{"id":8639,"date":"2016-01-15T06:24:37","date_gmt":"2016-01-15T05:24:37","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=8639"},"modified":"2023-09-22T18:16:49","modified_gmt":"2023-09-22T16:16:49","slug":"fachadas-importantes-sergio-de-miguel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/fachadas-importantes-sergio-de-miguel\/","title":{"rendered":"Fachadas (im)portantes | Sergio de MiguelFachadas (im)portantes | Sergio de MiguelFa\u00e7ades (im)portants | Sergio de Miguel"},"content":{"rendered":"

\"\"<\/a>
W PROJECT HORIZONTAL<\/span><\/figcaption><\/figure><\/p>\n

La arquitectura ha discurrido desde sus or\u00edgenes con la paradoja de la dualidad entre el cerramiento y la estructura portante. De un modo similar a la que encontramos en la f\u00edsica cl\u00e1sica con la luz y la disquisici\u00f3n onda-part\u00edcula.<\/p>\n

Durante siglos ambos elementos han sido la misma cosa, es decir, juntos han conformado los muros de los edificios sin mayores ambiciones. Y \u00e9stos han cumplido con ambas misiones. Cerrar y sustentar.<\/p>\n

Durante mucho tiempo la cuesti\u00f3n de segregar y, por tanto, de mostrar figurativamente el cerramiento como algo independiente de la estructura portante ha sido innecesaria. Los sistemas t\u00e9cnicos utilizados y el protagonismo de los sistemas decorativos ligados a la expresi\u00f3n de los diferentes estilos han enturbiado cualquier posibilidad dial\u00e9ctica entre ambos.<\/p>\n

S\u00f3lo en aquellos momentos en los que nuevas t\u00e9cnicas y materiales de construcci\u00f3n hicieron su aparici\u00f3n hemos podido asistir a un desmembramiento intencionado de los dos componentes murales. La invenci\u00f3n del g\u00f3tico en la edad media o la utilizaci\u00f3n del hierro en el siglo XIX, primero en horizontal (Europa) y luego en vertical (Am\u00e9rica), fueron momentos en los que se dieron pasos de gigante en la evoluci\u00f3n gracias a entender, entre otras cosas, que ambos elementos pod\u00edan y deb\u00edan estar separados.<\/p>\n

La revoluci\u00f3n moderna se podr\u00eda congelar en el dibujo de la casa domin\u00f3 de LC. Donde los pilares, por arte de magia, se retrasaban de la l\u00ednea exterior de los forjados y, tal gesto, permit\u00eda entender como \u00ablibre\u00bb tanto la fachada como la planta.<\/p>\n

Los estilos cl\u00e1sicos agonizaron frente a la trascendencia de la dicotom\u00eda. Las cuestiones decorativas pasaron a un segundo plano y el distanciamiento f\u00edsico entre los dos protagonistas principales acabaron con cualquier intento de recuperar el arte mural.<\/p>\n

De aquello hace ya mucho tiempo. El siglo XX ha sido muy c\u00edclico, y muy pertinaz.<\/p>\n

Al igual que pasara en la f\u00edsica moderna con la mec\u00e1nica cu\u00e1ntica la arquitectura actual no es nada reduccionista. La segregaci\u00f3n dual que otrora permiti\u00f3 abrir caminos de nitidez es hoy una lecci\u00f3n aprendida y no tiene mucho recorrido m\u00e1s all\u00e1 de su capacidad de afianzar recursos estil\u00edsticos.<\/p>\n

Ya en el siglo XXI las fachadas, de nuevo, se permiten ser estructurales. Y tal mecanismo ciertamente \u00abnatural\u00bb de la arquitectura abre nuevos campos de interpretaci\u00f3n.<\/p>\n

Nociones como la porosidad, la desintegraci\u00f3n, o la solidez llenan los cerebros m\u00e1s creativos e innovadores del panorama internacional.<\/p>\n

Muros, s\u00ed muros otra vez, que se pliegan, se curvan, se perforan, se tensan, se lic\u00faan, se vac\u00edan… conforman las fachadas m\u00e1s (im)portantes.<\/p>\n

Los muros portantes pueden ser tejidos estructurales. M\u00e1s o menos transparentes. M\u00e1s o menos densos. Pero la separaci\u00f3n de funciones no es ya tan relevante.<\/p>\n

Hoy en d\u00eda el presente importa m\u00e1s que el futuro.<\/p>\n

La er\u00f3tica de la espectacularidad manda sobre la m\u00edstica de la evoluci\u00f3n.<\/p>\n

Todo vuelve.<\/p>\n

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

\n
\"\"<\/a>
W PROJECT HORIZONTAL<\/span><\/figcaption><\/figure>\n

The architecture has discurrido from his origins with the paradoja of the duality between the closing and the structure portante. Of a similar way to which find in the classical physics with the light and the disquisition wave-particle.<\/p>\n

During centuries both elements have been the same thing, that is to say, together have conformed the walls of the buildings without main ambitions. And these have fulfilled with both missions. Closing and sustaining.<\/p>\n

During long the question of segregar and, therefore, to show figurativamente the closing like something independent of the structure portante has been unnecessary. The technical systems used and the leadership of the decorative systems tied to the expression of the different styles have enturbiado any dialectic possibility between both.<\/p>\n

Only in those moments in which new technical and materials of construction did his apparition have been able to assist to a desmembramiento intentional of the two components murales. The invention of the Gothic in the half age or the utilisation of the iron in the 19th century, first in horizontal (Europe) and afterwards in vertical (America), went moments in which they gave\u00a0 steps of giant in the evolution thanks to understanding, between other things, that both elements could and had to be separate.<\/p>\n

The modern revolution could freeze\u00a0 in the drawing of the house dominated of LC. Where the pillars, by art of magic, delayed\u00a0 of the external line of the forged and, such gesture, allowed to understand as \u00abfree\u00bb so much the fa\u00e7ade like the plant.<\/p>\n

The classic styles agonized opposite to the transcendency of the dichotomy. The decorative questions went on to a background and the physical distancing between both principal protagonists finished with any attempt of recovering the wall art.<\/p>\n

Of that one already a lot of time ago. The 20th century has been very cyclical, and very pertinacious.<\/p>\n

As the current architecture was happening in the modern physics with the quantum mechanics it is not at all reduccionista. The dual segregation that once allowed to open ways of brightness is today a learned lesson and does not have very much crossed beyond his aptitude to guarantee stylistic resources.<\/p>\n

Already in the 21st century the fronts, again, are allowed to be structural. And such a \u00abcertainly \u00abnatural\u00bb mechanism of the architecture opens new fields of interpretation.<\/p>\n

Notions like the porosity, the disintegration, or the solidity fill the most creative and innovative brains of the international panorama.<\/p>\n

Walls, yes walls again, that pliegan, bow, are perforated, are tightened, lic\u00faan, empty … there shape the fronts more (im)portants.<\/p>\n

The walls ambles can be structural fabrics. More or less transparent. More or less dense. But the separation of functions is not already so relevant.<\/p>\n

Nowadays the present matters more than the future.<\/p>\n

The erotic one of the showiness gives the orders on the mysticism of the evolution.<\/p>\n

Everything returns.<\/p>\n

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

<\/p>\n

\n
\"\"<\/a>
W PROJECT HORIZONTAL<\/span><\/figcaption><\/figure>\n

A arquitectura discorreu desde as s\u00faas orixes co paradoxo da dualidade entre o cerramento e a estrutura portante. Dun modo similar \u00e1 que atopamos na f\u00edsica cl\u00e1sica coa luz e a disquisici\u00f3n onda-part\u00edcula.<\/p>\n

Durante s\u00e9culos ambos os elementos foron a mesma cousa, \u00e9 dicir, xuntos conformaron os muros dos edificios sen maiores ambici\u00f3ns. E estes cumpriron con ambas as misi\u00f3ns. Pechar e sustentar.<\/p>\n

Durante moito tempo a cuesti\u00f3n de segregar e, por tanto, de mostrar figurativamente o cerramento como algo independente da estrutura portante foi innecesaria. Os sistemas t\u00e9cnicos utilizados e o protagonismo dos sistemas decorativos ligados \u00e1 expresi\u00f3n dos diferentes estilos enturbaron calquera posibilidade dial\u00e9ctica entre ambos.<\/p>\n

S\u00f3 naqueles momentos nos que novas t\u00e9cnicas e materiais de construci\u00f3n fixeron a s\u00faa aparici\u00f3n puidemos asistir a un desmembramiento intencionado dos dous compo\u00f1entes murais. A invenci\u00f3n do g\u00f3tico na idade media ou a utilizaci\u00f3n do ferro no s\u00e9culo XIX, primeiro en horizontal (europa) e logo en vertical (am\u00e9rica), foron momentos nos que se deron pasos de xigante na evoluci\u00f3n grazas a entender, entre outras cousas, que ambos os elementos pod\u00edan e deb\u00edan estar separados.<\/p>\n

\n

A revoluci\u00f3n moderna poder\u00edase conxelar no debuxo da casa dominou de LC. Onde os alicerces, por encantamento, atras\u00e1banse da li\u00f1a exterior dos forxados e, tal xesto, permit\u00eda entender como \u00ablibre\u00bb tanto a fachada como a planta.<\/p>\n<\/div>\n

Os estilos cl\u00e1sicos agonizaron fronte \u00e1 transcendencia da dicotom\u00eda. As cuesti\u00f3ns decorativas pasaron a un segundo plano e o distanciamiento f\u00edsico entre os dous protagonistas principais acabaron con calquera intento de recuperar a arte mural.<\/p>\n

Daquilo fai xa moito tempo. O s\u00e9culo XX foi moi c\u00edclico, e moi pertinaz.<\/p>\n

Do mesmo xeito que pasase na f\u00edsica moderna coa mec\u00e1nica cu\u00e1ntica a arquitectura actual non \u00e9 nada reduccionista. A segregaci\u00f3n dual que otrora permitiu abrir cami\u00f1os de nitidez \u00e9 hoxe unha lecci\u00f3n apresa e non ten moito percorrido m\u00e1is al\u00f3 da s\u00faa capacidade de afianzar recursos estil\u00edsticos.<\/p>\n

Xa no s\u00e9culo XXI as fachadas, de novo, perm\u00edtense ser estructurales. E tal mecanismo ciertamente \u00abnatural\u00bb da arquitectura abre novos campos de interpretaci\u00f3n.<\/p>\n

Noci\u00f3ns como a porosidad, a desintegraci\u00f3n, ou a solidez enchen os cerebros m\u00e1is creativos e innovadores do panorama internacional.<\/p>\n

Muros, si muros outra vez, que se pliegan, se curvan, se perforan, t\u00e9nsanse, se lic\u00faan, bal\u00e9iranse… conforman as fachadas m\u00e1is (im)portantes.<\/p>\n

Os muros portantes poden ser tecidos estructurales. M\u00e1is ou menos transparentes. M\u00e1is ou menos densos. Pero a separaci\u00f3n de funci\u00f3ns non \u00e9 xa tan relevante.<\/p>\n

Hoxe en d\u00eda o presente importa m\u00e1is que o futuro.<\/p>\n

A er\u00f3tica da espectacularidad manda sobre a m\u00edstica da evoluci\u00f3n.<\/p>\n

Todo volve.<\/p>\n

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

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

La arquitectura ha discurrido desde sus or\u00edgenes con la paradoja de la dualidad entre el cerramiento y la estructura portante. De un modo similar a la que encontramos en la f\u00edsica cl\u00e1sica con la luz y la disquisici\u00f3n onda-part\u00edcula. Durante siglos ambos elementos han sido la misma cosa, es decir, juntos han conformado los muros […]<\/p>\n","protected":false},"author":24,"featured_media":53848,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[12448,2730,147,355,2298,531,2139,785,7058,2066,1160,4444,5945,1253],"class_list":["post-8639","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","category-slider-principal","tag-arquitectura","tag-arquitectura-espectaculo","tag-arquitectura-moderna","tag-concurso","tag-dibujar","tag-estructura","tag-estructural","tag-le-corbusier","tag-materialidad","tag-proyectar","tag-reinterpretar","tag-s-xx","tag-sergio-de-miguel","tag-star-system"],"yoast_head":"\nFachadas (im)portantes | Sergio de Miguel<\/title>\n<meta name=\"description\" content=\"Fachadas (im)portantes\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, 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