{"id":90120,"date":"2022-09-23T00:01:32","date_gmt":"2022-09-22T22:01:32","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=90120"},"modified":"2022-09-23T09:35:14","modified_gmt":"2022-09-23T07:35:14","slug":"cary-grant-en-norman-foster-david-garcia-manzanares-vazquez-de-agredos","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/cary-grant-en-norman-foster-david-garcia-manzanares-vazquez-de-agredos\/","title":{"rendered":"Cary Grant en Norman Foster | David Garc\u00eda-Manzanares V\u00e1zquez de Agredos"},"content":{"rendered":"
\"Cary
Cary Grant Publicity Photo, 1940 | Fuente: wikimedia.org<\/a><\/span><\/figcaption><\/figure>\n

En 1971, prematuramente retirado del cine, con el pelo completamente cano y grandes gafas negras de pasta que le tapaban una sorprendente cara de luna llena, Cary Grant fue invitado a una gala en honor a John Ford<\/a>. Al llegar al Beverly Wilshire Hotel, donde se iba a celebrar, se dio cuenta que hab\u00eda olvidado la invitaci\u00f3n, por lo que se acerc\u00f3 a recepci\u00f3n y present\u00e1ndose como \u201cCary Grant\u201d, pidi\u00f3 que le dejasen entrar. El recepcionista, mirando aquella cara oronda y envejecida, y recelando de aquel desconocido, le dijo<\/p>\n

\n

\u201cNo se parece usted a Cary Grant\u201d; <\/em><\/p>\n<\/blockquote>\n

a lo que \u00e9l respondi\u00f3 -como si se tratara del di\u00e1logo de una screwball comedy<\/em><\/a> de Howard Hawks-,<\/p>\n

\n

\u201c\u00a1Nadie se parece a Cary Grant!\u201d.<\/em><\/p>\n<\/blockquote>\n

Los artistas, en sus inicios, experimentan la terrible dificultad de parecerse a sus maestros; y s\u00f3lo al final de sus carreras comprenden que la aut\u00e9ntica dificultad est\u00e1 en parecerse a uno mismo. O a lo que se espera de uno mismo\u2026<\/p>\n

Lleva meses coment\u00e1ndose el proyecto de Norman Foster<\/a> para renovar la antigua sede de Barclays Bank, en la Plaza de Col\u00f3n de Madrid. Se trata de un proyecto<\/a> que, en su imagen a la ciudad, puede recordarnos a proyectos pasados del propio Foster<\/a>, como la torre Gherkin de Londres por su estructura en patr\u00f3n triangulado y sim\u00e9trico, o la sede del Commerzbanz en Frankfurt por el recurso a los jardines vegetales encerrados en su interior (salvando las distancias). Y eso s\u00f3lo por citar dos ejemplos notorios. Pero en este proyecto de la Plaza de Col\u00f3n se trata de recursos demasiado evidentes, parece haber un \u00edmprobo esfuerzo en demostrar el parentesco: como esos hermanos que, pareci\u00e9ndose uno a la madre y otro al padre, se empe\u00f1an en inventarse extravagancias comunes -llevar el reloj en la mu\u00f1eca derecha; dejarse patillas desproporcionadas y anacr\u00f3nicas-, para demostrar ante el resto que comparten ascendencia, por mucho que pueda no parecerlo.<\/p>\n

\"Cary
Imagen del proyecto para el edificio Axis, en la Plaza de Col\u00f3n (Madrid) | Cortes\u00eda de Foster + Partners<\/a> | Fuente: Plataforma Arquitectura<\/a><\/span><\/figcaption><\/figure>\n

No se puede dudar de la capacidad compositiva de Norman Foster<\/a> a lo largo de los a\u00f1os, creando lenguajes nuevos o explorando otros con aportaciones jugosas. S\u00f3lo cabe definir su trayectoria como brillante. Y sin embargo, al hablar de este proyecto -quiz\u00e1 por reemplazar al proyecto de Antonio Perpi\u00f1\u00e1 y Luis Iglesias<\/a>, ic\u00f3nico en su contundencia con el hormig\u00f3n-, no se puede evitar pensar que se trata de una obra excesivamente menor -por ser ling\u00fc\u00edsticamente generosos-.<\/p>\n

Si atendemos a lo que se public\u00f3 en prensa tras la presentaci\u00f3n del proyecto (1<\/a>, 2<\/a> y 3<\/a>, por citar s\u00f3lo algunos ejemplos no exhaustivos), comprobamos como todos coincid\u00edan en la idea conceptual de la transparencia. Y algo de eso hay, porque se ha pasado de un edificio con una fuerte presencia en la esquina de la Plaza de Col\u00f3n (aunque minimizada por su propia escala frente a los edificios circundantes), a un edificio anodino que dif\u00edcilmente llamar\u00e1 la atenci\u00f3n del transe\u00fante; demostrando as\u00ed su consustancial transparencia.<\/p>\n

\"Cary
Imagen del proyecto para la sede de JP Morgan, en Nueva York | Cortes\u00eda de Foster + Partners<\/a> | Fuente: Plataforma Arquitectura<\/a><\/span><\/figcaption><\/figure>\n

Al ver propuestas como esta o como la de la torre para la sede de JP Morgan en Nueva York, tan ensimismadas en repetir frases ya dichas, si acaso con otra cadencia, nos queda una cierta frustraci\u00f3n por no volver a disfrutar de un lenguaje fresco, como nos result\u00f3 en su momento el Centro de Distribuci\u00f3n de Renault (Swindon), el Hong Kong Shanghai Bank, o el Carr\u00e8 d\u2019Art (Nimes).<\/p>\n

\"Cary-Grant-en-Norman-Foster--David-Garc\u00eda-Manzanares-V\u00e1zquez-de-Agredos-Renault
Renault Distribution Centre \/ HongKong Shanghai Bank \/ Carr\u00e8 d\u2019Art | Cortes\u00eda de Foster + Partners | Fuente: Plataforma Arquitectura<\/span><\/figcaption><\/figure>\n

Pero quiz\u00e1 el problema no est\u00e9 tanto en el proyecto del edificio como en su insistencia hostil en parecerse a sus hermanos, en demostrar que su padre es el propio Foster. Es esa comparaci\u00f3n y no otra la que lo cataloga como obra menor. Y por otro lado, est\u00e1 la trampa de nuestras expectativas, de confrontar el proyecto de la Plaza de Col\u00f3n no ya con las obras de Foster, sino con nuestro recuerdo de ellas. Cary Grant, a\u00fan con el pelo completamente blanco y las inmensas gafas de pasta, segu\u00eda siendo Cary Grant; en cambio, no lo era para quienes a\u00fan recordaban a aquel personaje elegante y presumido, con el traje perfectamente planchado por el servicio del Hotel Plaza de Nueva York.<\/p>\n

Y hay en este proyecto de Foster para Madrid algo de aquel Cary Grant en la recepci\u00f3n del Beverly Wilshire Hotel:<\/p>\n

\n

\u00a1Nadie se parece a Foster! Ni siquiera Foster\u2026<\/em><\/p>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

En 1971, prematuramente retirado del cine, con el pelo completamente cano y grandes gafas negras de pasta que le tapaban una sorprendente cara de luna llena, Cary Grant fue invitado a una gala en honor a John Ford. Al llegar al Beverly Wilshire Hotel, donde se iba a celebrar, se dio cuenta que hab\u00eda olvidado […]<\/p>\n","protected":false},"author":79,"featured_media":90124,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[3220,78,2194,14858,16046,10758,12448,10910,2556,9834,5096,11486,10644,11485,10989,12641,4514,9190,14857,11483,318,319,6917,4050,350,11482,8372,3113,14870,393,14860,13131,6118,14866,484,12452,14466,6361,6401,7481,513,5907,516,6870,1848,3291,9918,580,5786,5537,3127,14852,3487,11487,4471,14862,659,7808,14865,14765,668,12906,3002,708,710,4285,6944,730,732,3219,14864,14462,14856,12605,13969,14853,4505,789,11488,2755,14869,14861,13817,16047,814,8575,11450,14260,11480,14399,14863,4798,2496,6409,11674,14867,14849,2422,2726,955,13599,2049,14854,977,14859,15253,11484,1021,5172,10978,1067,2070,3202,6148,2351,1103,1151,1152,1865,1890,1161,2173,2112,14847,4373,4444,7478,13967,2336,13966,14868,14851,14850,3929,2179,1241,11477,14871,14848,1278,2048,13968,5116,12468,1329,8599,12848],"class_list":{"0":"post-90120","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-faro","8":"category-slider-principal","9":"tag-a-t-architecture-publishers","10":"tag-actividad","11":"tag-actividad-social","12":"tag-andrea-branzi","13":"tag-antonio-perpina-sebria","14":"tag-archizoom","15":"tag-arquitectura","16":"tag-arquitectura-informacional","17":"tag-arquitectura-sostenible","18":"tag-aurora-fernandez-per","19":"tag-beatriz-colomina","20":"tag-bernei-dekoven","21":"tag-big","22":"tag-brad-neuberg","23":"tag-camillo-sitte","24":"tag-carl-gustav-jung","25":"tag-caruso-st-john","26":"tag-caruso-st-john-architects","27":"tag-charles-fox","28":"tag-chris-benner","29":"tag-ciudad","30":"tag-ciudad-contemporanea","31":"tag-ciudad-sostenible","32":"tag-codigo-abierto","33":"tag-comunicacion","34":"tag-coworking","35":"tag-creative-commons","36":"tag-creatividad","37":"tag-cristine-lagorio-chafkin","38":"tag-critica","39":"tag-dario-bartolini","40":"tag-dave-eggers","41":"tag-economia-creativa","42":"tag-eleanor-gibson","43":"tag-entrevista","44":"tag-equipamiento-terciario","45":"tag-eric-sadin","46":"tag-escala","47":"tag-espacio-colectivo","48":"tag-espacio-domestico","49":"tag-espacio-interior","50":"tag-espacio-privado","51":"tag-espacio-publico","52":"tag-espacio-sensible","53":"tag-espacio-urbano","54":"tag-etica-de-la-sostenibilidad","55":"tag-fernando-quesada","56":"tag-filosofia","57":"tag-filosofo","58":"tag-flexibilidad","59":"tag-formatos-digitales","60":"tag-francesco-marullo","61":"tag-frank-gehry","62":"tag-frederick-winslow-taylor","63":"tag-futura","64":"tag-gilberto-corretti","65":"tag-habitar","66":"tag-hannah-arendt","67":"tag-harriet-thorpe","68":"tag-heatherwick-studio","69":"tag-historia","70":"tag-hito-steyerl","71":"tag-identidad","72":"tag-industrializacion","73":"tag-informacion","74":"tag-inigo-garcia-odiaga","75":"tag-intercambio","76":"tag-internet","77":"tag-interrelacion","78":"tag-javier-mozas","79":"tag-jonathan-c-molloy","80":"tag-jonathan-crary","81":"tag-joseph-paxton","82":"tag-kazys-varnelis","83":"tag-kenjiro-sano","84":"tag-key-macfarlane","85":"tag-landa-hernandez","86":"tag-lenguaje","87":"tag-leon-emmanuelle","88":"tag-libertad","89":"tag-lina-malfona","90":"tag-lucia-bartolini","91":"tag-lucia-jalon-oyarzun","92":"tag-luis-iglesias-marti","93":"tag-madrid","94":"tag-manuel-castells","95":"tag-marc-chalamanch","96":"tag-mark-fisher","97":"tag-marshall-mcluhan","98":"tag-martino-tattara","99":"tag-massimo-morozzi","100":"tag-modelo-profesional","101":"tag-movimiento","102":"tag-movimiento-internacional","103":"tag-nbbj","104":"tag-nick-compton","105":"tag-nick-srmicek","106":"tag-norman-foster","107":"tag-nueva-tecnologia","108":"tag-oficina","109":"tag-oliver-wainwright","110":"tag-oma","111":"tag-pablo-martinez-capdevilla","112":"tag-paisaje","113":"tag-paolo-deganello","114":"tag-paul-b-preciado","115":"tag-pekka-himanen","116":"tag-pensamiento","117":"tag-peter-sloterdijk","118":"tag-pier-vittorio-aureli","119":"tag-plaza","120":"tag-poder","121":"tag-proceso-creativo","122":"tag-procesos-digitales","123":"tag-procesos-globales","124":"tag-profesion","125":"tag-red","126":"tag-red-social","127":"tag-reflexion","128":"tag-reflexion-multidisciplinar","129":"tag-relacion","130":"tag-rem-koolhaas","131":"tag-representacion","132":"tag-robert-propst","133":"tag-s-xix","134":"tag-s-xx","135":"tag-s-xxi","136":"tag-sam-jacob","137":"tag-saskia-sassen","138":"tag-schemanta-architects","139":"tag-sergio-gonzalez-rodriguez","140":"tag-shop-architects","141":"tag-shoshana-zuboff","142":"tag-sigfried-giedion","143":"tag-social-media","144":"tag-sociedad","145":"tag-sociedad-red","146":"tag-steven-levy","147":"tag-studio-oa","148":"tag-teoria","149":"tag-teoria-e-historia","150":"tag-tobias-van-schineider","151":"tag-trabajar","152":"tag-urbanismo","153":"tag-utopia","154":"tag-walter-benjamin","155":"tag-zygmunt-bauman"},"yoast_head":"\nCary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