{"id":8636,"date":"2015-11-20T07:00:35","date_gmt":"2015-11-20T06:00:35","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=8636"},"modified":"2024-05-06T14:31:52","modified_gmt":"2024-05-06T12:31:52","slug":"piedra-papel-tijera-sergio-de-miguel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/piedra-papel-tijera-sergio-de-miguel\/","title":{"rendered":"[:es]Piedra, papel, tijera | Sergio de Miguel[:gl]Pedra, papel, tesoira | Sergio de Miguel[:en]Rock, scissors, paper | handarchitecture[:]"},"content":{"rendered":"

[:es]

\"Piedra,<\/a>
Piedra, papel, tijera<\/span><\/figcaption><\/figure><\/p>\n

En una ocasi\u00f3n acept\u00e9 la invitaci\u00f3n de dar una charla monogr\u00e1fica en el lejano Budapest sobre la \u00abpiedra en la arquitectura espa\u00f1ola actual\u00bb. Era, al menos para m\u00ed, un extra\u00f1o cometido, pero lo tom\u00e9 como un ejercicio de an\u00e1lisis. Eleg\u00ed algunos edificios ejemplares, realizados todos teniendo como protagonista el uso de la piedra, y empec\u00e9 a buscar un hilo conductor para mi exposici\u00f3n.<\/p>\n

Piedra, …. pens\u00e9 de modo un tanto l\u00fadico.<\/p>\n

\n

\u00a1Piedra, papel, tijera!<\/em><\/p>\n<\/blockquote>\n

Me sorprendi\u00f3 la ocurrencia y me puse a indagar en el significado de cada t\u00e9rmino.<\/p>\n

Pronto descubr\u00ed un m\u00e9todo bastante n\u00edtido de ordenar aquel conjunto de proyectos. Reconoc\u00ed en cada palabra, m\u00e1s que su objeto literal, una actitud. Un modo de ser.<\/p>\n

Hice una lista de los edificios y vincul\u00e9 cada uno de ellos con cada uno de los t\u00e9rminos.<\/p>\n

As\u00ed, todos los edificios ordenados en la columna \u00abpiedra\u00bb ten\u00edan caracter\u00edsticas ligadas con la estabilidad y la sustentaci\u00f3n, destacando como protagonista la secci\u00f3n se val\u00edan de la fuerza del volumen, la masa y la vertical gravitatoria. En definitiva, ten\u00edan que ver con lo tect\u00f3nico.<\/p>\n

Los clasificados bajo el t\u00e9rmino \u00abpapel\u00bb ten\u00edan como invariante una extrema funcionalidad, derivada del enf\u00e1tico valor de las pautas de distribuci\u00f3n en planta, de lo extenso y horizontal. Estaban fuertemente ligados a lo planim\u00e9trico.<\/p>\n

Por \u00faltimo, los destacados en el apartado \u00abtijera\u00bb apostaban de manera inequ\u00edvoca por la b\u00fasqueda de la presencia, por el valor primordial de sus envolventes y alzados. Por la silueta, la l\u00ednea y el problema de lo perimetral. En definitiva, por el orden estereot\u00f3mico.<\/p>\n

M\u00e1s all\u00e1 del uso del material concreto de la piedra, lo que los clasificaba era una determinada estrategia de utilizaci\u00f3n del material. Descubr\u00ed que todo material puede tener un modo \u00abpiedra\u00bb, un modo\u00bbpapel\u00bb y un modo \u00abtijera\u00bb de ser. De ser y estar en la arquitectura. Que todo edificio puede proyectarse teniendo como origen estas tres maneras alternativas de disponer la materia. Y que la buena arquitectura conduce convenientemente sus diversas combinaciones.<\/p>\n

El ancestral juego de manos de origen chino, basado en la existencia de los tres reinos de la naturaleza, es decir, lo mineral, lo vegetal y lo animal, nos lleva al mundo de las tr\u00edadas universales. Podr\u00edamos retrotraernos a otros \u00e1mbitos, a los mitos de Osiris, Isis y Horus y sus sucesivos paralelismos hist\u00f3ricos. Pero tambi\u00e9n al tratado secular de \u00abfirmitas, utilitas y venustas\u00bb y sus reinterpretaciones cl\u00e1sicas y modernas. Y otras muchas tr\u00edadas dial\u00e9cticas. Y en todos los casos recurrir al mismo juego de oposiciones jer\u00e1rquicas.<\/p>\n

Es un juego que nos plantea frente al problema del tres, en t\u00e9rminos de cantidad, que los enfrentamientos se producen dos a dos. Con resultados c\u00edclicos. Antag\u00f3nicos. Polares.<\/p>\n

Nos previene del dif\u00edcil arte de la elecci\u00f3n. Y de la intuici\u00f3n. Vence el que adivina. El que tiene la estrategia m\u00e1s psicol\u00f3gica (es in\u00fatil adem\u00e1s de aburrido jugar frente a una m\u00e1quina). No cabe la duda o la ambig\u00fcedad. Prevalece la virtud de lo instant\u00e1neo, de lo inmediato.<\/p>\n

Sin duda, es un buen juego. Un juego que est\u00e1 tambi\u00e9n en lo arquitect\u00f3nico.<\/p>\n

Y es que, como dec\u00eda LC,<\/p>\n

\n

\u00abS\u00f3lo los tipos serios juegan\u00bb.<\/em><\/p>\n<\/blockquote>\n

Sergio de Miguel, arquitecto
\nMadrid, febrero 2010[:en]<\/p>\n

\n
\"\"<\/a>
Rock, scissors, paper<\/span><\/figcaption><\/figure>\n

In an occasion accepted the invitation to give a monographic talk in the far Budapest on the \u00abstone in the current Spanish architecture\u00bb. It was, at least for me, an odd committed, but took it like an exercise of analysis. I chose some exemplary buildings, realised all having like protagonist the use of the stone, and began to look for a conductive thread for my exhibition.<\/p>\n

Stone…. I thought in a rather playful way.<\/p>\n

\n

Rock, scissors, paper !<\/em><\/p>\n<\/blockquote>\n

It surprised me the occurrence and put me to indagar in the meaning of each term.<\/p>\n

Soon I discovered a clear enough method of arranging that set of projects. I recognized in every word, more than his literal object, an attitude. A way of being.<\/p>\n

I did a list of the buildings and linked each of them with each of the terms.<\/p>\n

This way, all the buildings arranged in the column \u00abstone\u00bb had characteristics united with the stability and the sustentation, emphasizing as protagonist the section were using of the force of the volume, the mass and the vertical gravitational one. Definitively, they had to see with the tectonic thing.<\/p>\n

Classified under the term \u00abpaper\u00bb they took as an unvariant an extreme functionality derived from the emphatic value of the distribution guidelines in plant, of the extensive and horizontal thing. They were strongly tied to the planimetric thing.<\/p>\n

Finally, emphasized in the paragraph \u00abscissors\u00bb they were betting in an unequivocal way for the search of the presence, for the basic value of his surrounding ones and gatherings. For the silhouette, the line and the problem of perimetral. Definitively, for the order stereotomic.<\/p>\n

Beyond the use of the concrete material of the stone, which was classifying them was a certain strategy of utilization of the material. I discovered that quite material it can have a way \u00abstone\u00bb, a way \u00abpaper\u00bb and a way \u00abscissors\u00bb of being. Of being and being in the architecture. That any building can project taking as an origin these three alternative ways of arranging the matter. And that the good architecture leads suitably his diverse combinations.<\/p>\n

The ancient game of hands of Chinese origin, based on the existence of three kingdoms of the nature, that is to say, the mineral thing, the vegetable thing and the animal thing, takes us to the world of the universal triads. We might carry ourselves back to other areas, to the myths of Osiris, Isis and Horus and his successive historical parallelisms. But also to the secular agreement of \u00abfirmitas, utilitas and venustas\u00bb and his classic and modern reintepretations. And other many dialectical triads. And in all the cases to resort to the same game of hierarchic \u0011examinations.<\/p>\n

It is a game that us raises opposite to the problem of three, in terms of quantity, that the clashes happen two to two. With cyclical results. Antagonistic. Polar.<\/p>\n

He provides us with the difficult art of the choice. And of the intuition. He conquers the one that guesses. The one that has the most psychological strategy (it is useless besides bored to play opposite to a machine). It does not fit the doubt or the ambiguity. There prevails the virtue of the instantaneous thing, of the immediate thing.<\/p>\n

Undoubtedly, it is a good game. A game that is also in the architectural thing.<\/p>\n

And it is that, as LC was saying,<\/p>\n

\n

\u00abOnly the serious types play\u00bb.<\/em><\/p>\n<\/blockquote>\n

Sergio de Miguel, architect
\nMadrid, february 2010<\/p>\n<\/div>\n

[:gl]<\/p>\n

\n
\"\"<\/a>
Pedra, papel, tesoira<\/span><\/figcaption><\/figure>\n

Nunha ocasi\u00f3n aceptei a invitaci\u00f3n de dar unha charla monogr\u00e1fica no afastado Budapest sobre a \u00abpedra na arquitectura espa\u00f1ola actual\u00bb. Era, polo menos para min, un estra\u00f1o labor, pero tomeino como un exercicio de an\u00e1lise. Elix\u00edn alg\u00fans edificios exemplares, realizados todos tendo como protagonista o uso da pedra, e empecei a buscar un f\u00edo condutor para a mi\u00f1a exposici\u00f3n.<\/p>\n

Pedra, …. pensei de modo un tanto l\u00fadico.<\/p>\n

\n

Pedra, papel, tesoira!<\/em><\/p>\n<\/blockquote>\n

Sorprendeume a ocorrencia e p\u00faxenme a indagar no significado de cada termo.<\/p>\n

Pronto descubr\u00edn un m\u00e9todo bastante n\u00edtido de ordenar aquel conxunto de proxectos. Reco\u00f1ec\u00edn en cada palabra, m\u00e1is que o seu obxecto literal, unha actitude. Un modo de ser.<\/p>\n

Fixen unha lista dos edificios e vinculei cada un deles con cada un dos termos.<\/p>\n

As\u00ed, t\u00f3dolos edificios ordenados na columna \u00abpedra\u00bb ti\u00f1an caracter\u00edsticas ligadas coa estabilidade e a sustentaci\u00f3n, destacando como protagonista a secci\u00f3n val\u00edanse da forza do volume, a masa e a vertical gravitatoria. En definitiva, ti\u00f1an que ver co tect\u00f3nico.<\/p>\n

Os clasificados baixo o termo \u00abpapel\u00bb ti\u00f1an como invariante unha extrema funcionalidade, derivada do enf\u00e1tico valor das pautas de distribuci\u00f3n en planta, do extenso e horizontal. Estaban fortemente ligados ao planim\u00e9trico.<\/p>\n

Por \u00faltimo, os destacados na apartado \u00abtesoira\u00bb apostaban de maneira inequ\u00edvoca pola procura da presenza, polo valor primordial dos seus envolventes e alzados. Pola silueta, a li\u00f1a e o problema do perimetral. En definitiva, pola orde estereot\u00f3mico.<\/p>\n

M\u00e1is al\u00f3 do uso do material concreto da pedra, o que os clasificaba era unha determinada estratexia de utilizaci\u00f3n do material. Descubr\u00edn que todo material pode ter un modo \u00abpedra\u00bb, un modo\u00bbpapel\u00bb e un modo \u00abtesoira\u00bb de ser. De ser e estar na arquitectura. Que todo edificio pode proxectarse tendo como orixe estas tres xeitos alternativos de dispo\u00f1er a materia. E que a boa arquitectura conduce convenientemente as s\u00faas diversas combinaci\u00f3ns.<\/p>\n

O ancestral xogo de mans de orixe chinesa, baseado na existencia dos tres reinos da natureza, \u00e9 dicir, o mineral, o vegetal e o animal, l\u00e9vanos ao mundo das tr\u00edadas universais. Poderiamos retrotraernos a outros \u00e1mbitos, aos mitos de Osiris, Isis e Horus e os seus sucesivos paralelismos hist\u00f3ricos. Pero tam\u00e9n ao tratado secular de \u00abfirmitas, utilitas e venustas\u00bb e as s\u00faas reinterpretaci\u00f3ns cl\u00e1sicas e modernas. E outras moitas tr\u00edadas dial\u00e9cticas. E en todos os casos recorrer ao mesmo xogo de oposici\u00f3ns xer\u00e1rquicas.<\/p>\n

\u00c9 un xogo que nos suscita fronte ao problema do tres, en t\u00e9rminos de cantidade, que os enfrontamentos prod\u00facense dous a dous. Con resultados c\u00edclicos. Antag\u00f3nicos. Polares.<\/p>\n

Prevennos da dif\u00edcil arte da elecci\u00f3n. E da intuici\u00f3n. Vence o que adivi\u00f1a. O que ten a estratexia m\u00e1is psicol\u00f3xica (\u00e9 in\u00fatil ademais de aburrido xogar fronte a unha m\u00e1quina). Non cabo a d\u00fabida ou a ambig\u00fcedad. Prevalece a virtude do instant\u00e1neo, do inmediato.<\/p>\n

Sen d\u00fabida, \u00e9 un bo xogo. Un xogo que est\u00e1 tam\u00e9n no arquitect\u00f3nico.<\/p>\n

E \u00e9 que, como dic\u00eda LC,<\/p>\n

\n

\u00abS\u00f3 os tipos serios xogan\u00bb.<\/em><\/p>\n<\/blockquote>\n

Sergio de Miguel, arquitecto
\nMadrid, febreiro 2010<\/p>\n<\/div>\n

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

[:es] En una ocasi\u00f3n acept\u00e9 la invitaci\u00f3n de dar una charla monogr\u00e1fica en el lejano Budapest sobre la \u00abpiedra en la arquitectura espa\u00f1ola actual\u00bb. Era, al menos para m\u00ed, un extra\u00f1o cometido, pero lo tom\u00e9 como un ejercicio de an\u00e1lisis. Eleg\u00ed algunos edificios ejemplares, realizados todos teniendo como protagonista el uso de la piedra, y […]<\/p>\n","protected":false},"author":24,"featured_media":8637,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[2119,12448,2631,6419,357,399,521,668,785,7058,5945,5771],"class_list":["post-8636","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-analisis","tag-arquitectura-espanola","tag-charla","tag-conferencia","tag-espana","tag-historia","tag-le-corbusier","tag-materialidad","tag-sergio-de-miguel","tag-vitruvio"],"yoast_head":"\nPiedra, papel, tijera | Sergio de Miguel<\/title>\n<meta name=\"description\" content=\"Piedra, papel, tijera\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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