{"id":9226,"date":"2017-06-30T00:10:02","date_gmt":"2017-06-29T22:10:02","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=9226"},"modified":"2018-04-23T19:45:33","modified_gmt":"2018-04-23T17:45:33","slug":"el-futuro-del-pasado-sergio-de-miguel","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/el-futuro-del-pasado-sergio-de-miguel\/","title":{"rendered":"[:es]El futuro del pasado | Sergio de Miguel[:gl]O futuro do pasado | Sergio de Miguel[:en]The future of the past | Sergio de Miguel[:]"},"content":{"rendered":"

[:es]

\"\"<\/a>
T\u00edtulo: Gattaca<\/span>
Protagonistas: Ethan Hawke, Uma Thurman<\/span>
Fotograf\u00eda: Slawomir Idziak<\/span>
M\u00fasica: Michael Nyman<\/span>
Producci\u00f3n: Danny de Vito, Michael Shamberg, Stacey Sher<\/span>
Direcci\u00f3n: Andrew Niccol<\/span><\/figcaption><\/figure><\/p>\n

El futuro. La Tierra no est\u00e1 destruida por la hecatombe nuclear, ni tampoco est\u00e1 infestada de exageradas m\u00e1quinas, sufre las consecuencias de una desnaturalizada evoluci\u00f3n de la gen\u00e9tica. La lucha de clases ya no es econ\u00f3mica, ni siquiera racial, sino que est\u00e1 basada en la pureza del ADN. El relato humano valora el esp\u00edritu de superaci\u00f3n y la exaltaci\u00f3n de la voluntad. M\u00e1s all\u00e1 de la tiran\u00eda de los genes.<\/p>\n

La ficci\u00f3n siempre ha profetizado el futuro como lo que no es el presente. Habitualmente, viajar en el tiempo ha sido cuesti\u00f3n de recrear la vista con im\u00e1genes inveros\u00edmiles desde la perspectiva del presente. Pero en Gattaca, a\u00fan siendo todo muy reconocible, lo que transporta al futuro es, junto con la historia, el car\u00e1cter de las cosas. Y ante todo la arquitectura.<\/p>\n

El p\u00fablico es llevado a interpretar el complejo Gattaca, el edificio donde transcurre la trama, como una conseguida ambientaci\u00f3n futurista; misterioso y ajeno frente a una naturaleza sin protagonismo. Sin embargo, se trata de uno de los \u00faltimos edificios de Frank Lloyd Wright, construido a finales de los cincuenta. Asimismo, buena parte del juego escenogr\u00e1fico se centra en disfrutar con la perfecci\u00f3n de los di\u00e1fanos ambientes de hormig\u00f3n armado y las exquisitas estancias en donde livianas escaleras helicoidales (\u00bfADN?), muebles de los maestros modernos, superficies de acero inoxidable mate y vidrios a hueso nos hacen vivir una realidad diferente. Se trata de artefactos en los que, de manera natural, predomina la pureza de la geometr\u00eda y la ausencia de elementos decorativos. Y eso, curiosamente, aparece como una veraz representaci\u00f3n de lo que no es el presente. Sorprende evidenciar que el espectador reconoce en esas formas, en esos materiales, en esos objetos, posibilidades pertenecientes al ma\u00f1ana.<\/p>\n

Pero basta con detenerse para comprobar que la pel\u00edcula est\u00e1 deliberadamente ambientada con im\u00e1genes de hace cincuenta a\u00f1os. El vestuario, los autom\u00f3viles y los edificios responden a una est\u00e9tica perteneciente a los a\u00f1os cincuenta. Porque el tiempo, al menos en el cine, es reversible.<\/p>\n

Al perder la referencia del contexto se altera el sentido de la realidad. La desorientaci\u00f3n aparece con el extra\u00f1amiento frente a los objetos cotidianos. Y llegar a localizar la escena en el futuro (frente al pasado) es cuesti\u00f3n de incorporar algo de sofisticada tecnolog\u00eda y una historia basada en la gen\u00e9tica, poco m\u00e1s.<\/p>\n

El cine es el gran arte de la ficci\u00f3n. En \u00e9l coinciden m\u00faltiples habilidades que tienen como objeto dominar la imagen, la m\u00fasica, la narrativa, las artes pl\u00e1sticas, la tecnolog\u00eda\u2026 y sobretodo, la dif\u00edcil facultad de trastocar el sentido del tiempo.<\/p>\n

Si atendemos al mago Borges cuando razona:<\/p>\n

\n

\u201cla l\u00ednea consta de un n\u00famero infinito de puntos; el plano, de un n\u00famero infinito de l\u00edneas; el volumen, de un n\u00famero infinito de planos; el hipervolumen, de un n\u00famero infinito de vol\u00famenes\u2026\u201d ,<\/em><\/p>\n<\/blockquote>\n

y somos capaces de reconocer no s\u00f3lo un evolucionado concepto del espacio, sino adem\u00e1s, una nueva manera de sentir el tiempo, quedar\u00e1 superada la milenaria imagen de Her\u00e1clito, en la que el tiempo se asemeja a un r\u00edo, lineal e invariable. M\u00e1s a\u00fan, si vemos en el tiempo una cualidad propia de las presencias, con todas sus dimensiones y unida a sus caracter\u00edsticas espaciales, estaremos ante una m\u00e1s precisa noci\u00f3n de la realidad. Caeremos en la cuenta de que el concepto tiempo est\u00e1 inseparablemente ligado a las cosas.<\/p>\n

El cine es a lo fant\u00e1stico lo que la arquitectura es a lo ver\u00eddico. Si el cine satisface el deseo de ficci\u00f3n la arquitectura permite vivir la realidad. Por qu\u00e9 no admitir entonces que en la arquitectura, al igual que en el cine, existe la posibilidad de jugar con la sensaci\u00f3n de localizaci\u00f3n, y que se puede prolongar la acci\u00f3n m\u00e1s all\u00e1 de la percepci\u00f3n est\u00e1tica de las emociones meramente espaciales. \u00bfSer\u00eda posible imaginar una arquitectura sin capacidad de inocular el sentido del tiempo? D\u00f3nde est\u00e1 el \u201cilusionismo\u201d. C\u00f3mo se consigue \u201cconmover\u201d.<\/p>\n

En cualquier caso, lo mejor de Gattaca, puede que sea la melanc\u00f3lica mirada de Uma Thurman.<\/p>\n

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

[:gl]<\/p>\n

\"\"<\/a><\/p>\n

T\u00edtulo: Gattaca<\/span>
\nProtagonistas: Ethan Hawke, Uma Thurman<\/span>
\nFotograf\u00eda: Slawomir Idziak<\/span>
\nM\u00fasica: Michael Nyman<\/span>
\nProducci\u00f3n: Danny de Vito, Michael Shamberg, Stacey Sher<\/span>
\nDirecci\u00f3n: Andrew Niccol<\/span><\/p>\n

O futuro. A Terra non esta destru\u00edda pola hecatombe nuclear, nin tampouco est\u00e1 infestada de exaxeradas m\u00e1quinas, sofre as consecuencias dunha desnaturalizada evoluci\u00f3n da xen\u00e9tica. A loita de clases xa non \u00e9 econ\u00f3mica, nin sequera racial, sen\u00f3n que est\u00e1 baseada na pureza do ADN. O relato humano valora o esp\u00edrito de superaci\u00f3n e a exaltaci\u00f3n da vontade. M\u00e1is al\u00f3 da tiran\u00eda dos xenes.<\/p>\n

A ficci\u00f3n sempre profetizou o futuro como o que non \u00e9 o presente. Habitualmente, viaxar no tempo foi cuesti\u00f3n de recrear a vista con imaxes inveros\u00edmiis desde a perspectiva do presente. Pero en Gattaca, a\u00ednda sendo todo moi reconocible, o que transporta ao futuro \u00e9, xunto coa historia, o car\u00e1cter das cousas. E ante todo a arquitectura.<\/p>\n

\n

O p\u00fablico \u00e9 levado a interpretar o complexo Gattaca, o edificio onde transcorre a trama, como unha conseguida ambientaci\u00f3n futurista; misterioso e alleo fronte a unha natureza sen protagonismo. Con todo, tr\u00e1tase dun dos \u00faltimos edificios de Frank Lloyd Wright, constru\u00eddo a finais dos cincuenta. As\u00ed mesmo, boa parte do xogo escenogr\u00e1fico c\u00e9ntrase en gozar coa perfecci\u00f3n dos di\u00e1fanos ambientes de formig\u00f3n armado e as exquisitas estancias onde livi\u00e1s escaleiras helicoidales (ADN?), mobles dos mestres modernos, superficies de aceiro inoxidable mate e vidros a \u00f3so fannos vivir unha realidade diferente. Tr\u00e1tase de artefactos nos que, de maneira natural, predomina a pureza da xeometr\u00eda e a ausencia de elementos decorativos. E iso, curiosamente, aparece como unha veraz representaci\u00f3n do que non \u00e9 o presente. Sorprende evidenciar que o espectador reco\u00f1ece nesas formas, neses materiais, neses obxectos, posibilidades pertencentes ao ma\u00f1\u00e1.<\/p>\n

Pero basta con deterse para comprobar que a pel\u00edcula est\u00e1 deliberadamente ambientada con imaxes de fai cincuenta anos. O vestiario, os autom\u00f3biles e os edificios responden a unha est\u00e9tica pertencente aos anos cincuenta. Porque o tempo, polo menos no cinema, \u00e9 reversible.<\/p>\n

Ao perder a referencia do contexto alt\u00e9rase o sentido da realidade. A desorientaci\u00f3n aparece co extra\u00f1amiento fronte aos obxectos coti\u00e1ns. E chegar a localizar a escena no futuro (fronte ao pasado) \u00e9 cuesti\u00f3n de incorporar algo de sofisticada tecnolox\u00eda e unha historia baseada na xen\u00e9tica, pouco m\u00e1is.<\/p>\n

O cinema \u00e9 a gran arte da ficci\u00f3n. Nel coinciden m\u00faltiples habilidades que te\u00f1en como obxecto dominar a imaxe, a m\u00fasica, a narrativa, as artes pl\u00e1sticas, a tecnolox\u00eda? e abrigo, a dif\u00edcil facultade de trastornar o sentido do tempo.<\/p>\n

Se atendemos ao mago Borges cando razoa:<\/p>\n

\n

\u201ca li\u00f1a consta dun n\u00famero infinito de puntos; o plano, dun n\u00famero infinito de li\u00f1as; o volume, dun n\u00famero infinito de planos; o hipervolumen, dun n\u00famero infinito de volumes\u2026\u201d ,<\/em><\/p>\n<\/blockquote>\n

e somos capaces de reco\u00f1ecer non s\u00f3 un evolucionado concepto do espazo, sen\u00f3n ademais, unha nova maneira de sentir o tempo, quedar\u00e1 superada a milenaria imaxe de Her\u00e1clito, na que o tempo se asemella a un r\u00edo, lineal e invariable. M\u00e1is a\u00ednda, se vemos no tempo unha calidade propia das presenzas, con todas as s\u00faas dimensi\u00f3ns e unida \u00e1s s\u00faas caracter\u00edsticas espaciais, estaremos ante unha m\u00e1is precisa noci\u00f3n da realidade. Caeremos na conta de que o concepto tempo est\u00e1 inseparablemente ligado \u00e1s cousas.<\/p>\n

O cinema \u00e9 ao fant\u00e1stico o que a arquitectura \u00e9 ao ver\u00eddico. Se o cinema satisfai o desexo de ficci\u00f3n a arquitectura permite vivir a realidade. Por que non admitir ent\u00f3n que na arquitectura, do mesmo xeito que no cinema, existe a posibilidade de xogar coa sensaci\u00f3n de localizaci\u00f3n, e que se pode prolongar a acci\u00f3n m\u00e1is al\u00f3 da percepci\u00f3n est\u00e1tica das emoci\u00f3ns meramente espaciais. Ser\u00eda posible imaxinar unha arquitectura sen capacidade de inocular o sentido do tempo? Onde est\u00e1 o \u201cilusionismo\u201d. Como se consegue \u201cconmover\u201d.<\/p>\n

En calquera caso, o mellor de Gattaca, poida que sexa a melanc\u00f3lica mirada de Uma Thurman.<\/p>\n

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

[:en]<\/p>\n

\"\"<\/a><\/p>\n

Title: Gattaca<\/span>
\nProtagonists: Ethan Hawke, Uma Thurman<\/span>
\nPhotography: Slawomir Idziak<\/span>
\nMusic: Michael Nyman<\/span>
\nProduction: Danny de Vito, Michael Shamberg, Stacey Sher<\/span>
\nDirection: Andrew Niccol<\/span><\/p>\n

The future. The Earth no this destroyed by the hecatombe nuclear, neither neither is infested of exaggerated machines, suffers the consequences of a denaturalised evolution of the genetics. The fight of classes no longer is economic, not even racial, but it is based in the purity of the DNA. The relate human values the spirit of superaci\u00f3n and the exaltation of the will. Further of the tyranny of the genes.<\/p>\n

The fiction always has profetizado the future like what is not the present. Usually, travel in the time has been question to re-create the sight with images inveros\u00edmiles from the perspective of the present. But in Gattaca, still being all very recognizable, what transports to the future is, together with the history, the character of the things. And first of all the architecture.<\/p>\n

The public is led to interpreting the complex Gattaca, the building where the plot passes, as an obtained futurist setting; mysterious and foreign opposite to a nature without protagonism. Nevertheless, it is a question of one of Frank Lloyd Wright’s last buildings, constructed at the end of the fifties.\u00a0Likewise, good part of the game escenogr\u00e1fico centres on enjoying with the perfection of the diaphanous environments of reinforced concrete and the exquisite stays in where frivolous spiral stairs (DNA?), furniture of the modern teachers, surfaces of stainless dull steel and glasses to bone make us live through a different reality. It is a question of appliances in which, in a natural way, it predominates over the purity of the geometry and the absence of decorative elements. And it, curiously, appears as a veracious representation of what is not the present. It surprises to demonstrate that the spectator recognizes in these forms, in these materials, in these objects, possibilities belonging to the tomorrow.<\/p>\n

But it is enough to stop to verify that the movie is deliberately set by images of fifty years ago. The wardrobe, the cars and the buildings answer to an aesthetics belonging to the fifties. Because the time, at least in the cinema, is reversible.<\/p>\n

On having lost the reference of the context the sense of the reality is altered. The disorientation appears with the wonder opposite to the daily objects. And to manage to locate the scene in the future (opposite to the past) is a question of incorporating something of sophisticated technology and a history based on the genetics, little more.<\/p>\n

The cinema is the great art of the fiction. With him there coincide multiple skills that have as object dominate the image, the music, the narrative, the plastic arts, the technology \u2026 and overcoat, the difficult faculty of trastocar the sense of the time.<\/p>\n

If we attend to the magician Borges when it reasons:<\/p>\n

\n

\u201cTthe line consists of an infinite number of points; the plane, of an infinite number of lines; the volume, of an infinite number of planes; the hypervolume, of an infinite number of volumes\u2026\u201d ,<\/em><\/p>\n<\/blockquote>\n

and we are capable of recognizing not only an evolved concept of the space, but in addition, a new way of feeling the time, there will remain overcome Her\u00e1clito’s thousand-year-old image, in which the time is alike to a river, linearly and invariably. Even more, if we see in the time an own quality of the presences, with all his dimensions and joined his spatial characteristics, we will be before one more precise notion of the reality. We will fall down in the account of which the concept time is inseparably tied to the things.<\/p>\n

The cinema is to the fantastic thing what the architecture is to the true thing. If the cinema satisfies the desire of fiction the architecture allows to live through the reality. Why not to admit then that in the architecture, as in the cinema, there exists the possibility of playing with the sensation of location, and that can extend the action beyond the static perception of the merely spatial emotions. Would it be possible to imagine an architecture without aptitude to inoculate the sense of the time? Where the \u00abilusionismo\u00bb is. How \u00abit\u00bb is managed \u00abto \u00abaffect\u00bb.<\/p>\n

In any case, the better thing of Gattaca, it is possible that it is Uma Thurman’s melancholy look.<\/p>\n

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

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

[:es] El futuro. La Tierra no est\u00e1 destruida por la hecatombe nuclear, ni tampoco est\u00e1 infestada de exageradas m\u00e1quinas, sufre las consecuencias de una desnaturalizada evoluci\u00f3n de la gen\u00e9tica. La lucha de clases ya no es econ\u00f3mica, ni siquiera racial, sino que est\u00e1 basada en la pureza del ADN. El relato humano valora el esp\u00edritu […]<\/p>\n","protected":false},"author":24,"featured_media":53879,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36,3,1460,5951],"tags":[12448,11951,12449,12471,318,605,616,3639,815,5945],"class_list":["post-9226","post","type-post","status-publish","format-standard","has-post-thumbnail","category-arte-blog","category-capturas","category-cine","category-slider-principal","tag-arquitectura","tag-arquitectura-americana","tag-arte","tag-cine","tag-ciudad","tag-frank-lloyd-wright","tag-futuro","tag-jorge-luis-borges","tag-maestro","tag-sergio-de-miguel"],"yoast_head":"\nEl futuro del pasado | Sergio de Miguel<\/title>\n<meta name=\"description\" content=\"El futuro del pasado\" \/>\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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