{"id":8261,"date":"2010-10-20T06:56:36","date_gmt":"2010-10-20T06:56:36","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=8261"},"modified":"2020-03-04T14:15:19","modified_gmt":"2020-03-04T13:15:19","slug":"un-paseo-imaginario-por-oak-park-antonio-s-rio-vazquez","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/un-paseo-imaginario-por-oak-park-antonio-s-rio-vazquez\/","title":{"rendered":"Un paseo imaginario por Oak Park | Antonio S. R\u00edo V\u00e1zquezUn paseo imaxinario por Oak Park | Antonio S. R\u00edo V\u00e1zquezAn imaginary walk by Oak Park | Antonio S. R\u00edo V\u00e1zquez"},"content":{"rendered":"

\"\"<\/a>
Fotograf\u00eda de Frank Scherschel (Life)<\/span><\/figcaption><\/figure><\/p>\n

La misma efem\u00e9ride que hoy celebramos con la casa Robie la tendr\u00edamos que compartir con los siguientes edificios: La f\u00e1brica de turbinas de la A.E.G. de Behrens, la casa Mil\u00e1 de Gaud\u00ed, la terminaci\u00f3n de la Escuela de Arte de Glasgow<\/strong> de Mackintosh o la casa Steiner de Loos, por citar algunos\u2026 No es una mala competencia. Sin embargo, la mayor\u00eda de libros, los libros por los que muchos conocemos a la casa Robie, nos sit\u00faan a\u00a0 la vivienda de Chicago<\/strong> aparentemente por encima del resto, algo que esta exposici\u00f3n parece refrendar.<\/p>\n

Me gustar\u00eda plantearles cuatro reflexiones: dos de ellas previas a la realizaci\u00f3n de la exposici\u00f3n y otras dos posteriores a la misma. Las dos primeras proceden precisamente de esos libros que hablan sobre la casa Robie y que quisiera recordar.<\/p>\n

Sigfried Giedion, en Espacio, tiempo y arquitectura<\/a><\/em>, nos habla de c\u00f3mo la casa fue rechazada en su origen por los habitantes de Chicago<\/strong>. Trataron de ridiculizarla compar\u00e1ndola con un barco de vapor \u2013el gran referente de la modernidad\u2013. As\u00ed, estaban dando a entender que la casa era un producto de su \u00e9poca, igual que el barco de vapor hab\u00eda surgido como expresi\u00f3n de su tiempo. Dice Giedion:<\/p>\n

\n

\u00abLo que es decisivo en ella no una similitud superficial y mal entendida con un barco de vapor, sino su relaci\u00f3n interna con los edificios de su tiempo\u00bb.<\/em><\/p>\n<\/blockquote>\n

Tambi\u00e9n es decisivo en la casa \u2013y pasar\u00eda ahora al segundo testimonio, del profesor Norberg-Schulz\u2013 su entendimiento en t\u00e9rminos de contraste. Contrastes que se continuar\u00e1n y desarrollar\u00e1n en la modernidad posterior que, mientras mira a los barcos, se reconforta \u00abal ver como el fuego arde en el interior de la s\u00f3lida mamposter\u00eda\u00bb (En palabras de Wright). El contraste, o m\u00e1s bien tendr\u00edamos que hablar de la s\u00edntesis de contrastes, se establece entre interior y exterior; entre oriente y occidente; entre las predominantes l\u00edneas horizontales \u2013la pradera\u2013 y la rotunda chimenea vertical \u2013el hogar\u2013. En definitiva, entre la casa como m\u00e1quina y la casa como refugio, o en los t\u00e9rminos que estos d\u00edas debatimos en clase de primer curso, entre la casa como cueva y la casa como menhir, dial\u00e9ctica presente desde la caba\u00f1a primitiva hasta la vivienda actual.<\/p>\n

Paso ahora a los dos testimonios que no proceden de los libros, y que son posteriores a la creaci\u00f3n de la exposici\u00f3n. Me han llegado a trav\u00e9s de dos personas, que siendo ajenas al mundo profesional de la arquitectura, han querido acercarse a \u00e9l a trav\u00e9s de esta casa.<\/p>\n

Una me comentaba:<\/p>\n

\n

\u00abViendo la exposici\u00f3n me parece que la casa sea algo vivo\u00bb.<\/em><\/p>\n<\/blockquote>\n

Resulta curioso como determinadas obras trascienden su uso original, sus habitantes y muchas veces a su creador, generando su propia historia. La casa adquiere vida propia, nace, se transforma e incluso sobrevive estando a punto de desaparecer. De pocas arquitecturas podr\u00edamos contar tantas vicisitudes.<\/p>\n

Otro testimonio a\u00f1ad\u00eda:<\/p>\n

\n

\u00abLa explicaci\u00f3n de la vivienda se ofrece de una manera sencilla, clara y amena. La casa se entiende\u00bb.<\/em><\/p>\n<\/blockquote>\n

\u00c9sa quiz\u00e1 sea la mejor lecci\u00f3n de esta exposici\u00f3n y de la casa Robie en Oak Park. Que a\u00fan cien a\u00f1os despu\u00e9s de terminarse siga siendo capaz de decir cosas, no s\u00f3lo a los arquitectos, sino transmitiendo a todos lo que significa un aut\u00e9ntico espacio dom\u00e9stico, una arquitectura viva<\/em> y para vivir<\/em>.<\/p>\n

antonio s. r\u00edo v\u00e1zquez . arquitecto
\nAutor del blog, El tiempo del lobo<\/em>
\na coru\u00f1a. octubre 2010<\/p>\n

Parte de la intervenci\u00f3n<\/em> en la mesa redonda que se ha celebrado en la E.T.S. de Arquitectura de la Universidad de A Coru\u00f1a con motivo de la exposici\u00f3n del centenario de la casa Robie.<\/em><\/p>\n

\"\"<\/a>
Photophy by Frank Scherschel (Life)<\/span><\/figcaption><\/figure><\/p>\n

The same ephemeris that today celebrate with the house Robie would have to share it with the following buildings: The factory of turbines of the To.And.G. Of Behrens, the house Mil\u00e1 of Gaud\u00ed, the terminaci\u00f3n of the School of Art of Glasgow<\/strong> of Mackintosh or the house Steiner of Loos, for quoting some\u2026 is not a bad competition. However, the majority of books, the books by which a lot of know to the house Robie, situate us to\u00a0 the house of Chicago<\/strong> apparently above the rest, something that this exhibition seems to confirm.<\/p>\n

It would like me pose them four reflections: two of them previous to the realisation of the exhibition and other two back to the same. The two first proceed precisely of these books that speak on the house Robie and that it wanted to remember.<\/p>\n

Sigfried Giedion, in Space, time and architecture<\/em><\/a>, speaks us of how the house was refused in his origin by the inhabitants of Chicago.<\/strong> They treated to ridicule it comparing it with a ship of steam \u2013the big referent of the modernity\u2013. Like this, they were giving to understand that the house was a product of his period, the same that the ship of steam had arisen like expression of his time. It says Giedion:<\/p>\n

\n

\u00abWhat is decisive in her no a superficial similarity and badly understood with a ship of steam, but his internal relation with the buildings of his time\u00bb.<\/em><\/p>\n<\/blockquote>\n

Also it is decisive in the house – and it would go on now to the second testimony, of the teacher Norberg-Schulz-his understanding in terms of contrast. Contrasts that will continue and develop in the later modernity that, while it looks at the ships, fortifies itself \u00abon having seen as the fire it burns inside the solid masonry\u00bb (In Wright’s words). The contrast, or rather we would have to speak about the synthesis of contrasts, it is established between interior and exterior; between east and west; between the predominant horizontal lines – the meadow – and the round vertical chimney – the home-. Definitively, between the house like machine and the house as refuge, or in the terms that these days we debate in class of the first course, between the house as cave and the house as megalith, present dialectics from the primitive cabin up to the current housing.<\/p>\n

I spend now to both testimonies that do not come from the books, and that are later to the creation of the exhibition. They have come to me across two persons, that being foreign to the professional world of the architecture, have wanted to approach him across this house.<\/p>\n

One was commenting to myself:<\/p>\n

\n

\u00abSeeing the exhibition it seems to me that the house is something alive\u00bb.<\/em><\/p>\n<\/blockquote>\n

It turns out to be curious as certain works they come out his original use, his inhabitants and often to his creator, generating his own history. The house acquires own life, is born, transforms and even it survives being on the verge of disappearing. Of few architectures we might count so many vicissitudes.<\/p>\n

Another testimony was adding:<\/p>\n

\n

\u00abThe explanation of the housing offers in a simple, clear and pleasant way. The house is understood\u00bb.<\/em><\/p>\n<\/blockquote>\n

That one probably is the best lesson of this exhibition and of the house Robie in Oak Park. That still hundred years finishing continues being capable of saying things, not only to the architects, but transmitting to all what means an authentic domestic space, an alive architecture and to live<\/em>.<\/p>\n

antonio s. r\u00edo v\u00e1zquez . architect<\/p>\n

Author of the blog, El tiempo del lobo<\/em><\/p>\n

a coru\u00f1a. october 2010<\/p>\n

Part of the intervention in the round table that has celebrated\u00a0 in the And.T.S. Of Architecture of the University of A Coru\u00f1a with reason of the exhibition of the centenarian of the house Robie.<\/em><\/em><\/p>\n

\"\"<\/a>
Fotograf\u00eda de Frank Scherschel (Life)<\/span><\/figcaption><\/figure><\/p>\n

A mesma efem\u00e9ride que hoxe celebramos coa casa Robie teri\u00e1mola que compartir cos seguintes edificios: A f\u00e1brica de turbinas da A.E.G. de Behrens, a casa Mil\u00e1 de Gaud\u00ed, a terminaci\u00f3n da Escola de Arte de Glasgow<\/strong> de Mackintosh ou a casa Steiner de Loos, por citar alg\u00fan\u2026 Non \u00e9 unha mala competencia. Con todo, a maior\u00eda de libros, os libros polos que moitos co\u00f1ecemos \u00e1 casa Robie, sit\u00faannos \u00e1\u00a0 vivenda de Chicago<\/strong> aparentemente por encima do resto, algo que esta exposici\u00f3n parece referendar.<\/p>\n

Gustar\u00edame exporlles catro reflexiones: dous delas previas \u00e1 realizaci\u00f3n da exposici\u00f3n e outras dous posteriores \u00e1 mesma. As d\u00faas primeiras proceden precisamente deses libros que falan sobre a casa Robie e que quixese lembrar.<\/p>\n

Sigfried Giedion, en Espazo, tempo e arquitectura<\/em><\/a>, f\u00e1lanos de como a casa foi rexeitada na s\u00faa orixe polos habitantes de Chicago.<\/strong> Trataron de ridiculizarla compar\u00e1ndoa cun barco de vapor \u2013o gran referente da modernidade\u2013. As\u00ed, estaban a dar a entender que a casa era un produto da s\u00faa \u00e9poca, igual que o barco de vapor xurdira como expresi\u00f3n do seu tempo. Di Giedion:<\/p>\n

\n

\u00abO que \u00e9 decisivo nela non unha similitude superficial e mal entendida cun barco de vapor, sen\u00f3n a s\u00faa relaci\u00f3n interna cos edificios do seu tempo\u00bb.<\/em><\/p>\n<\/blockquote>\n

Tam\u00e9n \u00e9 decisivo na casa -e pasar\u00eda agora ao segundo testemu\u00f1o, do profesor Norberg-Schulz- o seu entendemento en termos de contraste. Contrastes que se continuar\u00e1n e desenvolver\u00e1n na modernidade posterior que, mentres mira aos barcos, se reconforta \u00abao ver como o lume arde no interior da s\u00f3lida cachotar\u00eda\u00bb (En palabras de Wright). O contraste, ou m\u00e1is ben teriamos que falar da s\u00edntese de contrastes, establ\u00e9cese entre interior e exterior; entre oriente e occidente; entre as predominantes li\u00f1as horizontais -a pradar\u00eda- e a rotunda cheminea vertical -o fogar-. En definitiva, entre a casa como m\u00e1quina e a casa como refuxio, ou nos termos que estes d\u00edas debatemos en clase de primeiro curso, entre a casa como cova e a casa como menhir, dial\u00e9ctica presente dende a cabana primitiva ata a vivenda actual.<\/p>\n

Paso agora aos dous testemu\u00f1os que non proceden dos libros, e que son posteriores \u00e1 creaci\u00f3n da exposici\u00f3n. Cheg\u00e1ronme a trav\u00e9s de d\u00faas persoas, que sendo alleas ao mundo profesional da arquitectura, quixeron achegarse a el a trav\u00e9s desta casa.<\/p>\n

Unha coment\u00e1bame:<\/p>\n

\n

\u00abVendo a exposici\u00f3n par\u00e9ceme que a casa sexa algo vivo\u00bb.<\/em><\/p>\n<\/blockquote>\n

Resulta curioso como determinadas obras transcenden o seu uso orixinal, os seus habitantes e moitas veces ao seu creador, xerando a s\u00faa propia historia. A casa adquire vida propia, nace, transf\u00f3rmase e mesmo sobrevive estando a punto de desaparecer. De poucas arquitecturas poderiamos contar tantas vicisitudes.<\/p>\n

Outro testemu\u00f1o engad\u00eda:<\/p>\n

\n

\u00abA explicaci\u00f3n da vivenda ofr\u00e9cese dun xeito sinxelo, claro e ameno. A casa ent\u00e9ndese\u00bb.<\/em><\/p>\n<\/blockquote>\n

Esa quizais sexa a mellor lecci\u00f3n desta exposici\u00f3n e da casa Robie en Oak Park. Que a\u00ednda cen anos despois de rematarse siga sendo capaz de dicir cousas, non s\u00f3 aos arquitectos, sen\u00f3n transmitindo a todos o que significa un aut\u00e9ntico espazo dom\u00e9stico, unha arquitectura viva e para vivir<\/em>.<\/p>\n

antonio s. r\u00edo v\u00e1zquez . arquitecto<\/p>\n

Autor do blogue, El tiempo del lobo<\/em><\/p>\n

a coru\u00f1a. outobro 2010<\/p>\n

Parte da intervenci\u00f3n na mesa redonda que se celebrou na E.T.S. de Arquitectura da Universidade da Coru\u00f1a con motivo da exposici\u00f3n do centenario da casa Robie.<\/em><\/em><\/p>\n

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

La misma efem\u00e9ride que hoy celebramos con la casa Robie la tendr\u00edamos que compartir con los siguientes edificios: La f\u00e1brica de turbinas de la A.E.G. de Behrens, la casa Mil\u00e1 de Gaud\u00ed, la terminaci\u00f3n de la Escuela de Arte de Glasgow de Mackintosh o la casa Steiner de Loos, por citar algunos\u2026 No es una […]<\/p>\n","protected":false},"author":12,"featured_media":45099,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5934,5951],"tags":[4500,3123,4024,143,9132,9623,1798,9790,460,541,605,815,11071,3929],"class_list":["post-8261","post","type-post","status-publish","format-standard","has-post-thumbnail","category-articulos","category-slider-principal","tag-adolf-loos","tag-antoni-gaudi","tag-antonio-s-rio-vazquez","tag-arquitectura-contemporanea","tag-arquitectura-norteamericana","tag-charles-rennie-mackintosh","tag-chicago","tag-christian-norberg-schulz","tag-eeuu","tag-etsac","tag-frank-lloyd-wright","tag-maestro","tag-peter-behrens","tag-sigfried-giedion"],"yoast_head":"\nUn paseo imaginario por Oak Park | Antonio S. 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