organizar compo\u00f1entes materiais para constru\u00edr con eles novos sentidos sobre a realidade.<\/p>\n

\"Casa
Casa de Alicia.<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 arquitecto
\nMadrid. Febreiro\u00a02019[:en]

\"Casa
Rain House, in the blackground. In the foreground on the right: Wind House.<\/span><\/figcaption><\/figure><\/p>\n

Upon entering the Chopo University Museum<\/a> appear three small houses. We say houses because we recognize them as such: wooden volumes with sloping roofs of a picturesque appearance, typical of the drawings of what for a child could be a house. Its conception, however, is completely outside the canons of architecture: its size is scarce, its interior space almost minimal to be able to develop in them any activity and hardly fit a few people – between two and four -; In short, they are far from functional.<\/p>\n

\"Casa
Wind House.<\/span><\/figcaption><\/figure>\n

The first – the Alicia\u00b4s House<\/em> – has two doors, one at each end of the house in a mirrored symmetry; Each door gives access to a staircase at the end of which a small window – or door, depending on how you look – appears. Referring to the text by Lewis Carroll, Alice in Wonderland<\/em><\/a>, from the ladder the perspective is played: the generous access of the door is reduced as it ascends until the space is as small as the house of the white rabbit was for Alice after she ate that candy -\u201cEat me\u201d- that allowed her to become a giant. Next to it, a second house, with a cross plan and two access doors, one in front of another, allow to enter a place where the wind runs in a unique way: from the inside out: six fans drive the air to the outside, making a fresh and generous current always inhabit the space. Finally, a house, reminiscent of constructions typical of tropical areas, appears only inhabited by water: it rains inside but it is not a question of leaks: that is the original idea, to invert the classic relationship of inner refuge against the inclemencies, transferred now to the warm interior and preventing anyone from entering, while the smell of wet<\/p>\n

\"\u00dateruz
\u00dateruz.<\/span><\/figcaption><\/figure>\n

Three \u201cstory houses\u201d imagined by the Japanese sculptor Kiyoto Ota<\/strong>, born in Sasebo, Nagasaki, in 1948 and a professor at the FAD-UNAM, who, as he points out when describing them, are not houses but are like sculptures, or in any case, sculptures that, in our childhood memory, are shown as houses. These three same houses are completed in the exhibition with three other pieces that belong to his series \u00dateruz<\/em><\/strong>, developed since 2006, and that allows to establish more clearly the intentions sought by Ota: halfway between the nest, the egg or the uterus , this series shows us some constructions made of woods such as oak, pine and cedar that invite you to experiment with the senses in an effort to create a place – not space, in the words of the sculptor – warm and cozy that reminds the mother’s womb .<\/p>\n

In response, the three extraordinary houses seem stranger and less welcoming: they allow access to them but they can not be inhabited for a long time: either they are too small or too uncomfortable or they already have their interior occupied: they are \u201ccontra\u00fateruz\u201d, refuges that deny that condition of refuge.<\/p>\n

\n

\u201cThey are not places\u201d, <\/strong><\/p>\n<\/blockquote>\n

he tells us.<\/p>\n

But the constructions of Ota, seen no longer from the field of sculpture, but from architecture, offer a radical and interesting reading, even beyond the pretensions of its author: the return to architecture its ability to create new worlds possible, not necessarily functional or utilitarian, yes much more magical, typical of a children’s universe that years of discipline have related to oblivion and that reminds us that architecture is nothing but that thing of organizing material components to build new meanings with them about reality.<\/p>\n

\"Casa
Alicia\u00b4s House.<\/span><\/figcaption><\/figure>\n

Pedro Hern\u00e1ndez \u00b7 architect
\nMadrid. February 2019[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Al entrar en el Museo Universitario del Chopo aparecen tres peque\u00f1as casas. Decimos casas porque las reconocemos como tales: unos vol\u00famenes de madera con cubiertas inclinadas de un aspecto pintoresco, propio de los dibujos de lo que para un ni\u00f1o podr\u00eda ser una casa. Su concepci\u00f3n, sin embargo, dista por completo de los c\u00e1nones […]<\/p>\n","protected":false},"author":36,"featured_media":71901,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[6713,812,6734,12449,155,1973,508,7481,5907,556,7074,13932,13931,4505,785,859,4416,1911,11725],"class_list":["post-71898","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-alejandro-hernandez-galvez","tag-arquitectura-en-madera","tag-arquitectura-mexicana","tag-arte","tag-arte-contemporaneo","tag-cabana","tag-escultura","tag-espacio-domestico","tag-espacio-privado","tag-exposicion","tag-gaston-bachelard","tag-howard-phillips-lovecraft","tag-kiyoto-ota","tag-landa-hernandez","tag-le-corbusier","tag-mexico","tag-realidad","tag-refugio","tag-thomas-mann"],"yoast_head":"\n[:es]Extra\u00f1os dom\u00e9sticos (I): Las casas extraordinarias de Kiyoto Ota | Landa Hern\u00e1ndez Mart\u00ednez[:gl]Estra\u00f1os dom\u00e9sticos (I): As casas extraordinarias de Kiyoto Ota | Pedro Hern\u00e1ndez [:en]Domestic Strangers (I): The Extraordinary Houses by Kiyoto Ota | Pedro Hern\u00e1ndez [:] - 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