tag:blogger.com,1999:blog-88343515633547502802024-03-12T19:10:08.770-04:00 Desde la memoria urbanaHannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.comBlogger367125tag:blogger.com,1999:blog-8834351563354750280.post-78974177640829130562023-05-14T12:06:00.052-04:002023-10-21T17:02:07.040-04:00Carlos Raúl Villanueva y la Escuela de Caracas <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhahIcdGNUMSAoG62rOXEz9vdAEctBbZnGSOE39WVWtlh9zwvwdzqEqhTTbotD0zSxV3tqeqhlFhBmgeVQmoDg7H59sixJSOAGTtFIvX-LidYHpx01D5FCTi2Y2FMog6Iofbup7uhISf4AbFSjm9_2V9hUhvxLI9EjC8HsJ4mf1qesripIphyYM5v6cqw/s1890/ciencias.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1668" data-original-width="1890" height="532" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhahIcdGNUMSAoG62rOXEz9vdAEctBbZnGSOE39WVWtlh9zwvwdzqEqhTTbotD0zSxV3tqeqhlFhBmgeVQmoDg7H59sixJSOAGTtFIvX-LidYHpx01D5FCTi2Y2FMog6Iofbup7uhISf4AbFSjm9_2V9hUhvxLI9EjC8HsJ4mf1qesripIphyYM5v6cqw/w604-h532/ciencias.jpg" width="604" /></a></div><p></p><p><!--[if gte mso 9]><xml>
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</p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;"><span style="font-size: xx-small;">Planta baja del
Museo de Ciencias Naturales. Carlos Raul
Villanueva, 1936.</span></span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
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<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</w:LatentStyles>
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table.MsoNormalTable
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mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-pagination:widow-orphan;
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font-family:"Times New Roman",serif;}
</style>
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</p><p align="right" class="MsoNormal" style="text-align: right;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> Paulina Villanueva,
Juan Pedro Posani, Oscar Tenreiro y Leopoldo Martinez Olavarr</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a se reunieron para
hablar de la arquitectura
de Carlos Rau</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ú</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">l Villanueva.</span></p>
<p></p><p></p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">HABLAR DE LA PRIMERA ARQUITECTURA
MODERNA </span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">en Venezuela es indudablemente
hablar de Carlos Ra</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ú</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">l Villanueva. Sus trabajos se destacan sobre toda la
arquitectura caraqueña de esos años. El Hotel Jard</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n de Maracay, la Plaza de
Toros también en Maracay, el Museo de Bellas Artes y el Museo de Ciencias
Naturales, el Pabell</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n de Venezuela en la Exposici</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n del 37 junto con Luis
Malaussena en Par</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s, la Escuela Gran Colombia de Caracas, la Reurbanización de
El Silencio, son la manifestación constante de una búsqueda arquitectónica que
se inicia en los años treinta.</span>
</p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Si intentáramos
hablar de una Escuela de Caracas para denominar al fenómeno colectivo de la Primera
Arquitectura Moderna en nuestra ciudad, tendríamos antes que nada que reconocer
a Villanueva como la figura fuerte, segura, estelar de la misma. No cabe duda
de su importancia, de su primacía, de su trascendencia ya en aquellos tiempos difíciles.
Una trascendencia que solo aument</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> y se ratific</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> con el paso de los años y con
la coherencia y la calidad de toda su obra. Pero para hablar de Villanueva
dentro de la Escuela de Caracas, o dentro de la Segunda Generación de
ingenieros/arquitectos, quisiéramos considerar las razones de la formación de
tal escuela, las personalidades de sus integrantes, la coherencia de sus prerrogativas.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">En un país donde
no existió la carrera de arquitectura por muchos años y era imposible estudiar
otra cosa en este campo como no fuera Ingeniería Civil, las manifestaciones arquitectónicas,
cuando aparecían, solo podían provenir de dos vertientes. O eran el fruto de la
lucidez e algún ingeniero cercano empíricamente al diseño, o provenían de la
practica de arquitectos venezolanos graduados en el extranjero.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">La carrera de ingeniería,
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arquitectura en el propio siglo diecinueve, y las consecuencias de ello aun las
venimos pagando los arquitectos. Solo con el t</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">tulo de Ingeniero Civil y Doctor
en Ciencias Físicas y Matemáticas se permitía un ejercicio legal, y para
realmente asumir un rango de arquitecto había que demostrarlo mediante la justificación
de cinco años de trabajo en la producción de edificios de toda índole. Los
arquitectos que habían ejercido su rol durante los años anteriores, como por
ejemplo Alejandro Chataing, difícilmente podían librarse de su apariencia de “artistas”
favoritos del régimen de la dictadura gomecista. La frase “Arquitecto del Regimen”
se acuña en esa época y se le aplica a cuanto personaje aparece por allí a
diseñar un edificio para el gobierno. La imagen del arquitecto como advenedizo,
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
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los primeros arquitectos que regresaron a practicar en Venezuela egresaron
justamente de las mejores escuelas de arquitectura que existían en Europa, especialmente
en Francia, la Escuela Superior de Bellas Artes de Par</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s, como es el caso de
Villanueva; la Escuela Especial de Arquitectura, de Cipriano Dom</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">nguez y de
Luis Malaussena; la Escuela Especial de Obras Publicas, por la que pas</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> Heriberto Gonzalez Mendez, también en Par</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s; el Colegio Superior de Arquitectura
de Cataluña y Baleares, de donde salió Manuel Mujica Mill</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">á</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n y la Escuela Técnica Superior de Munich de Carlos Guinand Sandoz, para solo nombrar algunos casos
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
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</p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Estos jóvenes arquitectos
se encuentran en Caracas desde los principios de la década de los treinta.
Villanueva llega en 1929, y regresa ya para enfrentarse con las primeras
remodelaciones de edificios que le permiten subrayar la rigurosidad de su
aprendizaje <i>Beaux-Arts</i> en términos del oficio. Sean las morerías de la
Maestranza de Maracay o sean los ejercicios neoclásicos del hotel y de los
museos, son todos llevados a cabo, dentro de las posibilidades locales, con un
calibrado sentido del quehacer arquitectónico en términos académicos. No hay
dudas en el desarrollo de estos trabajos. Se aplica directamente un método, se
rinde un homenaje a la escuela, y aunque esta no es la ocasión de juzgar
delicadamente ni las causas ni el desarrollo sintáctico de tales composiciones,
estamos ante el surgimiento de una nueva etapa para la profesión en este país.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Aunque no ha
evidencia testimonial de la formación de un grupo de arquitectos como lo ameritaría
la formulación de una escuela de artistas, s</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> hay una evidencia construida. No se forman "peñas" arquitect</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">nicas en Caracas, ni c</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">rculos de bellas artes, ni una revista, ni otra cosa, pero se viv</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a una pequeña revoluci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n arquitect</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">nica que trajo como consecuencia la fundaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n de la Sociedad Venezolana de Arquitectos, ya mas tarde, y de la Comisi</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n Nacional de Urbanismo. Encontramos que siempre eran las mismas personas. Las mismas que mas tarde, en el 44, fundan la primera Escuela de Arquitectura de Venezuela. Se participaba de las nuevas perspectivas culturales que ofrec</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a el mejoramiento de las condiciones econ</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">micas y la pacificaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n de la Republica. Hab</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a una afinidad de circunstancias, una coincidencia de situaciones, un azaroso crear en medio de la nube de polvo que qued</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> de la arquitectura del pasado, de esa arquitectura colonial derruida y poderosamente po</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">tica y de esa arquitectura de cuando Guzm</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">á</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n, arquitectura por mandato, ecl</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"></span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ctica y apurada.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">La reuni</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n en una escuela, quiz</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">á</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s, solo la hacemos nosotros cuando nos volvemos hoy (1985) frente a la obra poco estudiada, dispersa y muy hermosa de las primeras cuatro decadas del siglo veinte en Caracas. Una obra controvertida y aun no totalmente "convertida" a los credos del Estilo Internacional; recordemos que en Venezuela no hab</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a la excusa de un continente que reconstruir despues de la guerra y abrazar la fe moderna ten</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"></span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a que ser un acto de convicci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n y un autentico cambio de actitud y de vocabulario. Y eso iba a costarle unos cuantos años aun a Carlos Raul Villanueva.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Los arquitectos de la Escuela de Caracas compart</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an y sufr</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an de una francofilia generalizada, rasgo tradicional en nuestra historia de la arquitectura, que fue desde el consenso de traer un maestro del urbanismo franc</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s. Maurice E.H. Rotival, para ayudar en el trazado del primer plan de urbanismo para Caracas, hasta la costumbre de discurrir alguna temporada del año en Par</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s, costumbre que religiosamente todav</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a observan algunos de ellos. La capacidad aglutinadora de energias que aport</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> Rotival, por otra parte, asegur</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> que se formase tambi</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n entre todos una conciencia urban</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">stica muy importante. Concebir a la ciudad en su totalidad, planear para las escalas y densidades del futuro y sobre todo comprender la dimensi</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n grandiosa y unica de los asentamientos humanos. En palabras de uno de estos arquitectos, no es sino hasta la llegada de Rotival y con sus enseñanzas que muchos de ellos comprendieron su verdadero rol para con la ciudad y el territorio venezolanos. En esto, nuestro pa</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s tiene una deuda a su memoria.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Es as</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> como, tanto del punto de vista de su formaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n, como desde el punto de vista de la practica, los arquitectos de la Escuela de Caracas van a enfrentarse individualmente a la tarea de construir y diseñar para el pai</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s, como bien se ha señalado muchas veces, atrasado y provinciano, sumamente conservador. El gusto de la gente de aqu</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> hace cuarenta años (1985), tard</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó </span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">un bien tiempo en permitir y aceptar el paso de la arquitectura que conocian a la arquitectura moderna, pero creemos que esa transici</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n iba de la mano, hasta casi de una manera natural, con la maduraci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n personal de las busquedas esteticas y conceptuales de uno de estos arquitectos.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Ninguno de ellos desconoc</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a el cambio de las tendencias en diseño que se estaba viviendo en Europa. Villanueva, por ejejmplo, admiraba la obra y la postura de Le Corbusier aun antes de venirse a Caracas. Dom</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">nguez lleg</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> incluso a hacer una pasant</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a en su taller y Malaussena casi fue condisc</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">pulo de Robert Mallet-Stevens, la segunda figura de la arquitectura moderna en Francia. El arte y la arquitectura que se produjeron entre las dos guerras no hab</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an sido ni obviadas ni pasadas por alto por los integrantes de la Escuela de Caracas. Pero tambi</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n compart</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an la tradicion, por ejemplo, de que un arquitecto participara en las demas artes y de que lo habitual era tambi</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n que todas las demas artes participaran en la arquitectura. Corr</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an, como hemops mencionado, los años veinte, los treinta: <i>"architecture-peinture-sculpture-musique-poesie-danse-cinegraphie"</i>, se entrelazaban en una sola realidad estetica. Pronto la revoluci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n funcionalista terminar</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a de vencer estas facetas del pasado y la arquitectura, como Venezuela tras el velo de las dictaduras, se definir</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a radicalmente hacia el progreso y la modernidad. El interes que Villanueva conserva en todo el esfuerzo de integraci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n de las artes que realiza en la Universidad Central solo nos demuestra su filiaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n a esas otras raices.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Revisando un libro sobre Robert Mallet-Stevens nos hemos encontrado con la caratula de una publicaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n editada por el llamado Club de Amigos del S</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ptimo Arte en los años veinte. Se llamaba la <i>Gazette des Sept Arts</i>. Desde alli se bautiz</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó al cine como "S</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ptimo Arte" y se intent</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó empezarlo a integrar dentro de un sistema de las artes. Fernand L</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ger, Maurice Ravel, Blaise Cendrars, Jean Cocteau y el propio Mallet-Stevens, entre otros, reg</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an a trav</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s de su revista las verdaderas lineas del gusto en torno al arte de la filmograf</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a y produc</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">an pensamientos para todas las artes. Para la arquitectura, por ejemplo, se le encontraba un lugar muy especial, dirigiendo uno de los dos grupos principales, al frente de la pintura y de la escultura, con la musica a la cabeza del otro grupo. Era, sin embargo, el s</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ptimo arte el que realmente las conciliaba a todas y conseguia la perseguida s</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ntesis de las artes, ambici</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n de toda una </span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">poca. La <i>Gazette </i>es como un testimonio de la ultima arquitectura antigua o mejor de la primera arquitectura moderna. Una arquitectura ambigua, atractiva, contradictoria, que participa de la tradici</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n y se deleita con las veleidades tecnol</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">gicas de la modernidad. Indudablemente, una arquitectura oscura y una situaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n oscura.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Pero sin embargo, no un oscurantismo. Aunque lo que concluyamos sea lo contrario, a juzgar por el poco inter</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">é</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s que ha despertado este per</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">odo de la arquitectura en Venezuela (1985). Cabe, por lo tanto, volver sobre esta arquitectura. No tiene, en ningun caso, la recta e imperturbable l</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">nea de estilo y la coherencia de la de Mallet-Stevens, quien hasta le ha dado su nombre a una calle de Par</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">s, o la fuerza progresista de la de Le Corbusier, pero nos sorprende y es parte irreprochable de la historia de la arquitectura venezolana.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Despues de cuarenta años (1985), la obra de esta primera escuela de maestros, aunque un poco menos en el caso de Villanueva, ha permanecido desatendida y no ha logrado ser motivo de ning</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ú</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n estudio serio ni de ninguna publicaci</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">n importante que la ilustre. Para empezar a salvar un poco esta falta y como homenaje a nuestros primeros arquitectos modernos, el 24 de octubre de 1985 los arquitectos Paulina Villanueva, Juan Pedro Posani, Oscar Tenreiro y Leopoldo Mart</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">nez Olavarr</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">í</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">a se reunieron en el Museo de Ciencias Naturales de Los Caobos, en Caracas. </span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">La circunstancia de Carlos Ra</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ú</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">l Villanueva y de toda la Escuela de Caracas frente a la necesidad de construir y de traspasar la frontera del ser moderno, continu</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">ó</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> asi </span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">como cuarto tema del ciclo que organizamos en el Instituto de Arquitectura Urbana sobre nuestra primera arquitectura moderna.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"> </span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJrivjeHGiv-4oQoHIDXYNRD6sKGqql9J5Mpfx5GDlvTVSACEfNlNoq_wkD2WRw-JRY_9hpIiOoE5pfOQ9OeBEEnKJQuLAP2JnEmuBcmakWuEIwc1cu42jJliqOKY-ge2nN-UzzVclhlzFe7hYuvjVaaS0aAunUK_IWcvMWuft8z5uDTztzragLNUa7SW/s600/9230125.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="600" height="357" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeJrivjeHGiv-4oQoHIDXYNRD6sKGqql9J5Mpfx5GDlvTVSACEfNlNoq_wkD2WRw-JRY_9hpIiOoE5pfOQ9OeBEEnKJQuLAP2JnEmuBcmakWuEIwc1cu42jJliqOKY-ge2nN-UzzVclhlzFe7hYuvjVaaS0aAunUK_IWcvMWuft8z5uDTztzragLNUa7SW/w595-h357/9230125.jpg" width="595" /></a></div><span style="font-size: x-small;"></span><p></p><p class="MsoNormal" style="text-align: center; text-indent: 0.5in;"><span style="font-size: x-small;">La <i>Gazette des Sept Arts.</i></span><br /></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"><br /></span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"><br /></span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;"><br /></span></p><p class="MsoNormal" style="text-align: left; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: 10.5pt;">Publicado en: Culturales, <i>El Universal</i>, Caracas, 24 de Octubre de 1985.<br /></span></p>
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<p></p>Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-60226234517901444932023-05-13T15:55:00.011-04:002023-05-13T16:40:10.236-04:00Richard Meier: cuando las catedrales son blancas <p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LIb_sBR1HXTgSraCFPmOtDInoMUSTVMuEtwEt8WMcSGwibriRX3zzR2_1fDYZhCIMqknmuew77QfNJ0b5vFSrI7zsfG7F_wpWdqDYyGDxK8obx2auVsRqbHBEuEJGNcKheB4l8GERB4rBc3KbwSmoyJnUmKP1p_mckaV_bN9nX--zDDDFQZ1AsWizQ/s1024/1973%20-%20The%20James%20E.%20and%20Jean%20Douglas%20House,%203490%20South%20Lake%20Shore%20Drive,%20Harbor%20Springs%20MI.ByN%20.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="667" height="868" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9LIb_sBR1HXTgSraCFPmOtDInoMUSTVMuEtwEt8WMcSGwibriRX3zzR2_1fDYZhCIMqknmuew77QfNJ0b5vFSrI7zsfG7F_wpWdqDYyGDxK8obx2auVsRqbHBEuEJGNcKheB4l8GERB4rBc3KbwSmoyJnUmKP1p_mckaV_bN9nX--zDDDFQZ1AsWizQ/w564-h868/1973%20-%20The%20James%20E.%20and%20Jean%20Douglas%20House,%203490%20South%20Lake%20Shore%20Drive,%20Harbor%20Springs%20MI.ByN%20.jpg" width="564" /></a></div><p></p><p class="MsoNormal" style="text-align: center;"><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
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<p align="right" class="MsoNormal" style="text-align: right;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Soleo, aclaro,
enturbio, diluyo, transparento, lavo, esfumo, evaporo.</span></p>
<p align="right" class="MsoNormal" style="text-align: right;"><span style="font-size: medium;"><a name="_Hlk134871887"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif;">Rafael
Alberti. “Blanco”, 1945-1948.</span></a></span></p>
<p align="right" class="MsoNormal" style="text-align: right;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;"> </span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">EXPRESAR la trascendencia física y
metafisica de un edificio con el manejo de la luz, tener la aspiración a una arquitectura
radiante, iluminada, con la sutileza perceptual de un <i>intaglio</i>, ha
relacionado el nombre de muchos arquitectos a Le Corbusier.</span></p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Aunque hoy sea
muy corriente hacer referencia a la historia y a los creadores fundamentales de
la arquitectura moderna o de la arquitectura en general, no lo era tanto asi en
los Estados Unidos en los sesenta, cuando Richard Meier propuso sus primeros
proyectos de casas blancas siguiendo la tradición corbusiana de los años
veinte; una arquitectura que luego el mismo Corbusier abandono en su paso hace
el Brutalismo.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Habiendo tenido
el Colegio de Arquitectos de Venezuela y la Asociacion Venezolana del Diseño la
encomiable iniciativa de traer al arquitecto Meier a Caracas para celebrar el
pasado Mes de la Arquitectura, cabe definir cual es la trascendencia real de
esta figura internacional, y cuales los beneficios de su presencia entre
nosotros.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">La revisión de la
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</xml><![endif]--><span lang="ES" style="font-family: "Adobe Caslon Pro",serif;">epidérmica, trae, por analogía en
esta circunstancia, la reflexion sobre la necesidad o no de una tal revisión en
Venezuela, donde, con otras características, también hemos tenido nuestra
modernidad. </span></span>
</p><p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">En el mes de Julio,
y tambien dentro del marco del Mes de la Arquitectura, se dictaron una serie de
charlas muy particulares sobre arquitectura venezolana en el Museo de Bellas
Artes. Alli se estaba hablando con bastante respeto y propiedad sobre la vida y
la obra de un arquitecto venezolano hasta ahora desafortunadamente relegado al
olvido: Luis Malaussena. Su arquitectura, como la de tantos otros creadores de
la arquitectura en este país, espera el cambio de los climas culturales para
ser redescubierta y puesta en evidencia. Lo que viene al caso del discurso de
la profesora Sylvia Hernandez de Lasala, quien dictaba la charla, fue el severo
llamado final a reconsiderar esta Primera Arquitecttura Moderna en Venezuela, a
revisar la primera modernidad, de la cual inevitablemente se ha formado también
la memoria urbana del venezolano.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Son innumerables
los edificios, anónimos o con firma, que construyeron hace cincuenta años (1985)
la nueva imagen de nuestras ciudades bajo los mismos esquemas, aunque sea tan
solo formales, de la Arquitectura Moderna internacional. Entre ellos,
pordriamos recordar las arquitecturas “maquinistas” con reminiscencias
navieras, de las hermosas casas blancas de Manuel Mujica Millan y los primeros
ejercicios racionalistas de Carlos Raul Villanueva. Es curioso que Meier, a su
paso por nuestra ciudad, encontró a El Silencio de Villanueva (1942-45), entre
los edificios de Caracas, como especialmente interesante. </span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Mas allá de la fascinación
que pueda ejercer la obra de Meier sobre nosotros, fascinación evidente, pues
desde la venida de Aldo Rossi a nuestro país ningún otro visitante extranjero había
causado tanto revuelo en el medio de la arquitectura venezolana, debemos ver en
la presencia de Meier el lanzamiento de un indicio de excelencia y
profesionalismo a la población de diseñadores y arquitectos que trabajamos en
Venezuela.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Meier, tal como
lo describia John Hejduk, es “la pasión de la arquitectura, la creación,
re-creacion y realización de una obra que nos paraliza con su intensidad”. 2
Una arquitectura intensa que produce a la vez obras de memorable polémica (el
Bronx Developmental Center, 1976) y obras de vigencia y aceptacion (el High
Museum of Art de Atlanta, 1984), que han mantenido intreresada a la critica por
mas de diez años. Una “carrera” arquitectonica, en fin, exitosa como pocas y
aparentemente mas allá de toda controversia.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Hace trece años (1985)
ya de la aparición del famoso libro <i>Cinco Arquitectos</i>, con el cual los críticos
de arquitectura Arthur Drexler, Colin Rowe y Kenneth Frampton, presentaban ante
la opinión arquitectonica internacional los trabajos de Peter Eisenman, Michael
Graves, Charles Gwathmey, John Hejduk y Richards Meier.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Forzosamente, y
ya lo aclaraba Philip Johnson en el <i>Postcriptum</i> que hizo al libro, el
presentarlos colectivamente como grupo mas que com,o a cinco individuos
haciendo arquitectura por separado, iba a procurarles indudables beneficios. De
una erudición cosmopolita, todos proclaman el lugar para una arquitectura corbusiana
“de segunda mano” en nuestro tiempo, de la misma forma como lo hizo (y la comparación
es de Colin Rowe) Scamozzi con Palladio, en el suyo. Una postura no heroica, quizás,
pero indiscutiblemente favorecida por la aspiración de participar en la vena poética
de la producción temprana de Le Corbusier.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Poco
comprometida, también. Estos cinco arquitectos del año 72 veian a sus edificios
como “una excusa para dibujar, mas que a dibujar como una ezcusa para construir”,
3 iniciando la famosa época de la llamada “arquitectura de papael”. De allí que
pueda considerarse que la diferencia entres sus espacios post-corbusianos y los
originales esta justamente en la manipulación que de ellos hacían como geometría
plana mas que como masas translucidas a ser experimentadas durante el
recorrido.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Es muy
interesante la capacidad de vaticinio de la que en aquel libro hicieron gala
Frampton y Johnson con respecto al futuro de estos cinco arquitectos “blancos”
de Nueva York. Para Frampton, en su “Frontalidad versus Flotacion”, solo
Gwathmey reunia los elementos necesarios para hacer una transposición espacial
de este tipo. </span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Para Johnson, solo
en Meier es donde admite encontrar las creaciones mas “aceptables” desde el
punto de vista tradicional de la practica de la arquitectura. De todos ellos,
ya entonces, es Meier quien “conoce mejor su historia”, conviviendo con a
maqueta de la Villa Savoya de Le Corbusier hasta en la sala de su casa.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Si consideramos
que, lejos de todas las polémicas, solo es arquitectura la construida, entonces
podríamos situar la obra de Gwathmey y la de Meier por encima de la de Hejduk,
Eisenman, y hasta de Graves. Revisando sus últimos trabajos, las hermosas caligrafías
arquitectónicas que Hejduk envia al Concurso Internacional del Parque de la
Villette en Paris el año antepasado (1983), acusan su apego recurrente (¿definitivo?)
a esa forma de hacer arquitectura, de la cual es el maestro innegable;
Eisenman, luego de la salida tormentosa del Instituto para la Arquitectura y
Estudios Urbanos (IAUS) en el cual se desenvoivia, recurrio a una prestigiosa
figura de Yale, Jacquelin Robertson, tratando desesperadamente de
profesionalizar sus complejas elaboraciones intelectuales, sin mas éxito que el
de siempre, hasta ahora; y, finalmente, Michael Graves, la “contrafigura” de
los Cinco Arquitectos, después de su frcaso con el edificio de Portland, ha
convertido a la bucólica comunidad de Princeton en una especie de “Taliesin”
redivivo, en donde una generación completa de jóvenes aprendices de la arquitectura
redibujan los trazos de sus fantasias barrocas Neo-Cubistas hasta la saciedad y
el agotamiento.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium;">Salta a la vista,
pues, la permanencia de Richard Meier. Tras el modernismo juvenil de las casas
blancas de New England, empieza a replantearse el problema de la modernidad contemporánea
en arquitectura con una precisión y una fortaleza que esta sorprendiendo a todos.
Estamos presenciando lo que Frampton llama el <i>“rappel a l’ordre” </i>en Meier:
un asentamiento objetivo en la intención de sus proyectos, el cual habias sido
dejado de lado durtante todos los años de su producción domestica en aras de la
formulación de un estilo. 4 Prueba de esto son sus últimos trabajos: el
Atheneum de New Harmony, Indiana (1979), el Seminario Hartford, Connecticut
(1981), los nuevos edificios administrativos<span style="mso-spacerun: yes;">
</span>para la Renault <span style="mso-spacerun: yes;"> </span>en
Boulogne-Billancourt, Francia (1982), la entrada al Concurso Internacional para
el Reciclaje del Lotto Fiat, Torino (1984), y el mencionado museo de Tlanta.</span></p>
<p class="MsoNormal" style="text-align: justify; text-indent: 0.5in;"><span lang="ES" style="font-family: "Adobe Caslon Pro",serif; font-size: medium; mso-ansi-language: ES; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">En todos estos
edificios, salvo, quizás, en el Atheneum, vemos como Meier abandona la estética (y la escala) familiar de sus casas para
reemprender la búsqueda de un lenguaje institucional, claramente abortado en el
tema del hospicio del Bronx. Estas nuevas catedrales blancas, ya no de piedra
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Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
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</p><p class="MsoNormal" style="text-align: justify; text-indent: .5in;"><span style="font-size: medium;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">De esa manera,
aunque la obra de Richard Meier haga o no referencia a la tradición americana
del <i>“Shingle Style”,</i> sea producto o no del Romanticismo Americano, o
represente simplemente una representacion muy personal de los problemas de la
luz en las costa de New England, ha hehco un aporte sensible al cuerpo de la
arquitectura americana. En este contexto, su modernismo no tiene nada que
envidiarle como ejemplo<span> </span>a los
arquitectos modernos clásicos. Lo que hace a una obra vigente, valiosa y
actual,<span> </span>en ese país y en el nuestro, es
la determinación a realizar un trabajo que no se prive de considerar
creativamente al pasado, cuidando de no caer en la moda fácil o en el rescate
irreflexivo.</span></span></p>
<p></p><p class="MsoNormal" style="text-align: justify; text-indent: .5in;"><span style="font-size: medium;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">Hoy (1985), con
la visita de Meier y del espectáculo de su arquitectura aun recientes, </span><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">son oportunas las palbaras de Le Corbusier: <i>“Materialicemos de nuevo
en nuestras imaginaciones ese espectáculo lleno de alegría. Dejemos, por un
instante, de leer estas líneas y pongamos bien ante nuestros ojos las
catedrales blancas sobre el fondo gris o azul del cielo. Es preciso hacer
entrar esa imagen en el corazón. Entonces prodremos prseguir con nuestras reflexiones”.</i>5</span></span></p><p class="MsoNormal" style="text-align: justify; text-indent: .5in;"><span style="font-size: small;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;"> </span></span><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="0" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
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<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
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<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
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<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
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<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
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<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
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<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
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<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="21" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
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<p class="MsoNormal" style="text-align: justify;"><span style="font-size: small;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">Publicado en: </span><i><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">El Universal,</span></i><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;"> Julio de
1985 y <i>Revista CAV</i> 49, Abril, 1986, pp. 42-43.</span><span lang="ES" style="font-family: "Adobe Caslon Pro",serif;"> </span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="font-size: small;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;"> </span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: small;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">NOTAS: </span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: small;"><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;"> </span><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">1. Rafael Alberti. “Blanco”,</span><span lang="ES"> </span><i><span lang="ES" style="font-family: "Adobe Caslon Pro", serif;">A
la pintura (poema del color y la línea),</span></i><span style="font-family: "Adobe Caslon Pro", serif;"> <span> </span>Editorial Losasa S.A., Buenos Aires, 1945-1948.</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: small;"><span style="font-family: "Adobe Caslon Pro", serif;">2. John Hejduk. “Richard
Meier, Architect,” Postcriptum, <i>Five Architects</i>, Oxford University
Press, New York City 1976.</span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: small;"><span style="font-family: "Adobe Caslon Pro", serif;">3. Colin Rowe. <i>Five
Architects</i>, Introduccion, Wittenborn Co., New York City, 1972.<span> </span><span> </span><span> </span><span> </span> </span></span></p><p class="MsoNormal" style="text-align: left;"><span style="font-size: small;"><span style="font-family: "Adobe Caslon Pro", serif;">4. Kenneth
Frampton. </span><span style="font-family: "Adobe Caslon Pro", serif;">“High Museum of
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</p>Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-5944677150348344632023-04-12T10:30:00.008-04:002023-04-26T11:01:13.779-04:00Neo Caracas<p></p><p><!--[if gte mso 9]><xml>
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<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtPWkehtgJiU2cs8vLfF3bybz_M3GzKX3NBVtZCHp-K_sEXcfwzEr_Nvx5enxt9fm7O2iTpXk2FOCGP6yvZJDtJPdJfmSW0DhV4WVcyLXs0Hcx1KlSipb1KZJclD0Atd-wh84HowtzPoB61RyfksDgBlrSIfbVIp4AS7qdxEkVS7D6Pl2grThIiVDbbg/s1119/1.%20Ciudad%20inerme.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="803" data-original-width="1119" height="460" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtPWkehtgJiU2cs8vLfF3bybz_M3GzKX3NBVtZCHp-K_sEXcfwzEr_Nvx5enxt9fm7O2iTpXk2FOCGP6yvZJDtJPdJfmSW0DhV4WVcyLXs0Hcx1KlSipb1KZJclD0Atd-wh84HowtzPoB61RyfksDgBlrSIfbVIp4AS7qdxEkVS7D6Pl2grThIiVDbbg/w640-h460/1.%20Ciudad%20inerme.jpg" width="640" /></a></div><h1 style="text-align: center;"><span lang="IT" style="font-size: xx-small; font-weight: normal; mso-ansi-language: IT;">1.<i style="mso-bidi-font-style: normal;">
La ciudad inerme </i><span style="mso-spacerun: yes;"> </span>(f. 1983. Caracas
en retrospectiva).</span></h1><h1 style="text-align: center;"></h1><h1 style="text-align: center;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">1. Ciudad inerme</span></b></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Luego de estos largos meses de pandemia la mayoría
de las metrópolis del mundo, enfrentadas a lo que se ha dado en llamar la Nueva
Realidad, se han visto enfrentadas a reevaluar su manera de funcionar. Algunas
ciudades han llegado a cuestionarse incluso su existencia misma, creyendo en
una posible desaparición de las ciudades versus un éxodo masivo de su población
hacia el campo o hacia ciudades menores dispersas por el territorio. Otras
ciudades más optimistas han enfrentado esta crisis monumental de una manera más
responsable y creativa, replanteándose la forma como están organizadas, repensando
los protocolos sanitarios, el uso de los espacios públicos, los servicios
sanitarios, las redes, la distribución de los usos en la ciudad y toda la manera
como venían funcionando hasta el momento en que empezó la epidemia, de manera profesional,
proactiva, serena y creativa.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Finalmente, por el contrario, otras metrópolis -las
menos organizadas-, se han quedado prácticamente inertes en la crisis. Se han dejado
estar, apabulladas por el peso de las dificultades y por el llamado urgente de
la emergencia. Esas ciudades se han quedado impávidas, a expensas del discurrir
de los acontecimientos, acontecimientos que les pasan por encima, a la espera de
que todos los problemas se resuelvan solos, o pensando que pueden esperar. En esta
última categoría está Caracas y el resto de las ciudades de Venezuela. Esa
Caracas resiliente que debería haber surgido a flote durante este tiempo pandémico,
salvo en muy contadas -y loables- oportunidades, no se ha visto reflejada a sí
misma en la opinión y acción de sus habitantes y de sus autoridades. Insuficientes
discusiones sobre la ciudad pand<a name="_Hlk62402882">é</a>mica y post-pandémica
han tenido lugar, y mucho menos, medidas de largo aliento que transformen la
ciudad para responder a la emergencia sanitaria.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Las acciones dejadas en manos de una activación y de
una contracción, las medidas de confinamiento semana a semana emanadas desde el
poder hacia los ciudadanos, llevando en si mismas pocas instrucciones para la
transformación de la ciudad y de sus espacios a fin de subsanar y proteger de
la salud de todos los habitantes, es una respuesta ínfima frente a lo que la
complejidad de una metrópolis requiere en estas circunstancias. La reflexión urbana
en pocas oportunidades ha sido el resultado de la información emanada de las mejores
mentes de las grandes ciudades del mundo, quienes han venido dando lo mejor de sí
para convertir, transformar a las ciudades en unos espacios que acojan y que
protejan a sus poblaciones.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Al contrario, pareciera que Caracas se mantiene
inerme y las medidas son solamente individuales, dejadas de la mano de cada uno
de los ciudadanos en su protección, necesaria y personal, claro que sí, pero individual,
al fin y al cabo. Eso lo vemos en las dificultades de las medidas para el transporte
público, del cierre de los espacios públicos abiertos durante los periodos de
confinamiento y de la falta de reflexión en general sobre como se manejan los
sitios de uso colectivo para controlar la manera como los habitantes pueden seguir
usando la ciudad en una u otra condición: durante el confinamiento y durante
los días de flexibilización.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Por otra parte, no existe ninguna protección que avizore
que va a ocurrir con nuestras aceras, con nuestras vías, con nuestros espacios públicos,
con nuestros parques. Que significa en términos de la respuesta al virus y de
las estadísticas, que deberían haber sido ya recabadas en las diferentes alcaldías
del país y puestas en línea para que los ciudadanos las conociéramos; las
condiciones de las unidades de terapia intensiva, de las UCI y también de los
cementerios. Como esta el impacto y el uso de cada uno de estos sitios, que
significa eso en términos de la capacidad de los espacios de respuesta a la
enfermedad, y de la necesidad de crear nuevos sitios de atención. Aparte de lo
que vimos en el acondicionamientos de algunos espacios de gran escala como el Poliedro
y la toma de algunos lugares de escala menor para lo mismo en diferentes
lugares de la ciudad, todos sentimos que hay una especie de opacidad estadística
y gr</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">fica en la cual no sabemos exactamente en un plano de la capital (y de ninguno
de los centros poblados del país), qu</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">é</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"> está ocurriendo exactamente parroquia
por parroquia, municipio por municipio con referencia a la capacidad real de enfrentar
en nuestra ciudad a una epidemia como la que tenemos y por otra parte la creación
de nuevos lugares que sofoquen las necesidades en los sitios más afectados.</span></p> <p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwpMGfYG_mvRsjxGoprZ7ievL_d3SdU019iUITXeZtiSU-NXNu_QmBC7ylr8Xx7zJ_gosI1DmDZVe8-jvy-HsCfni2671Ks3-6KGA5nwVD8c5FKjP8_DTXmMJiwxIZDfeVoBFxj9E4v6ZdALTl2f7Y8BBiZDgH4zJlZbgVxxGjf3sEmFjqCn-SP0qHGQ/s680/2.%20Aula%20abierta.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="680" height="396" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwpMGfYG_mvRsjxGoprZ7ievL_d3SdU019iUITXeZtiSU-NXNu_QmBC7ylr8Xx7zJ_gosI1DmDZVe8-jvy-HsCfni2671Ks3-6KGA5nwVD8c5FKjP8_DTXmMJiwxIZDfeVoBFxj9E4v6ZdALTl2f7Y8BBiZDgH4zJlZbgVxxGjf3sEmFjqCn-SP0qHGQ/w640-h396/2.%20Aula%20abierta.jpg" width="640" /></a></div><p></p><p class="MsoNormal" style="text-align: justify;"><!--[if gte mso 9]><xml>
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Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
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</p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="IT" style="font-size: xx-small; mso-ansi-language: IT; mso-bidi-font-weight: bold;">2.<i style="mso-bidi-font-style: normal;"> Aula sanitaria abierta. Escuela Francisco
Pimentel, Carlos Raul Villanueva, 1939. </i><span style="mso-spacerun: yes;"> </span>(f. 2017. Alba Ciudad).</span></p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="IT" style="font-size: 9pt; mso-ansi-language: IT; mso-bidi-font-weight: bold;"> </span></p>
<p></p><p></p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">2. Arquitectura
sanitaria</span></b><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Históricamente, la transformación de la ciudad luego
de cada una de las grandes epidemias y de las emergencias sanitarias que ha vivido
la humanidad en los últimos siglos es una consecuencia directa de las crisis.
Eso lo hemos leído infinitas veces durante estos meses en múltiples trabajos
publicados en todos los medios de comunicación del mundo que discuten sobre la historia
de la arquitectura y del urbanismo. El cambio se vio impulsado por las grandes
dificultades m</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">é</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">dicas: ellas han forzado las transformaciones de la arquitectura
y la toma de medidas urbanísticas en la historia. La creación de los grandes
sistemas de parques públicos, de los nuevos espacios urbanos, la transformación
de la misma arquitectura en arquitectura m</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">s abierta, m</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">s ventilada, más higiénica,
para proteger de las bacterias y de las enfermedades, todo ello en el pasado
reciente tuvo su respuesta en Venezuela en esos sistemas hospitalarios y educacionales
que hoy en día siguen siendo lo mejor de nuestra infraestructura de la salud patrimonial
moderna. La modernidad en Venezuela fue un ejemplo en la región, en aquellos tiempos
y en aquellas circunstancias de lo que era posible hacer para para mejorar la
salud.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Hoy en día vemos que se trata más bien de exprimir
lo que ya existe para sacarle el mayor rendimiento, y no existe ningún pensamiento,
ni al menos un ejercicio intelectual, hacia lo que significan las demandas sanitarias
de la población actual, la cantidad de personas enfermas, los potenciales de contagio
y el tema de la ciudad por ninguna parte.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Entonces, esa ciudad inerme, esa ciudad que no reacciona,
que no se transforma a pesar del golpe enorme de la pandemia es una ciudad inmóvil,
fracasada frente a la crisis. Y nosotros, los que pensamos la ciudad, debemos
concientizar que nos toca producir esa evaluación urgente. Saber hasta d</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">ó</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">nde
llega, hasta d</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">ó</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">nde da nuestra infraestructura de la salud (toda prácticamente patrimonial):
cu</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">l debe ser el nuevo uso racional, qu</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">é</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"> deben tener nuestros espacios públicos
o c</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">ó</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">mo deben transformarse: cu</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">ntos nuevos espacios públicos tiene que tener la
ciudad para poder darle respuesta al gran problema psicológico de una población
que ya ha permanecido confinada por demasiados meses, con niños, ancianos y discapacitados
con necesidad urgente de darle alivio a su ansiedad, hasta que lleguemos al esperado
momento en que se consiga la ansiada inmunidad de rebaño que todo el mundo
espera.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">La ciudad nueva, la Neo Caracas, debe ser una
ciudad que dé respuesta efectiva a la emergencia. Lo único que hemos visto es
como la pandemia, en vez de fortalecer la ley, la ha debilitado, especialmente
en el área patrimonial, donde las demoliciones y las desfiguraciones a nuestra
herencia arquitectónica están a la orden del día, como nunca. Y si no se está
haciendo nada en la práctica, debe hacer que ocurra al menos en el campo académico.
Venezuela funciona a través de sus metrópolis y de sus grandes poblaciones. Debemos
proponer planes, ideas que propongan al menos la imagen idealizada de lo que debería
ser esa Neo Caracas pand<a name="_Hlk62411875">é</a>mica y post-pandémica, donde
la resiliencia ambiental, urbana y sanitaria se logren a través de proyectos
concretos y tengan una respuesta. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">¿Cuál es esa respuesta? ¿Cuáles son los espacios
que deben surgir? ¿Qué significa tener una población que debe enfrentar el
transporte peatonalmente mayormente? ¿Cuáles son las consecuencias del
hacinamiento en el transporte? ¿C</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">ó</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">mo se debe transformar el metro de Caracas? ¿Que
debe pasar con cada parroquia y el porcentaje de espacios públicos que cada una
de ellas debe tener para responder a las necesidades reales de la población ya
no normalmente, sino en los cruciales tiempos de pandemia, pandemias presentes
y pandemias futuras? Cu</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">ntas otras cosas tenemos que cambiar en términos arquitectónicos
para hacer que nuestra arquitectura sea como fue a principios del siglo veinte:
una arquitectura higiénica, una arquitectura que permita el aireamiento, el encuentro
a pesar del distanciamiento social necesario, para que no se detengan ni la educación,
ni la actividad, ni el comercio y por supuesto para que no se pare nunca la economía
cuando aparezca una emergencia de este tipo otra vez. Hagamos memoria urbana: como
aquella bellísima Escuela Francisco Pimentel que construyera Carlos Raúl
Villanueva en 1939 en la esquina de Mamey.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">La ciudad tiene que ser la m</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">quina perfecta y magn</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">í</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">fica
que nos cuide, que nos sane y que nos permita funcionar siempre. </span></p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"> </span></p><p>
<span style="font-size: small;"></span></p><p><span style="font-size: small;"></span></p><p><span style="font-size: small;"></span></p><p><span style="font-size: small;"></span></p><p><span style="font-size: small;"><br /><span> </span></span></p><p><span style="font-size: small;"><span>Publicado en: Opinión, <i>@ELNACIONALWeb</i>, Caracas, Junio 26 de 2021:</span> </span><a data-au="0" data-jsarwt="1" data-psig="AOvVaw1-G-dyxfrF136ljZ6DyueF&ust=1681396441516189" data-ved="0CAQQw7AJahcKEwjI8pGAyKT-AhUAAAAAHQAAAAAQAw" href="https://www.elnacional.com/opinion/neo-caracas/" tabindex="0" target="_blank">https://www.elnacional.com/opinion/neo-caracas/</a></p><p> </p><p> </p><p> </p><p></p>Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-76379492721297291152023-04-11T09:59:00.010-04:002023-04-11T10:38:29.032-04:00<p><!--[if gte mso 9]><xml>
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Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Mention"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Smart Hyperlink"/>
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</p><h1 style="text-align: justify;"><span lang="ES" style="mso-ansi-language: ES;"> </span><span lang="ES" style="mso-ansi-language: ES;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS-jAe5Az3QqmEJYYaCIyKuvob7UaaLebnqYHohKMuo8D_OI_ReNVXhtOOHTvqIc9ZbqWQVJZWEZ_x7IdQax8jK94omyLgAbhptoPBZdhqoXLm3TtXFTGKFrrED8U-M-4_FJvd4zxCOAPC_abfjtQqhCBb3WLI6hP5a5UANI9ze9_r3H3pRhhf2jgitA/s878/1.%20Villa%20Arreaza,%20La%20Diamantina.%20Gio%20Ponti.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="874" data-original-width="878" height="618" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS-jAe5Az3QqmEJYYaCIyKuvob7UaaLebnqYHohKMuo8D_OI_ReNVXhtOOHTvqIc9ZbqWQVJZWEZ_x7IdQax8jK94omyLgAbhptoPBZdhqoXLm3TtXFTGKFrrED8U-M-4_FJvd4zxCOAPC_abfjtQqhCBb3WLI6hP5a5UANI9ze9_r3H3pRhhf2jgitA/w620-h618/1.%20Villa%20Arreaza,%20La%20Diamantina.%20Gio%20Ponti.jpg" width="620" /></a></div></span><span lang="IT" style="font-size: xx-small; font-weight: normal; mso-ansi-language: IT;"> <span> </span><span> </span><span> </span><span> </span> <span> </span><span> </span><span> </span>1.<i style="mso-bidi-font-style: normal;">
Villa Arreaza, La Diamantina. </i></span><span style="font-size: xx-small;"><i style="mso-bidi-font-style: normal;"><span style="font-weight: normal;">Gio Ponti <span style="mso-spacerun: yes;"> </span>(Caracas Country Club, 1956-1994). </span></i><i style="mso-bidi-font-style: normal;"><span lang="PT-BR" style="font-weight: normal; mso-ansi-language: PT-BR;">Detalle</span></i><span lang="PT-BR" style="font-weight: normal; mso-ansi-language: PT-BR;"> (f. Colección Jorge F. Rivas
Pérez).</span></span></h1><h1 style="text-align: justify;"><span style="font-size: xx-small;"><span lang="PT-BR" style="font-weight: normal; mso-ansi-language: PT-BR;"> </span></span>
</h1><h1 style="text-align: left;"><span lang="ES" style="mso-ansi-language: ES;">Una
nueva primavera para la casa moderna <br /></span></h1><p><br /></p><p class="MsoNormal" style="text-align: justify;"></p><p class="MsoNormal" style="text-align: justify;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="text-align: right;"><span style="font-size: x-small;"><span lang="ES">"Hasta ahora, la mejor
vacuna para prevenir el contagio </span></span></p>
<p class="MsoNormal" style="text-align: right;"><span style="font-size: x-small;"><span lang="ES">ha sido creada por arquitectos:
la casa"</span></span></p>
<p class="MsoNormal" style="text-align: right;"><span style="font-size: x-small;"><span lang="ES">Docomomo International. 1</span></span></p>
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">1. Construir,
habitar, pensar</span></b><p></p>
<p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">En 1951, tras haber concluido
la Segunda Guerra Mundial y encontrarse Europa frente al enorme reto de la reconstrucción
y la necesidad de producir miles de viviendas nuevas, era necesario detenerse a
repensar el hábitat moderno. Para ello se organizó en la ciudad </span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">alemana de Darmstadt el famoso Coloquio de
Darmstadt, unos de los momentos de</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"> </span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">reflexión m</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">s importantes de la historia de la arquitectura moderna. Entonces
fueron invitados dos de los m</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">á</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">s grandes filósofos del siglo veinte, Martín Heidegger y
José Ortega y Gasset, quienes ofrecieron sus disertaciones en un mismo día, por
la mañana y por la tarde, respectivamente. </span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"> </span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQHOO_ztIa8ejNpcXOyT7Ic6bwADTDkHkSDq1jkiAQdbSNr7B2ZwRvQ522NefepxJF33dRNLPzx7adQ6jvf-jQqtlvjXiqR1xf-ahzmk3-cuh85K0oVgGqDDvhl6XMfyrfW07x5gMOY2SyfKuokszB7Xfh12IdoTmxhuGLenjz7Myd3vqfZ7zkwgTWdQ/s1600/2.%20Casa%20Butant%C3%A2.%20Paulo%20Mendes%20da%20Rocha.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1344" data-original-width="1600" height="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQHOO_ztIa8ejNpcXOyT7Ic6bwADTDkHkSDq1jkiAQdbSNr7B2ZwRvQ522NefepxJF33dRNLPzx7adQ6jvf-jQqtlvjXiqR1xf-ahzmk3-cuh85K0oVgGqDDvhl6XMfyrfW07x5gMOY2SyfKuokszB7Xfh12IdoTmxhuGLenjz7Myd3vqfZ7zkwgTWdQ/w640-h538/2.%20Casa%20Butant%C3%A2.%20Paulo%20Mendes%20da%20Rocha.jpg" width="640" /></a></div><p></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><!--[if gte mso 9]><xml>
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Paulo, 1964). </i></span><i><span lang="ES" style="font-family: "Times New Roman", serif;">Sección transversal.</span></i></span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span style="font-size: xx-small;"><i><span lang="ES" style="font-family: "Times New Roman", serif;"> </span></i></span>
</p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Las conferencias de ambos, <i>"Construir,
habitar, pensar"</i> (Heidegger) y <i>"El mito del hombre allende la
técnica"</i> (Ortega), marcaron un hito que cambió sensiblemente el devenir
del diseño de la vivienda de allí en adelante, porque ambas, desde sus distintos
puntos de vista, se centraron en la importancia de volver al significado profundo
del habitar y en definitiva a la arquitectura como el arte de la construcción. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Casi setenta años más tarde, y estando ya no solo
Europa sino el mundo entero sufriendo los estragos de una nueva guerra, esta
vez contra un enemigo invisible pero igualmente letal, que ha forzado a la
humanidad a permanecer confinada dentro de sus viviendas y a abandonar los
espacios públicos de las ciudades, vuelve la vigencia de Darmstadt. Y vuelve
por la necesidad de reflexionar otra vez profundamente sobre el habitar, sobre cuánto
se desvió el mundo construido de la necesidad entonces tan patente de crear sensiblemente nuevos lugares públicos y privados, nuevas
formas, ideas y diseños, nuevos espacios, nuevas soluciones, pensados para
garantizar la salud física y mental del hombre. Se hizo necesario recapitular entonces (2020) cuando aun estabamos atravesando la crisis de COVID 19, y</span><span lang="ES" style="mso-ansi-language: ES;"> </span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">recordar los mejores momentos de la historia de la
arquitectura moderna, cuando se produjeron casas, viviendas multifamiliares,
espacios públicos y ciudades donde, como decía Ortega, pudo crearse "un
mundo nuevo para nosotros".2<span style="mso-spacerun: yes;"> </span></span> </p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"><span style="mso-spacerun: yes;"><br /></span></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggv1I5Qg0yugbPb7WSAvYWmPMnACzjbTK4GgNSX2D0XQWcFDB4SkcRehU_MacuqdN8k-WfhdZ2Po8y6Jte0rhgx_EvFnXz0APFfBBvW3wRVbs5KZyxV3rRKr9d4sEjR6gSLDOC3UgTtLAiH07qM3KtslANFchVqnPcTRA81VTDEQEB05rD8xu6YGdQhw/s800/3.%20Casa%20de%20vidrio.%20Lina%20Bo%20Bardi%20(Morumb%C3%AD,%20S%C3%A3o%20Paulo,%201951)..jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="800" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggv1I5Qg0yugbPb7WSAvYWmPMnACzjbTK4GgNSX2D0XQWcFDB4SkcRehU_MacuqdN8k-WfhdZ2Po8y6Jte0rhgx_EvFnXz0APFfBBvW3wRVbs5KZyxV3rRKr9d4sEjR6gSLDOC3UgTtLAiH07qM3KtslANFchVqnPcTRA81VTDEQEB05rD8xu6YGdQhw/w640-h360/3.%20Casa%20de%20vidrio.%20Lina%20Bo%20Bardi%20(Morumb%C3%AD,%20S%C3%A3o%20Paulo,%201951)..jpg" width="640" /></a></div>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="PT-BR"><span style="font-size: xx-small;">3. <i>Casa de
vidrio. Lina Bo Bardi (Morumbí, São Paulo, 1951).</i></span></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="PT-BR"><span style="font-size: xx-small;"><i> </i></span></span></p>
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</p><p class="MsoNormal" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">2. Moradas
+ Miradas</span></b></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">En aquellos tiempos difíciles, la casa se volvio mas que
nunca nuestro mundo comprimido. La casa fue ahora nuestra ciudad. Tras haberse
convertido en la principal fortaleza y refugio para la supervivencia del
hombre, los temas de la casa moderna regresaron, en una nueva e inesperada
primavera, unidos a las aspiraciones de la arquitectura contemporánea, como
medicina para el cuerpo y para el alma. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">La casa moderna y sus epopeyas proyectuales, la
casa moderna y sus poéticas, la casa moderna y su respuesta a la higiene, al
clima, al lugar, al arte, a la técnica, a las formas de vivir, y hoy, a las
exigencias del mundo post-pandemia. </span></p>
<p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Así, la fundación
Docomomo Venezuela en colaboración con Trasnocho Cultural organizó el ciclo de
charlas <i style="mso-bidi-font-style: normal;">online</i> <b style="mso-bidi-font-weight: normal;">Moradas + Miradas: una nueva primavera para la casa moderna</b>, el
cual tuvimos el placer de moderar junto al arquitecto Frank Alcock. A partir
del jueves 11 de junio de 2020, y durante un mes cada jueves por la tarde, varios
expertos internacionales en arquitectura compartieron sus reflexiones sobre las
casas modernas en sus ciudades que más les hablaron a su corazón en los
momentos de la pandemia, preguntándoles porqué fueron tan especiales para ellos, qué
modificarían en ellas de manera creativa y qué sería fundamental enfocar y
mejorar en el diseño de ahora en adelante. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;">Teniendo muy presente lo que aseveraba Heidegger
cuando en 1951 decía en Darmstadt que <i>"no todas las construcciones son
moradas"</i>, el arquitecto Jorge F. Rivas Pérez, curador Frederick & Jan
Mayer y jefe del departamento de arte latinoamericano del Denver Art Museum y miembro fundador de Docomomo
Venezuela, ofreci</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ó</span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"> sus reflexiones sobre la Villa Arreaza, llamada la
Diamantina, una de las cinco casas tropicales que Gio Ponti diseñó para Caracas
y que se levantaba desde 1956 en el Caracas Country Club hasta su lamentable
demolición en 1994.3 </span></p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"> </span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPbYXl237eqafN99JCI83z03wP_8wSjRJkKiRJhb8zINwIXNWq5xRrmEA8Yaiz-eEdB4G0V-yxbVs2PfKEye2cLeDcHh4jTZKpfQ1NcjwAcMXuxe7tZHQcfbi_d5S200foUbRGSDDx5wu9H1WHVnWYJLICNsGqraUeA8bH2THCKeN_MYfo5E_9ibTPXw/s2561/4.%20Casa%20de%20Cecil%20O'Gorman,%20Juan%20O%C2%B4Gorman..JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1947" data-original-width="2561" height="486" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPbYXl237eqafN99JCI83z03wP_8wSjRJkKiRJhb8zINwIXNWq5xRrmEA8Yaiz-eEdB4G0V-yxbVs2PfKEye2cLeDcHh4jTZKpfQ1NcjwAcMXuxe7tZHQcfbi_d5S200foUbRGSDDx5wu9H1WHVnWYJLICNsGqraUeA8bH2THCKeN_MYfo5E_9ibTPXw/w640-h486/4.%20Casa%20de%20Cecil%20O'Gorman,%20Juan%20O%C2%B4Gorman..JPG" width="640" /></a></div><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"></span><p></p><p></p><p class="MsoNormal" style="text-align: justify;"><!--[if gte mso 9]><xml>
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UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
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</p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: xx-small;"><span lang="ES">4.<i> Casa de
Cecil O'Gorman, </i>Juan O´Gorman (<i>Ciudad
de México</i> 1930).</span></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: xx-small;"><span lang="ES"> </span></span><span lang="ES" style="font-size: 12pt; mso-ansi-language: ES;"></span></p>
<p></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"></p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: small; mso-ansi-language: ES;">Seguidamente, el arquitecto Hugo Segawa, profesor de la
FAU USP-Facultad de Arquitectura y Urbanismo de la Universidad de São Paulo, de
Docomomo Brasil, present</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ó</span><span lang="ES" style="font-size: small; mso-ansi-language: ES;"> una trilogía de casas modernas del arquitecto
paulista Paulo Mendes da Rocha, seguido del arquitecto venezolano residente en
Nueva York Carlos Brillembourg, de Docomomo Venezuela, quien habl</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ó</span><span lang="ES" style="font-size: small; mso-ansi-language: ES;"> sobre las
residencias de los arquitectos Lina Bo Bardi y João Vilanova Artigas, la Casa
de Vidrio (hoy sede del Instituto Lina Bo Bardi, Morumbí, 1951) y la segunda
casa de Vilanova Artigas (São Paulo, 1949). Finalmente la profesora Louise
Noelle Gras, del Instituto de Investigaciones Estéticas, UNAM y Presidente de
Docomomo México, disert</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ó</span><span lang="ES" style="font-size: small; mso-ansi-language: ES;"> sobre las casas de Juan O'Gorman, la Casa de Cecil
O'Gorman de 1929) y la Casa O'Gorman de 1948 y el arquitecto Gustavo Luis Mor</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">é</span><span lang="ES" style="font-size: small; mso-ansi-language: ES;">,
editor de la revista <i>Archivos de Arquitectura Antillana</i>, de Docomomo
Dominicano, present</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ó</span><span lang="ES" style="font-size: small; mso-ansi-language: ES;"> la vivienda moderna en las Antillas mayores.</span>
</p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Con este ciclo de
charlas revisitando ocho magistrales casas modernas, Docomomo Venezuela apunt</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ó asi</span><span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">
a reencontrar <i>"el sentido propio del construir, es decir, el habitar"</i>,
para que no caiga en el olvido. Y de esta manera, colaborar a <b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;"> </span></b><i>"salvar
la tierra, recibir el cielo, estar a la espera de los divinos, guiar a los
mortales"</i>, y cuidar <i>"la esencia simple del habitar"</i>, dándole
"casa" a esa esencia.4</span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLZ23ehmo3rdbFNQUdBOgvbV9YFaWACoo_BcgOuBDwkaPkyiB6S6RR9ZijvyaPcCeFKn5ZDkjxWs96j7KMVag910-6OypXED6I5oGhnfQasayV0i-R_X0OCzL1N7TTpnLMCxLJkd3k_cLbkYl96sDkbXNlW9V9KGLjsHB3998YdngietHECiSuedFtg/s2274/5.%20Moradas%20+%20Miradas.%20Ciclo%20de%20Charlas%20online%20(Docomomo%20Venezuela).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2272" data-original-width="2274" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeLZ23ehmo3rdbFNQUdBOgvbV9YFaWACoo_BcgOuBDwkaPkyiB6S6RR9ZijvyaPcCeFKn5ZDkjxWs96j7KMVag910-6OypXED6I5oGhnfQasayV0i-R_X0OCzL1N7TTpnLMCxLJkd3k_cLbkYl96sDkbXNlW9V9KGLjsHB3998YdngietHECiSuedFtg/w640-h640/5.%20Moradas%20+%20Miradas.%20Ciclo%20de%20Charlas%20online%20(Docomomo%20Venezuela).jpg" width="640" /></a></span></div><p></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES"><span style="font-size: xx-small;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>5.<i> Moradas +
Miradas. Ciclo de Charlas online (Docomomo Venezuela). Inscripciones:
www.trasnochocultural.com)</i></span></span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES"><span style="font-size: xx-small;"><i> </i></span></span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span style="font-size: small;"> </span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span style="font-size: small;"> </span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span style="font-size: small;">Publicado en: Opinión, <i>@ELNACIONALWeb</i>, Caracas, Junio 30 de 2020: </span><span style="font-size: small;"><a data-au="0" data-jsarwt="1" data-psig="AOvVaw0dQaL7UFYtsItyq92QbnVS&ust=1681309999143010" data-ved="0CAQQw7AJahcKEwiQ4Y6IhqL-AhUAAAAAHQAAAAAQAw" href="https://www.elnacional.com/opinion/una-nueva-primavera-para-la-casa-moderna/" tabindex="0" target="_blank">https://www.elnacional.com/opinion/una-nueva-primavera-para-la-casa-moderna/</a></span></p><p class="MsoBodyTextIndent" style="text-align: justify; text-indent: 0in;"><span lang="ES"><span style="font-size: xx-small;"><i> </i></span></span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"></span>
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</p><p class="MsoBodyTextIndent" style="text-indent: 0in;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">NOTAS:</span></p>
<p class="MsoBodyTextIndent" style="text-indent: 0in;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">1. Docomomo
International: https://www.docomomo.com/</span></p>
<p class="MsoBodyTextIndent" style="text-indent: 0in;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">2. José Ortega y Gasset.
Conferencia <i style="mso-bidi-font-style: normal;">El mito del hombre allende la
técnica</i>, Coloquio de Darmstadt, Darmstadt, 1951.</span></p>
<p class="MsoBodyTextIndent" style="text-indent: 0in;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">3.4. Martin Heidegger.
Conferencia <i style="mso-bidi-font-style: normal;">Construir, habitar, pensar</i>
(Bauen Wohnen Denken), Coloquio de Darmstadt, Darmstadt, 1951.<b style="mso-bidi-font-weight: normal;"></b></span></p>
<span lang="ES" style="font-size: 9pt; mso-ansi-language: ES;"></span><p></p> <span lang="ES" style="font-size: 12pt; font-weight: normal;"><br /></span><p></p><h1 style="text-align: justify;"><br />
</h1><p>
</p>Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-58914654402921471372020-11-07T12:05:00.003-04:002020-11-07T12:25:55.184-04:00Country Life<div class="separator"><p align="center" class="MsoNormal" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhv7cjx2mCZRiqmJtfQWhBy0wT2tZKnhsv_xchub4c4pkNtFl71tBf1z3dNj37DCg5pvWbYgvjs1-p20dm45nURkJdCBZQD1cX83jSbDtoQtAGr9WtLKxLDRYFjjdPb1Tr9J-ZdtzbK5G/s1529/1.+Quinta+Pe%25C3%25B1a+Viva+%2528f.+Hannia+Gomez%252C+2004+-+Archivo+FMU%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1202" data-original-width="1529" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhv7cjx2mCZRiqmJtfQWhBy0wT2tZKnhsv_xchub4c4pkNtFl71tBf1z3dNj37DCg5pvWbYgvjs1-p20dm45nURkJdCBZQD1cX83jSbDtoQtAGr9WtLKxLDRYFjjdPb1Tr9J-ZdtzbK5G/w640-h504/1.+Quinta+Pe%25C3%25B1a+Viva+%2528f.+Hannia+Gomez%252C+2004+-+Archivo+FMU%2529.jpg" width="640" /></a></div><!--[if gte mso 9]><xml>
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<![endif]--><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;">1. <i style="mso-bidi-font-style: normal;">Quinta Peña Viva. Clifford Ch. </i></span><i style="mso-bidi-font-style: normal;"><span lang="IT" style="font-size: 8pt; mso-ansi-language: IT;">Wendehack,
1945</span></i><span lang="IT" style="font-size: 8pt; mso-ansi-language: IT;"> (f. Hannia
Gomez, 2004 - Archivo Fundacion de la Memoria Urbana).<br style="mso-special-character: line-break;" />
<br style="mso-special-character: line-break;" />
</span><p></p></div>
<p align="right" class="MsoNormal" style="text-align: right;"><i style="mso-bidi-font-style: normal;"><span lang="IT" style="font-size: 10pt; mso-ansi-language: IT;">"Memoria,
</span></i></p>
<p align="right" class="MsoNormal" style="text-align: right;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">el guardián del cerebro".</span></i></p>
<p align="right" class="MsoNormal" style="text-align: right;"><span style="font-size: 10pt;">William Shakespeare.1</span></p>
<p align="right" class="MsoNormal" style="text-align: right;"><span style="font-size: 10pt;"> </span></p>
<p class="MsoPlainText" style="text-align: justify;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman",serif; font-size: 16pt;">Country Life</span></i></b></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">En las primeras décadas del siglo pasado tuvo
lugar el renacer de un estilo arquitectónico que había tenido sus orígenes
entre los siglos XV y XVI en Inglaterra (1485-1560) en época de los Tudor.
Varias razones hicieron que esta singular manera inglesa de hacer arquitectura -entre
todos los estilos y todas las épocas de la historia-, disfrutara de muchos <i style="mso-bidi-font-style: normal;">encores </i>en la historia de la
arquitectura del siglo XX… incluso en Caracas.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">La primera razón es porque fue la introducción al
Renacimiento en Inglaterra, desatando una ininterrumpida historia de amor con <i style="mso-bidi-font-style: normal;">Brick Heaven</i>, el magnifico palacio de
Hampton Court. Luego, porque hizo aparición la idea de la residencia campestre
inmersa en el paisaje. Tercero, porque en ese momento se definió el gusto,
considerado a partir de allí como <i style="mso-bidi-font-style: normal;">el </i>gusto
inglés, por la asimetría deliciosamente orgánica de los edificios. Todo ello
unido a una pasión por el detalle muy de la época, que inmortalizó ciertos
temas constructivos, como el arco Tudor, las ventanas Oriel (<i style="mso-bidi-font-style: normal;">bow windows</i> en voladizo), los techos
fuertemente inclinados, los altos hastiales, el uso profuso del ladrillo, el
renovado empleo de la piedra medieval, de los entramados exteriores de madera, de
las altas chimeneas escultóricas y de los jardines plantados a la manera
renacentista en proximidad a la arquitectura, entre otras características<i style="mso-bidi-font-style: normal;">.</i></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"></span></p><div class="separator" style="clear: both; text-align: center;"><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ-wujmrtfYfMgO86RC57Pdj7MmrCzzlbeh-PtH770JZ5ZgBr9n0spM2XoSmzPF917vVZBusKK5gtNoXlYhhgmKAyPJFXuuyypPHk0itzrVr-n1LUlKNpQ25vaxAtd9tXMiLuTkO5TLhc7/s2048/2.+Elevaciones+y+cortes+de+la+quinta+Pe%25C3%25B1a+Viva.+Clifford+Ch.+Wendehack%252C+1945+%2528f.+Archivo+Chacao%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1137" data-original-width="2048" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ-wujmrtfYfMgO86RC57Pdj7MmrCzzlbeh-PtH770JZ5ZgBr9n0spM2XoSmzPF917vVZBusKK5gtNoXlYhhgmKAyPJFXuuyypPHk0itzrVr-n1LUlKNpQ25vaxAtd9tXMiLuTkO5TLhc7/w640-h356/2.+Elevaciones+y+cortes+de+la+quinta+Pe%25C3%25B1a+Viva.+Clifford+Ch.+Wendehack%252C+1945+%2528f.+Archivo+Chacao%2529.jpg" width="640" /></a></span></div><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"> </span><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"> </span><p></p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;">2.<i style="mso-bidi-font-style: normal;"> Elevaciones y cortes de la quinta Peña Viva, 1945</i> (f. <i style="mso-bidi-font-style: normal;">Our chitects en Caracas</i>. Docomomo
Venezuela, 2017).</span>
</p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="ES" style="font-size: 8pt; mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Aunque a fines del siglo XIX ya tuvo lugar un <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Tudor
Revival</i>, o Falso Tudor, a nuestros fines caraqueños nos interesa, justamente,
el segundo<i style="mso-bidi-font-style: normal;"> revival, </i>el que ocurrió a
principios del siglo veinte.2 Fue el momento cuando apareció en Inglaterra un arquitecto
extraordinario, que unió en su arquitectura los temas tradicionales del Tudor con
los albores de la modernidad. Este fue el gran sir Edwin L. Lutyens (Londres, 1864–1944).
</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Lutyens exponenció el <i style="mso-bidi-font-style: normal;">Tudor Revival</i> "rehaciéndolo como su propio estilo". A
pesar de trabajar como un historicista,<span style="mso-spacerun: yes;"> </span>Lutyens
convirtió este estilo en algo personal y a la vez, en una arquitectura asombrosamente
actual. Fue como un vuelco: partiendo desde un punto de vista naturalista y a
la vez vernáculo, cada elemento Tudor fue reelaborado arquitectónicamente, creando
una nueva nueva/vieja imagen sobre la manera de vivir en el campo, todo ello de
la mano de la paisajista y horticultora Gertrude Jekyll (Londres, 1843 –<span style="mso-spacerun: yes;"> </span>Busbridge, 1932) en el tema de los jardines. Una
reinterpretación que fue ampliamente difundida desde las páginas de la revista semanal
londinense <i style="mso-bidi-font-style: normal;">Country Life, </i>cuyo editor fuera
de uno de sus primeros clientes de Lutyens .3</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Así, el repotenciado <i style="mso-bidi-font-style: normal;">Tudor Revival</i> dio el salto del Atlántico para expandirse
exitosamente por toda América, especialmente en los Estados Unidos. Si intentan
la búsqueda "Tudor Revival" en el internet, encontrarán casas, <i style="mso-bidi-font-style: normal;">manors</i>, palacios y <i style="mso-bidi-font-style: normal;">estates </i>construidos en dicho estilo en pleno siglo veinte tanto en
Indianápolis, Boston, Cincinatti, Portland, Maryland, Dallas, Pasadena, Atlanta
como en Beverly Hills… y especialmente en todo el estado de Nueva York. Algo
muy natural, debido a la educación beaux-artiana que recibían en América hasta
fines de los años 30 los arquitectos norteamericanos. El ejemplo de esto más
conocido entre nosotros es el de Clifford Charles Wendehack, el arquitecto neoyorkino
de la Casa Club del Caracas Country, de muchas otras casas de la urbanización y,
en particular, del mejor ejemplo en la ciudad de <i style="mso-bidi-font-style: normal;">Tudor Revival</i>, la quinta Peña Viva, en la avenida principal del
Country desde 1945.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Wendehack, "oriundo y vecino de la ciudad de Montclair
en Nueva Jersey, estudió en Europa y en Nueva York, y empezó a trabajar
haciendo arquitectura Beaux-Arts en 1927 <span class="MsoPageNumber">en el número
101 de Park Avenue</span>. Es a causa de esta formación y de sus inicios beaux-artianos
por lo que la mayoría de la obra de Wendehack es marcadamente historicista, lo
que lo convierte en un Tradicionalista Moderno. Wendehack desde muy temprano
empezó a ser conocido como especialista en el diseño de casas club e
impresionantes residencias, muchas hoy incluidas en los Registros Nacionales y
Estatales de Sitios Históricos de los Estados Unidos.4</span><span lang="ES" style="mso-ansi-language: ES;"> </span><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">En todos sus proyectos vemos la maestría con que
manejaba, de manera reconocible y personal, "los <i style="mso-bidi-font-style: normal;">revivals</i> Colonial y Español y los estilos Tudor y Normando".5 </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Revisitando hoy nuestro mejor <i style="mso-bidi-font-style: normal;">Caracas Tudor</i>: la quinta Peña Viva, nos interesa preguntarle a su
arquitectura -declarada patrimonio desde 2005-, cuánto hay en ella de Henry Tudor,
cuánto de Lutyens, cuánto de <i style="mso-bidi-font-style: normal;">Faux Tudor</i>,
cuánto de Wendehack… Habiendo tenido una importante intervención cerca de 2004 de
la mano del arquitecto norteamericano Terence Riley, se conoce que sus magníficos
interiores guardaban hasta entonces mucho de aquel espíritu Arts & Crafts
que podemos leer (en inglés, claro está) aun en los planos originales de la
casa, donde abundaban las "cornisas y los paneles de caoba" y los "techos
empanelados de madera". Una casa palaciega, o mejor dicho, un <i style="mso-bidi-font-style: normal;">manor </i>con elementos de palacio cuyo
principal <i style="mso-bidi-font-style: normal;">architectural feature</i> es la
torre/escalera sobre el <i style="mso-bidi-font-style: normal;">car port</i> de
la entrada. Una torre almenada, <i style="mso-bidi-font-style: normal;">as God
wills</i>, en el mejor recuerdo de Hampton Court.<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">La fábrica de ladrillo de este casa está repleta
de los elementos del <i style="mso-bidi-font-style: normal;">Tudor Revival que</i>
se podían lograr en la Caracas de<span style="mso-spacerun: yes;"> </span>los
40: <i style="mso-bidi-font-style: normal;">flat tiles</i> (tejas planas), <i style="mso-bidi-font-style: normal;">brick works</i> (obras de ladrillo), <i style="mso-bidi-font-style: normal;">wrougth iron grilles</i> (rejas de hierro
forjado) y mucha piedra. Aparte de la torre de piedra mencionada, están presentes
varios arcos rebajados en ladrillo que recuerdan lejanamente al arco Tudor. Por
su parte, los altos tejados inclinados rematados en los extremos por los
consabidos hastiales triangulares, los largos aleros y las verticales <span style="mso-spacerun: yes;"> </span>y características chimeneas de ladrillo,
conforman un pintoresco<i style="mso-bidi-font-style: normal;"> roofline</i> que,
junto al apaisado cuerpo horizontal de la fábrica, funden la casa armónicamente
con el paisaje de los adyacentes campos de golf. </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Aunque no tenga propiamente ninguna <i style="mso-bidi-font-style: normal;">Oriel window</i>, la terraza semicircular
que da a dichos campos de golf <i style="mso-bidi-font-style: normal;">es </i>en
si misma<i style="mso-bidi-font-style: normal;"> </i>una<i style="mso-bidi-font-style: normal;"> bow window</i> monumental. Una invención wendehackiana emanada del Neo
Tudor para la modernidad, a la manera de Luytens. La quinta Peña Viva, como
preconizaba desde 1897 <i style="mso-bidi-font-style: normal;">Country Life</i>,
es así una casa "planificada de manera tan natural, que parecería haber surgido
del paisaje en lugar de haber sido adaptada a éste".6</span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span>Publicado en: Pluscuamperfecto, <i>Entresocios</i>, Caracas, Abril de 2020.<br /></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span><span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">NOTAS:</span>
</p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;">1.
<i style="mso-bidi-font-style: normal;">"Memory, the warder of the
brain".</i> William Shakespeare. Acto 1, escena VII, <i style="mso-bidi-font-style: normal;">The tragedy of Macbeth, </i>1606.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;">2.<span style="mso-spacerun: yes;"> </span>Wikipedia. "Tudor Revival
Architecture": https://en.wikipedia.org/wiki/Tudor_Revival_architecture</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;">3.
Wikipedia. "Country Life (magazine)": https://en.wikipedia.org/wiki/Country_Life_(magazine)</span></p>
<p class="MsoNormal"><span style="font-size: 10pt;">4. Hannia Gomez. </span><i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">Our Architects en Caracas</span></i><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">, Docomomo Venezuela, Caracas,
2017, p. 130.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt;">5. Clifford C. Wendehack,
Durand-Hedden House and Garden Association, Noviembre 1, 2010:
https://www.durandhedden.org/archives/articles/clifford_c_wendehack </span><span style="font-family: "Bodoni MT",serif; font-size: 14pt; mso-bidi-font-family: "Bodoni MT";"></span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;">6.
<i style="mso-bidi-font-style: normal;">"So naturally has the house been
planned that it seems to have grown out of the landscape rather than to have
been fitted into it".</i> Michael Hall (1994). <i style="mso-bidi-font-style: normal;">The English Country House: From the Archives of Country Life 1897–1939</i>.
London: Reed
International Books. ISBN 978-1-85732-5300</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt;"> </span></p>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-54171997384097875902020-01-29T13:12:00.002-04:002023-04-16T11:31:27.961-04:00Dándole combate al río<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ-C-xO6e1S4I6HLBtPktWiT3h6knA21YTjeGqgM8-KIEYfQ7mlY5al3Yk9IUJa7li3bwwDk14J6UNeqS9MPoQutL3S0hRCui0PWxPsFlZF-pjxLBPYpyCgwxEKBrdF_jXb8B2dHYjD7Di/s1600/1.+Fuente+de+la+Cig%25C3%25BCe%25C3%25B1a%252C+Copenhague+%2528f.+Wikimedia+commons%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ-C-xO6e1S4I6HLBtPktWiT3h6knA21YTjeGqgM8-KIEYfQ7mlY5al3Yk9IUJa7li3bwwDk14J6UNeqS9MPoQutL3S0hRCui0PWxPsFlZF-pjxLBPYpyCgwxEKBrdF_jXb8B2dHYjD7Di/s640/1.+Fuente+de+la+Cig%25C3%25BCe%25C3%25B1a%252C+Copenhague+%2528f.+Wikimedia+commons%2529.jpg" width="480" /></a></div>
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<br />
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-size: x-small;"><span lang="ES" style="letter-spacing: 0.05pt; position: relative; top: 0.5pt;">1</span><span lang="ES" style="position: relative; top: 0.5pt;">. <i>Fuente de la
Cigüeña, Copenhague<span style="letter-spacing: -0.2pt;"> </span></i>(<span style="letter-spacing: -0.05pt;">f</span>. <span style="letter-spacing: 0.05pt;">Wikimedia
commons</span>).</span></span><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"></span></div>
<div class="MsoNormal" style="line-height: 10pt; margin-top: 0.1pt; mso-layout-grid-align: none; mso-line-height-rule: exactly; mso-pagination: none; text-autospace: none;">
<br /></div>
<div align="right" class="MsoNormal" style="margin-bottom: 0in; margin-left: 0in; margin-right: 10.05pt; margin-top: 1.45pt; margin: 1.45pt 10.05pt 0in 0in; mso-layout-grid-align: none; mso-pagination: none; text-align: right; text-autospace: none;">
<br /></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">"Cada cosa es una semejanza humana, </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">y sentir esta semejanza, su muerte, su destrucción,
</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">es insoportable para nosotros. </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">Los antiguos reyes eran colocados en sus ataúdes
con sus armaduras, sus implementos; </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">si hubieran podido, se hubieran llevado consigo sus
palacios".</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">Vladimir Nabokov.<i> </i></span><i><span lang="ES" style="font-family: "Times New Roman",serif; font-size: 11.0pt; mso-ansi-language: ES; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">“</span></i><span style="font-family: "Times New Roman",serif; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Man and Things”,<i style="mso-bidi-font-style: normal;"> </i><span style="mso-bidi-font-style: italic;">1947</span><i style="mso-bidi-font-style: normal;">.</i></span><span lang="ES" style="mso-ansi-language: ES;">1</span></div>
<div align="right" class="MsoNormal" style="margin-bottom: 0in; margin-left: 158.85pt; margin-right: 10.0pt; margin-top: 0in; margin: 0in 10pt 0in 158.85pt; mso-layout-grid-align: none; mso-pagination: none; text-align: right; text-autospace: none; text-indent: -5.5pt;">
<br /></div>
<div align="right" class="MsoNormal" style="margin-bottom: 0in; margin-left: 158.85pt; margin-right: 10.0pt; margin-top: 0in; margin: 0in 10pt 0in 158.85pt; mso-layout-grid-align: none; mso-pagination: none; text-align: right; text-autospace: none; text-indent: -5.5pt;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b><span lang="IT" style="font-size: 16pt; mso-ansi-language: IT;">D</span></b><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 16pt; mso-ansi-language: ES;">á</span></b><b><span lang="IT" style="font-size: 16pt; mso-ansi-language: IT;">ndole combate al r</span></b><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 16pt; mso-ansi-language: ES;">í</span></b><b><span lang="IT" style="font-size: 16pt; mso-ansi-language: IT;">o</span></b><span lang="ES" style="font-size: 16pt; mso-ansi-language: ES;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<b><span lang="ES" style="mso-ansi-language: ES;">1.<span style="letter-spacing: -0.1pt;"> </span><span style="letter-spacing: 0.05pt;">Garzas</span></span></b><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Entre las calles de Strøget y de Læderstræde, en pleno corazón de la capital
de Dinamarca, se desarrolla la larga plaza central de Amagertov. Allí, en su
centro, se levanta desde 1894 la <i style="mso-bidi-font-style: normal;">Fuente
de la Cigüeña. </i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">La hermosa fuente de bronce y hierro fundido fue resultado de un concurso
convocado en 1888 por la <i style="mso-bidi-font-style: normal;">Sociedad para el
Embellecimiento de Copenhague</i>, con el fin de celebrar las venideras bodas
de plata de los Príncipes herederos Frederik VIII y Louise el 28 de Julio de 1894.
La propuesta ganadora resultó ser la de dos famosos artistas daneses, el pintor
Edvard Petersen (1841 – 1911) y el escultor Vilhelm Bissen (1836 – 1913),
quienes presentaron un diseño basado en tres aves levantando vuelo en torno a una
columna ornamental central rematada por una corona de juncos. Otra espléndida concursante,
la <i style="mso-bidi-font-style: normal;">Fuente del Dragón</i> de Thorvald
Bindesbøll y Joakim Skovgaard, fue erigida más adelante en la Plaza del
Ayuntamiento, donde todavía se conserva en todo su esplendor. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">El lirismo
escultórico de ambas fuentes finalistas ha marcado desde entonces sensiblemente a Copenhague
como una ciudad encantada que parece sacada de un libro de cuentos. Recordemos
que su símbolo más prominente es la escultura de bronce<i style="mso-bidi-font-style: normal;"> La Sirenita</i> (Edvard Elinsen, 1913), instalada sobre una piedra en
el paseo de la costa Langelinie, en la bahía del puerto, inspirada en una de
las historias de Hans Christian Andersen.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">La Fuente de la Cigüeña (o <i style="mso-bidi-font-style: normal;">de las Garzas</i>,
de acuerdo a una leyenda urbana local), consiste en "una cuenca de piedra de
nueve lados que colecta en torno al pedestal central el agua que cae en tres
pequeñas cascadas desde la taza superior de bronce. Este pedestal está decorado
con relieves de plantas acuáticas; en la cuenca, tres ranas sentadas sobre
hojas de plantas del muelle, lanzan chorros de agua. Sobre un estante en el pedestal
se apoyan las tres aves, cada una partiendo hacia una dirección distinta".2 <span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">La fuente es del tipo <i style="mso-bidi-font-style: normal;">Fontaine de
bassin</i>, una tipología muy propia en los ornamentos de parques y jardines franceses
de fines del siglo XIX, pero también recuerda a las esbeltas fuentes italianas
de Villa Borghese que el pintor naturalista Petersen, amante de los paisajes
románticos, gustaba de pintar tras sus estadías en Italia entre 1875 y 1880.3
En un óleo suyo, <i style="mso-bidi-font-style: normal;">Una fuente en el parque
de Villa Borghese, Roma</i>, de 1859, la entrada ganadora del concurso de
Amagertov pareciera prefigurarse. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<br />
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span style="font-size: x-small;"><span lang="ES"> </span><span lang="ES" style="letter-spacing: 0.05pt;">2.<i>
Edvard Petersen. </i>Una fuente en el parque de Villa Borghese, Roma<i>, 1859 </i>(f.
Wikimedia commons).</span></span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Por su parte, el neoclásico escultor Bissen, a la sazón director de la Real
Academia Danesa de las Artes, era muy apreciado por las muchas estatuas suyas que
adornaban las calles de Copenhague, en particular una gran cantidad de
esculturas de animales. Es este artista animalista quien "le daría
forma" a las aves de la fuente. </span>4<span style="font-size: 10pt;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="mso-ansi-language: ES;">2. <i style="mso-bidi-font-style: normal;">Petites
patrimoines</i></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">La
historia de las fuentes de hierro que hoy nos ocupa fluye también en paralelo por
otra interesante vertiente, tanto en Europa como en América. Para 1894, cuando
se inaugura la Fuente de la Cigüeña en Copenhague, existían ya en Francia y en
los Estados Unidos varias grandes empresas dedicadas a lo que se ha dado en llamar
<i style="mso-bidi-font-style: normal;">Escultura Industrial.</i> </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">Aspirando a
alcanzar la alta calidad artística de piezas de gran elaboración y proceso cívico
como éstas de Dinamarca, y queriendo sacar provecho de la demanda de obras de
ornato público para el ya en expansión paisaje urbano mundial y el furioso amor
finisecular por el <i style="mso-bidi-font-style: normal;">landscaping</i>, nuevas
compañías de fundición surgieron para proveer al mercado objetos de renovada variedad
de formas y número de ejemplares. Entre ellas, destacan la Societé Anonyme des
Fonderies D'Art du Val d'Osne de París y la J.L.Mott Iron Works de Nueva York. </span></div>
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<br /></div>
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<span style="font-size: x-small;"> 3. <i>Galería de modelos de la fundición de arte Val d'Osne </i>(Postal. Glaché J. Mourot).</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">La implantación
de fuentes (y esculturas, farolas, rejas, bancos y todo tipo de mobiliario </span><span lang="ES" style="mso-ansi-language: ES;"><span style="mso-spacerun: yes;"><span lang="ES" style="mso-ansi-language: ES;">urbano en </span></span></span><br />
<span lang="ES" style="mso-ansi-language: ES;">hierro fundido para espacios públicos) implantaría en las ciudades de todo el
mundo estos objetos artísticos ahora industrializados, buscando seguir a imagen
y semejanza <span style="mso-spacerun: yes;"> </span>lo que dictaba el prefecto
del Sena, el Conde de Rambuteau, en su monumental transformación de París, tarea
colosal que haría realidad </span><span lang="ES" style="mso-ansi-language: ES;"> durante el Segundo Imperio </span><span lang="ES" style="mso-ansi-language: ES;">el Baron Hausmann.</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Según la
historia, la Fundición Val D'Osne fue la fundición francesa más importante del
siglo XIX, una sociedad anónima fundada en 1835 por Jean Pierre André Víctor,
inventor de la técnica del hierro fundido. "Gracias a la invención del
hierro fundido artístico, un gran número de esculturas resistentes de alta
calidad y a menudo de grandes dimensiones fueron producidas. El hierro fundido
era más barato que el bronce. El siglo XIX experimentó una locura por este
material, por lo que a dicho siglo también se le llama 'el siglo del
hierro'".5 Estas compañías, al igual que otras igualmente enormes, como la mencionada
J.L.Mott Iron Works, dieron a conocer su producción a través de la publicación
de vastos catálogos, pero sobre todo a través de las exposiciones
internacionales. Con ello, sus obras fueron requeridas por el mundo entero. Y Venezuela
no se quedó atrás en los encargos.</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">A fines
del siglo XIX es el general Antonio Guzmán Blanco quien introduce en el país la
Escultura Industrial a través de la creación y remodelación a la francesa de
los principales espacios públicos de la ciudad. Este gusto y práctica
contagiaron rápidamente el campo privado, y muy pronto más y más propietarios
de villas y jardines decidieron también embellecerlos adquiriendo fuentes y
estatuaria residencial y todo tipo de piezas ornamentales industriales en
hierro fundido. Así, nuestras ciudades empezaron a poblarse de lo que hoy se
conoce en Francia como <i style="mso-bidi-font-style: normal;">petites
patrimoines</i>, es decir, pequeños patrimonios.</span></div>
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<span lang="ES" style="font-size: x-small; letter-spacing: 0.05pt;">4</span><span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">.<span style="letter-spacing: 2.45pt;"> </span><i><span style="letter-spacing: 0.05pt;">P</span></i><i style="mso-bidi-font-style: normal;">á<span style="letter-spacing: 0.05pt; mso-bidi-font-style: italic;">gina de un cat</span>á<span style="letter-spacing: 0.05pt; mso-bidi-font-style: italic;">logo</span><span style="letter-spacing: -0.25pt; mso-bidi-font-style: italic;"> </span></i>de la Fundición Val D'Osne (f. marcmaison.com).</span><span lang="ES" style="mso-ansi-language: ES;"></span></div>
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<span lang="ES" style="font-size: x-small; letter-spacing: 0.05pt;">5</span><span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">.<span style="letter-spacing: 2.45pt;"> </span><i><span style="letter-spacing: 0.05pt;">Portada del Cat</span></i><i style="mso-bidi-font-style: normal;">á<span style="letter-spacing: 0.05pt; mso-bidi-font-style: italic;">logo</span><span style="letter-spacing: -0.25pt; mso-bidi-font-style: italic;"> H, Sección I, Fuentes</span></i><span style="letter-spacing: -0.25pt; mso-bidi-font-style: italic;">, </span><i style="mso-bidi-font-style: normal;">The J.L. Mott Iron Works, Nueva York</i> (f.
Internet Archive.org).</span></div>
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<b><span lang="ES" style="mso-ansi-language: ES;">3.<span style="letter-spacing: -0.1pt;"> Tres tristes ibises</span></span></b></div>
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<span lang="ES" style="mso-ansi-language: ES;">En
Venezuela, la Garza, o <i style="mso-bidi-font-style: normal;">Heron, </i>es "muy
conocida por su belleza y destacado color blanco. Habita en toda clase de
humedales, tanto interiores como costeros. Con presencia en todo el mundo, en
el continente americano se halla desde el sur de Canadá hasta el sur de
Suramérica y en Venezuela, en todo el territorio nacional incluyendo las islas."6
Hablando de Caracas, esta no es otra que nuestra típica Garza blanca (<i style="mso-bidi-font-style: normal;">Ardea alba</i>), de belleza mil veces
retratada en los lagos del Parque del Este, pero también en las desoladas riberas
del río Guaire. </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Alguna vez
oímos que habían hecho su llegada a Venezuela desde África a mediados del siglo
pasado. Esta información debería ser contrastada hoy con la memoria urbana de
un hermoso espacio público de Caracas, la Plaza Sucre, en el Casco Histórico de
Petare, donde unas garzas hicieron su temprana aparición por allá a fines del
siglo XIX. </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">En 1876 Guzmán
Blanco, según reza la declaratoria de patrimonio de la Plaza Sucre del
Instituto del Patrimonio Cultural, "colocó una fuente" en el lado sur
de la rectangular plaza, frente a la Iglesia del Dulce Nombre de Jesús.7 La
fuente de hierro fundido todavía se conserva allí (2020), pero, a diferencia de la
plaza, lamentablemente no está protegida por ninguna declaratoria. </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">La
petareña fuente se compone de tres tazas sostenidas por un pedestal simple al
centro de una cuenca octogonal. Por supuesto, hoy sin agua alguna que fluya entre
ellas. La particularidad de esta</span></div>
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<span lang="ES" style="font-size: x-small; position: relative; top: 0.5pt;">6<i>. Plaza Sucre, Casco Histórico de Petare<span style="letter-spacing: -0.2pt;"> </span></i></span><span lang="ES" style="font-size: x-small; position: relative; top: 0.5pt;">(<span style="letter-spacing: -0.05pt;">f</span>. <span style="letter-spacing: 0.05pt;">Rodolfo
Crespo, s/f</span>).</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">fuente reside en la pieza de la base, donde un cuarteto de garzas apenachadas sostienen
la columna central decorada con juncos de Dinamarca. El color original se
conserva todavía, como lo quiso una vez el emperador Napoleón III, quien escogió
para las fuentes de Paris el verde para hacer "referencia a la
naturaleza", color que la ciudad de Paris ha querido conservar hasta hoy…
y parece que Petare también, <i style="mso-bidi-font-style: normal;">grâce a Dieu</i>.11</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Esta
fuente es, sin duda, una escultura industrial decimonónica, irremediablemente
emparentada con varias otras fuentes en otros lugares, dentro y fuera del país.
Empezando, por supuesto, primero por la Fuente de la Cigüeña de Copenhague; luego
por la gran fuente ornamental en hierro fundido de la plaza Chevandier en
Cirey-sur-Vezouze y sus garzas en reposo (catálogo Val d'Osne 2, lámina 551, ID
2407); continuando por la <i style="mso-bidi-font-style: normal;">Fuente de las
Grullas </i>de Oruro (catálogo Val d'Osne, lámina 530, n° 37) y por la <i style="mso-bidi-font-style: normal;">Fuente<span style="mso-spacerun: yes;">
</span>de la Square Sir George Etienne Cartier</i> del parque del mismo nombre
en Montreal, erigida en 1912 por la fundición neoyorkina The J.L.Mott Iron
Works y cuyo segundo tramo presenta exactamente la misma pieza a cuatro garzas
de la fuente de Petare.</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Esto para
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
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mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
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font-size:10.0pt;
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<![endif]--><span lang="ES" style="font-family: "Times New Roman",serif; font-size: 11.0pt; mso-ansi-language: ES; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">ú</span><span lang="ES" style="mso-ansi-language: ES;">n más numerosos-.
Porque en nuestra ciudad la población de garzas en hierro fundido tiene su
hábitat en unos cuantos jardines más. Allí está la hermosa fuente de una sola
cuenca de los jardines de la Hacienda La Vega, con su dos garzas caminantes y sus
altas flores de loto, que ha perdido su estanque y por ende todo contacto con
el agua, o la pintarrajeada fuente -también sin agua- de Villa Elena en Los
Chorros, más robusta, pero también de cuenca simple y coronada por una<span style="mso-spacerun: yes;"> </span></span><span lang="ES" style="mso-ansi-language: ES;"><span style="mso-spacerun: yes;"><span lang="ES" style="mso-ansi-language: ES;">garza de
pico enhiesto que ha perdido el ala derecha. </span></span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5BPQGOwKiJ-JcIF5m3CA0i_hEhwLtXaj3zccVY4fRtNkm6QJyi-C6PmFxMnpI6LDhEIue463qYH64Ub-9czHxLT_sJ9aYEe5Xs6Qp3X4Q8BfEGZ1NNB6-yzRF5lcvAOFcUIx6nsykXSWx/s1600/7.+Fuente+de+las+Garzas%252C+Plaza+Sucre%252C+Casco+Hist%25C3%25B3rico+de+Petare+%2528f.+Horacio+reyes%252C+sf%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1290" data-original-width="970" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5BPQGOwKiJ-JcIF5m3CA0i_hEhwLtXaj3zccVY4fRtNkm6QJyi-C6PmFxMnpI6LDhEIue463qYH64Ub-9czHxLT_sJ9aYEe5Xs6Qp3X4Q8BfEGZ1NNB6-yzRF5lcvAOFcUIx6nsykXSWx/s640/7.+Fuente+de+las+Garzas%252C+Plaza+Sucre%252C+Casco+Hist%25C3%25B3rico+de+Petare+%2528f.+Horacio+reyes%252C+sf%2529.jpg" width="480" /></a></div>
</div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span lang="ES" style="font-size: x-small; position: relative; top: 0.5pt;">7.<i> Fuente de las Garzas, Plaza Sucre, Casco
Histórico de Petare<span style="letter-spacing: -0.2pt;"> </span></i></span><span lang="ES" style="font-size: x-small; position: relative; top: 0.5pt;">(<span style="letter-spacing: -0.05pt;">f</span>. <span style="letter-spacing: 0.05pt;">Horacio reyes, s/f</span>).</span><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">Finalmente,
como el nombre de la fuente de Petare no aparece todavía por ninguna parte, quisiéramos
proponerle a nuestros amigos lectores bautizarla como la <i style="mso-bidi-font-style: normal;">Fuente de las Garzas</i>, para aprovechar y hacerle un guiño a la
ciudad de Copenhague. Todo esto para llevarles además la
buena nueva de que</span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4PwUFKHeEJxiIL7_Y6z-ljvU_BOPfKtjq8zmDyhwud30LYnNZmOJmLmbg09KcRRRPmPuBMTG92yZU8AuRoLr96LS8VctA49wQDMDk65zKEhWbVt7C9iVJdYBAiKjaSMgtSv2vm-X276a/s1600/8.+Detalle+de+la+Fuente+de+las+Garzas%252C+Petare+%2528f.+Cr%25C3%25A9dito+a+su+autor%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1545" data-original-width="1242" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK4PwUFKHeEJxiIL7_Y6z-ljvU_BOPfKtjq8zmDyhwud30LYnNZmOJmLmbg09KcRRRPmPuBMTG92yZU8AuRoLr96LS8VctA49wQDMDk65zKEhWbVt7C9iVJdYBAiKjaSMgtSv2vm-X276a/s640/8.+Detalle+de+la+Fuente+de+las+Garzas%252C+Petare+%2528f.+Cr%25C3%25A9dito+a+su+autor%2529.jpg" width="514" /></a></div>
</div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">8. <i style="mso-bidi-font-style: normal;">Detalle
de la Fuente de las Garzas, Petare</i> (f. Crédito a su autor).</span><br />
<br />
<br /></div>
<span lang="ES" style="mso-ansi-language: ES;">este modelo de fuente, como la de Los Chorros, se mantiene <i style="mso-bidi-font-style: normal;">alive and well</i> y en producción por una
empresa en los Estados Unidos, y esta disponible según catálogo para quien
pueda interesarse en tener información para restaurarlas. Como</span><span lang="ES" style="mso-ansi-language: ES;"> prueba, publicamos
aquí uno de sus dibujos técnicos.12 </span><br />
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br />
<div style="text-align: left;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ZUtUuc18wdfV2oIEHrXuqIF0Uc9QWqUaBUvFQ6psRnHJ0gJ_zJG8MrERtE9ytdx-9aP4u48plNREUuz5OXyk8TO-gOAcZAmFeuTq83CMI3g4rpjXyuks_zS5MttkFYYxOmqUDswNyUST/s1600/9.+Tall+Crane+Fountain.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1265" data-original-width="1600" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8ZUtUuc18wdfV2oIEHrXuqIF0Uc9QWqUaBUvFQ6psRnHJ0gJ_zJG8MrERtE9ytdx-9aP4u48plNREUuz5OXyk8TO-gOAcZAmFeuTq83CMI3g4rpjXyuks_zS5MttkFYYxOmqUDswNyUST/s640/9.+Tall+Crane+Fountain.jpg" width="640" /></a><span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;"> </span></div>
</div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;"> 9. <i style="mso-bidi-font-style: normal;">Alzado.
Tall Crane Fountain</i> (f. Robinson Iron).</span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">No olvidemos que aunque estos pequeños
patrimonios hayan sido abandonados, las bellas fuentes de hierro fundido del
siglo XIX fueron devueltas al mundo del arte desde 1986 gracias a la apertura
del Museo de Orsay en Paris, que colocó su impresionante colección de arte <i style="mso-bidi-font-style: normal;">animalière </i>en toda la plaza de entrada,
en reconocimiento al arte ornamental del hierro fundido.13 </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">Así, en
este comienzo de década, a la vez que queremos desearles a todos desde esta
columna paz, salud y sobre todo libertad, hacemos votos también porque los tres
tristes ibises de nuestras fontanería industrial caraqueña puedan ser
restaurados y devueltos a todo su esplendor original en sus respectivos
espacios patrimoniales. </span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="mso-ansi-language: ES;">Ya es hora
de que estas garzas centenarias puedan seguirle dando combate al río.</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4gmsJ_QgHL7oTAEpOx0mCCFVfmA_oKRneIWSj7679vtBsvKjPYnqM9b2PeYLDhpKUOvYIemnkDBY71HJ5AzzFgLziOD8_Y0kDWto4UDqzkUHt_2WzEEF9HdAJb9-yLCn-W1GBePt1OLcH/s1600/10.+Petare.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1551" data-original-width="1242" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4gmsJ_QgHL7oTAEpOx0mCCFVfmA_oKRneIWSj7679vtBsvKjPYnqM9b2PeYLDhpKUOvYIemnkDBY71HJ5AzzFgLziOD8_Y0kDWto4UDqzkUHt_2WzEEF9HdAJb9-yLCn-W1GBePt1OLcH/s640/10.+Petare.jpg" width="512" /></a></div>
</div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">11. <i style="mso-bidi-font-style: normal;">Petare</i>
(f. Crédito a su autor).</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-size: x-small;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDfEa4qJ42rTfnhyw_gokMkE2OHY_lGYd4ksuvqHI-UZiSb8Qv8J1XKOtUuG5fwd7q7kyqpx5tUyX7zfWSw_cBLFoAQTIFxIuRD0XwEUJd7j3qVZB9QUCiWxEt3geIva5rUW3eGGcS7Sjy/s1600/11.+Hacienda+La+Vega%252C+2019.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDfEa4qJ42rTfnhyw_gokMkE2OHY_lGYd4ksuvqHI-UZiSb8Qv8J1XKOtUuG5fwd7q7kyqpx5tUyX7zfWSw_cBLFoAQTIFxIuRD0XwEUJd7j3qVZB9QUCiWxEt3geIva5rUW3eGGcS7Sjy/s640/11.+Hacienda+La+Vega%252C+2019.jpg" width="480" /></a></div>
</div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">11. <i style="mso-bidi-font-style: normal;">Hacienda
La Vega </i>(f. Hannia Gómez, 2019).</span><br />
<br />
</div>
<div class="MsoNormal" style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8eLSf2iSh7KLI0l3FJYW4cdBi6ZzuiNXlM8-IL49rghZx6BOVmTa1TBkzeYEs4drtPVcVAqpW97Q7Fy1vvfxcje83kpJud_PLzqEBL5-_rzoygi6fAnOEiPmFToz6aZ-VGVMFxGtS6c0h/s1600/11.+Villa+Helena%252C+Los+Chorros+%2528f.+Sara+Maneiro%252C+2016%2529.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1059" data-original-width="736" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8eLSf2iSh7KLI0l3FJYW4cdBi6ZzuiNXlM8-IL49rghZx6BOVmTa1TBkzeYEs4drtPVcVAqpW97Q7Fy1vvfxcje83kpJud_PLzqEBL5-_rzoygi6fAnOEiPmFToz6aZ-VGVMFxGtS6c0h/s640/11.+Villa+Helena%252C+Los+Chorros+%2528f.+Sara+Maneiro%252C+2016%2529.JPG" width="443" /></a></div>
</div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">11. <i style="mso-bidi-font-style: normal;">Villa Elena, Los Chorros </i>(f. Sara Maneiro, 2016).</span></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: center; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">NO<span style="letter-spacing: 0.15pt;">T</span><span style="letter-spacing: -0.1pt;">A</span>S:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10pt; letter-spacing: 0.05pt;">1</span><i><span style="font-size: 10pt;">.<span style="letter-spacing: -0.1pt;"> </span></span></i><i style="mso-bidi-font-style: normal;"><span style="font-size: 10pt;">A thing is a human likeness, and sensing
this likeness, its death, its destruction, is unbearable for us. Ancient kings
were laid in their coffins with their armor, their implements; they would have
taken their palaces with them if they could.</span></i><span style="font-size: 10pt;"> En: Vladimir Nabokov. "Man and Things", <i style="mso-bidi-font-style: normal;">The New Yorker</i>, New York,
Noviembre 8, 2019.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10pt;">2.
Wikipedia: "Stork Fountain":
https://en.wikipedia.org/wiki/Stork_Fountain</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="NO-BOK" style="font-size: 10pt; mso-ansi-language: NO-BOK;">3. Wikipedia: "Edvard
Petersen": https://en.wikipedia.org/wiki/Edvard_Petersen</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="NO-BOK" style="font-size: 10pt; mso-ansi-language: NO-BOK;">4. Wikipedia: "Vilhelm
Bissen": https://en.wikipedia.org/wiki/Vilhelm_Bissen</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="NO-BOK" style="font-size: 10pt; mso-ansi-language: NO-BOK;">5. Val d'Osne Foundry:
https://www.marcmaison.com/architectural-antiques-resources/val-dosne-foundry-cast-iron-statue-sculpture</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">6. Garza real. Audubon de Venezuela: </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">https://www.audubonvenezuela.org/aves-venezuela/aves-del-mes/conociendo-las-aves-de-venezuela/304-conociendo-garzablancareal.html</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">7. "Plaza Sucre", Municipio Sucre, Catalogo del Patrimonio
Cultural, I Censo Nacional del Patrimonio, Instituto del Patrimonio Cultural,
Caracas , 2005, p. 56.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">8. "Grande fontaine en fonte à Cirey-sur-Vezouze".
Petite Patrimoine:
https://www.petit-patrimoine.com/fiche-petit-patrimoine.php?id_pp=54129_5</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="ES" style="font-size: 10pt; mso-ansi-language: ES;">9. "Fuente de las<span style="mso-spacerun: yes;"> </span>Grullas de
Oruro". </span><span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">De fonte et de bronze, dans l'espace public, le patrimoine monumentale
français dans le monde: https://e-monumen.net/patrimoine-monumental/grullas-grues-oruro/</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">10. "Fontaine du Square Sir-George-Étienne-Cartier (Saint-Henri)".
</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">Mes quartiers: https://mesquartiers.wordpress.com/2017/07/18/top-15-des-plus-belles-fontaines-a-montreal/</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">11.<b style="mso-bidi-font-weight: normal;"> "</b>Les fontaines du XIXe
siècle (3e partie) du Second-Empire aux fontaines Wallaces". Paris On
Theme:</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">http://parisontheme.blogspot.com/2017/03/les-fontaines-du-xixe-siecle-3e-partie.html</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span lang="FR" style="font-size: 10pt; mso-ansi-language: FR;">12.<b style="mso-bidi-font-weight: normal;"> </b><span style="mso-spacerun: yes;"> </span>"Tall crane". Robinson Iron: https://www.robinsoniron.com/product/tall-crane/</span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-size: 10pt;">13. Val d'Osne Foundry.
<i style="mso-bidi-font-style: normal;">Op.Cit.</i></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br />
<br />
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<span style="font-size: small;">Publicado en: Opinión, @ELNACIONALWeb, Caracas, Enero 28 de 2020: https://www.elnacional.com/opinion/dandole-combate-al-rio/</span><br />
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-align: justify; text-autospace: none;">
<br /></div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-22253316008752738432019-12-17T15:58:00.003-04:002019-12-17T16:18:23.856-04:00Un Renacimiento Moderno<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixrUvOyuR2m-VeF-SWhvtNVhfo_gnlGKv5cumlgwbGU-6UsHKvRxvj5sCNj3Vc0J6BpVVR_qMlOcNjKugHpuGfZoTn6krLOR1utJWWyOuKbf4Cm7i70EPSF6oF0B6GY_vjp6wcUpLZ5z4n/s1600/1.+Graziano+Gasparini+en+la+casa+de+Caraballeda%252C+en+1954+-+Copy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="959" data-original-width="1380" height="443" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixrUvOyuR2m-VeF-SWhvtNVhfo_gnlGKv5cumlgwbGU-6UsHKvRxvj5sCNj3Vc0J6BpVVR_qMlOcNjKugHpuGfZoTn6krLOR1utJWWyOuKbf4Cm7i70EPSF6oF0B6GY_vjp6wcUpLZ5z4n/s640/1.+Graziano+Gasparini+en+la+casa+de+Caraballeda%252C+en+1954+-+Copy.jpg" width="640" /></a></span></div>
<span style="font-size: x-small;"><i>Graziano
Gasparini. Tanaguarena, 1954</i> (f. Armando Planchart, 1954. Archivo Gio
Ponti Caracas. Fundación Anala y Armando Planchart).</span><br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: right;">
«<i>Hay que levantarse muy temprano</i></div>
<div style="text-align: right;">
<i>para ganarle a Graziano</i>«.</div>
<div style="text-align: right;">
Raúl Garmendia, c. 1970.</div>
<br />
<h2>
<span style="font-size: small;">1. Arquitectura <i>e si</i></span></h2>
<div style="text-align: justify;">
El pasado 30 de noviembre
falleció en Caracas el arquitecto e historiador de la arquitectura
Graziano Gasparini. Aunque su avanzada edad nos tenía desde hacía tiempo
preparándonos inevitablemente para despedirlo algún día -que
esperábamos fuera más lejano-, siempre su espíritu jovial y su despierta
inteligencia nos disuadían cada vez de la idea, haciéndonos creer que
batiría sin duda todos los récords de longevidad junto al propio récord
nacional que ostentaba de sus libros escritos, siempre con un par de
ellos en el tintero, como nos tenía acostumbrados.</div>
<br />
<div style="text-align: justify;">
Hoy,
las crónicas nos refrescan la importancia de su obra y lo dilatado de
su extraordinaria carrera para impresionarnos nuevamente, aunque la
certeza de su trayectoria ha acompañado continuamente a varias
generaciones de arquitectos con su presencia formidable, como si fuera
la montaña del Ávila de la arquitectura en Venezuela: sólida, segura y
sobre todo, monumental. 1,2,3.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Gasparini
está presente en la arquitectura de Venezuela y de Latinoamérica por
donde quiera que se mire. Empezando por la literatura arquitectónica.
Una revelación para cualquiera que se tope con sus libros, donde su amor
por la cultura de la arquitectura le instaba a hacer gala en sus textos
de cada preciosa palabra existente en castellano para referirse a cada
parte de un edificio o de la ciudad con verbo exacto. Porque la
restauración fue también la de nuestra lengua arquitectónica. Solo mucho
más tarde vinieron los Glosarios de Luis Fernández-Galiano en <i>Arquitectura Viva</i>…
Eso, nada más, le abrió la puerta a más de uno para asomarse al mundo
fantástico del saber arquitectónico. Una invitación al paraíso.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
O
la precisión pictórica de sus fotografías. Por aquello de que una imagen
dice más que mil palabras, y entonces, aquí las imágenes de nuestra
arquitectura precolombina, colonial, republicana y moderna eran
filtradas por esa particular composición geométrica suya tan amante del
claroscuro que inmortalizaba los lugares dejándolos grabados
indeleblemente en la memoria. De alguna manera, como idealizados. Cosa
que sucedía aun más intensamente con las escenas arquitectónicas y
urbanas en su pintura, destilando metafísica en su personal
contemplación del paisaje latinoamericano desde la memoria italiana de
sus ancestros.</div>
<br />
<div style="text-align: justify;">
Y es que las Italias de Gasparini marcaron la percepción de Venezuela con un <i>stil nuovo</i>.
Y nuestra arquitectura pudo verse liviana, pudo ser monumental, pudo
ser veneciana, fue scarpiana, fue zeviana, fue pontiana y fue sobre todo
italianamente moderna, como todas esas Italias que aún no hemos
desglosado del todo, porque todavía está pendiente el análisis detallado
de su obra, especialmente la arquitectónica. Nada más hermoso que leer
su argumentación relacionando a Adolf Loos y la riqueza <i>povera</i> de la arquitectura colonial venezolana.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Algo que en Docomomo Venezuela empezamos a hacer en 2013 en la exposición <i>Las Italias de Caracas</i>,
donde el desaparecido maestro tenía un capítulo titulado «Graziano,
arquitecto en Venezuela», que comenzaba diciendo: «El viejo adagio
veneciano que reza ‘<i>Veneziani, poi cristiani</i>‘, habría que modificarlo por ‘<i>Veneziellano, poi cristiano</i>‘,
para poderlo aplicar a este veneciano llegado al país en 1948, quien ha
puesto en su vida a Venezuela por encima de todas las cosas».4<br />
<br />
</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzPBRafbOvDCszQXvGzeBz0HfLphUL7qjsM91ESnti36veuj0BSy0pOKywL-SX37eSnxuYQkwB8iTuD35v57FS2euFO59tHS3NF_BApXbXVijFL238XtfFdMMlyGF4DUpXLFXKlyYtCLH1/s1600/2.++Casa+Gasparini+1+%2528f.+Grazaino+Gasparini%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1261" data-original-width="1600" height="504" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzPBRafbOvDCszQXvGzeBz0HfLphUL7qjsM91ESnti36veuj0BSy0pOKywL-SX37eSnxuYQkwB8iTuD35v57FS2euFO59tHS3NF_BApXbXVijFL238XtfFdMMlyGF4DUpXLFXKlyYtCLH1/s640/2.++Casa+Gasparini+1+%2528f.+Grazaino+Gasparini%2529.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i> Casa Gasparini 1, Junko Country Club, Caracas </i> (f. Graziano Gasparini).</span><br />
<br />
<br />
<div style="text-align: justify;">
Sí: mucho nos hará falta. Por todas estas y más razones que todos
conocemos, pero sobre todo en este momento difícil que atravesamos, por
su valentía sin pelos en la lengua para llamar las cosas por su nombre.
Tiempos en que la anomia y la anarquía han precipitado las violaciones
de la Ley de Defensa y Protección del Patrimonio Cultural, las cuales
están desatadas como nunca, con renovada furia, y la legalidad y las
declaratorias patrimoniales están padeciendo una nueva ola de
invisibilidad, donde pareciera que ni siquiera existen, porque ya nadie
las acata… Hoy, las demoliciones y las desfiguraciones lamentablemente
solo van <i>in crescendo</i>… Y habrá que recordar mucho a Gasparini y
continuar denunciando con propiedad, con fuerza y sin desmayo los
escándalos, las atrocidades y la barbarie que se suscitan todos los días
a lo largo y ancho del territorio nacional -y también en el resto del
mundo- contra la memoria urbana y la historia de la arquitectura.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Así, releamos pues su último libro, <i>Arquitectura y no</i>
(Caracas, Editorial Arte, 2016), y asumamos la tarea que nos lega de
seguir peleando con seriedad, criterio y conocimiento de causa por
nuestro país arquitectónico. Para que algún día podamos de nuevo volver a
decir en este país: Arquitectura <i>e si</i>.</div>
<h2 style="text-align: left;">
<span style="font-size: small;">2. Memoria urbana</span></h2>
<div style="text-align: justify;">
En
este año de 2019 en que a Gasparini le tocó dejarnos, el mundo está en
medio de la celebración del 500 aniversario del nacimiento del más
universal de los hombres, Leonardo da Vinci. Y junto con ella viene
naturalmente la revisión contemporánea del concepto de la universalidad
renacentista, sus cruces transcientíficos y la naturaleza transartística
del genio de Leonardo. Un <i>zeitgeist</i> ideal también para revisar
el legado de su compatriota moderno, quien fuera arquitecto, profesor,
historiador, investigador, autor, crítico de arquitectura y de arte,
galerista, restaurador de monumentos, fundador de instituciones,
delegado, <i>scholar</i> fotógrafo y pintor, todo ello a la vez, <i>alla maniera rinascimentale</i>.<br />
<br />
Universalidad que, junto a su admirablemente actual y premonitoriamente
contemporánea visión sobre la restauración del patrimonio arquitectónico
y sobre la conservación de la ciudad (Gasparini ya había sido «desde
1974 hasta 1982 fundador y primer director de la Dirección de Patrimonio
Histórico, Artístico y Ambiental del Conac», que consolidara la
protección del patrimonio en Venezuela)5, al pasar al siglo XXI no se
detuvo nunca en la tarea, siguiendo adelante hacia la modernización y
perfeccionamiento de su propia scarpiana visión del <i>restauro</i>,
saltando a la escala urbana y abrazando la herencia de la modernidad,
para lo cual participó con entusiasmo y generosidad en la creación de la
Fundación de la Memoria Urbana en 2000, del Centro de la Ciudad en 2001
y de Docomomo Venezuela en 2010, todas instituciones amparadas por su
experiencia e inspiradas en su manera de entender el patrimonio. Nada
más por ello, nosotros personalmente le estamos eternamente agradecidos.<br />
<br />
Nunca
se nos olvidará aquel día del año 2000, cuando todavía estaban frescas
las ruinas del edificio Galipán, demolido el 28 de diciembre de 1999,
Día de los Inocentes. Ese día le propusimos hacer una fundación para
salvar la arquitectura moderna en Venezuela que poéticamente llamaríamos
«Fundación de la Memoria». A lo que el nos contestó: <i>«No. De la memoria
solamente, no. Porque ningún monumento está solo en la ciudad: la
ciudad lo acompaña y a la vez, él califica a la ciudad. Nuestra
fundación se llamará Fundación de la Memoria Urbana».</i><br />
<br />
Y como en aquel cuadro de Gentile Bellini sobre la <i>Piazza San Marco</i>
al que tanto hacía referencia para explicar el significado de la
conservación, también en la ciudad moderna a partir de entonces los
monumentos de la modernidad deberían ser conservados no como objetos
abstractos aislados, sino junto con su entorno… como en las ciudades
tradicionales italianas.</div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
Así, la Lista de la Caracas Moderna surgió.5 Y gracias a Graziano Gasparini, fue como un nuevo Renacimiento Moderno.<br />
<br />
<br />
<div style="text-align: right;">
<i>In memóriam</i> Graziano Gasparini (Gorizia, 1924 – Caracas, 2019).<br />
</div>
<div style="text-align: right;">
<br /></div>
</div>
<div style="text-align: justify;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifhk_Bvh2NkLpJ8P14gKABReg-8SRK5SHcB1O9TmuJfbVEx49-Q4Q7Ne2lnTH4PBQjMbhY0orUxfSK15lo5lsXkhkwxNK4CniVt1DpAhKScPg9woNC_9Ts0sTDHHfxib_xWX2PPShK1sGS/s1600/3.+Gentile_bellini%252C_processione_in_piazza_san_marco_01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="739" data-original-width="1500" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifhk_Bvh2NkLpJ8P14gKABReg-8SRK5SHcB1O9TmuJfbVEx49-Q4Q7Ne2lnTH4PBQjMbhY0orUxfSK15lo5lsXkhkwxNK4CniVt1DpAhKScPg9woNC_9Ts0sTDHHfxib_xWX2PPShK1sGS/s640/3.+Gentile_bellini%252C_processione_in_piazza_san_marco_01.jpg" width="640" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">Procesión en la Plaza San Marco. Gentile Bellini, 1496 (f. Gallerie dell’Accademia, Venecia.</span><br />
<br />
<br />
<br />
<div style="text-align: left;">
<span style="font-size: x-small;"><span style="font-size: small;">Publicado en: </span></span><span style="font-size: x-small;"><span style="font-size: small;">Opinión, @ELNACIONALWeb, Caracas, Diciembre 17 de 2019: https://www.elnacional.com/opinion/un-renacimiento-moderno/</span></span></div>
<br />
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
</div>
</div>
<br />
NOTAS<br />
1. Guadalupe Burelli. «Graziano
Gasparini (1924-2019): el historiador de la arquitectura colonial
venezolana», Italia y Venezuela: 20 testimonios, Prodavinci, 23 de
septiembre, 2009: <a href="https://prodavinci.com/graziano-gasparini-1924-2019-el-historiador-de-la-arquitectura-colonial-venezolana-1/">https://prodavinci.com/graziano-gasparini-1924-2019-el-historiador-de-la-arquitectura-colonial-venezolana-1/</a><br />
2. Papel literario.»Graziano Gasparini: el caminante que se detuvo en los monumentos», <i>El Nacional</i>, Caracas, febrero 3, 2019: <a href="https://www.elnacional.com/papel-literario/graziano-gasparini-caminante-que-detuvo-los-monumentos_269294/">https://www.elnacional.com/papel-literario/graziano-gasparini-caminante-que-detuvo-los-monumentos_269294/</a><br />
3. Marco Negrón. «La pasión de Graziano», TalCual, Caracas, 10 de diciembre, 2019: <a href="https://talcualdigital.com/la-pasion-de-graziano-por-marco-negron/">https://talcualdigital.com/la-pasion-de-graziano-por-marco-negron/</a><br />
4. Docomomo Venezuela «Graziano, arquitecto en Venezuela», <i>Las Italias de Caracas</i>, Sala TAC, Caracas, 2013.<br />
5. Wikipedia: «Graziano Gasparini»: <a href="https://es.wikipedia.org/wiki/Graziano_Gasparini">https://es.wikipedia.org/wiki/Graziano_Gasparini</a><br />
6. Caracas Moderna: <a href="https://fundamemoria.blogspot.com/">https://fundamemoria.blogspot.com/</a><br />
<br />
<br />
<br />Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-81926689496381145622019-12-17T15:48:00.002-04:002019-12-17T15:51:18.010-04:00El parque<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
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<span lang="ES" style="font-size: 8.0pt; mso-ansi-language: ES; mso-no-proof: yes;"></span><i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-size: 8.0pt; mso-ansi-language: ES;">Vista del
Caracas Country Club desde el aire. Al centro, la desaparecida quinta Los Pinos</span></i><span lang="ES" style="font-size: 8.0pt; mso-ansi-language: ES;"> (f. Yann Arthus-Bertrand,
2009).</span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;">"Plus
on conna</span></i><i><span style="font-style: normal; mso-bidi-font-style: italic;">î</span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;">t,</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;">plus on
aime".</span></i><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;"></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="PT-BR" style="font-size: 10.0pt; mso-ansi-language: PT-BR;">Leonardo da Vinci. 1</span></div>
<br />
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">En arquitectura existe una expresión muy hermosa, una
celebre metáfora botánica, <i style="mso-bidi-font-style: normal;">parque
arquitectónico</i>. En ella se reconoce la analogía que se establece entre las
creaciones humanas y las creaciones divinas, donde el arte se erige como una
nueva naturaleza creada por el hombre. Desde tiempos inmemoriales, el Jardín
del Edén fue también un mítico paraíso arquitectónico, rodeado de murallas, con
sus monumentales puertas, surcado de canales y sembrado de estanques y fuentes.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">En el <i style="mso-bidi-font-style: normal;">Pequeño
Larousse Ilustrado</i>, <i style="mso-bidi-font-style: normal;">planta</i> aparece
como una expresión proveniente del latín que significa "nombre general que
comprende todo lo que vive adherido al suelo por medio de raíces".2 Así, la
botánica es "el estudio de las plantas". </span><span class="MsoPageNumber"><span lang="ES" style="mso-ansi-language: ES;">S</span></span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">imilarmente, la
arquitectura comprende también el estudio de las dibujos y de los planos de los
edificios, es decir de las <i style="mso-bidi-font-style: normal;">plantas</i>,
igualmente adheridas al suelo, y dejando en el sensibles raíces… No es casual
que a las representaciones bidimensionales de los edificios se les llame
"plantas", y no tan solo porque son plausibles de ser recorridas por
los pies humanos.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">Continuando con la analogía botánica, un edificio
de <i style="mso-bidi-font-style: normal;">nueva planta</i> es un proyecto nuevo.
Un edificio <i style="mso-bidi-font-style: normal;">bien plantado</i>, es un
proyecto bien planteado. La historia de la arquitectura es como un herbolario.
Un darwiniano estudio del origen y la evolución de las especies: desde la cabaña
primitiva hasta la más fractal de las arquitecturas contemporáneas. El desfile
magnifico de las arquitecturas por la historia está lleno así de las más exóticas
floraciones, de especimenes de todos los tipos. A veces, flores de un día; a
veces, flores eternas, que generalmente, cuanto más bellas, se volvieron más
importantes, y por ende, más influyentes<span style="mso-spacerun: yes;">
</span>e inolvidables. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">La expresión <i style="mso-bidi-font-style: normal;">parque
arquitectónico</i> se usa, pues, comúnmente para designar grandes territorios
que contienen una serie de edificios que comparten características y valores
comunes. Pueden ser de un mismo uso, como una ciudad universitaria, por
ejemplo, o de una misma época, como una ciudadela fortificada de la Toscana. O
pueden ser, como ocurre en el Caracas Country Club, como una colección de
arquitecturas notables diseñadas por distintos arquitectos en distintas décadas
dentro de un<span style="mso-spacerun: yes;"> </span>paisaje cultural que les es
común a todas. En este caso, el paisaje cultural creado por Olmsted Brothers en
1928, celebrando la belleza natural original del valle de Caracas. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">En el parque arquitectónico del Country cada pieza
a la vez que es única, detentando un momento singular e irrepetible, de los 30,
40, 50, 60, 70, neohispanas, modernas, Art Déco, neovascas, neocoloniales,
neoprovenzales, concurren con su presencia a la belleza coral del conjunto. Todas,
suman en la creación de este jardín inigualable de la modernidad caraqueña. De
allí la importancia de la declaratoria patrimonial del Caracas Country Club
como urbanización completa. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">Es el reconocimiento a su verdadera naturaleza, que
todos debemos conocer, a fin de poder amarla y en definitiva, poderla
conservar.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Publicado en: Pluscuamperfecto, <i>Entresocios</i>, Caracas, Diciembre de 2019.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;">NOTAS</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">1. "Mientras más conocemos, más amamos".
</span><span lang="PT-BR" style="font-size: 10.0pt; mso-ansi-language: PT-BR;">Leonardo
da Vinci (1452-1519).<span style="mso-spacerun: yes;"> </span>Tomado de <i style="mso-bidi-font-style: normal;">Cuadernos.</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">2. Miguel de Toro y Gisbert. </span><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;">Pequeño Larousse Ilustrado</span></i><span lang="FR" style="font-size: 10.0pt; mso-ansi-language: FR;">, Librairie Larousse, Imprimerie
Larousse, Montrouge, 1970, p. 811.</span><br />
<br />
</div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-27171194862559529882019-10-13T09:46:00.001-04:002019-10-13T10:39:06.392-04:00Los marchantes<!--[if gte mso 9]><xml>
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<![endif]--><span style="font-size: x-small;"><i><span style="font-family: "times new roman";">Les Halles, vistos desde los techos de Saint-Eustache,
1947.</span></i></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i><span style="font-family: "times new roman";"> </span></i></span>
</div>
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</span><span lang="ES" style="font-family: "times new roman"; font-size: 10.0pt;"></span><br />
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<br /></div>
<div style="text-align: justify;">
</div>
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</div>
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Las calles de la ciudad lucían sucias y malolientes. Pilares de carretas y carretillas se estacionaban en cualquier parte, aunque lo que realmente bloqueaba el paso de las aceras, ya prácticamente invisibles bajo la muchedumbre y la basura, eran las improvisadas tiendas sobre las que se ofrecían abarrotadamente las mercancías. La luz que llegaba del cielo no alcanzaba a iluminar la calle, tántos eran los paraguas multicolores que la interceptaban en la vía. </div>
<br />
<div style="text-align: justify;">
El escritor, en su habitual contribución a los correos de la ciudad, había dicho de estos puestos que eran como <i>“frágiles boutiques que se cuentan por millares, compuestas de una mesa, de una silla, de una hornilla para calentarse, de un horno de barro como toda cocina, de un parabán por cerramiento y por techo una tela roja amarrada a alguna muralla, de donde penden de derecha e izquierda un par de tapicerías…”</i> Sin duda, estos puestos perturbaban el panorama urbano de todo paseante, pero no se les podía negar que a la vez tenían <i>“…lo pintoresco de las cosas naïves…”</i> </div>
<div style="text-align: justify;">
</div>
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Para el escritor, en esos días <i>“tánta gente iba por las calles, tántas gigantescas cosas por allí se apiñaban dándose de codazos, que uno podía muy bien apreciar oficios totalmente desconocidos hoy en día”</i>, oficios venidos de la sabiduría popular, de las livianas industrias urbanas, de las tradiciones agrícolas del campo y de la artesanía del país, de los que los marchantes eran sus pruebas más vivas, ofreciéndolos en la apretada trama del corazón de la ciudad como un festín abierto de coloridas baratijas. </div>
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<div style="text-align: justify;">
El autor preparaba a la sazón un ensayo sobre la historia y la fisiología de los bulevares de su ciudad. Era explicable que le produciese una fascinación irresistible el hacer el recuento admirable de sus protagonistas más cuantiosos. La turba callejera, los marchantes, contra el paisaje de las calles. En aquél entonces, una amenaza cierta pendía sobre su gastronómica corte urbana de los milagros: el jefe del estado había comenzado una campaña de construcción de nuevos mercados. La ciudad había crecido demasiado y estaba necesitada de mayor número de <i>“halles”</i> -como también se les llamaba-, de salones del comercio separados unos de otros, estaba urgida de edificios de nueva planta que suplantaran los mercados informales al aire libre y que brindasen lo que las aceras jamás podían ofrecer a los marchantes: mejoras sanitarias de las vituallas, clasificación de los oficios y formación profesional<span style="font-family: "times new roman";">. </span><br />
<br /></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
El escritor anunciaba: <i>“Todavía unos pocos días, y ya habrán desaparecido; la vieja ciudad no existirá más que en las obras de los novelistas… Cuando se hayan construido los mercados allí donde las necesidades de la población los pidan, estos paraguas rojos serán inexplicables…” </i>Ninguna crítica, sin embargo, le merecían los nuevos edificios. Toda la ciudad sabía que su origen había sido igualmente monumental que la empresa de hacer marchar a los marchantes de las aceras para siempre. Un gran concurso de la academia de arquitectura había sido ya ganado por la mejor idea, anclada en la tradición mediterránea de los edificios con pórticos rodeando zonas al aire libre. Los mercados se edificarían según el modelo con patio abierto, varios pisos y arcadas, y algunos también emplearían arcadas en el exterior. Uno inmenso y mayor, la obra culminante del programa, con calidad de monumento metropolitano, centraría las funciones, y varios menores, pero igualmente hermosos, calmarían multipolarmente las demandas de los vecindarios.</div>
<span lang="ES" style="font-family: "times new roman"; font-size: 10.0pt;"></span><br />
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</div>
<span lang="ES" style="font-family: "times new roman"; font-size: 10.0pt;">
</span>
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<div style="text-align: justify;">
El mandatario estaba resuelto no sólo a resolver el problema, sino también a ornar a la ciudad, a elevar su condición tanto como la de los marchantes. Largas discusiones académicas publicadas en minuciosos <i>“précis”</i> le habían aconsejado que aquéllas luminosas arquitecturas, además de articular el tejido urbano y enriquecerlo monumentalmente, debían servir también de escuelas eficaces de la técnica y del arte del comercio. Nadie que entrara por la puerta de los nuevos <i>“halles”</i>, para vender o comprar, debía encontrarse de ningún modo frente a una gigantesca quincalla, informe, informal, desordenada y arbitraria como había sido el laberíntico mercado sin techo que proveyeron hasta entonces las calles. El nuevo mercado obligaría a los marchantes forzosamente a organizarse, a prosperar, a aprender y enseñar. Eran edificios como buques-escuela. </div>
<br />
<div style="text-align: justify;">
Viendo la suerte echada, el escritor se dedicó a hacer la cuenta de <i>“…las existencias pequeñas que desaparecen…”</i>, dejando un inventario para la posteridad: del <i>“iluminador de farolas, que dormía durante el día y pasaba la noche encendiendo y realumbrando el día según las fantasías de la luna; de la zurcidora, instalada como Diógenes, una curiosidad desaparecida; del vendedor de couscous; de los trabajadores de lo viejo; de los fruteros; del pregonero; del vendedor de castañas; de los libreros ambulantes; de la vendedora de ostras en su silla, las manos sobre su falda, junto a sus cestos de conchas; del marchante de tinta; del mercader de la muerte de las ratas; del amolador de cuchillos; de los vendedores de bebidas frescas, con sus cornetas, sus bellos timbales, sus escudillas sin pie, sus lises de orfebrería, y sus castillos de agua</i> 'pomponé', <i>que a menudo eran de plata; de los charlatanes, esos héroes de las plazas públicas…”</i>, y así, del mundo entero de los pequeños comercios.</div>
<br />
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<span lang="ES" style="font-family: "times new roman"; font-size: 10.0pt;"><span lang="ES" style="font-size: 11.0pt; mso-ansi-language: ES; mso-bidi-font-size: 10.0pt;"> </span></span></div>
<span lang="ES" style="font-family: "times new roman"; font-size: 10.0pt;">
</span>
<br />
<div style="text-align: justify;">
Pronto aladas herrerías llenas de carácter se encargarían de librar <i>“la extraña metamorfosis social”</i> de todos estos seres. De ésta se enterarían primero que nadie, por supuesto, los “flâneurs <i>atentos, esos historiadores que no tienen más que un solo lector ya que no publican sus volúmenes más que en un solo ejemplar, aquéllos que saben estudiar a la ciudad, y la saben habitar con curiosa inteligencia”. </i></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Sólo cinco años antes de la construcción en el primer <i>arrondisement</i> de los grandes Halles Centrales de Victor Baltard, Honoré de Balzac vaticinó en <i>Ce qui disparaît de Paris. Le Diable à Paris</i>, en 1845, la epopeya de la marcha de vuelta a casa de los marchantes.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggIOfcd-tzCd4OB79ZFDvpyF5-kBOq_8mVLLx-yyCgE5LpPFzGknt-5GOC14qlgZlaVxHh4NY8M1u1Im-ZQv8ZQMqUb9E_nubzW7Z8N2A7EYHxubiUKpTMBtgsdATb9rtssG3onqyS1eyW/s1600/den34_gilbert_001f.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1021" data-original-width="1400" height="291" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggIOfcd-tzCd4OB79ZFDvpyF5-kBOq_8mVLLx-yyCgE5LpPFzGknt-5GOC14qlgZlaVxHh4NY8M1u1Im-ZQv8ZQMqUb9E_nubzW7Z8N2A7EYHxubiUKpTMBtgsdATb9rtssG3onqyS1eyW/s400/den34_gilbert_001f.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><i>Le Carreau des Halles</i>. Victor-Gabriel Gilbert (1847-1933) © Musée Malraux - Jean-Louis Coquerel.</span><br />
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Publicado en: ARQUITECTURA, Lunes 15 de Octubre de 2001.<br />
<br />Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-23818179919496622262019-09-23T09:50:00.001-04:002019-09-24T14:31:08.665-04:00Caracas y los doce regalos de Navidad <!--[if gte mso 9]><xml>
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<i><span style="font-family: "times new roman"; font-size: x-small; mso-bidi-font-size: 10.0pt;">"Partridge in a Pear Tree" </span></i><span style="font-family: "times new roman"; font-size: x-small; mso-bidi-font-size: 10.0pt;">(Grabado. Andy English, Cambridge, 2010 / studiodiary,blogspot.com)</span><i><span style="font-family: "times new roman"; font-size: x-small; mso-bidi-font-size: 10.0pt;">.</span></i><br />
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<span style="font-family: "times new roman";"><span style="mso-tab-count: 2;"> </span><span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">“In
the first day of Christmas my true love gave to me... </i></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman";"><span style="mso-tab-count: 3;"> </span><span style="mso-spacerun: yes;"> </span>a Partridge in a pear tree”.</span></i></span></div>
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<span style="font-family: "times new roman";"><span style="mso-tab-count: 4;"> </span><span style="mso-spacerun: yes;"><br /></span></span></div>
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Una clásica canción navideña canta cómo un verdadero amor durante los doce días previos al día de Navidad va acumulando regalos para su amada. Al pasar cada día, y conforme se acerca la Nochebuena, los obsequios se multiplican. Lo interesante es que no obstante el fasto creciente del obsequio, la rima vuelve siempre a sus inicios, al primer regalo, el más simple de todos, porque es el que simbólicamente otorga la paz y el bienestar… <i>“and a Partridge in a pear tree”. </i><span style="font-family: "times new roman"; font-size: 12.0pt;"><span style="mso-tab-count: 1;"> </span></span></div>
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Al concluir un año de reflexión sobre nuestra ciudad y su arquitectura, queremos ofrecerle a nuestra bienamada Caracas para el próximo año doce oportunidades de discusión sobre temas prioritarios, surgidos en función de la experiencia recogida en el ‘93. Los doce temas, como en la tradicional <i>Christmas Carroll</i>, inevitablemente, volverán siempre al primero, que es el más importante, porque es el único que lo resume y lo promete todo, como la Perdiz en el Peral: el tema de la Legislación Urbana. </div>
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<b>1. Las Nuevas Ordenanzas: buscar un sistema razonable y cristalino que haga ciudad. </b><br />
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Las que tenemos son un fracaso. Están obsoletas. Ya ni siquiera sirven para continuar la ciudad que se propusieron. Cuando se aplican al pie de la letra demuestran ser la receta exacta para la producción del caos urbano. La Alcaldía de Caracas finalmente se ha dado cuenta de ésto, y ha colocado sus diecinueve parroquias en manos de diecinueve arquitectos.</div>
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¿Iremos del caos anónimo de las viejas ordenanzas a diecinueve versiones personales de ciudad que resultarán de la aplicación de quién sabe cuáles principios de Diseño Urbano? Aunque se trate de Forma Urbana <i>versus Zoning</i>, ¿quién dice cuál forma urbana? ¿Es la ciudad, como soñábamos en la Facultad de Arquitectura, realmente un libre laboratorio formal para los arquitectos? ¿O debe la Legislación Urbana ser producto de algún tipo de consenso? En la del Parque Vargas, hizo falta una Comisión de Notables y la concurrencia de todas las entidades que tienen que ver con la ciudad, para producirla. Cambiar las ordenanzas de toda la ciudad es cosa mucho más seria. ¿Se puede hacer a puerta cerrada?</div>
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<b>2. El Catastro: dibujar una cartografía segura que defina qué cosas le pertenecen a la ciudad.</b><br />
Día a día nos enteramos sobresaltados de la demolición de partes fundamentales de nuestro patrimonio. Aquella casa de la que nos queríamos copiar la entrada; aquel fantástico edificio en esquina; aquella cuadra de consumado estilo años cincuenta; aquel monumento de entrañable <i>Art Déco</i> Caraqueño; aquella joya inédita de la modernidad.<br />
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Nadie sabía que era importante; nadie sabía que tenía valor... a nadie se le puede reclamar. Al fin y al cabo, no había sido declarado Monumento Nacional. No constaba en ninguna acta, no había sido publicado en ningún libro. Basura, todo es basura demolible y desechable en esta ciudad que nadie ha levantado ni registrado por completo.<br />
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Hasta que alguien tome el plano y, con una caja de creyones de colores recorra la ciudad en vivo, de lado a lado. Y marque los estilos, las épocas, las tipologías, los arquitectos, los urbanismos, lo que tiene valor coral y lo monumental. Y haga un Catastro exhaustivo de las arquitecturas de Caracas, aclarando lo que no se puede ni pensar en tumbar y aconsejando todo lo que debería demolerse en el acto.</div>
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<b>3. Ribera norte, ribera sur: descubrir el río, comunicar la ciudad.</b><br />
¿Ha calculado usted el tiempo que le lleva cada día cruzar el río? ¿Por dónde lo cruza usted? ¿Por los recovecos del paso en Las Mercedes? ¿Por los temblorosos puentes de Rómulo? ¿Por la suburbana cola hacia Altamira? ¿Por la endemoniada subida de Los Ruices?<br />
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Sin darse demasiada cuenta, los caraqueños han empezado a auto-identificarse con su ribera del río. Vivir del lado de acá o de allá del Guaire significa ya casi un rasgo de la personalidad y de la expresión del gusto, un dato para evaluarnos psicológicamente. Un caraqueño de pura cepa nos contó sus límites: <i>“por arriba El Avila, por el sur El Guaire, por el este el Country y por el oeste Sebucán”.</i><br />
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Las tramas de las dos riberas, ignorándose mutuamente, y la imposibilidad de los funcionarios a los que les compete la antediluviana vialidad caraqueña en darse cuenta de que El Guaire es un accidente natural salvable, ha forzado una cultura urbana de ribera norte y ribera sur, pero no por sus valores intrínsecos, (<i>“yo soy de la Rive Gauche”</i>) sino porque odia menos un lado que el otro. Ello nos hace de nuevo preguntarnos, y entonces el río, ¿para qué? </div>
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<b>4. Descifrar las calles caraqueñas: volverlas a transitar con una mirada vigilante.</b><br />
Toda calle, toda avenida, tiene un carácter que es único. ¿Qué hace a la Urdaneta la Urdaneta, a la Baralt la Baralt y a la Miranda la Miranda?<br />
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En la Urdaneta, las sedes bancarias, las aceras decoradas y las entradas monumentales. En la Baralt, los portales de acceso, como el del edificio Madrid. En la Miranda, hay una cierta línea de cornisa que se respeta y los edificios son casi todos de pecho ancho. En la Fuerzas Armadas hay una amplitud casi de paseo, y en la principal de Las Mercedes hay un punto focal en el hotel.<br />
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Cada calle es el resultado acumulativo de las sensaciones introducidas por sus edificios. Una vivencia doble, lineal y transversal, nos ancla a cada paso al tiempo que nos impulsa hasta el final. ¿Construimos los callegramas de nuestras calles y avenidas conscientemenciente? ¿O nos salen así, pero las queremos distintas? ¿Podemos aspirar a los sabores intensos, o debemos contentarnos con tibiezas repartidas? ¿Cuál es nuestra Quinta Avenida, nuestro Paseo de La Castellana, nuestra rue Vielle du Temple, nuestro Lungotevere? O mejor aún, ¿Cómo hacer para que nuestras calles lleguen a tener todo el carácter que merecen? </div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiio2eITGPQu4avJSbokZgLp-phJXk6vPIb5ud72VuTpQ-abpOHFMFrYepK02_w4X6H9u079AVOprGiWRoDwqynSLCbucd4ViqIOvXEQ7FBZb7SFVqg8aA3blsmt8HZk_OdRWL1bBWkqgDa/s1600/sam+-+Copy.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1105" height="364" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiio2eITGPQu4avJSbokZgLp-phJXk6vPIb5ud72VuTpQ-abpOHFMFrYepK02_w4X6H9u079AVOprGiWRoDwqynSLCbucd4ViqIOvXEQ7FBZb7SFVqg8aA3blsmt8HZk_OdRWL1bBWkqgDa/s640/sam+-+Copy.JPG" width="640" /></a></span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;"> <span style="font-size: x-small;"><i>"Unsicht von Caracas, hauptstadt der Republik Venezuela" </i>(Grabado).</span></span><br />
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<span style="font-family: "times new roman"; font-size: 12.0pt;">(Los restantes regalos fueron:</span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">5. El paisaje: como en una expedición, adentrarse en la
naturaleza sumergida del más hermoso valle del Caribe. </span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">6. Los monumentos: indagar en el potencial de los objetos
urbanos de mayor capacidad evocadora de la ciudad. </span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">7. El Museo Ambiental: hacer un manifiesto, un voto de fe en
las posibilidades de recuperación de Caracas. Aquilatar su belleza.</span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">8. Los recintos: Caño Amarillo, Petare, Las Mercedes… buscar
la esencia de estos lugares. </span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">9. El Sistema Peatonal urbano: Caracas debe poder recorrerse
por entero a pie, y ello debe ser un placer.</span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">10. Repensar el tráfico: calcular su energía; replantearse
cómo circula la ciudad.</span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">11. La trama: cuestionar el urbanismo de hoy a la luz de la
primera ciudad que heredamos.</span></div>
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<span style="font-family: "times new roman"; font-size: 12.0pt;">12. La desmetropolización de la ciudad: retornar a la ciudad
policéntrica, abrazar la idea de una ciudad más múltiple en parroquias)</span><span style="font-family: "times new roman"; font-size: 12.0pt;">. </span></div>
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<span style="mso-bidi-font-weight: normal;"><span style="font-family: "times new roman"; font-size: 12.0pt;">Publicado en: </span></span><span lang="ES" style="font-family: "times new roman";">Arquitectura, <i>EL NACIONAL</i>, Caracas, 23 de Febrero de 1994.</span>
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<br />Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-35577047897759310082019-09-22T10:09:00.003-04:002019-10-17T20:26:46.536-04:00Promenades<!--[if gte mso 9]><xml>
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<span style="font-size: x-small;"><span lang="ES" style="letter-spacing: 0.05pt;">1.</span><span lang="ES" style="letter-spacing: 0.15pt;">"</span><i><span lang="ES" style="letter-spacing: -0.05pt;">Cu</span></i><i><span lang="ES" style="letter-spacing: 0.05pt;">ad</span></i><i><span lang="ES">r<span style="letter-spacing: .05pt;">o</span>s<span style="letter-spacing: -.45pt;"> </span>en<span style="letter-spacing: -.05pt;"> u</span><span style="letter-spacing: .05pt;">n</span>a<span style="letter-spacing: -.1pt;"> </span>e<span style="letter-spacing: -.1pt;">x</span><span style="letter-spacing: .05pt;">po</span>sici<span style="letter-spacing: .05pt;">ó</span><span style="letter-spacing: -.05pt;">n</span><span style="letter-spacing: .15pt;">"</span>.<span style="letter-spacing: -.35pt;"> </span></span></i><span lang="PT-BR">Ví<span style="letter-spacing: -.05pt;">k</span>t<span style="letter-spacing: .05pt;">o</span>r<span style="letter-spacing: -.2pt;"> </span>Ha<span style="letter-spacing: .05pt;">r</span>t<span style="letter-spacing: -.15pt;">m</span><span style="letter-spacing: .15pt;">a</span><span style="letter-spacing: -.05pt;">nn</span>,<span style="letter-spacing: -.35pt;"> </span><span style="letter-spacing: .05pt;">1873</span>.</span></span></div>
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</span>P<span style="letter-spacing: -.05pt;">e</span>rp<span style="letter-spacing: -.05pt;">e</span>tuam<span style="letter-spacing: -.35pt;"> </span>R<span style="letter-spacing: -.05pt;">e</span>i <span style="letter-spacing: .2pt;">M</span><span style="letter-spacing: -.05pt;">e</span>m<span style="letter-spacing: .1pt;">o</span>riam.<span style="letter-spacing: -.45pt;"> </span></span></i><span lang="ES" style="mso-ansi-language: ES;">1</span></div>
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<b>I. Libros en una exposición </b><br />
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En 1874, el compositor de San Petersburgo Modesto Mussorgsky compuso una suite de piezas para piano inspirada en la exposición póstuma de pintura de un amigo, el artista y arquitecto Víktor Hartmann (1834-1873). La tituló <i>"Cuadros en una exposición"</i>. En su homenaje, Mussorgsky quiso "dibujar en música" los cuadros expuestos, muchos de los cuales eran arquitecturas y lugares de ciudades, como <i>"El viejo castillo"</i>, una alameda de las <i>"Tullerías"</i>, o <i>"La Gran Puerta de Kiev"</i>: el proyecto de Hartmann en estilo ruso antiguo de un monumento al zar Alexander II. Entre pieza y pieza de la suite, como entre pintura y pintura de la exposición, se evocan los pasos de los visitantes, en interludios que muy apropiadamente Mussorgsky tituló <i>"Promenade".</i></div>
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Caminando por la exposición CCS del artista Javier León, el visitante en su promenade también se encuentra con un homenaje póstumo, esta vez a una ciudad que para algunos ya no será nunca más… y para otros está a punto de renacer. Ahora los "cuadros" son ciento cincuenta libros de la historia arquitectónica y urbana caraqueña -entre otros temas-, alineados cronológicamente… y cuidadosamente cerrados.</div>
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Lo primero que consigue CCS es dejarnos en <i>shock</i>. Al no más entrar a la sala, el visitante se encuentra inesperadamente paralizado por el asombro; quedamos de una pieza, mientras contemplamos cómo se extiende de manera aparentemente infinita, como un Ávila extendido, la larga cordillera de libros que solo en nuestros sueños habíamos logrado reunir… Lo mejor de todo, es que secretamente también sabemos que l o que aflora ante la vista es sólo la punta de un iceberg… de ese iceberg cristalino y semi sepultado por el olvido que es la monumental historia visual y escrita de Santiago de León de Caracas.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_kNDIN_zGUlZxkitfExdR4aitKNzr-Fr1cfJVP5zhRJ6ZtHXNLHtyRS2eE3BbvP0497_LN2lS9oZVowlubJ_8CUSCGZhWw0-k_2XobpC-3BhDiXELUSe-Bo4_9teTYSBZmTDi3OcEGGWb/s1600/2.+El+perfil+de+la+monta%25C3%25B1a+%2528f.+Frank+Alcock%252C+2019%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="757" data-original-width="1014" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_kNDIN_zGUlZxkitfExdR4aitKNzr-Fr1cfJVP5zhRJ6ZtHXNLHtyRS2eE3BbvP0497_LN2lS9oZVowlubJ_8CUSCGZhWw0-k_2XobpC-3BhDiXELUSe-Bo4_9teTYSBZmTDi3OcEGGWb/s640/2.+El+perfil+de+la+monta%25C3%25B1a+%2528f.+Frank+Alcock%252C+2019%2529.jpg" width="640" /></a></div>
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<span style="font-size: x-small;"><span lang="ES" style="letter-spacing: 0.05pt;">2</span><span lang="ES">. <i><span style="letter-spacing: .05pt;">E</span>l<span style="letter-spacing: -.1pt;"> </span><span style="letter-spacing: .05pt;">p</span>erfil<span style="letter-spacing: -.2pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> </span>la<span style="letter-spacing: -.05pt;"> </span>m<span style="letter-spacing: -.05pt;">o</span><span style="letter-spacing: .05pt;">n</span>t<span style="letter-spacing: .05pt;">a</span><span style="letter-spacing: -.05pt;">ñ</span>a<span style="letter-spacing: -.2pt;"> </span></i>(<span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.05pt;"> </span>F<span style="letter-spacing: .05pt;">r</span>a<span style="letter-spacing: -.05pt;">n</span>k<span style="letter-spacing: -.15pt;"> </span><span style="letter-spacing: -.1pt;">A</span>lc<span style="letter-spacing: .05pt;">o</span><span style="letter-spacing: .15pt;">c</span><span style="letter-spacing: -.05pt;">k</span>,<span style="letter-spacing: -.25pt;"> </span><span style="letter-spacing: .05pt; mso-font-width: 99%;">2019</span>).</span></span></div>
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<b>II. El perfil de la montaña </b><br />
Haciendo un corte longitudinal de la dilatada montaña de libros, podemos trazar su perfil bibliográfico. La hilera de obras que recorre el espacio de la sala, permite leer en ella de manera gráfica la naturaleza de la historiografía de la capital, particularmente la arquitectónica y urbana. Así como, de alguna manera, permite leer también la historia del país en los últimos cien años.<br />
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El largo desfile, organizado cronológicamente, arranca en 1924 para detenerse en 2017. Alineados hombro a hombro sobre una línea horizontal, las carátulas van marcando a su paso no solo la personalidad de las diez décadas a lo largo de las cuales se desarrollan, sino también la evolución del gusto, los cambios en la temática, el auge y caída de las bonanzas, las crisis económicas, la densidad de los contenidos, el auge de lo visual, el regreso temporal a los textos de estudio y análisis, el debate urbano, la moda, las preferencias por ciertos formatos, la historia del diseño gráfico, los altibajos y epopeyas de los autores y en fin, la vida, pasión y muerte de las editoriales.<br />
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Yendo desde la primera publicación, la línea del perfil de la montaña de libros sube suavemente por los cantos de los libros de los años veinte, treinta, cuarenta y cincuenta como quien remonta el piedemonte de una cordillera, hasta llegar de manera muy visible al salto de escala que trajo consigo la celebración del Cuatricentenario de Caracas en 1967, para luego volver a descender a la depresión editorial que marca el momento actual. El hito lo marca el gigante de la biblioteca lineal: <i>Caracas a través de su arquitectura</i>, de Graziano Gasparini y Juan Pedro Posani, Fundación Fina Gómez, de 1969, especie de Pico Naiguatá de los libros de Caracas.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3UO8K70YOlojbe4u-00fd_oSo6hX1tdWNvteMqrHlalpWYTED-mXENeuG66ygeCOHZv5WLktul7qG5S725urKrQzKtrJtN6-yqLAD26X_l41VaVDKwW2wX-0sa4ZITriWy-xkbPRmycGq/s1600/3.+Libros+en+una+exposici%25C3%25B3n+%2528f.+CENTRO+de+la+Ciudad%252C+2019%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="984" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3UO8K70YOlojbe4u-00fd_oSo6hX1tdWNvteMqrHlalpWYTED-mXENeuG66ygeCOHZv5WLktul7qG5S725urKrQzKtrJtN6-yqLAD26X_l41VaVDKwW2wX-0sa4ZITriWy-xkbPRmycGq/s640/3.+Libros+en+una+exposici%25C3%25B3n+%2528f.+CENTRO+de+la+Ciudad%252C+2019%2529.jpg" width="640" /></a></div>
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"><span style="font-size: x-small;"><span lang="ES" style="letter-spacing: 0.05pt;">3</span><span lang="ES">. <i><span style="letter-spacing: .05pt;">E</span>l<span style="letter-spacing: -.1pt;"> </span><span style="letter-spacing: .05pt;">o</span>ri<span style="letter-spacing: .05pt;">g</span>en<span style="letter-spacing: -.3pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> </span>l<span style="letter-spacing: .05pt;">a</span>s<span style="letter-spacing: -.1pt;"> </span>es<span style="letter-spacing: .05pt;">p</span>ecies<span style="letter-spacing: -.3pt;"> </span></i>(<span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.05pt;"> C</span><span style="letter-spacing: .05pt;">E</span>N<span style="letter-spacing: .15pt;">T</span><span style="letter-spacing: -.05pt;">R</span>O<span style="letter-spacing: -.35pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> </span>la <span style="letter-spacing: -.05pt;">C</span>i<span style="letter-spacing: -.05pt;">u</span><span style="letter-spacing: .05pt;">d</span>a<span style="letter-spacing: .05pt;">d</span>,<span style="letter-spacing: -.25pt;"> </span><span style="letter-spacing: .05pt; mso-font-width: 99%;">201</span><span style="letter-spacing: -.05pt; mso-font-width: 99%;">9</span>).</span></span></span></div>
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<b>III. El origen de las especies </b><br />
Debemos volver a abrir los libros que ha inspirado esta ciudad para saber qué cosas tienen para decirnos hoy en día. En particular, sobre sus variedades tipológicas y el origen de sus especies. <br />
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Desde los inmaculados libros blancos de los primeros años, de tipografías antiguas, tapas blandas y pasión heráldica, pensados para ser leídos con delicadeza, tan parecidos a los de las bibliotecas en los palacios del Renacimiento, como <i>Historia de la Casa de Bolívar</i>, de Vicente Lecuna y Julio Planchart, impreso por la Litografía del Comercio en 1924.<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"></span><br />
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A los libros de costumbres de mediados del siglo, testimonio del amor de su época por las anécdotas urbanas -y los cuentos de personajes-, bellamente ilustrados y llenos de estampas, reminiscencias y escenas de la vieja Caracas, como <i>La Ciudad de los Techos Rojos: calles y esquinas de Caracas</i>, de Enrique Bernardo Núñez, impreso por la Tipografía Vargas en 1947.<br />
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Y, un paso más allá, a los libros llenos de pasión tipográfica y énfasis en el diseño geométrico moderno de los cincuenta y sesenta. Libros que son la expresión clarísima de lo que pasaba en Caracas en esa época, cuando la ciudad entera se contagió de la integración de las artes de la Ciudad Universitaria, y el arte entró en nuestra ciudad. Así también el arte también quiso entrar en los libros.<span style="font-family: "times new roman";"> </span>Con <i>Caracas a través de su arquitectura</i>, de Gasparini y Posani, de 1969, y con otra obra monumental muy importante, Los Planos de Caracas, de Irma Lovera de Sola, de 1967, editado en el formato apaisado de las cartas geográficas, las editoriales inauguran las<br />
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQjeYrDIEYLUN1EruEb08BMtJgHOx6VZuUhpmmEboQP-FWfLdp1HHNiS7M7tyX6UEMJR5EkriGs1JqrA6e_T2xQnUTmdcawTy6_LGQp8qwDx96mIGc9CZLNitEhd8DRTauA2TwC72IsBc/s1600/4.+Devant+les+Watteaus+au+Louvre.+Paul+Cesar+Helleu%252C+1894+%2528f.+Bristish+Museum%2529.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="772" data-original-width="1024" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGQjeYrDIEYLUN1EruEb08BMtJgHOx6VZuUhpmmEboQP-FWfLdp1HHNiS7M7tyX6UEMJR5EkriGs1JqrA6e_T2xQnUTmdcawTy6_LGQp8qwDx96mIGc9CZLNitEhd8DRTauA2TwC72IsBc/s640/4.+Devant+les+Watteaus+au+Louvre.+Paul+Cesar+Helleu%252C+1894+%2528f.+Bristish+Museum%2529.jpeg" width="640" /></a></span></div>
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"><span style="font-size: x-small;">4. "Devant les Watteaus au Louvre". Paul Cesar Helleu, 1894 (f. The Bristish Museum). </span></span></div>
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;">grandes dimensiones y se preparan para el lujo de las décadas siguientes. Lujo que tiene muchas maneras de expresarse: desde el furor de los fotolibros artísticos en los setenta y ochenta, hasta los grandes formatos explotando todas las posibilidades del lujo editorial de los noventa. Son los años en que los libros apuntan al gran tamaño y la fotografía a color. <i>Coffe Table Books.</i> Y muchas veces, sólo a eso. . Salvo honrosas excepciones, como los dos maravillosos libros de Carlos F. Duarte y Graziano Gasparini, <i>Historia de la Catedral de Caracas</i> e <i>Historia de la Iglesia y Convento de San Francisco de Caracas</i>, de Ediciones Armitano, 1989 y Editorial Arte, 1991. Paradójicamente, los libros que analizan propiamente la ciudad son los menos cuantiosos, y cuando se publican, carecen de todo lujo. </span><br />
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;">Finalmente, con el cambio de siglo, asistimos al gradual empobrecimiento de las tipologías, que redunda en la merma en tiraje, medios y formatos, expresión de la crisis de estos últimos veinte años, salvo contadas excepciones de muy reciente data, donde el ingenio produjo pequeñas joyas en diseño y contenido.</span><br />
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;">Lo cierto es que lo que más salta a la vista es que, editorialmente, la ciudad reiteradamente se ha acercado y se ha alejado de sí misma muchas veces, unas prestándose al análisis y las más, resistiéndose a éste. En este sentido, Caracas no ha logrado ser hasta ahora una ciudad lineal.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheqnd3RdMTpFvrgC2wlkcs0xQuo7R6V-Xfc-JQ606wkuH_kQ7nRrL071giUMP41EhyaPt25oEjMW6LA-Ua6mcmGaX-6VGY6yd8LI4IaSAc1dEjJ8_XmMpqbUZyziqNYY7V1Mwkt1KaiBxF/s1600/5.+Our+architects+en+Caracas.+Docomomo+Venezuela+2017.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="752" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheqnd3RdMTpFvrgC2wlkcs0xQuo7R6V-Xfc-JQ606wkuH_kQ7nRrL071giUMP41EhyaPt25oEjMW6LA-Ua6mcmGaX-6VGY6yd8LI4IaSAc1dEjJ8_XmMpqbUZyziqNYY7V1Mwkt1KaiBxF/s640/5.+Our+architects+en+Caracas.+Docomomo+Venezuela+2017.jpg" width="640" /></a></div>
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<span style="font-size: x-small;">5. Our Architects en Caracas: arquitectura norteamericana en Caracas 1925-1975, Docomomo Venezuela. La Galaxia, 2017 (f. Docomomo Venezuela).</span></div>
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<b>IV. Algunos ausentes </b><br />
Los libros que vamos a ver en esta breve selección forman justamente parte de ese gran iceberg sumergido bajo las aguas que mencionábamos al principio, conformado por el resto de la producción editorial sobre Caracas (donde habría que incluir, por supuesto, los libros digitales).<br />
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Los libros dedicados a la ciudad se multiplicaron con el paso de los años como las ramas de un gran árbol. Cada generación aportó sus nuevas necesidades, sus propias búsquedas y nuevos temas. Tantos son los nuevos temas, que casi se podría decir que la mayoría de las veces los caminos editoriales llevan a la producción de una sola obra singular en cada renglón.<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"></span><br />
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Todos sabemos que este árbol podría ser muchísimo más frondoso, y ésta es la razón central de que en la fundación <b>CENTRO de la Ciudad</b> hemos aprovechado la oportunidad que nos ofrece esta exposición para señalarlo. Si, contrariamente a lo que hemos visto el siglo pasado en la producción de libros sobre Caracas, la industria editorial se organizara de una vez por todas con fondos editoriales para poder darle oportunidad y continuidad a las iniciativas en todos los temas, otro gallo cantaría.<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"></span><br />
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;">Desde los libros de jardines a las cartografías de los barrios, desde las guías de Caracas hasta las monografías de arquitectura, desde los estudios urbanos sobre la ciudad contemporánea hasta los registros de patrimonio hasta toda la nueva producción literaria que de nuevo tiene como escenario la ciudad, muestran la riqueza de la temática. Los libros, producidos con tanta dificultad, podrían multiplicarse y diversificarse saludablemente, apuntando hacia esa meta final que es llevar las historias aún por contar de nuestra amada ciudad a todos los rincones y mercados del mundo<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"> </span></span><br />
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<span style="font-size: x-small;"><span lang="ES" style="letter-spacing: 0.05pt;">6</span><span lang="ES">. <i><span style="letter-spacing: .05pt;">Pa</span>tio<span style="letter-spacing: -.15pt;"> </span>c<span style="letter-spacing: -.1pt;">e</span><span style="letter-spacing: .05pt;">n</span>tr<span style="letter-spacing: .05pt;">a</span>l<span style="letter-spacing: -.3pt;"> </span><span style="letter-spacing: .05pt;">A</span>rt<span style="letter-spacing: -.15pt;"> </span>Déco<span style="letter-spacing: -.15pt;"> </span><span style="letter-spacing: .05pt;">d</span>el<span style="letter-spacing: -.2pt;"> </span><span style="letter-spacing: .05pt;">an</span>ti<span style="letter-spacing: .05pt;">gu</span>o<span style="letter-spacing: -.35pt;"> </span><span style="letter-spacing: .05pt;">Pa</span>l<span style="letter-spacing: .05pt;">a</span>cio<span style="letter-spacing: -.35pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> </span><span style="letter-spacing: .05pt;">Ag</span>ric<span style="letter-spacing: .05pt;">u</span>lt<span style="letter-spacing: .05pt;">u</span><span style="letter-spacing: -.15pt;">r</span><span style="letter-spacing: .05pt;">a</span>,<span style="letter-spacing: -.45pt;"> </span><span style="letter-spacing: .05pt;">1</span><span style="letter-spacing: -.05pt;">9</span><span style="letter-spacing: .05pt;">3</span>8<span style="letter-spacing: .1pt;"> </span></i>(<span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.05pt;"> R</span>a<span style="letter-spacing: -.05pt;">f</span>ael<span style="letter-spacing: -.1pt;"> A</span>l<span style="letter-spacing: -.05pt;">f</span><span style="letter-spacing: .05pt;">r</span>e<span style="letter-spacing: .05pt;">d</span>o<span style="letter-spacing: -.25pt;"> </span><span style="letter-spacing: .05pt;">M</span>á<span style="letter-spacing: .05pt;">rq</span><span style="letter-spacing: -.05pt;">u</span>ez<span style="letter-spacing: -.3pt;"> </span>Gi<span style="letter-spacing: .15pt;">l</span>,<span style="letter-spacing: -.1pt;"> </span><span style="letter-spacing: .05pt;">201</span>5<span style="letter-spacing: -.05pt;"> </span>- D<span style="letter-spacing: .05pt;">o</span>c<span style="letter-spacing: .05pt;">o</span><span style="letter-spacing: -.15pt;">m</span><span style="letter-spacing: .2pt;">o</span><span style="letter-spacing: -.05pt;">m</span>o<span style="letter-spacing: -.4pt;"> </span>Ve<span style="letter-spacing: -.05pt;">n</span>e<span style="letter-spacing: .15pt;">z</span><span style="letter-spacing: -.05pt;">u</span>el<span style="letter-spacing: .1pt;">a</span>).</span></span></div>
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<b>VI. Sala de Caracas </b><br />
En la Esquina del Conde, en el piano nobile -es decir, en el primer piso-, del antiguo Palacio de Agricultura, luego Ministerio de Educación y hoy Biblioteca Municipal Simón Rodríguez, un edificio en exquisita arquitectura Art Déco diseñado entre 1934 y 1938 por el ingeniero Guillermo A. Salas, con esculturas y bajorrelieves del escultor Lorenzo González y vitrales del artista Eduardo Borges Gala, en un espacio de medianas dimensiones que da hacia la calle, existió por mucho tiempo y hasta hace pocos años una biblioteca especializada en la ciudad de Caracas.<br />
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Se llamaba la Sala de Caracas. Era una de las siete salones originales de la biblioteca. Se entraba a ella tras empujar una puerta de pesadas hojas de madera talladas, cuyo tema principal son los libros. De altos techos y verticales ventanales, la sala era muy clara, a pesar de estar poblada de muchos anaqueles repletos. <br />
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Quien tuvo la suerte de visitarla, seguramente recuerda la riqueza ecuménica de su contenido, la proliferación de publicaciones capitales, la colección de incunables, las curiosidades y los folletos raros de todas las épocas. También la diversidad de los temas, desde la arquitectura hasta la ciudad, desde la poesía hasta la botánica, desde la política hasta la historia. Asombrada ver que todo aquella vasta colección de obras versaba solamente sobre un único tema: Caracas. Era sin duda el tesoro mejor guardado de la ciudad. <br />
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Lamentablemente, la Sala de Caracas desapareció. Administraciones nuevas decidieron "mejorar" la biblioteca y dispersaron los libros por todo el edificio. Lo que queda de la refinada colección se ha vuelto material de consulta en desintegración. Aquel remanso de la historia urbana se esfumó.<br />
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Hoy, cuando gracias a esta exposición vemos de nuevo reunidos tantos libros de Caracas, en la fundación CENTRO de la Ciudad no podemos sino proponerles: vamos a reconstruirla!<br />
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<![endif]--><span style="font-size: x-small;"> 8.<i> Puerta de la Sala de Caracas</i> (f. Frank Alcock, 2015 - Docomomo Venezuela).</span></div>
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<span style="font-size: x-small;">8. <i>Libros en una exposición </i>(CENTRO de la Ciudad, 2019).</span></div>
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<div style="text-align: justify;">
NOTAS: <br />
<img src="file:///C:/Users/cabrini/AppData/Local/Temp/msohtml1/01/clip_image001.gif" />1. Para perpetuar su memoria.<br />
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<br />
Publicado en: Opinión, @ELNACIONALWeb, Caracas, Septiembre 3 de 2019:<br />
https://www.elnacional.com/opinion/promenades/</div>
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<span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"><u><span lang="ES" style="font-family: "times new roman"; font-size: 12.0pt;"> </span></u></span><br />
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-9710980975657990832019-09-21T11:45:00.002-04:002019-10-17T20:26:29.674-04:00La Casa Tugendhat: Historia y Conservación<!--[if !mso]>
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<span style="font-size: x-small;"><span lang="ES" style="letter-spacing: 0.05pt; position: relative; top: 0.5pt;">1. </span><i><span lang="ES" style="position: relative; top: 0.5pt;">Bajo el sauce del jardín de la Casa
Tugendhat, Brno </span></i></span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES; mso-text-raise: -.5pt; position: relative; top: .5pt;"><span style="font-size: x-small;">(f. Colección
Hammer-Tugendhat). </span><i><span style="letter-spacing: -.2pt;"></span></i></span></div>
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<span lang="ES" style="letter-spacing: -.1pt; mso-ansi-language: ES;">"</span><span lang="ES" style="mso-ansi-language: ES;">En la Casa Tugendhat Mies había realizado
su sueño; </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">un sueño que él solo no podía construir<span style="letter-spacing: -.1pt; mso-font-width: 99%;">"</span><span style="mso-font-width: 99%;">.</span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Fritz Tugendhat<span style="letter-spacing: .05pt; mso-font-width: 99%;">.</span><i style="mso-bidi-font-style: normal;"> Werkbund Die Form.</i> <span style="letter-spacing: .05pt; mso-font-width: 99%;">1</span></span></div>
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<b><span lang="ES" style="mso-ansi-language: ES;">1.<span style="letter-spacing: -.1pt;"> </span><span style="letter-spacing: .05pt;">La vida familiar en la casa de Tugendhat</span></span></b></div>
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<span lang="ES" style="mso-ansi-language: ES;">El 25 de Julio pasado, día del 452 aniversario de
Caracas, la Embajada de la República de Alemania Caracas, el Colegio de
Arquitectos de Venezuela y Docomomo Venezuela concluyeron el ciclo
"Bauhaus100: una celebración" con una video conferencia desde Viena en
la que los profesores Daniela Hammer-Tugendhat e Ivo Hammer hablaron sobre la Casa
Tugendhat (1930), ubicada en Bruno, República Checa, prominente ejemplo de la
primera arquitectura moderna y diseño del tercer director de la Bauhaus, Ludwig
Mies Van der Rohe.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Esta casa icónica es una de las más grandes obras
de arquitectura doméstica de la modernidad, y una de las dos mejores casas
diseñadas por Mies, la otra siendo la Casa Farnsworth, ubicada en Plano,
Illinois (1951). La Casa Tugendhat fue designada un UNESCO World Heritage Site
en 2001, y luego de una profunda restauración, fue reabierta al público en
Marzo de 2012. </span><br />
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<![endif]--><span lang="ES" style="font-size: x-small; letter-spacing: 0.05pt;">2.</span><span lang="ES" style="font-size: x-small; letter-spacing: 0.2pt;"> <i style="mso-bidi-font-style: normal;">El
salón de la</i> <i style="mso-bidi-font-style: normal;">Casa Tugendhat</i> (f.
Colección Hammer-Tugendhat).</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">La Tugendhat es notable tanto "por ser más
vanguardista que todo lo que el arquitecto alemán había construido hasta entonces",
como por el momento mismo en el cual fue proyectada. 2 Van der Rohe "diseñó
la casa al mismo tiempo que el Pabellón de Barcelona. Así, comparte muchos
elementos de diseño con el pabellón, como la planta libre, el uso extensivo del
vidrio y el acero, la columnas cromadas y hasta una pared de ónice. "3 </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Un olvidado episodio de la historia unió para
siempre a las distantes ciudades de Brno y Caracas en los años cuarenta del
siglo pasado. Debido al peligro que corrían en la guerra los miembros de la
familia (muchos fueron enviados a campos de exterminio y asesinados), luego de
haber emigrado primero a Suiza en 1938, los Tugendhat emigraron a Venezuela junto
a sus tres hijos en enero de 1941. </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Aquí, en Caracas nacerían dos hijas más: la menor,
Daniela Hammer-Tugendhat, quien compartió con nosotros en la Sala TAC la
historia de la vida familiar en la Casa Tugendhat. "Mis padres se llevaron
parte de los muebles de la casa -diseñados por Mies y por Lilly Reich- con
ellos cuando emigraron. </span>En Caracas,
mi padre estableció una fábrica de lana. <span lang="ES" style="mso-ansi-language: ES;">Mi hermana Ruth Guggenheim, quien ahora es psicoanalista y vive en Zurich,
nació en Caracas, como yo".4</span><br />
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<span lang="ES" style="mso-ansi-language: ES;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidBQTPN9j535rRX3oa4w0xziRC_rjVa63PeWNmk1XcqDwN7Q9gkjR06WMZ0v40zpXFPM8VwWwtjdSvnEh01UX6f7fEYqfWQxUlh_M90aspzllM0nCPgqEN-Jq8errazYbp7pE5M_Bs0r9j/s1600/3.+Ludwig+Mies+Van+der+Rohe+y+Grete+Tugendhat+en+el+salon+de+la+Casa+Tugendhat+%2528f.+Coleccion+Hammer-Tugendhat%2529.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidBQTPN9j535rRX3oa4w0xziRC_rjVa63PeWNmk1XcqDwN7Q9gkjR06WMZ0v40zpXFPM8VwWwtjdSvnEh01UX6f7fEYqfWQxUlh_M90aspzllM0nCPgqEN-Jq8errazYbp7pE5M_Bs0r9j/s640/3.+Ludwig+Mies+Van+der+Rohe+y+Grete+Tugendhat+en+el+salon+de+la+Casa+Tugendhat+%2528f.+Coleccion+Hammer-Tugendhat%2529.jpg" width="640" /></a></div>
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<span lang="ES" style="font-size: x-small; letter-spacing: 0.05pt;">3.</span><span lang="ES" style="font-size: x-small; letter-spacing: 0.2pt;"> <i style="mso-bidi-font-style: normal;">Ludwig Mies Van
der Rohe y Grete Tugendhat en el salón de la Casa Tugendhat</i> (f. Colección
Hammer-Tugendhat).</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Daniela recuerda que los cuatro años de su estadía en Caracas fueron felices
(ella nació en 1946). Durante ese tiempo la familia cultivó en nuestra ciudad muchas
amistades, algunas de las cuales nos acompañaron el día de la video
conferencia. Su residencia caraqueña estuvo aparentemente en la urbanización
San Bernardino -aunque la profesora Hammer-Tugendhat no lo pudo confirmar-. Luego,
en 1950, sus padres "regresaron a Saint-Gallen, Suiza, con sus dos hijas. Y
allí, en 1957, construyeron de nuevo otra casa para ellos, que evocó muchas de las
características esenciales de la casa de Brno".5</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">En la conferencia pudimos disfrutar de un sin fin de pormenores de la
historia de la Casa Tugendhat. De cómo el terreno, ubicado en la parte superior
de la colina donde estaba la casa paterna, de estilo Art Nouveau, fue un regalo
de su familia a Grete Tugendhat al contraer matrimonio. De cómo fue ella quien
conoció primero a Mies en Berlín y de cómo los jóvenes esposos Tugendhat tomaron
la decisión de contratarlo al quedar "encantados por su personalidad y ver
cómo hablaba de arquitectura".6</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Hammer-Tugendhat, quien es Profesora Honoraria de
Historia del Arte en la Universidad de Artes Aplicadas de Viena y conferencista
en el Instituto de Historia del Arte de la Universidad de esa misma ciudad,
refiere que "Mies<span style="letter-spacing: 1.75pt;"> </span>no<span style="letter-spacing: 2.3pt;"> </span>solo<span style="letter-spacing: 3.0pt;"> </span><span style="mso-font-width: 113%;">construyó<span style="letter-spacing: -.1pt;"> </span></span>la<span style="letter-spacing: .8pt;"> </span>casa,<span style="letter-spacing: .55pt;"> </span>sino<span style="letter-spacing: 2.55pt;"> </span><span style="mso-font-width: 123%;">que<span style="letter-spacing: -.55pt;"> </span></span>junto <span style="letter-spacing: .4pt;"><span style="mso-spacerun: yes;"> </span></span>con<span style="letter-spacing: 2.9pt;"> </span><span style="mso-font-width: 89%;">Lilly<span style="letter-spacing: .55pt;"> </span></span><span style="mso-font-width: 106%;">Reich,<span style="letter-spacing: .05pt;"> </span></span><span style="mso-font-width: 114%;">s</span><span style="mso-font-width: 116%;">u </span><span style="mso-font-width: 118%;">compañer<a href="https://www.blogger.com/null" style="mso-comment-date: 20190818T1233; mso-comment-reference: HG_1;">a</a></span></span><span class="MsoCommentReference"><span style="mso-ansi-font-size: 12.0pt; mso-bidi-font-size: 12.0pt;"><a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=8834351563354750280#_msocom_1" id="_anchor_1" name="_msoanchor_1"></a><span style="mso-special-character: comment;"> </span></span></span><span style="mso-ansi-language: ES; mso-font-width: 118%;"> </span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 127%;">p</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 108%;">r</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 122%;">o</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 88%;">f</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 129%;">e</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 114%;">s</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 110%;">io</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 116%;">n</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 120%;">a</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 90%;">l</span><span lang="ES" style="mso-ansi-language: ES;"> y<span style="letter-spacing: -.2pt;"> </span><span style="mso-font-width: 127%;">de<span style="letter-spacing: -.7pt;"> </span></span>vida,<span style="letter-spacing: 2.3pt;"> </span><span style="mso-font-width: 119%;">diseñó<span style="letter-spacing: -.75pt;"> </span>todos<span style="letter-spacing: -.15pt;">
</span></span>los<span style="letter-spacing: 1.7pt;"> </span><span style="mso-font-width: 117%;">muebles,<span style="letter-spacing: -.5pt;"> </span></span><span style="mso-font-width: 114%;">t</span><span style="mso-font-width: 122%;">o</span><span style="mso-font-width: 127%;">d</span><span style="mso-font-width: 122%;">o</span><span style="mso-font-width: 114%;">s</span> los<span style="letter-spacing: 1.7pt;"> </span><span style="mso-font-width: 113%;">detalles,<span style="letter-spacing: .75pt;"> </span>incluso<span style="letter-spacing: -1.05pt;"> </span></span>los<span style="letter-spacing: 1.7pt;"> </span><span style="mso-font-width: 110%;">textiles,<span style="letter-spacing: -.2pt;"> </span></span>la<span style="letter-spacing: .8pt;">
</span><span style="mso-font-width: 120%;">a</span><span style="mso-font-width: 89%;">lf</span><span style="mso-font-width: 122%;">o</span><span style="mso-font-width: 113%;">m</span><span style="mso-font-width: 127%;">b</span><span style="mso-font-width: 108%;">r</span><span style="mso-font-width: 120%;">a</span><span style="mso-font-width: 104%;">,</span> las<span style="letter-spacing: 1.45pt;"> </span><span style="mso-font-width: 112%;">cortinas".<span style="letter-spacing: -.15pt;">
Así esta obra "</span></span>es<span style="letter-spacing: .45pt;"> </span><span style="mso-font-width: 112%;">quizás<span style="letter-spacing: -.1pt;"> </span></span><span style="mso-font-width: 116%;">un</span><span style="mso-font-width: 120%;">a </span><span style="mso-font-width: 127%;">de<span style="letter-spacing: -.7pt;"> </span></span>las<span style="letter-spacing: 1.45pt;"> </span><span style="mso-font-width: 113%;">últimas<span style="letter-spacing: -1.3pt;"> </span>piezas<span style="letter-spacing: .2pt;"> </span>de<span style="letter-spacing: 1.3pt;"> </span><i style="mso-bidi-font-style: normal;">Gesamtkunstwerk</i>
(obra de arte total)" de su época.7</span> </span></div>
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Uno de los aspectos más hermosos de la conferencia fueron las fotos tomadas por su padre Fritz Tugendhat, aficionado a la fotografía, de la vida familiar en la casa. Allí, como nunca, "la simplicidad irreductible, el atractivo de la proporción <span lang="ES" style="mso-ansi-language: ES; mso-font-width: 127%;">p</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 129%;">e</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 108%;">r</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 88%;">f</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 129%;">e</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 113%;">ct</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 120%;">a</span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 104%;">, <a href="https://www.blogger.com/null" style="mso-comment-date: 20190818T2002; mso-comment-reference: HG_1;">los</a></span><span class="MsoCommentReference"><span style="font-size: 8.0pt;"><a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=8834351563354750280#_msocom_1" id="_anchor_1" name="_msoanchor_1"></a><span style="mso-special-character: comment;"> </span></span></span><span style="mso-ansi-language: ES; mso-font-width: 104%;"> </span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 111%;">materiales<span style="letter-spacing: 1.4pt;"> </span>exclusivos<span style="letter-spacing: -1.2pt;"> </span></span><span lang="ES" style="mso-ansi-language: ES;">y<span style="letter-spacing: -.2pt;"> <a href="https://www.blogger.com/null" style="mso-comment-date: 20190818T2002; mso-comment-reference: HG_2;">los</a></span></span><span class="MsoCommentReference"><span style="font-size: 8.0pt;"><a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=8834351563354750280#_msocom_2" id="_anchor_2" name="_msoanchor_2"></a><span style="mso-special-character: comment;"> </span></span></span><span style="letter-spacing: -.2pt; mso-ansi-language: ES;"> </span><span lang="ES" style="mso-ansi-language: ES; mso-font-width: 118%;">hermosos<span style="letter-spacing: -.85pt;"> </span>acabados" de la casa se unían a la
dulzura de la domesticidad y la vida de la </span><span lang="ES" style="mso-ansi-language: ES;">familia, detalles que la profesora, Premio 2016 Ciudad
de Brno junto a su marido Ivo Hammer, narró ampliamente junto a éste y a Wolf
Tegethoff, en su libro <i style="mso-bidi-font-style: normal;">Tugendhat
House-Mies Van der Rohe</i>, publicado en 1998.8</span><br />
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<span lang="ES" style="mso-ansi-language: ES;"> </span><span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">4. <i style="mso-bidi-font-style: normal;">La Casa Tugendhat </i>(f. Rudolf de Sandalo, 1931 - Coleccion
Hammer-Tugendhat).</span></div>
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<b><span lang="ES" style="mso-ansi-language: ES;">2. La Casa Tugendhat: Materialidad y Preservación</span></b></div>
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<span lang="ES" style="mso-ansi-language: ES;">Por su parte, el distinguido profesor Ivo Hammer, conservador-restaurador
quien desde 1976 hasta 1997 trabajase como director de pintura mural/superficie
arquitectónica del Instituto de Conservación de la Oficina Federal de
Preservación del Patrimonio en Viena (Bundesdenkmalant), entre 2003 y 2010
realizó un estudio científico de la conservación de la Casa Tugendhat. De ello
nos habló en su conferencia "<span style="mso-bidi-font-weight: bold;">La
Casa Tugendhat: Materialidad y Preservación".</span></span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Entre 2010 a 2012, Hammer fue Presidente de Comisión Experta Internacional Tugendhat
House (THICOM). Hammer nos contó el largo periplo desde el día en que "la
familia tuvo que abandonar forzosamente su casa para salvar la vida",
hasta la reinauguración de la casa tras la ultima restauración prístina de esta
obra maestra de la arquitectura moderna, que él mismo dirigió. "El 4 de
octubre de 1939, la Gestapo confiscó la casa y el 12 de enero de 1939, la
propiedad fue transferida oficialmente al Großdeutsches Reich, según el
registro de la propiedad de Brno. Los muebles que quedaron fueron vendidos por
los nazis o saqueados por los vecinos al final de la Segunda Guerra Mundial.
Desde el 13 de junio de 1943, hasta marzo de 1945, Walter Messerschmidt,
director de las obras Klöckner en Brno,<span style="mso-spacerun: yes;">
</span>vivió allí con su familia... "9 </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Tras una serie de avatares, usos no conformes (escuela de danza, centro de
rehabilitación ortopédica del hospital infantil, hotel VIP), saqueos y
mutilaciones, pero también de su inscripción "en 1963, en la lista de
monumentos culturales como monumento de Moravia<span style="mso-spacerun: yes;">
</span>del Sur, en agosto de 1995 como monumento nacional de la República Checa
y en diciembre de 2001 como Patrimonio de la Humanidad por la UNESCO", Hammer
y el THICOM concluyen exitosamente en 2012 la restauración de este patrimonio
moderno. Poco m<span style="mso-font-width: 112%;">á</span>s tarde, en 2017, Ivo
Hammer fue nominado para el Anillo K.F. Schinkel del Comité Nacional Alemán de
Preservación Histórica.</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">La detallada relación de todos los aspectos de la casa que fueron
restaurados y la delicada atención prestada a la arquitectura de Ludwig Mies
Van der Rohe, tanto en lo conceptual y espacial como en lo material, hacen que
el proyecto de la restauración de la Casa Tugendhat haya marcado un hito en la
historia de la conservación contemporánea del patrimonio moderno mundial. Imprescindible
de conocer por la comunidad arquitectónica nacional. De allí la importancia de que
Docomomo Venezuela haya logrado ofrecernos ambas magistrales conferencias en el
marco de la celebración del centenario de la Bauhaus. </span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Nuestro agradecimiento a nuestros queridos amigos, Daniela e Ivo, quienes
lograron que en este aniversario 452 de Caracas dars un paso más en afirmar la
necesidad de la científica Documentación y Conservación del Movimiento Moderno,
y ahora, también, en Venezuela.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHIKv_3zMQwTE6g6fAhbpPcixGdUjHMu4jh8PzB_AeZptwe75VoD86T19d9iuTempJov2XRmzaOleC2zkJB38_j5Q2G7vnkjrS_h0ZE4UOs5o9zEK9wd8EskSf8be9AE6b_t48xkmM0lx/s1600/5.+La+Casa+Tugendhat+Historia+y+Conservaci%25C3%25B3n+++.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1057" data-original-width="1600" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvHIKv_3zMQwTE6g6fAhbpPcixGdUjHMu4jh8PzB_AeZptwe75VoD86T19d9iuTempJov2XRmzaOleC2zkJB38_j5Q2G7vnkjrS_h0ZE4UOs5o9zEK9wd8EskSf8be9AE6b_t48xkmM0lx/s640/5.+La+Casa+Tugendhat+Historia+y+Conservaci%25C3%25B3n+++.jpg" width="640" /></a></div>
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<span lang="ES" style="mso-ansi-language: ES;"> </span><span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">4. <i style="mso-bidi-font-style: normal;">La Casa Tugendhat: Historia y Conservaci</i></span><span lang="ES" style="font-size: x-small; mso-ansi-language: ES;"><i style="mso-bidi-font-style: normal;"><span lang="ES"><i><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">ó</span></i></span>n </i>(Postal. Docomomo Venezuela, 2019).</span></div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">NOTAS:</span></div>
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<span lang="DE" style="font-size: 10.0pt; mso-ansi-language: DE;">1. Fritz Tugendhat, <i style="mso-bidi-font-style: normal;">Werkbund Die Form,
</i>Berlin, Noviembre, 1931.<i style="mso-bidi-font-style: normal;"> </i></span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">Citado por Daniela
Hammer-Tugendhat, video conferencia <i style="mso-bidi-font-style: normal;"><span style="letter-spacing: .05pt; mso-bidi-font-weight: bold;">La vida familiar en la
casa de Tugendhat</span></i><b><span style="letter-spacing: .05pt;">. </span></b><i><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">La Casa Tugendhat:
Historia y Conservación, </span></i><span style="mso-bidi-font-style: italic; mso-text-raise: -.5pt; position: relative; top: .5pt;">Embajada de la Republica
Federal de Alemania/CAV/</span><span style="letter-spacing: .05pt; mso-text-raise: -.5pt; position: relative; top: .5pt;">Docomomo Venezuela</span><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">,<span style="letter-spacing: -.3pt;"> Sala TAC, Caracas Julio 25, </span><span style="letter-spacing: .05pt;">2019</span>.<i><span style="letter-spacing: -.2pt;"></span></i></span></span></div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">2. D. Hammer-Tugendhat e I. Hammer, video conferencia <i><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">La Casa Tugendhat:
Historia y Conservación, </span></i><span style="mso-bidi-font-style: italic; mso-text-raise: -.5pt; position: relative; top: .5pt;">Embajada de la Republica
Federal de Alemania/CAV/</span><span style="letter-spacing: .05pt; mso-text-raise: -.5pt; position: relative; top: .5pt;">Docomomo Venezuela</span><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">,<span style="letter-spacing: -.3pt;"> Sala TAC, Caracas Julio 25, </span><span style="letter-spacing: .05pt;">2019</span>.<i><span style="letter-spacing: -.2pt;"></span></i></span></span></div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">3. D. Hammer-Tugendhat e I. Hammer, conferencia <i style="mso-bidi-font-style: normal;">Mies Van der Rohe's Tugendhat</i>, Mies Van der Rohe Society/Center for
Architecture, New York, Junio 3, 2019.</span></div>
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<span lang="NO-BOK" style="font-size: 10.0pt; mso-ansi-language: NO-BOK;">4. D. Hammer-Tugendhat e I. Hammer, <i style="mso-bidi-font-style: normal;">Op.
Cit.,</i><span style="letter-spacing: -.3pt; mso-text-raise: -.5pt; position: relative; top: .5pt;"> Julio 25, </span><span style="letter-spacing: .05pt; mso-text-raise: -.5pt; position: relative; top: .5pt;">2019</span><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">.</span></span></div>
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<span lang="NO-BOK" style="font-size: 10.0pt; mso-ansi-language: NO-BOK;">5. D. Hammer-Tugendhat e I. Hammer, <i style="mso-bidi-font-style: normal;">Ibid.</i><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">.</span></span></div>
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<span lang="NO-BOK" style="font-size: 10.0pt; mso-ansi-language: NO-BOK;">6. <i style="mso-bidi-font-style: normal;">Idem.</i></span></div>
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<span lang="NO-BOK" style="font-size: 10.0pt; mso-ansi-language: NO-BOK;">7. Id.</span></div>
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<span lang="NO-BOK" style="font-size: 10.0pt; mso-ansi-language: NO-BOK;">8. D. Hammer-Tugendhat & I. Hammer, <i style="mso-bidi-font-style: normal;">Tugendhat House-Mies Van der Rohe, Springer,</i>Viena/New York,<i style="mso-bidi-font-style: normal;"> </i>1998.</span></div>
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<span lang="NO-BOK" style="font-size: 10.0pt; mso-ansi-language: NO-BOK;">9. D. Hammer-Tugendhat e I. Hammer, <i style="mso-bidi-font-style: normal;">Op.
Cit.,</i><span style="letter-spacing: -.3pt; mso-text-raise: -.5pt; position: relative; top: .5pt;"> Julio 25, </span><span style="letter-spacing: .05pt; mso-text-raise: -.5pt; position: relative; top: .5pt;">2019</span><span style="mso-text-raise: -.5pt; position: relative; top: .5pt;">.</span></span><br />
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Publicado en: Opinión, @ELNACIONALWeb, Caracas, Agosto 20 de 2019: https://www.elnacional.com/opinion/la-casa-tugendhat-historia-y-conservacion/<br />
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-29232785111838165082019-09-20T13:58:00.001-04:002019-10-17T20:25:55.874-04:00Weissenhofsiedlung: (Stuttgart, 1927 - Caracas, 1947)<!--[if !mso]>
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<span style="font-size: x-small;">1. Haus 1-4, Weissenhofsiedlung, Stuttgart. Ludwig Mies van der Rohe, 1927.</span><br />
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"Desde su fundación en 1919, la 'bau-haus', <br />
fue la casa cuyo 'objetivo era la construcción' (…). <br />
Concretamente, la casa experimental de la bauhaus, <br />
ejemplo, ya clásico, del moderno Estilo Internacional,<br />
fue blanca, sencilla y cúbica".<br />
Nikolaus Pevsner.1</div>
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<b>1. Un Estilo Internacional, Treinta Arquitecturas Modernas </b><br />
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En 1927, en la ladera Weissenhof de la ciudad de Stuttgart, el Deutscher Werkbund le encargó a Ludwig Mies van der Rohe que organizara una exposición de arquitectura moderna. Bajo la dirección de Mies, último director de la Bauhaus, se comisionaron a diversos arquitectos de distintos países el diseño y la construcción de una treintena de actuaciones singulares, básicamente viviendas unifamiliares, pero también bloques y viviendas pareadas o en hilera en un área de la entonces periferia de Stuttgart treinta viviendas unifamiliares. Entre ellos: J.J.P. Oud (Haus 5-9); Victor Bourgeois (Haus 10); Adolf Schneck (Haus 11-12); Le Corbusier / Pierre Jeanneret (Haus 13-15); Walter Gropius (Haus 16-17); Ludwig Hilberseimer (Haus 18: Bruno Taut (Haus 19); Hans Poelzig (Haus 20); Richard Docker (Haus 21-22); Max Taut (Haus 23-24); Adolf Rading (Haus 25); Josef Frank (Haus 26-27); Mart Stam (Haus 28-30); Peter Behrens (Haus 31-32); Hans Sharoun (Haus 33) y el propio Mies van der Rohe (Haus 1-4).</div>
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La Weissenhofsiedlung (o Weissenhof Siedlung) tuvo una gran importancia en el establecimiento del canon moderno, como lo reconocieron Philip Johnson y Henry Russell-Hitchcock en la exposición "Modern Architecture: International Exhibition" (MOMA, 1932) y en la simultánea publicación <i>The International Style: Architecture Since 1922</i>.2</div>
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Con motivo del centenario de la Bauhaus (1919-2019) y la celebración del mes de la arquitectura y la ciudad, la Embajada de la Republica Federal de Alemania, el Colegio de Arquitectos de Venezuela, la Sala TAC y Docomomo Venezuela organizaron el ciclo "Bauhaus100: una celebración". Y justamente, para la segunda sesión del pasado 11 de julio, revisitamos la experiencia del Weissenhofsiedlung a fin de indagar cuales fueron sus influencias en las arquitecturas de la capital. <br />
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Edgar Cruz tuvo la tarea de hacer un panorama sobre que es lo que fue la colonia del Weissenhof, cuál fue su relación con el Bauhaus, repasando los principios subyacentes en la arquitectura del Estilo Internacional de los veinte y los treinta y sus vanguardias, y en primer lugar, de la Bauhaus. Refiriendo entre ellos, "la ruptura con la tradición académica (P. Bürger), la negación de los estilos del pasado, el valor de los cambios sociales, estéticos y tecnológicos, la idea de lo nuevo y de cómo vivir en la modernidad, la idea de progreso social, estético y técnico, la nueva organización de la vida y la idea de modernidad), la búsqueda de nueva arquitectura y la idea de <i>Zeitgeist</i>, o espíritu de los tiempos) y la autonomía de la arquitectura en lo colectivo, en lo individual y en lo museográfico)".3</div>
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Asimismo, Cruz enumeró los principales conceptos que subyacen en las propuestas arquitectónicas de esta treintena de viviendas modernas alemanas, destacando entre ellos: la Racionalización (planes, leyes, manuales, sistemas constructivos); la Tipificación (casas unifamiliares, pareadas, adosadas, bloques); la Economía y la rentabilidad (masificación de la vivienda); el Espacio (integración exterior-interior); las Técnicas y materiales de construcción (prefabricación); la Forma (volumen, elementos, color, textura, techo plano); el Significado (Funcionalismo, Racionalismo y Minimalismo) y los Paradigmas de la modernidad (reducción formal, estética de la máquina, cuatridimensionalidad espacial y juegos de lenguajes).</div>
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Seguidamente, el panel conformado por Sandra Carrillo, Fernando De Stefano y Maria Teresa Novoa (Docomomo Venezuela) presentaron un docotour virtual con las imágenes recientes de las primeras viviendas modernas funcionalistas de Caracas de las décadas de los 30 y los 40. </div>
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El reto era dilucidar qué ecos, qué influencias -si alguna-, del Weissehofsiedlung de Stuttgart de 1927 se pueden encontrar en ellas y preguntarnos cuánto del funcionalismo, los principios, los materiales y las formas de la arquitectura de la Bauhaus están presentes en cada una de estas primeras arquitecturas modernas.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzakK5TYJKNYVENUCKPrtOfxSVxxo1cCmyQHFl99wzshwJKTBk4hxwLLW1gUEH5Xc1z5M6P-pImVplgxjtQ4KSKfldFHLG2rk3p1MaCU0SNPlHKqXHDNiScCDCsrKQf3IroMCAOhyjc5ZU/s1600/4.+Conjunto+Bella+Vista+%2528f.+Gasparini+y+Posani%252C+1969%2529..jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="956" data-original-width="1440" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzakK5TYJKNYVENUCKPrtOfxSVxxo1cCmyQHFl99wzshwJKTBk4hxwLLW1gUEH5Xc1z5M6P-pImVplgxjtQ4KSKfldFHLG2rk3p1MaCU0SNPlHKqXHDNiScCDCsrKQf3IroMCAOhyjc5ZU/s640/4.+Conjunto+Bella+Vista+%2528f.+Gasparini+y+Posani%252C+1969%2529..jpg" width="640" /></a></div>
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<span style="font-size: x-small;"><b> </b><span style="font-size: xx-small;">2.<i> Conjunto Bella Vista</i> (f. Gasparini y Posani, 1969).</span></span></div>
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<b>2. Una Ciudad Tradicional, Treinta Arquitecturas Modernas</b><br />
En Caracas, la arquitectura moderna se inicia con un primer chalet neoplasticista en Campo Alegre (Quinta las Guaycas, Manuel Mujica Millán), y la modernidad de ultramar -y todas sus vanguardias- fueron entrando paulatinamente. A través del encargo de clientes privados o gubernamentales a arquitectos formados en el extranjero y arquitectos inmigrantes, se construyen en Caracas dispersas actuaciones singulares en el tema de la vivienda, básicamente casas, pero también bloques y viviendas pareadas o en hilera, que fueron llenando a la ciudad de hibridas "arquitecturas blancas" a partir de 1932.<span style="font-size: x-small;"> </span><br />
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<span style="font-size: x-small;"> </span><span style="font-size: x-small;">3. Quinta Las Guaycas (f. Gasparini y Posani, 1969).</span></div>
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Docomomo Venezuela hizo un recorrido por las calles Caracas para escoger las arquitecturas que eran casi contemporáneas en el tiempo -o algo posteriores- de lo que pasó en Alemania cuando se construyó el Weissenhof. Teniendo en mente ese conjunto de visiones de la arquitectura moderna que en el ano de 1927 estaba pululando en Europa, cuando Mies van der Rohe recurre a todos estos arquitectos para plasmarlo en la colina del Weissenhof, mirando la ciudad de Stuttgart, la idea fue trasladarnos desde esa colina a nuestro valle desde el ano 1927 a cinco anos mas tarde, a 1932, cuando por primera vez se construye la primera arquitectura moderna en Venezuela.<br />
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Muchos arquitectos empezaron a hacer en nuestro país -en este caso, arrancando por la capital (pero en todas las ciudades de Venezuela mas o menos ocurre lo mismo, de manera relativa)-, esa arquitectura de vanguardia. Lo primero que encontramos es que son pocos los arquitectos conocidos haciendo arquitectura moderna en la ciudad, solo cuatro nombres (Heriberto González Méndez y Carlos Raúl Villanueva, y dos arquitectos españoles, Rafael Bergamin y Manuel Mujica Millán, que vivieron en Venezuela por muchos anos y dejaron aquí el legado de su obra). Salvando las distancias, en la exposición del Weissenhof, actuaron diecisiete arquitectos. Pero justamente esa diversidad arquitectónica en la exposición de Mies, nos permite mas fácilmente intentar hacer el ejercicio de extender la analogía hasta una ciudad entera.<br />
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Lo segundo, es el lamentable estado en que se encuentra nuestra primera arquitectura moderna, o lo que queda de ella. No esta de mas recordar que el Weissenhofsiedlung, hoy en día, es una exposición viva de arquitectura moderna. Esta restaurada con los proyectos originales de sus arquitectos y dos de sus edificios albergan la exposición de los planos y los dibujos de los proyectos de los arquitectos. Por supuesto que hay que disculpar su apariencia, pero una de las ideas justamente de nosotros en Docomomo de comparar sus imágenes con las fotografías históricas del Weissenhof, sabiendo que esos edificios están restaurados, es esperar que también<span style="font-size: x-small;"> </span>podamos abogar por la restauración de los que tenemos en Caracas, que son nuestras arquitecturas modernas, nuestra arquitectura blanca y nuestras arquitecturas de vanguardia.<br />
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Y nos toca a nosotros decir cuales son las influencias, y si existe alguna, de las escuelas de arquitectura alemana, del Bauhaus y de las vanguardias que estaban presentes en el Weissenhof de todos los países de Europa. Entonces, yendo desde el oeste hacia el este de la ciudad, revisamos las imágenes de todas esas arquitectura son mas o menos contemporáneas a las del Weissenhofsiedlung, aunque en Caracas -por haber un océano de por medio-, las influencias arquitectónicas llegaron con mas retraso, sin embargo tienen cierta presencia aun en la ciudad.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyoiRdTh3jqCz_-yJdnlPQjMw-bdbXzP41O7MIJvo12aUTYPykl7PccE5QqU24riQwlc1Zt-su3MIhkKwRjGGHxIAA2tjgHC5sYd4pD3zsIzxq5PxBQIj0DOuh9J1tGpaM3MOp5YGxE3L/s1600/6.+Quinta+Irene+%2528f.+Hannia+Gomez%252C+2019%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1125" data-original-width="844" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicyoiRdTh3jqCz_-yJdnlPQjMw-bdbXzP41O7MIJvo12aUTYPykl7PccE5QqU24riQwlc1Zt-su3MIhkKwRjGGHxIAA2tjgHC5sYd4pD3zsIzxq5PxBQIj0DOuh9J1tGpaM3MOp5YGxE3L/s640/6.+Quinta+Irene+%2528f.+Hannia+Gomez%252C+2019%2529.jpg" width="480" /></a></div>
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<span lang="IT" style="font-size: x-small; mso-ansi-language: IT;">4. <i style="mso-bidi-font-style: normal;">Quinta Irene</i> (f. Hannia Gomez, 2019).</span></div>
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Por cierto, también, es muy importante que encontremos en ellas las mezclas. Porque los purismos arquitectonicos son muy extraños en nuestra ciudad. Y así, se sucedieron ante nosotros las imágenes de treinta arquitecturas modernas de Caracas hasta 1947: el Conjunto Bella Vista, de Heriberto González-Méndez; los Bloques de San Martín, la Quinta Sousa y la Quinta Sofía, de Carlos Raúl Villanueva; la Casa 39, de Rafael Bergamín; la Quinta San Pedro, la Quinta Las Guaycas, la Casa 17, la Quinta Ave Maria y la Quinta Irene, de Manuel Mujica Millán; y la Quinta Manina, la Quinta Deyanira, la Casa en Prado de Maria, la Casa 1, la Casa 55, la Quinta Galila, la Quinta Elite, la Casa 4, el edificio Cajigal, la Casa 43, la Casa del Colegio la Inmaculada Concepción, Villa France, la Casa 59, las Casas s/n 1 y 2, la Quinta Campanela, la Quinta Pansembrar y la Quinta Rodri-Guez, todas obras de autores hasta ahora desconocidos.<span lang="IT" style="font-size: 10.0pt; mso-ansi-language: IT;"> </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3vjs4L8pVIiX1wXpccYQta85HwfyR4ayiDjzCHC8cqqaXnH7EH5PCRLbRUr86gyeQEIPkGExR2m6xZLT6BH9OBe3gaiVqUWRMfJ4kl_fqhMJjM_LJF_M1kqSe9JLQWNyJJK3lYmm8T7h/s1600/1.+Docotour+virtual+Weissenhofsiedlung+%2528Stuttgart%252C+1927+-+Caracas%252C+1947%2529%252C+Julio+11%252C+2019+%2528f.+e_postal+44.+Docomomo+Venezuela%252C+2019%2529..jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1057" data-original-width="1600" height="422" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid3vjs4L8pVIiX1wXpccYQta85HwfyR4ayiDjzCHC8cqqaXnH7EH5PCRLbRUr86gyeQEIPkGExR2m6xZLT6BH9OBe3gaiVqUWRMfJ4kl_fqhMJjM_LJF_M1kqSe9JLQWNyJJK3lYmm8T7h/s640/1.+Docotour+virtual+Weissenhofsiedlung+%2528Stuttgart%252C+1927+-+Caracas%252C+1947%2529%252C+Julio+11%252C+2019+%2528f.+e_postal+44.+Docomomo+Venezuela%252C+2019%2529..jpg" width="640" /></a></div>
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<span lang="IT" style="font-size: 10.0pt; mso-ansi-language: IT;"> <span style="font-size: x-small;">5</span></span><span style="font-size: x-small;"><span lang="PT-BR" style="position: relative; top: 0.5pt;">. <i>Docotour
virtual:</i> <i>Weissenhofsiedlung: (Stuttgart, 1927 - Caracas, 1947), Julio
11, 2019<span style="letter-spacing: -.2pt;"> </span></i>(<span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.15pt;"> e_postal 44. D</span><span style="letter-spacing: .05pt;">ocomomo Venezuela</span>,<span style="letter-spacing: -.3pt;"> </span><span style="letter-spacing: .05pt;">2019</span>).</span></span><br />
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NOTAS: </div>
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1. Nikolaus Pevsner, "La arquitectura y la bauhaus", en Bauhas, Institut fur Auslandsbeziehungen, Stuttgart, 1976: 133-134. </div>
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2. Philip Johnson y Henry Russell- Hitchcock, The International Style: Architecture Since 1922, W.W. Norton & Co., New York, 1932. 3. Docomomo Venezuela, video "Docotour virtual: Weissenhofsidelung: (Stuttgart, 1927 - Caracas, 1947)", Sala TAC, Trasnochco Cultural, Caracas, Julkio 11, 2019: https://www.facebook.com/CaracasPhoto/videos/358748621503505/UzpfSTE1ODA3MDE5NDIzMzAxOTozMDc5Mjg1OTU1NDQ0NzQ3<br />
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Publicado en: Opinión, @ELNACIONALWeb, Caracas, Julio 2 de 2019:</div>
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-91756320346078985732019-09-20T11:52:00.001-04:002019-10-17T20:24:31.129-04:00Bauhaus100: una celebración<div class="separator" style="clear: both; text-align: center;">
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"Concibamos y creemos juntos el nuevo edificio del futuro, </div>
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el cual abarcará en una unidad a la arquitectura, la escultura y la pintura, </div>
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y se levantará un día hacia el cielo de la mano de un millón de trabajadores </div>
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como el símbolo cristalino de una nueva fe ". </div>
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Primera Proclama de la Weimar Bauhaus.1</div>
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<b>1. De la Bauhaus a nuestra casa</b><br />
Julio, tradicionalmente el mes de la ciudad y de la arquitectura, nos trae este 2019 buenas nuevas. A partir del 4 de Julio, la Embajada de la Republica Federal de Alemania en Venezuela y Docomomo Venezuela se suman a la fiesta global por el Centenario de la Bauhaus con el ciclo <i>Bauhaus100: una celebración</i> en la Sala TAC del Trasnocho Cultural. En tres jornadas diferentes se impulsarán la investigación de la arquitectura, el urbanismo y el arte alemán presentes en Venezuela. El ciclo aspira a dilucidar la presencia del diseño de la Bauhaus en las obras venezolanas de varios arquitectos modernos. De esta manera, se buscará investigar y revelar la relevancia de la legendaria institución cultural en la modernidad arquitectónica venezolana.2<span lang="ES" style="mso-ansi-language: ES;"> </span><br />
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El jueves 4 de Julio, Día nacional del Arquitecto, se presenta el panel "Von Bauhaus zu unserem Haus*: escuelas de arquitectura moderna alemanas - influencias en Caracas", un titulo basado en el del influyente libro de Tom Wolfe de los ochenta, <i>From Bauhaus to Our House</i>.3 Ese día, un selecto grupo de profesores y arquitectos conocedores de la arquitectura moderna (Rafael Pereira, Bettina Beckhoff, Omar Seijas, Fernando Micale y Frank Alcock) indagarán en la etapa de formación de los arquitectos alemanes con obra en el país y de los arquitectos venezolanos educados en la herencia de la Bauhaus, así como en sus escuelas de arquitectura (Bauhaus <i>et alt.</i>), sus primeros proyectos y en sus profesores en los EUA y/o en Alemania.<br />
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Entre los arquitectos a ser presentados se cuentan Gertrude Goldschmidt (GEGO), Federico G. Beckhoff, Dirk Bornhorst, Pedro Neuberger, Marcel Breuer, Klaus Heufer, Klaus Peter Jebens y los venezolanos Tomas Sanabria (Harvard University, 1947 / Walter Gropius) y Martín Vegas Pacheco (Illinois Institute of Technology, 1959 / Mies van der Rohe), entre otros.<br />
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<span style="font-size: x-small;"><span style="letter-spacing: 0.05pt;">2</span>. <i>T<span style="letter-spacing: .05pt;">o</span>rre<span style="letter-spacing: -.2pt;"> </span><span style="letter-spacing: .05pt;">Po</span>l<span style="letter-spacing: .05pt;">a</span>r,<span style="letter-spacing: -.2pt;"> </span><span style="letter-spacing: -.05pt;">C</span><span style="letter-spacing: .05pt;">a</span>r<span style="letter-spacing: .05pt;">a</span>c<span style="letter-spacing: .05pt;">a</span>s.<span style="letter-spacing: -.3pt;"> </span>M<span style="letter-spacing: .05pt;">a</span>r<span style="letter-spacing: .1pt;">t</span>ín<span style="letter-spacing: -.25pt;"> </span><span style="letter-spacing: .05pt;">V</span>e<span style="letter-spacing: .05pt;">ga</span>s<span style="letter-spacing: -.25pt;"> </span><span style="letter-spacing: .05pt;">Pa</span><span style="letter-spacing: -.1pt;">c</span><span style="letter-spacing: .05pt;">h</span>eco<span style="letter-spacing: -.3pt;"> </span>y <span style="letter-spacing: -.1pt;">J</span><span style="letter-spacing: .05pt;">o</span><span style="letter-spacing: .15pt;">s</span>é<span style="letter-spacing: -.15pt;"> </span>Mi<span style="letter-spacing: .05pt;">gu</span>el<span style="letter-spacing: -.3pt;"> </span>G<span style="letter-spacing: .05pt;">a</span>li<span style="letter-spacing: .05pt;">a</span>,<span style="letter-spacing: -.2pt;"> </span><span style="letter-spacing: .05pt;">1</span><span style="letter-spacing: -.05pt;">9</span><span style="letter-spacing: .05pt;">5</span>4<span style="letter-spacing: -.25pt;"> </span></i><span style="letter-spacing: .05pt;">(</span><span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.15pt;"> </span><span style="letter-spacing: .1pt;">P</span>a<span style="letter-spacing: .05pt;">o</span>lo<span style="letter-spacing: -.2pt;"> </span>G<span style="letter-spacing: .15pt;">a</span>s<span style="letter-spacing: .05pt;">p</span><span style="letter-spacing: .15pt;">a</span><span style="letter-spacing: .05pt;">r</span><span style="letter-spacing: .1pt;">i</span><span style="letter-spacing: -.05pt;">n</span><span style="letter-spacing: .1pt;">i</span>,<span style="letter-spacing: -.25pt;"> </span>s<span style="letter-spacing: .1pt;">/</span>f).</span></div>
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La semana siguiente, el jueves 11 de julio, tendrá lugar un nuevo panel, titulado "Weissenhofsiedlung: (Stuttgart, 1927 - Caracas, 1937)". Mediante una presentación audiovisual, se compararán el parque arquitectónico de la exposición de vivienda organizada por Mies van der Rohe en 1927 en Stuttgart, la famosa Weissenhoffsiedlung, con una obra del mismo Mies y la participación de muchos de los grandes nombres de la primera arquitectura moderna en la Europa de la época, Le Corbusier y Pierre Jeanneret, J.J.P. Oud, Mart Stam, Hans Scharoun, Hans Poelzig, Ludwig Hilberseimer, Briuno Taut y Walter Gropius, con las "arquitecturas blancas" de la Caracas posterior a 1932.<br />
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El <i>delay </i>de más de una década de diferencia entre las arquitecturas bauhausianas de Stuttgart y la aparición de las de Caracas, la marca el hito histórico de la construcción de la Quinta Las Guaycas, de Manuel Mujica Millán, con la cual se afirma que dio inicio a la arquitectura moderna en Venezuela. Veremos muchas obras anónimas del racionalismo y el funcionalismo caraqueño hasta <i>circa</i> 1949, junto a obras de maestros de la arquitectura moderna en Venezuela, como Carlos Raúl Villanueva, Rafael Bergamin y el mismo Mujica Millán. Las imágenes contemporáneas de las viviendas caraqueñas y los comentarios sobre las mismas estarán a cargo del equipo de fotógrafos miembros de Docomomo Venezuela, mientras que la presentación de la colonia Weissenhof será responsabilidad de Edgar Cruz.<br />
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Finalmente, el día jueves 25 de julio, aniversario de la ciudad de Santiago de León de Caracas, disfrutaremos de una conferencia en vivo desde Viena: "Memorias caraqueñas - Plan de Conservación y Restauración de la Villa Tugendhat", donde el profesor Ivo Hammer, director del equipo para el proyecto de restauración y conservación de la Villa Tugendhat de Mies van der Rohe, nos dará a conocer este reciente y premiado proyecto, así como las memorias caraqueñas de su esposa, la profesora de Historia del Arte de la Universidad de Artes Aplicadas de Viena, Danielle Hammer-Tugendhat, nacida en Caracas e hija de los dueños originales de la Villa Tugendhat en Brno, y clientes por lo tanto del maestro alemán de la modernidad y tercer y ultimo director de la Bauhaus, Ludwig Mies van der Rohe. <br />
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Discusiones por lo demás muy contemporáneas en tiempos en que el diseño aspira a re- democratizarse, los invitamos a reemprender el viaje moderno por las arquitecturas de la democracia… de la Bauhaus a nuestra casa.<br />
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;"> </span><span style="font-size: x-small;">3.
Bauhaus100: una celebración. Von Bauhaus zu unserem Haus: escuelas de
arquitectura moderna alemanas - influencias en Caracas (Postal. Docomomo
Venezuela, 2019).</span></div>
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NOTAS:<br />
1. Herbert Bayer, Walter Gropius e Ise Gropius, editores. Libro de la exposición <i>1919 BAUHAUS 1928</i>, The Museum of Modern Art, Nueva York, 1975, p. 16.<br />
2. Design Museum Danmark, exposición <i>"Bauhaus #ItsAllDesign"</i>, Copenhagen, Marzo 14 - Diciembre 1, 2019: https://designmuseum.dk/en/exhibition/bauhaus/<br />
2. Tom Wolfe, <i>From Bauhaus to Our House</i>, Farrar, Strauss & Giroux, Nueva York, 1981.<br />
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<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Julio 2 de 2019: https://www.elnacional.com/opinion/bauhaus100-una-celebracion/</span><br />
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<span style="font-size: small;"> </span> </div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-72355322057571743852019-09-20T11:35:00.001-04:002019-12-17T15:50:51.212-04:00Bambú<!--[if gte mso 9]><xml>
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<span style="font-size: x-small;"><span lang="ES">1.<i> T</i></span><i><span lang="ES">únel vegetal</span></i><span lang="ES">, Avenida principal del Caracas
Country Club (f. @fundamemoria, 2015) .</span></span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES; mso-no-proof: yes;"></span></div>
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"Crece el bambú </div>
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Caricias de los cielos </div>
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Jardín del aire". </div>
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Haiku. 1 </div>
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El experto arquitecto colombiano en arquitectura de bambú me tranquilizó con sus palabras. Me dijo: <i>"No te preocupes por el túnel vegetal. El incendio del 8 de abril no acabará con él. Lo verás renacer al no más empezar las lluvias. La naturaleza de la Guadua",</i> -como llaman en Colombia a esta grama monumental que crece hasta el cielo y cuyos laberinto de rizomas se extiende en todas direcciones más allá de lo inimaginable-, <i>"hará que los nuevos vástagos empiecen a brotar por doquier en un abrir y cerrar de ojos…"</i></div>
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<i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs6awjJJg16uOcdTF8cIjaV7aVIX5VTQiJ_tW4u7-UcnFookrjXfNzONSTaZzjFHT3qOzZww_xVWpR-eckfG9Itf8hERnPhqPjA_BLw__2KPb1vC1kUfMf6KbFU7NWBOIRImWZqxXLzgK3/s1600/2.+El+hoyo+9+del+Caracas+Country+Club.+Manuel+Cabre%252C+1946+%2528Colecci%25C3%25B3n+Banco+Central+de+Venezuela%2529..jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="547" data-original-width="1024" height="339" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs6awjJJg16uOcdTF8cIjaV7aVIX5VTQiJ_tW4u7-UcnFookrjXfNzONSTaZzjFHT3qOzZww_xVWpR-eckfG9Itf8hERnPhqPjA_BLw__2KPb1vC1kUfMf6KbFU7NWBOIRImWZqxXLzgK3/s640/2.+El+hoyo+9+del+Caracas+Country+Club.+Manuel+Cabre%252C+1946+%2528Colecci%25C3%25B3n+Banco+Central+de+Venezuela%2529..jpg" width="640" /></a></i></div>
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<span style="font-size: x-small;"><span lang="ES">2.<i> El hoyo 9 del Caracas Country Club. Manuel
Cabre, 1946</i></span><span lang="ES"> (Colección Banco Central de Venezuela).</span></span></div>
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Razón tenía Simón Vélez. Yo, desconsolada por el recuerdo de los enormes boquetes abiertos a ambos lados del túnel, creía que solo una siembra extensiva y urgente sería la única manera de recuperar este paraje amable de nuestra ciudad… Mas llegadas las primeras lluvias, pronto en todas partes el bosque de bambú empezó a regenerarse por sí solo… Crece por segundos, con verdes brotes, como por arte de magia. </div>
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La súbita y accidental pérdida en medio de la sequía en sus terribles imágenes, con lo incontrolable del fuego extendiéndose también a varios árboles, no obstante, había sido espectacularmente pavorosa.2 Ese pavor sentido durante el incendio me hizo pensar sobre la naturaleza de la belleza en la ciudad y de cuán importante es para nuestra calidad de vida. </div>
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El <i>Túnel vegetal</i>, como comúnmente es conocido -para algunos una catedral natural gótica, para otros una especie de túnel del amor, para mi un Sitio Urbano y una Escena Natural emblemáticos y patrimoniales-, no tiene ni cien años.3 En 1940 todavía no existía. Las pinturas, las postales y fotos de Caracas de los 40 aún no lo registraban. </div>
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Originalmente, en 1930, cuando se terminó la Casa Club, esta parte de la avenida en el tramo comprendido entre la avenida Mohedano y la avenida El Parque no tenía bambúes, y la perspectiva del conjunto se apreciaba desde mucho antes subiendo hacia el norte. El tramo final de la vía, construido elevado sobre un camellón de piedra, serpenteaba suavemente hasta llegar al portal, totalmente a cielo abierto. </div>
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La espectacular nave de bambúes se planta a finales de la década de los 1940 con la aspiración y clarividencia de crear una cubierta que un día llegase a envolver la calle. Los bambúes fueron sembrados a ambos lados de este trayecto ligeramente sinuoso de la avenida, y con el tiempo entrecruzaron sus altos troncos sobre ésta, construyendo dos largas pieles transparentes a los lados y un alto arco ojival que se extiende deliciosamente por más de trescientos metros. </div>
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Con ello, el túnel vegetal del Country es no solo un valor agregado a la belleza de la avenida principal, "una de las más hermosas perspectivas de la ciudad", sino también un aporte a la paisajística moderna de toda Caracas. Ya en 1990, el profesor de arquitectura Leszek Zawisza lo destacaba en su libro <i>Breve historia de los jardines en Venezuela</i>, celebrando su peculiaridad tipológica de Paraje/Pasaje sombrío.3<br />
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Desde aquí extendemos nuestro agradecimiento al socio que haya tenido la bella idea de hacerlo. Quienquiera que haya sido, fue un visionario arquitecto del bambú.</div>
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<span style="font-size: x-small;"><span lang="ES">3.<i> Guadua venezuelae</i></span><span lang="ES">, Avenida principal del Caracas
Country Club (f. @fundamemoria, 2015) .</span></span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;"></span></div>
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NOTAS <br />
1. Lesmo, portal literario <i>Mundo Poesía</i>, 2015: http://www.mundopoesia.com/foros/temas/el-bosque-de-bambu-haiku.576420/ <br />
2. @800Noticias, Video "Túnel vegetal del CCC se incendia", <i>Reporte Confidencial</i>, Caracas, Abril 8, 2019: https://www.reporteconfidencial.info/tunel-vegetal-del-country-club-se-incendia/ <br />
3. "Túnel vegetal", <i>Preinventario arquitectónico, urbano y ambiental moderno de Caracas</i>, Instituto del Patrimonio Cultural/Fundación de la Memoria Urbana, Caracas, 2005: https://fundamemoria.blogspot.com/ <br />
4. Leszek Zawisza, <i>Breve historia de los jardines en Venezuela</i>, Oscar Todtmann Editores, Caracas, 1990: 61.<br />
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Publicado en: Pluscuamperfecto, <i>Entresocios</i>, Caracas, Junio de 2019.<br />
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-74431817215664940162019-09-20T11:00:00.001-04:002019-10-17T20:21:40.269-04:00Arde Paris<!--[if gte mso 9]><xml>
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<span style="font-size: x-small;">1. <i>La Catedral del Notre-Dame, después del incendio</i> (f. Thomas Goisque, 2019).</span></div>
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"Amar, es actuar". <br />
Víctor Hugo. 1 <br />
"Resolver la reconstrucción y preservación de Notre-Dame <br />
es uno de los más grandes retos arquitectónicos del siglo 21." <br />
Jorge Otero-Pailos. 2 <br />
"Para qué serviría la historia, si no fuera una enseñanza?" <br />
Eugène Viollet-Le-Duc. 3</div>
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<b>1. La batalla por Notre-Dame de Paris </b><br />
Tiempos de guerra, tiempos de batallas. Hasta en el mismo corazón de la civilización occidental, tiempos de zozobra. No nos retardaremos aquí en recordar cuánto lloramos impotentes (como el mundo entero) el día 15 de abril pasado contemplando a la Catedral de Notre-Dame de París, Patrimonio de la Humanidad, deshacerse en medio de las llamas. Las desoladoras imágenes del templo ardiendo y el colapso de su preciosa flecha diseñada por Eugène Viollet-Le-Duc y de su casi milenaria cubierta de madera (el legendario bosque de la catedral) quedaron grabadas en nuestros corazones para siempre. <br />
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Fue terrible. Doloroso. Insoportable. Pero aún más lo ha sido ver cómo después de la épica, valiente, increíblemente heroica operación de los bomberos de París, controlando a toda costa el siniestro desatado tras el desafortunado accidente en las obras de restauración de la catedral, al pie de la aguja, repito, ver cómo después de que gran parte de la fábrica medieval de la catedral y sus tesoros artísticos se habían salvado milagrosamente, se desataba encima una debacle mediática (que luego se propagó por el mundo entero), a raíz de las declaraciones del presidente Emmanuel Macron, cuando dijo ante los medios: "reconstruiremos Notre-Dame antes de cinco años y la haremos <i>aun más bella".</i><span style="font-size: small;"><span lang="ES" style="font-family: "times new roman";"></span></span></div>
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<i>"Aun más bella"?.</i> Quién podría jamás pensar que la belleza genuina de esta catedral podría -o querría-, ser superada por nada mejor? Fueron sus palabras, aún con la mano puesta sinceramente en el corazón, palabras dichas demasiado apresuradamente. Disculpa al presidente el que no es posible juzgarlo con dureza porque dio su opinión en medio de la emoción de una tragedia. Pero esa prisa nacida de la necesidad de darle una respuesta inmediata a los ciudadanos de Francia y del mundo entero que nos encontrábamos devastados ante la terrible desaparición de uno de los más caros tesoros arquitectónicos de la humanidad, desató, como se dijo en estos días, todos los demonios de la Caja de Pandora patrimonial.</div>
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Nuestra primera sorpresa fue ver a los franceses, a quienes esperábamos encontrar todos unidos como un solo hombre tras la idea de la reconstrucción <i>a l'identique</i> (como era y donde estaba) de todo lo malogrado por el incendio, fracturados en medio de una polémica insólita que por momentos se volvió incluso liviana. La sola donación inmediata de fondos multimillonarios para la reconstrucción de Notre-Dame a los pocos minutos de la devastación, prendió las alarmas del mundo proyectual: "Aquí hay dinero!" La noticia de la convocatoria, llegada poco después, por parte del gobierno francés de un concurso internacional de arquitectura para diseñar la nueva cubierta y la nueva flecha de Notre-Dame, terminó de levantar en armas al gremio de los conservacionistas del mundo. Un momento! Deténganse! Dejen el apresuramiento! Esto no es cualquier <i>chantier</i>…<br />
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<span style="font-size: small;"><span lang="ES"></span></span>Porque Notre-Dame de Paris, además de ser el edificio-libro donde nació la historia de la conservación del patrimonio en Francia, gracias a Víctor Hugo, está sujeto, como todo bien cultural declarado, absolutamente a la ley, a las convenciones, a las cartas y a los protocolos nacionales e internacionales del patrimonio.<br />
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<span style="font-size: x-small;"><i><span style="letter-spacing: 0.05pt;">2</span></i><i><span style="font-size: 10.0pt;">.<span style="mso-spacerun: yes;"> </span><span style="letter-spacing: -.05pt;">N</span><span style="letter-spacing: .05pt;">o</span>tr<span style="letter-spacing: .05pt;">e-</span>D<span style="letter-spacing: .05pt;">a</span>me.<span style="letter-spacing: -.45pt;"> </span><span style="letter-spacing: .05pt;">Fa</span>c<span style="letter-spacing: -.05pt;">h</span><span style="letter-spacing: .1pt;">a</span><span style="letter-spacing: .05pt;">d</span>a<span style="letter-spacing: -.4pt;"> </span><span style="letter-spacing: .05pt;">o</span>cc<span style="letter-spacing: -.1pt;">i</span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: .05pt;">n</span>t<span style="letter-spacing: .05pt;">a</span>l.<span style="letter-spacing: -.4pt;"> </span>Di<span style="letter-spacing: .05pt;">bu</span><span style="letter-spacing: -.1pt;">j</span>o<span style="letter-spacing: -.25pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> E</span><span style="letter-spacing: .2pt;">u</span><span style="letter-spacing: .05pt;">g</span></span></i></span><span style="font-size: x-small;"><i><span style="font-size: 10.0pt;"><span style="letter-spacing: .05pt;">èn</span>e<span style="letter-spacing: -.35pt;"> </span><span style="letter-spacing: .05pt;">V</span>i<span style="letter-spacing: .05pt;">o</span><span style="letter-spacing: -.1pt;">l</span>le<span style="letter-spacing: .05pt;">t-</span>Le<span style="letter-spacing: .05pt;">-</span></span></i><span style="font-size: 10.0pt;">D<span style="letter-spacing: -.05pt;">u</span>c<span style="letter-spacing: -.55pt;"> </span>(<span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.05pt;"> </span>H<span style="letter-spacing: .15pt;">a</span><span style="letter-spacing: .05pt;">n</span><span style="letter-spacing: -.05pt;">n</span>ia<span style="letter-spacing: -.25pt;"> </span>G<span style="letter-spacing: .2pt;">o</span><span style="letter-spacing: -.15pt;">m</span>ez,<span style="letter-spacing: -.15pt;"> </span><span style="letter-spacing: .05pt;">201</span><span style="letter-spacing: -.05pt;">5</span><span style="letter-spacing: .2pt;">).</span></span></span><br />
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<b>2. Restaurar </b><br />
Pero las propuestas de los arquitectos locales y globales, siempre a la caza de un nuevo proyecto, no se hicieron esperar, empezando, nada menos, que por Sir Norman Foster. Hemos visto y seguimos viendo por las redes desfilar cubiertas de vidrio de todos los colores y propuestas de todos los usos posibles (invernaderos, miradores, lounges, centros turísticos), además de flechas que se levantan a todas las alturas en todas las formas inimaginables (hasta con rayos láser! Como en una proposición inspirada en el monumento a las Torres Gemelas de Nueva York en la que al parecer ya la Alcaldesa de Paris, Anne Hidalgo, tan dada como es ella a las barbaridades formalistas de todo pelaje, ha aparentemente mostrado interés para que sea develada en Navidad). Los memes arquitectónicos tampoco han faltado, burlándose en las maneras más irrespetuosas del futuro de la venerable fábrica de la catedral.<br />
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Afortunadamente, todo esto fue seguido por una severa reacción de los expertos en patrimonio del mundo, quienes enviaron el 28 de abril al presidente Macron a través de la página de <i>Le Figaro</i> una carta abierta donde se le insta a tener prudencia, desacelerar el paso y tomarse una pausa para dejarles estudiar el problemático caso. Hay además un critica muy seria a la derogación que se propuso de la ley de patrimonio para crear para el caso de Notre-Dame una especie de "Plan Especial" (semejante a los que aprueban aquí en Venezuela para hacer lo que les da la gana con la ciudad), pero esta vez para actuar sin ataduras sobre este Patrimonio de la Humanidad. Algo totalmente inaceptable.</div>
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Ciento ochenta expertos, historiadores, conservadores y arquitectos, firmaron la carta. Ciento ochenta y uno hubieran sido si nos la hubieran dado a firmar a nosotros, porque la suscribimos totalmente. Eso se lo hemos hecho saber especialmente a uno de los más fieros defensores de <i>la restauración</i> de Notre-Dame (que no de la reconstrucción: de la restauración, porque hasta la flecha de Viollet-Le-Duc tiene declaratoria patrimonial propia, como pieza magistral del siglo XIX que es), el fundador y director de <i>La Tribune de L'Art</i> @ltdla, Didier Rykner.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj07Px6y7446xPAkwByLr71Ho9qGEtW4I306Cz757-dAbg6a3TINNVYaRKzvWvdjiY3IskEQQWVgRPsKVSyiXK1Gsxl3YZoHvzvw2tHafTLnNS3r2qNcUskQJVCc0L7CppRNz-8fxPwqFfd/s1600/3.++Flecha+y+cresta+de+la+Catedral+de+Notre-Dame+%2528f.+Charles-Francois+Bossu%252C+1860%2529..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="747" data-original-width="564" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj07Px6y7446xPAkwByLr71Ho9qGEtW4I306Cz757-dAbg6a3TINNVYaRKzvWvdjiY3IskEQQWVgRPsKVSyiXK1Gsxl3YZoHvzvw2tHafTLnNS3r2qNcUskQJVCc0L7CppRNz-8fxPwqFfd/s640/3.++Flecha+y+cresta+de+la+Catedral+de+Notre-Dame+%2528f.+Charles-Francois+Bossu%252C+1860%2529..jpg" width="482" /></a><span style="font-size: x-small;"><br clear="all" style="mso-break-type: section-break; page-break-before: always;" /></span>
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<span style="letter-spacing: .05pt;">3</span>.<span style="mso-spacerun: yes;">
</span><i><span style="letter-spacing: .05pt;">F</span>lec<span style="letter-spacing: .05pt;">h</span>a<span style="letter-spacing: -.3pt;"> </span>y cresta<span style="letter-spacing: -.15pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> </span>la<span style="letter-spacing: -.05pt;"> C</span><span style="letter-spacing: .05pt;">a</span>te<span style="letter-spacing: -.05pt;">d</span>r<span style="letter-spacing: .05pt;">a</span>l<span style="letter-spacing: -.35pt;"> </span><span style="letter-spacing: .05pt;">d</span>e<span style="letter-spacing: -.05pt;"> N</span><span style="letter-spacing: .05pt;">o</span>tr<span style="letter-spacing: .1pt;">e</span><span style="letter-spacing: .05pt;">-</span>D<span style="letter-spacing: .05pt;">a</span>me<span style="letter-spacing: -.45pt;"> </span></i>(<span style="letter-spacing: -.05pt;">f</span>.<span style="letter-spacing: -.05pt;"> Ch</span>a<span style="letter-spacing: .05pt;">r</span>l<span style="letter-spacing: .15pt;">es</span><span style="letter-spacing: -.05pt;">-</span>F<span style="letter-spacing: .05pt;">r</span><span style="letter-spacing: .15pt;">a</span><span style="letter-spacing: -.05pt;">n</span>c<span style="letter-spacing: .05pt;">o</span>is<span style="letter-spacing: -.7pt;"> </span><span style="letter-spacing: .1pt;">B</span><span style="letter-spacing: .05pt;">o</span>ss<span style="letter-spacing: -.05pt;">u</span>,<span style="letter-spacing: -.2pt;"> </span><span style="letter-spacing: .05pt;">1860</span>).</span></div>
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Como expresara uno de los firmantes el pasado viernes 3 de Mayo en Le Monde, el profesor de historia del arte y de la arquitectura de la Universidad de Columbia y conservador del Departamento de Diseño del MoMA de Nueva York, Barry Bergdoll, el consejo es a <i>"referirse a los expertos y mantener el proyecto dentro del marco de la protección de los monumentos históricos, porque los tiempos de la política y los del patrimonio no son los mismos".</i>4<br />
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Calma y cordura. Eso le aconsejamos también nosotros a los encargados de restaurar a nuestra amada Catedral de Notre-Dame. Una frase que los venezolanos nos repetimos cada día en medio de la terrible crisis que estamos viviendo, como una plegaria. Y que siempre puede ser útil cuando, en medio de la encendidas polémicas patrimoniales, vemos que el fuego de la catedral aun no se ha extinguido del todo y Paris sigue ardiendo.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2PLhHtKFT_aUAebbVubTW-t63gh2EOhSmQiIR3n0C7VnaDUs7c9AWcMuH9F-FfSNLa2d6UzwT7mou5wpTodFYBDgt6ozEFia1J6HfMIBFyA-r8TljLT2iqann9-CCaLuVDk2RwBAo9CHc/s1600/4.++Interior+de+Notre-Dame%252C+antes+del+siniestro+%2528f.+Hannia+Gomez%252C+2018%2529..JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1280" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2PLhHtKFT_aUAebbVubTW-t63gh2EOhSmQiIR3n0C7VnaDUs7c9AWcMuH9F-FfSNLa2d6UzwT7mou5wpTodFYBDgt6ozEFia1J6HfMIBFyA-r8TljLT2iqann9-CCaLuVDk2RwBAo9CHc/s640/4.++Interior+de+Notre-Dame%252C+antes+del+siniestro+%2528f.+Hannia+Gomez%252C+2018%2529..JPG" width="512" /></a></div>
<span style="font-family: "times new roman"; font-size: x-small;"> 4. <i> Interior de Notre-Dame, antes del siniestro </i>(f. Hannia Gomez, 2018).</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5XwnzCQvluDXJNzmp4mCMT7Sbc-q4icjUf1bBkAbeokCAIAgd2c3Yqb-nLW6X_6b6bejiXDGM26SdkBPgGBfdq1T7IvZWVvQE_7iQLAJ8O66M_jpCfRZ0iDUmWgBfAVzQ2i5I5OxXYFV/s1600/5.++Una+oracion+por+la+restauracion+a+l%2527identique.+La+imagen+de+Notre-Dame%252C+milagrosamente+intacta+tras+el+fuego..JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="669" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn5XwnzCQvluDXJNzmp4mCMT7Sbc-q4icjUf1bBkAbeokCAIAgd2c3Yqb-nLW6X_6b6bejiXDGM26SdkBPgGBfdq1T7IvZWVvQE_7iQLAJ8O66M_jpCfRZ0iDUmWgBfAVzQ2i5I5OxXYFV/s640/5.++Una+oracion+por+la+restauracion+a+l%2527identique.+La+imagen+de+Notre-Dame%252C+milagrosamente+intacta+tras+el+fuego..JPG" width="418" /></a></div>
<span style="font-family: "times new roman"; font-size: x-small;">5. <i>Una oraci</i></span><span style="font-family: "times new roman"; font-size: x-small;"><i>ón por la restauraci</i></span><span style="font-family: "times new roman"; font-size: x-small;"><i>ón a l'identique. La imagen de Notre-Dame, milagrosamente intacta tras el fuego.</i></span></div>
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NOTAS:<br />
1. <i>"Aimer, c'est agir". </i>Ultimas palabras de Victor Hugo, 1885.<br />
2.<i>"Solving the rebuilding and preservation of Notre Dame is one of the greatest architectural challenges of the 21st century."</i> Jorge Otero-Pailos. "In Notre Dame, we find a heritage that invites us to breathe and reflect: A spire competition is the wrong approach", <i>The Art Newspaper</i>, 19th April 2019: https:/<a href="http://www.theartnewspaper.com/comment/a-proustian-call-to-arms-on-notre-dame">/www.theartnewspaper.com/comment/a-proustian-call-to-arms-on-notre-dame</a><br />
3. <i>"A quoi servirait l'histoire, si elle n'etait un enseignement ?".</i> Eugène Viollet-LeDuc, <i>Entretiens sur l'architecture</i>, Veuve A, Morel & Co., Paris, 1863-1972.<br />
4. Isabelle Regnier. Barry Bergdoll à propos de Notre-Dame de Paris : « Il n’est jamais bon de réagir sous le coup de l’émotion »,<i> lemonde.fr</i>, Paris 3 de Mayo, 2019: <span lang="FR" style="mso-ansi-language: FR;">https://www.lemonde.fr/culture/article/2019/05/03/barry-bergdoll-a-propos-de-notre-dame-il-n-est-jamais-bon-de-reagir-sous-le-coup-de-l-emotion_5457675_3246.html</span><br />
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<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Mayo 7 de 2019: https://www.elnacional.com/opinion/columnista/arde-paris_281547/</span></div>
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-40872780581776356772019-09-20T10:37:00.000-04:002019-09-20T10:49:34.704-04:00El precinto<!--[if gte mso 9]><xml>
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<span style="font-size: x-small;"><span lang="PT-BR">1. </span><i><span lang="PT-BR">Caracas Country Club, distrito historico</span></i><span lang="PT-BR"> <i>desde 2005</i> (f. Wikimedia Commons, 2013). </span></span></div>
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<i>"Esta casa es grande,<br />tiene cuatro esquinas,<br />y en el medio tiene<br />rosa y clavellinas".</i><br />
Canción criolla. 1959.1</div>
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Lo que sigue es una historia de la vida real. En el año 2003 existían en nuestra ciudad solamente ochenta y dos patrimonios declarados como Bienes de Interés Cultural de la Nación. Esa escueta cifra, algo increíble en una capital, se repartía entre yacimientos arqueológicos indígenas, arquitecturas coloniales, edificaciones republicanas y unas pocas, muy pocas arquitecturas y urbanismos modernos. </div>
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Podrán imaginarse ustedes que la gran mayoría de los valores arquitectónicos y urbanísticos de Caracas, especialmente del siglo XX, estaban completamente desprotegidos. Con ese argumento, la Fundación de la Memoria Urbana tomó la iniciativa de presentar y logró convencer al Instituto del Patrimonio Cultural (IPC) de iniciar el preinventario o <i>Lista de la Caracas Moderna</i>.2</div>
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La primera protección que solicitamos al iniciar dicha lista (que llegó a alcanzar más de 2.200 fichas), para el Caracas Country Club.3 Habida cuenta que lo otros dos grandes paisajes culturales diseñados de la capital, el Parque del Este y la Ciudad Universitaria de Caracas, ya estaban para la fecha declarados como patrimonio, era urgente proteger este remanso de la naturaleza y del paisaje original del valle de Caracas y la única obra de Olmsted Brothers al sur del río Grande. </div>
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Aunque en 2003 corrían tiempos menos terribles que los actuales, la carta que escribimos Graziano Gasparini, John G. Stoddart, el entonces decano del Facultad de Arquitectura y Urbanismo de la UCV, Abner Colmenares, y nosotros, argumentando los valores de nuestro "Central Park" caraqueño, fue recibida de entrada con desprecio. Se nos contestó que "antes que declarar al CCC, protegerían la última etnia Mapoyo en el Amazonas". Y asunto saldado… Pero por poco tiempo.</div>
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Pasaron dos años. Mientras nuestra carta permanecía allí, archivada, el IPC fue preparando el I Catalogo del Patrimonio Cultural del Municipio Chacao (el primero de una larga serie que incluiría un catalogo por cada municipio de Venezuela). Y he aquí que cuando este ya estaba a punto para salir a imprenta, recibí una llamada inesperada:</div>
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-<i>"Arquitecto, véngase corriendo para acá". </i><br />
Yo, asustada más que extrañada, contesté: <br />
"Pero, para qué?" <br />
Y me dijeron, <br />
-<i>"Es que han dado la orden de que incluya al Country Club en el catálogo antes de que vaya a imprenta".</i><br />
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Casi incrédula ante el golpe de timón y el inesperado (y afortunado) cambio de parecer, pero clarísima ante la oportunidad que se abría para la ciudad, estuve allá en el acto. </div>
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Y ahí estaba yo. Sentada. Sola frente a la computadora ajena. Mirando una pequeña galera en la pantalla, ya dentro de una página diseñada y terminada, un pequeño espacio en blanco donde debía escribir el texto <i>"Caracas Country Club".</i> De paso, aproveché para incluir también a la Casa Club y a otra extraordinaria arquitectura de Clifford Wendehack del CCC, la quinta Peña Viva. </div>
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Nunca lo olvidaré. Recuerdo que alcé la mirada por sobre la pantalla de la computadora hacia las altas ventanas de la Villa Santa Inés, y miré aún más allá, hacia las faldas de la montaña. Justo donde está La Pastora. Y entonces, entendí lo que había que hacer. </div>
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La Pastora es el primer Distrito Histórico declarado en la ciudad de Caracas (1979). Gracias a la lucha de los vecinos, en una época en que ese barrio antiguo iba a desaparecer bajo altas torres de viviendas de interés social, pudo salvarse de los tractores gracias a una declaratoria de conjunto que protegió todo el sector a la vez. Aunque la figura del Distrito Histórico es una herramienta tradicional en el urbanismo mundial (nada más Nueva York tiene 144), la referencia inmediata para la declaratoria del Caracas Country Club fue la famosa poligonal de La Pastora.4</div>
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Acto seguido, alcé la mano, y en un plano imaginario en el aire tracé los puntos que enmarcan el polígono del segundo Distrito Histórico de la historia de Caracas: <i>"Desde la avenida Francisco de Miranda al Parque Nacional El Ávila, limitando con las urbanizaciones El Bosque, La Florida y Campo Alegre…"</i>5 Lo demás lo haría la ley. Publíquese.</div>
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<div style="text-align: justify;">
Mucho tiempo después, cuando un personaje siniestro quiso intentar destruir este hermoso e irreemplazable <i>designed landscape </i>del valle de Caracas para construir en medio de los campos del golf una Misión Vivienda, ese pequeño párrafo bastaría para salvar nuestro verde, precioso y olmstediano precinto. </div>
<br />
<br />
<span style="font-size: small;">
</span><br />
<br />
NOTAS:<br />
1. <i>Fuego al cañón</i>, 1959.<br />
2. Caracas Moderna: http://www.fundamemoria,blogspot,com/<br />
3. Graziano Gasparini, John Geoffrey Stoddart, Abner Colmenares y Hannia Gómez. Carta de la Fundación de la Memoria Urbana a José Manuel Rodríguez, presidente del Instituto del Patrimonio Cultural, Caracas, 30 de octubre de 2003.<br />
4. Historic Districts Council: https://hdc.org/<br />
5. "Caracas Country Club", Lo construido. <i>Municipio Chacao, Catálogo del Patrimonio Cultural,</i> Instituto del Patrimonio Cultural, Caracas, 2005, pp. 47-48.<br />
<div class="MsoNormal" style="text-align: justify;">
<br />
<br />
Publicado en: Pluscuamperfecto, <i>Entresocios</i>, Caracas, Abril de 2019.</div>
<div class="MsoNormal" style="text-align: justify;">
</div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-87119598787017154822019-09-20T10:08:00.001-04:002019-10-17T20:19:08.965-04:00Caracas perdida (II)<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhawzaFqz-Ko4iu1yXFsOKHbLZGdPOsFqOXH0macPvjVLepcXrU2LLZJu18WGmdBr0aiG8nAC43nypfUPM86oTVnCp5wPik9sdYOas9E5EiQC6vLtzT3BUYart_N2gwl8Fz_4Lq3kYZZFHl/s1600/1.+El+edificio+Pigalle+y+su+ic%25C3%25B3nica+valla+tipogr%25C3%25A1fica%252C+en+los+1950s++%2528f.+Postal.+Archivo+Fundaci%25C3%25B3n+de+la+Memoria+Urbana%2529+.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1242" data-original-width="1242" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhawzaFqz-Ko4iu1yXFsOKHbLZGdPOsFqOXH0macPvjVLepcXrU2LLZJu18WGmdBr0aiG8nAC43nypfUPM86oTVnCp5wPik9sdYOas9E5EiQC6vLtzT3BUYart_N2gwl8Fz_4Lq3kYZZFHl/s640/1.+El+edificio+Pigalle+y+su+ic%25C3%25B3nica+valla+tipogr%25C3%25A1fica%252C+en+los+1950s++%2528f.+Postal.+Archivo+Fundaci%25C3%25B3n+de+la+Memoria+Urbana%2529+.jpg" width="640" /></a></div>
<div align="center" style="text-align: center;">
<span style="font-size: x-small;"><span lang="ES">1.<b> </b></span><i><span lang="ES">El edificio Pigalle y su icónica valla tipográfica, en los 1950s </span></i><span lang="ES"> (f. Postal. Archivo Fundación de la Memoria
Urbana).</span></span></div>
<div align="center" style="text-align: center;">
<br /></div>
<div align="center" style="text-align: center;">
<br /></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">"Nada de lo que hubo se
borra jamás del todo (…)</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">pero hay imágenes que se quedan
grabadas, aunque duren un destello". </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Javier Marías.</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"> </span><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<br /></div>
<div style="text-align: justify;">
<b><span lang="ES" style="mso-ansi-language: ES;">1.
Fracaso del duelo</span></b><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Penosa
es la cuenta que la historia de la arquitectura oficial hace de los edificios y
los lugares que han desaparecido en esta ciudad. Nadie sabe si es porque a
nadie dolió nunca en verdad que desaparecieran o porque nadie se ha tomado aún
el trabajo de registrar de un todo las desapariciones para que la pérdida
alcance así la dimensión que debería tener en nuestra cultura urbana. Lo cierto
es que la lista oficial de los decesos célebres, de tan trillada, ya no hace
mella a nadie, quedando las lavadas imágenes del Hotel Majestic y del Colegio
Chaves, de Puente de Hierro y de la rotonda del Teatro Municipal, tristes y
aisladas como unos episodios apagados por su singularidad, inocuos por su misma
intrascendencia como catástrofes.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b><span lang="ES" style="mso-ansi-language: ES;">2.
Pueblos y ciudades fantasmas</span></b><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Caracas
es la ciudad de Latinoamérica que menos trazas conserva de su pasado
pre-moderno. Nada queda en ella de sus asentamientos preocolombinos, nada o
prácticamente nada de su fábrica colonial. En el centro de la ciudad lo que
único que permanece legible es el vestigio borroso de su retícula colonial,
cada día más desdibujado, salpicado penosamente por los fragmentos de los
fragmentos de las ruinas de sus edificios, los cementerios, las capillas, las fuentes,
las iglesias, los conventos, los patios y las casas, junto a, éso sí, el
recordatorio perenne del <i>mea culpa</i> monumental que dejó grabado Carlos
Raúl Villanueva en los portales y en los temas de la re-urbanización de El
Silencio, <i>mea culpa</i> que hiciera luego de haber sido él mismo testigo de
primer orden de la ola de demoliciones que, en aras del progreso, barrió con
prácticamente toda la arquitectura colonial del centro de la ciudad a partir de
los años cuarenta.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Hoy,
las mejores fotos que tenemos del Colegio Chaves son, justamente, las del
Villanueva memorioso, quien exhumó algunos de sus temas en El Silencio en una
operación nostálgica que ha sido muy tergiversada en la historia arquitectónica
venezolana, cuando los portales de El Silencio, en realidad, son las lápidas
conmemorativas de la arquitectura colonial caraqueña.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b><span lang="ES" style="mso-ansi-language: ES;">3.
La ola y el laberinto</span></b><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">El
desprecio por lo viejo, o mejor, la pasión desbocada, irreflexiva por lo nuevo,
se llevó con su voraz ímpetu a gran parte la Caracas tradicional, hoy prácticamente
perdida. Pero el problema no es la ola en sí misma. El problema es que la
expansión del entusiasmo por la modernización no se detuvo al ya tener una
ciudad nueva, sino que se quedó entre nosotros como <i>modus operandi,</i>
afectando toda intervención emprendida en la ciudad hasta nuestros días. El
hecho de que nadie se detenga nunca a pensar demasiado en lo ireemplazable de
ciertos sitios y en lo único de muchas manifestaciones arquitectónicas
producidas solamente aquí en esta ciudad, expresiones que conllevan escritas en
sí mismas formas más amables de vida urbana, se ha vuelto una deplorable
costumbre, inconsciente y automática.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">La
fábrica colonial y federal, por ejemplo, queda hoy solo escrita en las actas
testamentarias que reposan en archivos no arquitectónicos, y su reconstrucción
virtual aún no ha sido ni siquiera planteada… Entretanto, las planotecas de
Caracas son las principales ruinas de la ciudad, laberintos de torres de moho y
polvo entre las cuales es fácil perderse, perder rápidamente la paciencia, y
perder doblemente a la ciudad, porque por ese agujero negro se ha fugado y se
sigue fugando toda la memoria gráfica de la historia de su arquitectura, su
ingeniería y su urbanismo.</span><br />
<br />
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Como consecuencia, Caracas sigue perdiendo día a día también su patrimonio
moderno: vimos como cayó Campo Alegre, como cayó el edificio Galipán, cómo
cayeron el Cine y el edificio La Castellana, y cómo van desfigurándose
impunemente ante nuestro ojos las </span><span lang="ES" style="mso-ansi-language: ES;">principales
floraciones culturales arquitectónicas de nuestra mejor ciudad moderna. Caracas
y la mayoría de las ciudades de Venezuela se están mutando en una versión
mediocre de Las Vegas, se están erosionando hacia un infinito <i>strip </i>de
pacotilla.</span><br />
<br />
<br /></div>
<div style="text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
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</div>
<div style="text-align: justify;">
<div style="text-align: center;">
<span style="font-size: x-small;"><span lang="ES">2.</span><b><span lang="ES"> </span></b><i><span lang="ES">#SalvemoslaVallaSavoy </span></i><span lang="ES"> (f. Hannia G</span><span lang="ES"><span lang="ES" style="mso-ansi-language: ES;">ó</span>mez, 2019).</span></span><br />
<br /></div>
<div style="text-align: center;">
<br /></div>
</div>
<div style="text-align: justify;">
<b><span lang="ES" style="mso-ansi-language: ES;">4.
Habla la memoria</span></b><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">La
memoria puede evocar, cerrando los ojos y exprimiendo las historias de nuestras
vidas transcurridas en esta ciudad. Y junto a los recuerdos, flotan las
imágenes en el inconsciente. La memoria excava los sitios abandonados y levanta
las capas arqueológicas del olvido, signa la importancia real que tuvo lo que
ya no está, para dársela a lo que aún queda, para reclamar por el estudio y el
respeto, para dar con las pistas, para apuntar hacia lo que vale todavía. La
memoria habla de nosotros… pero hay que hacerla hablar. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">La
Caracas perdida está llena de lecciones que han ser recreadas de nuevo,
fábricas de estructuras fastuosas, torres de garbo legendario, plazas de gracia
funcional, casas de arquitectura soberbia, paseos y recorridos gratos e
imperturbables, lugares de encuentro, enclaves memorables, técnicas y
conocimientos, costumbres y habilidades… y vallas icónicas, como la Valla Savoy
sobre el patrimonial edificio Pigalle (1950s), en Colinas de Bello Monte,
ultima demolición y perdida inminente y angustiosa en una ciudad que cada día
se sume más en la oscuridad.2 </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">El saber
olvidado de esta ciudad ha de ser recuperado desde el fondo de sus propias
arcas, profundas y desconocidas. Solo así podremos aspirar a reconstruir la
ciudad, restablecerla y reinventarla para lograr una calidad de vida en el
mejor espíritu de la modernidad urbana contemporánea.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEI7YmTk7003CcJNr5PSmfkjdng7rUBq0vI7Ll1GTFPtuGIUuqSfq0tcWxmk-BYeNOyuS5C-5kxzny3ytSxNHth324ONTEyqEfVYp9afeYfyR2Bmnk9S76496hweGVbnxLBzffKuyUUwUU/s1600/IMG_9633.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1240" data-original-width="1242" height="638" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEI7YmTk7003CcJNr5PSmfkjdng7rUBq0vI7Ll1GTFPtuGIUuqSfq0tcWxmk-BYeNOyuS5C-5kxzny3ytSxNHth324ONTEyqEfVYp9afeYfyR2Bmnk9S76496hweGVbnxLBzffKuyUUwUU/s640/IMG_9633.jpg" width="640" /></a></div>
<span style="font-size: x-small;"><span lang="ES">3.</span><b><span lang="ES"> </span></b><span lang="ES"><i>La Valla Savoy en los cincuenta</i></span><b><span lang="ES"><i> </i></span></b><span lang="ES"><i><b> </b></i>(f. Archivo Fundaci</span></span><span style="font-size: x-small;"><span lang="ES"><span lang="ES" style="mso-ansi-language: ES;">ó</span>n de la Memoria Urbana</span><span lang="ES">).</span></span><br />
<br />
<br /></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">NOTAS:</span></div>
<div style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">1.
Javier Marías. <i style="mso-bidi-font-style: normal;">Tu rostro mañana, </i>Alfaguara,
Madrid, 2007.</span><br />
<br />
<br /></div>
</div>
<div style="text-align: justify;">
<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Abril 2 de 2018:</span><br />
<span style="font-size: small;">ttps://www.elnacional.com/opinion/columnista/caracas-perdida_277258/</span><br />
<br /></div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-55476180659919538762019-09-20T09:39:00.001-04:002019-10-17T20:18:28.092-04:00Quid tum<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-XuVVjcmsbAwf59vujQyUqzXRKOYWEjkZQ1EcDcPeRaVQv0LsQoY_KG_fNIzeEgisPRdjQyJ2AA-FLUxrEelxXuINyAtVl3EJHK5ZrwOXYs9msiz6Z8DjzoDZw49zVsONsGZq_SoIcook/s1600/1.+Apagon+Venezuela%252C+2019+Merco+Press%252C+2019.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="581" data-original-width="960" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-XuVVjcmsbAwf59vujQyUqzXRKOYWEjkZQ1EcDcPeRaVQv0LsQoY_KG_fNIzeEgisPRdjQyJ2AA-FLUxrEelxXuINyAtVl3EJHK5ZrwOXYs9msiz6Z8DjzoDZw49zVsONsGZq_SoIcook/s640/1.+Apagon+Venezuela%252C+2019+Merco+Press%252C+2019.jpg" width="640" /></a><span style="font-size: x-small;"><span lang="ES" style="font-weight: normal;">1.<i>
Caracas </i>Blackout<i> </i>(f. "Apagón
Venezuela".<i> </i>Merco Press, 2019).</span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<i style="mso-bidi-font-style: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">"Y
ahora, qué?". </span></i></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Leon Battista Alberti.</span><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1</span><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1. <i style="mso-bidi-font-style: normal;">Idus</i> de marzo</span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Cuando esto escribo es 15 de marzo de 2019. Es el
día de los <i style="mso-bidi-font-style: normal;">idus</i> de marzo. En el
calendario romano esta fecha marcaba el inicio del año nuevo y la llegada de
los tiempos de buenos augurios. Hoy coincide con el lanzamiento anual de la
Bienal de Venecia. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">La alegría del regreso de la primavera se conjuga con
la conferencia de prensa de la Biennale 2019, difundiendo a los cuatro vientos la
buena nueva. Los<i style="mso-bidi-font-style: normal;"> idus</i> marcan el
re-inicio de un ciclo bianual incesante para la comunidad artística y
arquitectónica mundial. Año y medio toma preparar la gran fiesta, esa vitrina
global donde el arte y la arquitectura se celebran y se muestran como en ningún
otro lugar en el planeta. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Nos levantamos leyendo el llamado de costumbre del
presidente de @La_Biennale, Paolo Baratta, a todos los países. Este 2019 toca
el turno al arte, con el tema propuesto por la curadora Brooke Kamin, <i style="mso-bidi-font-style: normal;">"May You Live Interesting Times". </i>Ni
qué decir que ya hay -y desde hace rato, además-, muchos preparativos también en
marcha para la fiesta venidera de la arquitectura. </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Luego del difuso discurso en torno al tema <i style="mso-bidi-font-style: normal;">"Freespace"</i> propuesto en la
Biennale Arquitectura 2018 por las arquitectos irlandesas, Yvonne Farrell &
Shelley McNamara, que diera origen a tantas respuestas intrascendentes y de
cuya nebulosa -a nuestro parecer- lograron escaparse por la tangente los pabellones
de Alemania, Japón, Italia e Inglaterra con sus hermosas exposiciones <i style="mso-bidi-font-style: normal;">Unbuilding Walls,</i> <i style="mso-bidi-font-style: normal;">Architectural Etnography,</i> <i style="mso-bidi-font-style: normal;">Arcipelago</i>
e <i style="mso-bidi-font-style: normal;">Island</i> (ver nuestra reseña de la
ultima en: <a href="http://www.el-nacional.com/noticias/columnista/altanella_245169">"Altanella"</a></span><a href="http://www.el-nacional.com/noticias/columnista/altanella_245169"></a><a href="http://www.el-nacional.com/noticias/columnista/altanella_245169">),</a><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">
había que equilibrar necesariamente las cosas, y volver la mirada de la
Biennale sobre problemas más "serios". </span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Pero ahora qué, todo el mundo se preguntaba. Pues
bien, a mediados de diciembre 2018, no bien había concluido la <i style="mso-bidi-font-style: normal;">mostra</i> anterior, fue develado el tema de
la 7ma Bienal Internacional de Arquitectura, que tendrá lugar en 2020: <i style="mso-bidi-font-style: normal;">"Impostor Cities". </i>El tema fue
presentado<i style="mso-bidi-font-style: normal;"> </i>por el nuevo comisario, el
decano de la Escuela de Arquitectura y Planificación del Massachussetts
Institute of Technology (@mitsap), el arquitecto de origen libanés Hashim
Sarkis. Sarkis lo aclaró nada más al anunciar su título: se impone reflexionar
sobre<i style="mso-bidi-font-style: normal;"> "las diversas realidades contrastantes
que la sociedad actual le impone al espacio en que vivimos"</i> y sobre <i style="mso-bidi-font-style: normal;">"los nuevos retos que el mundo le está planteando
a los arquitectos".</i>3<i style="mso-bidi-font-style: normal;"> </i>Ahora<i style="mso-bidi-font-style: normal;"> </i>se impone hablar sobre las <i style="mso-bidi-font-style: normal;">imposturas </i>urbanas.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Fieles a la convocatoria, ya varios países han
elegido sus comités para seleccionar <span style="mso-spacerun: yes;"> </span>las
propuestas nacionales y sus comisarios para trabajar en las ideas ya escogidas.
Canadá, por ejemplo, ha encargado al comisario David Thedore junto a la oficina
T B A mostrar ese "país de impostores", donde los cineastas logran transformar
a las ciudades canadienses en farsas cinemáticas; en tanto que Italia, de la
mano de Alessandro Melis y el equipo Heliopolis 21 Architects (@heliopolis21), preparan
una muestra titulada <i style="mso-bidi-font-style: normal;">"Comunidad
resiliente"</i>, donde se clamará por "la urgencia del regreso de <span style="mso-spacerun: yes;"> </span>la arquitectura en Italia".4<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Cuántas más Ciudades Impostoras aparecerán? Una
pregunta interesante. Está por verse. Seguramente, las del espacio público
privatizado, como la de Hudson Yards, inaugurado con bombos y platillos la semana
pasada en Nueva York.5 Y más que seguro, también, las de Venezuela! Porque esta
interesante pregunta también debemos planteárnosla nosotros los arquitectos de aquí,
quienes entre apagones, <i style="mso-bidi-font-style: normal;">blackout,</i> oscurantismo
y barbarie, ya estamos viviendo de una, como quisiera la #BiennaleArte2019, <i style="mso-bidi-font-style: normal;">Interesting Times</i>.</span><br />
<br />
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZzGlXIIP-VTDM6lfS8IuJK5NhviCil-oPdWG50f9ViW09noJV9yvmcs_-zOQ1na3kxe1W47t7L35DYM974w_TIJfPCx9aKEr8qPQwwwFgiKlTGhixHK8yIhiAuO1ZO2I1CrlyVn_kOOgL/s1600/2.+El+apagon+en+la+Avenida+Libertador%252C+Caracas.+Carlos+Jasso%252C+marzo+9%252C+2019.+Reuters+.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="437" data-original-width="775" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZzGlXIIP-VTDM6lfS8IuJK5NhviCil-oPdWG50f9ViW09noJV9yvmcs_-zOQ1na3kxe1W47t7L35DYM974w_TIJfPCx9aKEr8qPQwwwFgiKlTGhixHK8yIhiAuO1ZO2I1CrlyVn_kOOgL/s640/2.+El+apagon+en+la+Avenida+Libertador%252C+Caracas.+Carlos+Jasso%252C+marzo+9%252C+2019.+Reuters+.jpg" width="640" /></a></span></div>
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<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: x-small;"><span lang="ES">2. <i>El apagón
en la Avenida Libertador, Caracas </i>(f. Carlos Jasso, marzo 9, 2019. Reuters).</span></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">2. Rebeldía
impostora</span></b></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Hace menos de un año
estuvimos en los Giardini di Castello el día de la apertura de la Biennale
Architettura 2018 para celebrar el León de Oro de Kenneth Frampton y visitar
los pabellones de todos los países. El Pabellón de Venezuela también. </span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Y he aquí que, como si
fuera un <i style="mso-bidi-font-style: normal;">Back to the Future</i>
veneciano, encontramos el mitómano planteamiento hecho por Venezuela, <i style="mso-bidi-font-style: normal;">"CCS Espacio Rebelde"</i>, saltándose
a la morena el tema planteado por la bienal y respondiendo con un cierto <i style="mso-bidi-font-style: normal;">delay </i>no a la pregunta que les correspondía,
sobre el <i style="mso-bidi-font-style: normal;">"Freespace"</i> de
Farrell y McNamara en 2018, sino a la pregunta planteada para las <i style="mso-bidi-font-style: normal;">"Impostor Cities"</i> de Hashim
Sarkis en 2020. Verán porqué.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Esta desvergonzada exposición
tergiversó la realidad de la ciudad de Caracas y el sentir de sus ciudadanos en
aras de hacerle -de nuevo- propaganda a su proyecto político. Usando la
jerigonza que voltea el sentido de las palabras a las que nos tiene
acostumbrado el régimen que destruye a Venezuela y manipulando las imágenes,
los responsables le mintieron olímpicamente a la Biennale, a sus comisarias y a
la comunidad arquitectónica internacional, presentando en todos los foros
reales y virtuales tres <i style="mso-bidi-font-style: normal;">"espacios
libres en Caracas para usos emergentes e insurgentes: reocupados, revalorizados
y rehabitados para el disfrute de las comunidades"</i>, donde (!?) <i style="mso-bidi-font-style: normal;">"la ciudad no es un problema de
planificadores urbanos expertos, diseñadores o arquitectos, ni tampoco un
problema de las elites; es un proceso de consenso inclusivo, construcción colectiva
y acuerdos comunitarios"</i>.6 </span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">En realidad, lo que
hicieron fue meterle gato por liebre a la Biennale, presentando tres espacios diseñados
totalitariamente por ellos mismos ignorando a todos en la ciudad y mostrándolos
como ejemplo de espacios libres, cuando lo que están es presos de la dictadura;
en ellos no pueden haber manifestaciones democráticas, porque sus guardias
nunca lo permiten. Estos tres espacios públicos son todo lo contrario de un <i style="mso-bidi-font-style: normal;">Freespace.</i></span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Los espacios en cuestión,
el Eje urbano de la Avenida Bolívar-Bulevar Sabana Grande, el Parque Simón
Bolívar en La Carlota y el Parque Hugo Chávez en La Rinconada, fueron exhibidos
con orgullo con un montaje <i style="mso-bidi-font-style: normal;">povvero</i> de
andamios vetustos y paneles clavados a los tubos y a las paredes de concreto
del pabellón de Carlo Scarpa, sin respetar su condición patrimonial (los vi
haciéndolo, porque inauguraron de último. Ver imagen 4). Como ustedes ya se habrán
dado cuenta, todos son espacios que han sido destruidos inmisericordemente por la
revolución y, peor aún, cuyas destructivas intervenciones ellas mismas siguen todavía
inconclusas a la vista de todos. </span><br />
<br /></div>
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<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjit0uIo3McZyxxy6DZDtefjqn4OlT3zaPYSBEOQqSRQ89FZ8jAFDf0KpnYNr7Vl8HuGZGrJ2JC-ctl_Ku7FcN7H0cjaecDjVCTzgQzrxEFaPxZJKLr1E5-lE20EQwgN9L_Vuk6n2AHeX7B/s1600/3.+Patrimonio+scarpiano+en+peligro.+Pabell%25C3%25B3n+de+Venezuela%252C+Venecia+%2528f.+%2540fundamemoria%252C+2018%2529..JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjit0uIo3McZyxxy6DZDtefjqn4OlT3zaPYSBEOQqSRQ89FZ8jAFDf0KpnYNr7Vl8HuGZGrJ2JC-ctl_Ku7FcN7H0cjaecDjVCTzgQzrxEFaPxZJKLr1E5-lE20EQwgN9L_Vuk6n2AHeX7B/s640/3.+Patrimonio+scarpiano+en+peligro.+Pabell%25C3%25B3n+de+Venezuela%252C+Venecia+%2528f.+%2540fundamemoria%252C+2018%2529..JPG" width="480" /></a></div>
<div style="text-align: center;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"> </span><span style="font-size: x-small;"><span lang="ES">3. <i>Patrimonio
scarpiano en peligro. Pabellón de Venezuela, Venecia</i> (f. @fundamemoria,
2018).</span></span></div>
<br />
<br />
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Es por ello que yo me
congratulo muchísimo de haber tenido mi propio <i style="mso-bidi-font-style: normal;">delay</i> de un año en criticar este esperpento de exposición montado
con <i style="mso-bidi-font-style: normal;">Fake News</i> arquitectónicas. Porque
me permite hoy hacer una propuesta a los que manejan nuestra participación en
la Biennale Architettura 2020 en Venecia. </span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Habida cuenta de la negra
crisis política en que nos hayamos sumidos, no nos preguntemos, como de
costumbre, y ahora qu</span><span lang="ES" style="mso-ansi-language: ES;">é</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">. <i style="mso-bidi-font-style: normal;">Quid tum.</i> No hace falta. Para 2020, utilicemos
precisamente estos mismos tres espacios públicos, pero bajo una nueva curaduría.
Una curaduría ante la misma Biennale de Venecia que esta vez diga <i style="mso-bidi-font-style: normal;">la verdad.</i> Una curaduría que cuente cómo
esos espacios públicos fueron usurpados, degradados y secuestrados por unos
pocos, desconociendo toda opinión pública. Una curaduría para el Pabellón de
Venezuela 2020, donde usaremos precisamente todo lo que hizo el régimen con
estos espacios para presentarlos como lo que son hoy: un ejemplo perfecto de
ciudades totalitarias, de ciudades dictatoriales. </span><br />
<br />
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">De <i style="mso-bidi-font-style: normal;">Ciudades Impostoras.</i></span><br />
<div class="separator" style="clear: both; text-align: center;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"><i style="mso-bidi-font-style: normal;"></i></span></div>
<div style="text-align: center;">
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<o:shapedefaults v:ext="edit" spidmax="2049"/>
</xml><![endif]--><span style="font-size: x-small;"><span lang="ES">4. <i>"CCS
Espacio rebelde". Pabellón de Venezuela, Venecia</i> (f. @fundamemoria,
2018).</span></span><br />
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">NOTAS:</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">1<i style="mso-bidi-font-style: normal;">. Quid tum </i>("Y ahora, qué?").<i style="mso-bidi-font-style: normal;"> </i>Frase de Cicerón (Disputaciones Tusculanas,
II.11.26), que<i style="mso-bidi-font-style: normal;"> </i>el arquitecto renacentista
italiano Leon Battista Alberti (1404-1472) escogió como <i style="mso-bidi-font-style: normal;">motto.</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">2. Hannia Gó</span><span lang="IT" style="mso-ansi-language: IT;">mez. </span><span lang="ES" style="mso-ansi-language: ES;">"Altanella", Opinión, <i style="mso-bidi-font-style: normal;">El Nacional Web</i>, Caracas, Julio 24,
2018: http://www.el-nacional.com/noticias/columnista/altanella_245169</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="IT" style="mso-ansi-language: IT;">3. Peter Dizikes. </span>"Hashim Sarjis named curator of 2020 Venice
Biennale Architecture Exhibtion", <i style="mso-bidi-font-style: normal;">MIT
News</i>, Diciembre 19, 2018: news.mit.edu</div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="IT" style="mso-ansi-language: IT;">4. Redacci</span><span lang="ES" style="mso-ansi-language: ES;">ó</span><span lang="IT" style="mso-ansi-language: IT;">n. "Biennale Architettura 2020,
Padiglione Italia: il curatore e Alessandro Melis", Architetti.com, Marzo
11, 2019: <span style="mso-spacerun: yes;"> </span>http://www.architetti.com</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">5. <span style="mso-spacerun: yes;"> </span>Michael Kimmelman. </span>"Hudson
Yards is Manhattan Biggest, Newest, Slickest Gated Community. Is This the
Neighborhood New York
Deserves?, Art & Design, <i style="mso-bidi-font-style: normal;">The New York
Times,</i> Marzo 14,<span style="mso-spacerun: yes;"> </span>2019.</div>
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<span lang="ES" style="mso-ansi-language: ES;">6. Equipo Editorial. "Espacio Rebelde: Pabellón de Venezuela en la Bienal
de Venecia 2018, <i style="mso-bidi-font-style: normal;">Plataforma Arquitectura</i>,
Junio 12, 2018: https://www.plataformaarquitectura.cl/cl/896236/espacio-rebelde-de-venezuela-en-la-bienal-de-venecia-2018</span></div>
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<span style="font-size: small;"><br /></span></div>
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<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Marzo 19 de 2018: https://www.elnacional.com/opinion/columnista/quid-tum_275215/</span><br />
<br />
<br /></div>
</div>
</div>
</div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-82383120424360333532019-09-20T08:54:00.001-04:002019-10-17T20:17:24.104-04:00Sessantesimo II<!--[if !mso]>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6EyjT_XgfDckXqCzZz__mE_Q9kQinrI3JbL6Nb4u5ykKC0-RAEAoAGzk6QQkjJr-wejXZNXs3qgwQTs_pWuDB46jnUjK5sRWAbaLlPIdGnzUUCleoL5POdmPs9zyd8NiX89GJyeiqShy/s1600/1.+Exposicion+Sessantesimo+%2528f.+%2540docomom_ve%252C+2019%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn6EyjT_XgfDckXqCzZz__mE_Q9kQinrI3JbL6Nb4u5ykKC0-RAEAoAGzk6QQkjJr-wejXZNXs3qgwQTs_pWuDB46jnUjK5sRWAbaLlPIdGnzUUCleoL5POdmPs9zyd8NiX89GJyeiqShy/s640/1.+Exposicion+Sessantesimo+%2528f.+%2540docomom_ve%252C+2019%2529.jpg" width="512" /></a></div>
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<span style="font-size: x-small;"><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT"; mso-bidi-font-weight: bold;">1. </span></span><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";"><span style="font-size: x-small;">Cuarto de juego,<i> Villa Planchart, Caracas, 8 de diciembre de
2018 - 10 de febrero de 2019 </i>(f. @docomomo_ve, 2019).</span><span style="mso-bidi-font-weight: bold;"></span></span></div>
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<b><span lang="IT" style="font-family: "bodoni mt"; font-size: 26.0pt;"><br /></span></b></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">"No es el cemento, no es la madera, no es la piedra,
</span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">no es el acero, no es el vidrio el elemento más
resistente. </span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">El material más resistente en la construcción es el
arte".<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="IT" style="font-family: "bodoni mt"; font-size: 14.0pt;">Gio Ponti. </span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">1</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">1. Villa Planchart (Gio
Ponti, 1957-2017)</span></b></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"><i>"Sessantesimo: Villa Planchart (Gio Ponti, 1957-2017)"</i>, a más
reciente exposición de la fundación Docomomo Venezuela*. clausuró en Caracas el
pasado domingo 10 de febrero en el <i style="mso-bidi-font-style: normal;">Cuarto
de juego</i> de la Villa Planchart, dando fin a las celebraciones del sexagésimo
aniversario de la célebre villa.</span><span lang="ES" style="mso-ansi-language: ES;"> </span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"></span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">Continuando con el tema iniciado en <i>"Las Italias de Caracas"</i> (Sala
TAC, 2013), la nueva muestra de Docomomo, gracias al apoyo de la Embajada de Italia
en Venezuela y de la Fundación Anala y Armando Planchart, se propuso develar una
serie de historias inéditas relacionadas con la presencia en nuestra capital del
maestro milanés de la arquitectura moderna, Gio Ponti, autor de este patrimonio
arquitectónico moderno Italo-Venezolano de relevancia mundial.2</span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"><span style="mso-spacerun: yes;"> </span></span><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";"></span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">La exposición -producida en su totalidad por el equipo de Docomomo
Venezuela- reunió una serie de maquetas, obras de arte, textos y documentos que
muestran algunos de los proyectos no realizados, obras de arte e historias inéditas
de Ponti en Caracas entre 1954 y 1979 (el arquitecto milanes falleció en 1979).
Se trataba de develar y empezar a dar a conocer las facetas de <i style="mso-bidi-font-style: normal;">Arlecchinia</i> y la importante saga pontiana
caraqueña, para llenar el gran vacío de información que existe en el mundo
entero sobre este aspecto de la vida creativa del maestro. </span><br />
<br />
<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">Una labor que comenzó
a realizarse desde fines de 2017, cuando la Fundación Planchart y Docomomo
Venezuela fueron llamados a colaborar por el Museo de Artes Decorativas de
Paris en la preparación de la monumental retrospectiva <i>"Tutto Ponti: Gio
Ponti Archi-Designer"</i>, la más grande hecha hasta la fecha en Europa sobre
Ponti, que estará expuesta hasta el próximo mes de Mayo en el @mad_paris. Una
exitosa colaboración que permitió que al día siguiente de la inauguración, de
todas las obras de Ponti expuestas en el museo, fuera la villa de Caracas la
que ilustrara las reseñas culturales de los principales periódicos de París,
como <i style="mso-bidi-font-style: normal;">Le Monde</i> y <i style="mso-bidi-font-style: normal;">Le Figaro</i>. "La Villa Planchart tiene locos a los
parisinos"!, nos dijo alborozado ese día el director del MAD, Olivier
Gabet.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: x-small;"><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT"; mso-bidi-font-weight: bold;">2 </span><i><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";">Exposición "Sessantesimo: Villa Planchart (Gio
Ponti, 1957-2017), </span></i><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";">Cuarto de juego,<i> Villa Planchart, Caracas, 8 de diciembre de
2018 - 10 de febrero de 2019 </i>(f. @enelcerrito, 2019).</span></span><br />
<br /></div>
<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"><i>"Sessantesimo"</i>, es en cambio una exposición de cámara. Pero no
por ello menos interesante. Los registros fotográficos (arquitecturas, murales,
esmaltes, cartas, oleos) fueron realizados por Frank Alcock, Rossella Consolini,
Jesús David Goncalves, Alfredo Mata y Juan José Mesa. El diseño de los artes y
de las hojas del </span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">parabán</span> correspondieron a Bettina Bottome y Antonio Huizi. A estos trabajos
se sumó el apoyo de Patricia Quintanilla, junto a un equipo de brillantes
estudiantes de la V Pasantía Académica Facultad de Arquitectura y Urbanismo -
Universidad Central de Venezuela / Docomomo VE, dirigidos por Sergio Fernández
Viera, a cuyo cargo estuvo la realización de la maqueta de la Villa Planchart.
Esta maqueta ya ha sido solicitada por el MAXXI de Roma para ser expuesta en
una nueva exposición sobre la arquitectura de Ponti el próximo mes de noviembre,
curada por la ex presidente de Docomomo International, Maristella Casciato y el
gran especialista en Ponti Fulvio Irace.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtsAGm72H35nTLo_DMWm0_MdjjebYuxPUlCqxh3C0lvbVdG5wx7ZKdelZBgRDcSzFwUNq-DtoubMW7YlnMYmlxcza2iyMMXKv9EPH2MTTgne7lkti9Xn1p6Kn7YT7QHcB2lmF00FbbWJMS/s1600/3.+Maqueta+de+contexto+de+El+Cerrito+%2528f.+%2540docomomove%252C+2019%2529.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtsAGm72H35nTLo_DMWm0_MdjjebYuxPUlCqxh3C0lvbVdG5wx7ZKdelZBgRDcSzFwUNq-DtoubMW7YlnMYmlxcza2iyMMXKv9EPH2MTTgne7lkti9Xn1p6Kn7YT7QHcB2lmF00FbbWJMS/s640/3.+Maqueta+de+contexto+de+El+Cerrito+%2528f.+%2540docomomove%252C+2019%2529.JPG" width="640" /></a><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"> </span><span style="font-size: x-small;"><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";">3. <i>Maqueta de contexto de El Cerrito </i>(f.
@docomomo_ve, 2019).</span></span>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">Procurando no tocar la arquitectura patrimonial y los preciosos materiales
del <i style="mso-bidi-font-style: normal;">Cuarto de juego </i>para convertirlo
en sala de exposiciones efímera, Docomomo se propuso hacer una puesta en escena
respetuosa del lugar: un gran parabán de ocho hojas sobre ruedas de goma se
colocó al centro del espacio, mientras que dos maquetas (una de ellas hecha
especialmente para la exposición,<span style="mso-spacerun: yes;"> </span>con
una base de aluminio diseñada por el arquitecto Bernardo Mazzei, titulada <i style="mso-bidi-font-style: normal;">"Farfalla"</i>) acompañaban varios
singulares objetos y obras de arte, en particular la primicia mundial de un
cuadro original pintado por Ponti en Caracas en 1956, titulado <i style="mso-bidi-font-style: normal;">"Cavallo".</i></span></div>
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<br /></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">El "parabán ilustrado" del montaje quiso además rendirle homenaje
al artista italiano Piero Fornasetti, colaborador de Ponti, justamente, en el
diseño interior del <i style="mso-bidi-font-style: normal;">Cuarto de juego </i>(con
sus famosas "Silla-periódico"). Fornasetti en los años cincuenta
produjo una gran cantidad de biombos decorados con imágenes. Uno de ellos de
1951, <i style="mso-bidi-font-style: normal;">Il duomo sommerso </i>(La catedral
sumergida), tiene mucho que ver con la historia de El Cerrito, tal y como se
refiere en uno de los textos de la exposición que lleva el mismo título
fornasettiano. </span><br />
<br />
<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">En total, once temas, que van desde la arquitectura, a la
literatura, al urbanismo y a la historia del arte: </span><span lang="ES" style="mso-ansi-language: ES;">"</span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">Idea para Caracas", "Un rascacielos con colores venezolanos", <i>"Modelli"</i>, "El mural en </span><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";"></span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">vidrio <i style="mso-bidi-font-style: normal;">sommerso</i> de Rubén Núñez",
"<i style="mso-bidi-font-style: normal;">Il duomo sommerso",</i> "Mítica
Caracas", "Historias de Rui", "Un gran pensamiento largo:
pensamientos-diseños-músicas", "Centro Cultural Villa Planchart",
"<i style="mso-bidi-font-style: normal;">Cavallo"</i> y finalmente "<i style="mso-bidi-font-style: normal;">Arlecchinia</i>, nostalgia de</span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"> Venezuela y de la Grecia antigua". Once títulos apenas… de los muchos
que se nos quedaron en el tintero. Así, puede que Docomomo Venezuela considere
una segunda edición -ampliada- de "Sessantesimo". </span><span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;"></span><br />
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<span lang="ES" style="font-family: "bodoni mt"; font-size: 14.0pt;">Como decía el mismo
Ponti: <i style="mso-bidi-font-style: normal;">"Vediamo…! </i></span><i style="mso-bidi-font-style: normal;"><span lang="IT" style="font-family: "bodoni mt"; font-size: 14.0pt;">Magari si fa".</span></i></div>
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<i style="mso-bidi-font-style: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBaM9oSWBh8IK7ziIWuDwovOPsVIZQwBKHx-d94YXDuTl1RAnO5NW57NrdY7gEjAnjoQLs3iGvYu0d8C-Pc0xxE3iuyZ_xpdLky8h59e6x9IZPsGQ0FkOXKw6nkZDkGgat_H2VHqxArm2/s1600/4.+Afiche+60+aniversario.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="1079" height="434" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBaM9oSWBh8IK7ziIWuDwovOPsVIZQwBKHx-d94YXDuTl1RAnO5NW57NrdY7gEjAnjoQLs3iGvYu0d8C-Pc0xxE3iuyZ_xpdLky8h59e6x9IZPsGQ0FkOXKw6nkZDkGgat_H2VHqxArm2/s640/4.+Afiche+60+aniversario.jpg" width="640" /></a></i></div>
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<span style="font-size: x-small;"><span lang="IT" style="font-family: "bodoni mt"; mso-ansi-language: IT; mso-bidi-font-family: "Bodoni MT";">4. Afiche 60 aniversario, <i>"Sessantesimo:
Villa Planchart (Gio Ponti, 1957-2017)"</i></span></span><span style="font-size: x-small;"><span lang="ES" style="font-family: "bodoni mt"; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";"><i> </i>(f. Paolo Gasparini, 1961. Diseño: Bettina Bottome, 2019).</span></span></div>
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<span lang="ES" style="font-family: "nyala"; font-size: 14.0pt;">*
Grupo de trabajo oficial de Venezuela para la Documentación y Conservación
internacional de edificios, sitios y barrios del Movimiento Moderno.</span></div>
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<span style="font-size: small;"><br /></span></div>
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<span lang="IT" style="font-family: "nyala"; font-size: small; mso-ansi-language: IT; mso-bidi-font-family: Nyala;">NOTAS:</span></div>
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<span lang="IT" style="font-family: "bodoni mt"; font-size: small; mso-ansi-language: IT; mso-bidi-font-family: "Bodoni MT";">1.<b style="mso-bidi-font-weight: normal;"><span style="mso-spacerun: yes;">
</span>"</b>Non è il cemento, non è il legno, non è la pietra, non è
l'acciaio, non è il vetro l'elemento più resistente. Il materiale più
resistente nell'edilizia è l'arte". Gio Ponti.</span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: small; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";">2. Las ITALIAS de Caracas: </span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: small; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";">https://docomomovenezuela.blogspot.com/2012/12/exposicion-exhibition.html</span></div>
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<span lang="ES" style="font-family: "bodoni mt"; font-size: small; mso-ansi-language: ES; mso-bidi-font-family: "Bodoni MT";">2.<b style="mso-bidi-font-weight: normal;"> </b>"Vamos a ver. </span><span lang="IT" style="font-family: "bodoni mt"; font-size: small; mso-ansi-language: IT; mso-bidi-font-family: "Bodoni MT";">Tal vez se haga". Entrevista a Letizia
Frailich-Ponti en el documental de Rubino Rubini <i style="mso-bidi-font-style: normal;">Gio Ponti: la Villa Planchart a Caracas,</i> 2007.</span><br />
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<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Febrero 12 de 2018: https://www.elnacional.com/opinion/columnista/sessantesimo_270352/</span></div>
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-7096553527149941862019-09-19T20:08:00.000-04:002019-10-17T20:15:56.542-04:00Arquitectura, calma y cordura<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtS9Ygp3IKxrB0KSOXMSLGemd9eKQVacUxq1S9sYz_PG89s07eprtftni5t1zD_Q4syBdw_cVFD2N8RYUL4EteDdNZkT5dYfFt2P-zOtRNpNT3X376JkqvftPeeIda675rq-dfbbPZjW9K/s1600/1.+Academia+Militar+de+La+Planicie%252C+Caracas.+Alejandro+Chataing%252C+1906++%2528f.+%2540micaracasantigua%252C+2016%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="995" data-original-width="798" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtS9Ygp3IKxrB0KSOXMSLGemd9eKQVacUxq1S9sYz_PG89s07eprtftni5t1zD_Q4syBdw_cVFD2N8RYUL4EteDdNZkT5dYfFt2P-zOtRNpNT3X376JkqvftPeeIda675rq-dfbbPZjW9K/s640/1.+Academia+Militar+de+La+Planicie%252C+Caracas.+Alejandro+Chataing%252C+1906++%2528f.+%2540micaracasantigua%252C+2016%2529.jpg" width="512" /></a><span lang="ES" style="font-size: 9.0pt; font-weight: normal; mso-ansi-language: ES;"> </span></div>
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<span lang="ES" style="font-size: 9.0pt; font-weight: normal; mso-ansi-language: ES;">1.<i style="mso-bidi-font-style: normal;">
Academia Militar de La Planicie, Caracas. Alejandro Chataing, 1906 </i><span style="mso-spacerun: yes;"> </span>(f. @micaracasantigua, 2016).</span></div>
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<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">"Si no voy a ser yo mismo,</span></div>
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<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">quién lo será?" </span></div>
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<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Alfred Hitchcock.</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"></span><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1</span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1. La
parábola del templo</span></b></div>
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Luego de dos décadas durante las cuales nuestras ciudades han sido flageladas infatigablemente para intentar sustituirles su #MemoriaUrbana por otra, sufriendo el reiterado cambio de sus nomenclaturas, el reemplazo forzado de sus iconologías, la sustitución irreverente del significado de sus monumentos, el violento derribo y desaparición de sus estatuas y obras de arte urbano y toda suerte de atentados contra el patrimonio material e inmaterial, nos encontramos frente a una nueva vuelta de la historia. Ante a un posible cambio de gobierno, a los ciudadanos cabe hacernos la pregunta: una vez recuperadas la democracia en nuestras ciudades, actuaremos nosotros igual? Le pondremos fuego a todo? O, por el contrario, haremos respetar la Ley de Defensa y Protección del Patrimonio Cultural, y reconstruiremos el orden y el respeto en la ciudad?</div>
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<br />
Muy profundamente, a juzgar por los horrores que hemos tenido que presenciar -y enfrentar- en estos anos, había calado en el inconsciente colectivo de nuestra sociedad aquella oscura práctica histórica por la cual se hacen desaparecer las maneras de pensar y las ideologías derribando sus momentos en la fábrica urbana. Más de una vez dijimos públicamente, en defensa propia, que todos los periodos de la historia, antes que sustituir sus expresiones una a una en la ciudad por las del momento histórico de turno, debían coexistir democrática -y espacialmente- en ella. Hacer espacios nuevos (de calidad, claro está), y construir ciudad. Y pasar todas por los mismos filtros de calidad artística y urbanística. El horror de ver al Monumento a Colon en el Golfo triste derribado y sustituido sobre su histórico pedestal por la estatua apresurada de un cacique saltimbanqui, es, salvando las distancias, muchísimo más triste que ver los templos coloniales construidos con las piedras de los templos mesoamericanos, porque se supone que esos errores del pasado debían haber sido largamente superados.<br />
<br />
Hoy, luego de la debacle de estos anos, es importante que para cada atropello cometido y cada acción que emprendamos para remediarlo y para reconstruir nuestras ciudades deberá apegarse a la ley, así como al buen juicio para valorar que obras tienen valores y cuáles carecen completamente de ellos. La ira, justificada, contra el abuso -la lista es larga: nuestro desaparecido Colón del Parque El Calvario, la implantación de adefesios, empezando por el Mausofeo tras el Panteón Nacional, los cambios de usos para convertir en antros del horror muchas de las arquitecturas patrimoniales, empezando por El Helicoide-, violando todas las declaratorias de patrimonio existentes, hace que muchos se la pasen por estos días haciendo listas de obras candidatas a alimentar la pira donde un fuego divino las purgue. Pero calma.</div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">2. Espacios
de la memoria y de la des-memoria</span></b><span lang="ES" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: ES;"> </span><br />
Nosotros, desde la Fundación de la Memoria Urbana, queremos hacer un llamado a la cordura. Los edificios no tienen la culpa de las cosas que les hacen: ni de los nuevos usos impuestos, como en la antigua Academia Militar la Planicie de Alejandro Chataing (1906) o El Helicoide de Jorge Romero Gutiérrez (1959), ni de los desastres que los destruyen, como en el Panteón Nacional de Manuel Mujica Millán (1930), todos patrimonios declarados. Para solo nombrar los casos más importantes en la capital. <br />
<br />
Algunas barbaridades, ciertamente, deberán ser desmontadas por completo, porque merecen ser olvidadas por mediocres, simplemente. Otras cambiadas de uso para convertirse en espacios de la memoria, donde justamente nunca más olvidemos lo que pasó. <br />
<br />
En la historia futura de nuestra ciudad, ojalá se abra ahora un capitulo de reconstrucción civilizada e incluyente, donde restauremos nuestras obras de arte y donde nunca más haya lugar para la barbarie y la imposición en el espacio urbano. La ciudad es un palimpsesto de las mejores obras que cada civilización produce.<br />
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Esas, deben perdurar a toda costa para que cada ciudad pueda ser cada vez más, ella misma.<br />
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<span lang="ES" style="font-size: 9.0pt; mso-ansi-language: ES;">2.<i style="mso-bidi-font-style: normal;"> Maqueta de El Helicoide, Roca Tarpeya,
Caracas. Jorge Romero Gutiérrez, 1959 </i>(f. 1950 - Archivo FMU)</span></div>
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<span style="font-size: 9.0pt;">NOTAS:</span></div>
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<span style="font-size: 10.0pt;">1<i style="mso-bidi-font-style: normal;">. </i>Sidney Gottlieb (editor)<i style="mso-bidi-font-style: normal;">. </i>"If I won't be myself, who
will?", <i style="mso-bidi-font-style: normal;">Alfred Hitchcok,</i> <i style="mso-bidi-font-style: normal;">Interviews (Conversations With Filmmakers
Series), </i>University Press of Mississippi,<i style="mso-bidi-font-style: normal;"> </i>2003.</span><br />
<span style="font-size: 10.0pt;"> </span></div>
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<span style="font-size: small;"><br /></span></div>
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<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Enero de 2018: https://www.elnacional.com/opinion/columnista/arquitectura-calma-cordura_268442/</span></div>
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-89956010051195749562019-09-19T17:26:00.000-04:002019-09-19T19:59:58.098-04:00 Golf & Country Clubs: Una reseña 2018<!--[if gte mso 9]><xml>
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<span style="font-size: x-small;"><span lang="ES">1. Portada de <i>Golf & Country Clubs</i>, el libro del
arquitecto Clifford Ch. </span>Wendehack (f. Valuable Book Group).</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">"No confundamos cambio con progreso".</span></div>
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Jamie Jensen.1</div>
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En 1929, prácticamente al mismo
tiempo que se constru<span lang="ES" style="mso-ansi-language: ES;">í</span>a su proyecto ganador para el concurso de la Casa Club
del Caracas Country Club, el arquitecto norteamericano Clifford Charles
Wendehack (Montclair, New Jersey 1885-1948), publicaba en la editorial William
Helburn Inc. de Nueva York su libro <i style="mso-bidi-font-style: normal;">Golf
& Country Clubs, A Survey of the Requirement of Planning Construction and
Equipment of the Modern Club House.</i>2 </div>
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<span lang="ES" style="mso-ansi-language: ES;">Tenía a la sazón 44 años de edad. Habíendo iniciado su práctica en esa ciudad
en los 1920s, para esa fecha contaba con una amplia obra en todos los Estados
Unidos. Ya era conocido como "especialista en el diseño de casas club y de
impresionantes residencias, muchas hoy incluidas en los Registros Nacionales y
Estatales de Sitios Históricos de ese país".3 Luego de establecer su
reputación con el North Jersey Country Club, el portafolio de Wendehack se
extendió con los renombrados landmark clubs Winged Foot Golf Club (Mamaroneck,
NY), Bethpage State Park (Westchester, NY), Ridgewood Country Club (Ridgewood,
New Jersey), Mountain Ridge Country Club (West Caldwell, New Jersey) y Caracas
Country Club (Caracas, Venezuela).4</span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;"></span></div>
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<span lang="ES" style="mso-ansi-language: ES;">Aparte de hacer una grandiosa arquitectura que hoy en su mayoría es
patrimonial, a Wendehack le quedaba tiempo también para escribir artículos y
libros. Entre ellos, <i style="mso-bidi-font-style: normal;">Golf & Country
Clubs</i>, un grandioso <i style="mso-bidi-font-style: normal;">coffee table book</i>
de color azul rey donde refiere cómo planificar la perfecta casa club moderna, el
cual ha sido considerado durante casi un siglo hasta hoy como el primer manual
en el género. Es sencillamente el libro más importante de quien se considera el
más importante arquitecto de casas club de su país en el siglo veinte. </span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="ES" style="mso-ansi-language: ES;">Golf & Country Clubs</span></i><span lang="ES" style="mso-ansi-language: ES;"> es una antología de clubes donde
Wendehack hace referencia tanto a las mejores obras del ramo suyas, como el
Crossing Country Club (Trento, New Jersey) como a las de sus colegas, como el
Columbia Country Club (Portland, Oregon) de Herbert A. Angell o el Lakeside
Golf Club (Hollywood, California) de William Lee Woollett. Son más de 157 láminas
en blanco y negro, ilustradas con fotografías y planos de arquitectura. Las
priearas cincuenta p</span><span lang="ES" style="mso-ansi-language: ES;"><span lang="ES" style="mso-ansi-language: ES;">á</span>ginas discutiendo en detalle los requerimientos de una casa club
y las siguientes analizando ejemplos provenientes del East Coast
(Massachusetts, New York, New Jersey, Pennsylvania, North Carolina, Florida), pero
también del Midwest (Michigan, Illinois) y de los estados de California y Oregon.5
M</span><span lang="ES" style="mso-ansi-language: ES;"><span lang="ES" style="mso-ansi-language: ES;">á</span>s un solo sjemplo fuera de los Estados Unidos, el de Caracas.</span></div>
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<span lang="ES" style="mso-ansi-language: ES;">La tipología del manual antológico era muy típica en los libros de
arquitectura durante la primera mitad del siglo veinte. Estaba hecho para ser
consultado por cualquiera y facilitar <span style="mso-spacerun: yes;"> </span>la
ilustración en el tema gracias a los mejores ejemplos. Siendo el Caracas
Country Club considerado por los expertos en la obra de Wendehack como el más
logrado ejemplo de <i style="mso-bidi-font-style: normal;">Spanish Revival</i>
que hiciera el arquitecto en toda su carrera, forma parte de este elenco
mientras aún estaba en construcción en 1929. Nuestra casa club, con su magnífico
lenguaje neohispano, es un testimonio vivo que ratifica "su status en la
sucesión de edificios clásicos diseñados en los 1920s por el afamado
arquitectos de clubes Clifford Wendehack".6 Debe ser también por ello íntegramente
protegida y conservada como un ejemplo único de esta arquitectura en Venezuela.7 </span><br />
<br />
<span lang="ES" style="mso-ansi-language: ES;">El libro de Wendehack sigue siendo hoy, en 2018, una guía muy útil para
aprender a formar parte de esta gran tradición que nos honra compartir con los
Estados Unidos.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">NOTAS:
</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">1.
"Don't mistake change for progress".</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">Jamie
Jensen. @howcitieswork</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">2.
Clifford Charles Wendehack. <i style="mso-bidi-font-style: normal;">Golf &
Country Clubs, A Survey of the Requirement of Planning Construction and
Equipment of the Modern Club House, </i>New
York: William Helburn Inc, 1929.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">3.John
Sabino. "Golf & Country Club by Charles Wendehack", Valuable Book
Group, 2015:
https://valuablebook.wordpress.com/2015/06/01/golf-country-club-by-charles-wendehack/</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">4. Hannia Gómez. Catalogo de la exposición "Our
Architects en Caracas: arquitectura norteamericana en Caracas 1925-1975",
Sala TAC/Docomomo Venezuela, Caracas Julio-Octubre 2017, pp. 130-139.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">5.
Joe Barks. "Making North Jersey CC New
Again", Club & Resort Business, Enero 14, 2014:<span style="mso-spacerun: yes;">
</span>https://clubandresortbusiness.com/2014/01/making-north-jersey-cc-new/</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">6.
J. Barks. “Delighting in the Details,” Club & Resort Business, Noviembre
2012.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">7.
Golf Club Atlas: http://www.golfclubatlas.com/forum/index.php?topic=25699.30;wap2</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span><span lang="ES" style="font-family: "times new roman"; mso-ansi-language: ES;">Publicado en: Pluscuamperfecto, <i>Entresocios</i>, Caracas, Octubre de 2018.</span></span></span><br />
<br />
</div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-59650869031108998262019-09-19T12:55:00.000-04:002019-09-19T20:22:37.247-04:00Ser patrimonio<!--[if gte mso 9]><xml>
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</div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMMFN-rerd6oEFgwT8k2K__aDuQWZuOaoOrnBljXllXMQcTivp3UvOSpR_IHqukAEDwgysmHSlUto9_eH3TUI5c6sX3Bh_rVW4Hj59olnUEh1xkCs1hafYPVknlXhA-Mi706B6cmsYhlkd/s1600/1.+Vista+aerea+de+la+Casa+Club+del+CCC+%2528f.+1950s+-+Caracas+historica%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="956" data-original-width="908" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMMFN-rerd6oEFgwT8k2K__aDuQWZuOaoOrnBljXllXMQcTivp3UvOSpR_IHqukAEDwgysmHSlUto9_eH3TUI5c6sX3Bh_rVW4Hj59olnUEh1xkCs1hafYPVknlXhA-Mi706B6cmsYhlkd/s640/1.+Vista+aerea+de+la+Casa+Club+del+CCC+%2528f.+1950s+-+Caracas+historica%2529.jpg" width="606" /></a></div>
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">1. <i>Vista aérea de la Casa club
del </i></span><span style="font-size: x-small;"><span lang="ES"><i>Caracas Country Club</i> (f. 1950s - Archivo Fundación de la Memoria
Urbana).</span></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<br />
<span lang="ES" style="mso-ansi-language: ES;">"Cuando construyamos, pensemos en que
construimos para siempre.</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">Que no sea para el placer del presente ni solo para
el uso en el presente. </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">Que sea de tanto valor que nuestros descendientes
nos agradezcan por ello y pensemos, cuando ponemos piedra sobre piedra, que un
tiempo vendrá cuando esas piedras </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">serán consideras sagradas porque nuestras manos
las tocaron </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">y que los hombres dirán cuando contemplen la labor
y su labrada sustancia:<span style="mso-spacerun: yes;"> </span></span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">"Miren! Esto es lo que nuestros Padres
hicieron para nosotros".</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="mso-ansi-language: ES;">John Ruskin. 1</span></div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Del segundo periodo 1960-2000 de vida del Caracas Country Club, queremos rescatar
la comprensión que gradualmente fue creciendo en esos años en torno a los
valores urbanos, arquitectónicos y paisajísticos de la urbanización y de su
Casa Club.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Varios estudios fueron empezando a reconocer su importancia en la historia
mundial de la arquitectura desde los 80.2 En primer lugar, en 1988, cuando el profesor
de Historia de la Arquitectura de la Facultad de Arquitectura de la UCV, Leszek
Zawisza, escribió su pionero <i style="mso-bidi-font-style: normal;">Inventario
del Patrimonio Cultural Arquitectónico Venezolano</i>, donde valoraba al
Country como "el primer proyecto residencial de arquitectura paisajista en
el país".2 Un año más tarde, José Luis Colmenares, amplió los contenidos
de la importancia arquitectónica de nuestro club en su libro <i style="mso-bidi-font-style: normal;">Carlos Guinand Sandoz</i>, publicando por
primera vez los planos y detalles de la Casa Club y los pormenores del proyecto
de Clifford Ch. Wendehack. Allí develaba su colaboración con el maestro Guinand
Sandoz en todos los pormenores de su construcción, detallado y artes decorativas.3
Finalmente, en 1998 la Galería de Arte Nacional incluyó a la Casa Club en el
elenco de la muestra <i style="mso-bidi-font-style: normal;">Wallis, Domínguez y
Guinand</i>, mostrando su magnifica arquitectura en toda su belleza neohispana gracias
a las fotos de 1930 del mismo Guinand Sandoz.4</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Toda la conciencia patrimonial<i style="mso-bidi-font-style: normal;"> </i>que
hacia falta para lograr la declaratoria como Bien de Interés Cultural del
Country y su Casa Club en 2005 se fue a gestando justamente en esas décadas. Todos
fuimos tomando conciencia en torno al patrimonio moderno, un área para entonces
todavía muy incomprendida en el país, pero que despertó con la perdida del
edificio Galipán (1952), obra de Gustavo Guinand van der Walle, el 28 de
diciembre de 1999.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Hoy sabemos que nuestro hermoso club no es como los demás clubes recreacionales
en Venezuela. Ningún otro conjunto arquitectónico/urbano/paisajístico se le
iguala en América Latina. Además de ser un patrimonio nuestro, lo compartimos
con los Estados Unidos, ya que Clifford Charles Wendehack y Olmsted Brothers
son auténticos bastiones de la historia de la arquitectura moderna de
Norteamérica.5</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Hoy hemos entendido también que una declaratoria no es suficiente para preservar
una obra para las generaciones futuras. Tener un Plan de Manejo y Conservación
es el paso siguiente, lo aconsejable, algo fundamental y sumamente útil. Ello
es en realidad un manual, una guía, hecha por expertos pero donde toda la
comunidad de socios podría colaborar, aportando y recopilando la información
valiosa sobre la historia y los proyectos de la urbanización, de los campos, del
paisajismo y de la arquitectura. Fotos planos, historias, anécdotas. Algo que
ya se ha ido dando felizmente y de manera natural aquí mismo, en <i style="mso-bidi-font-style: normal;">entresocios.</i> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<a href="https://www.blogger.com/blogger.g?blogID=8834351563354750280" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Así pues, nuestra invitación es a seguir estudiando y divulgando las joyas
de la arquitectura que nos pertenecen y de las cuales somos custodios frente al
mundo. A fin de que se protejan y se mantengan, conservando los valores por los
cuales han sido reconocidas. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Porque de eso se trata ser patrimonio.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<div style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;">
</div>
</div>
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<div class="separator" style="clear: both; text-align: center;">
<br /></div>
</div>
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<br />
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">NOTAS: </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">1.<span style="mso-spacerun: yes;"> </span>John Ruskin (1819-1900), Capitulo VI, seccion
10, "The Lamp of Memory", <i style="mso-bidi-font-style: normal;">The
Seven Lamps of Architecture, </i>Smith, Elder & Co., Londres,<i style="mso-bidi-font-style: normal;"> </i>1849.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">2. En 2003 Fundamemoria fu contratada por el
Instituto del Patrimonio Cultural para hacer el Preinventario Moderno de Caracas,
que redacto 2.300 fichas patrimoniales, entre ellas la del CCC y su Casa Club.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">3.
Leszek Zawisza. "Caracas Country Club", Codigo MI-4-1-M, Ficha No.
1/11, <i style="mso-bidi-font-style: normal;">Inventario del Patrimonio Cultural
Arquitectonico Venezolano,</i> Centro de Investigaciones Historicas y
Esteticas, Facultad de Arquitectira y Urbanismo, UCV, Caracas, 1988.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">4.
Jose Luis Colmenares. <i style="mso-bidi-font-style: normal;">Carlos Guinand
Sandoz,</i> Coleccion Documentos para la Historia de la Arquitectura
venezolana, Clacerca, Caracas,
1989, pp.80-89.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 10.0pt;">5.
Varios autores. Galeria de Arte Nacional. <i style="mso-bidi-font-style: normal;">Wallis,
Dominguez, Guinand, arquitectos pioneros de una epoca</i>, Graficas Armitano, Caracas, 1998, p. 65.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">6. Docomomo Venezuela. Exposición <i style="mso-bidi-font-style: normal;">Our Architects: arquitectura norteamericana
en Caracas 1925-1975</i>, Embajada de EstadosUnidos/Docomomo Venezuela, Sala
TAC, Trasnocho Cultural, Caracas, Julio/Octubre 2017.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: small;"><span lang="ES" style="font-family: "times new roman"; mso-ansi-language: ES;"><br /> Publicado en: Pluscuamperfecto, <i>Entresocios</i>, Caracas, Junio de 2018.</span></span></div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-4192149885236539522019-09-19T12:20:00.002-04:002019-10-17T20:15:02.715-04:00Altanella<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOLc9MxMb4N161JXcTS7l_HkyoudtQS2MLYQmNTxzH00IQo2x0jcz3FaMVGH8UbnuWqq0mTPdao8mg_BDYn7msmRJ39FxWZlbZM-yZRGFGFjdJ8gaBgOUXRtXjcC_veXjgYtMq8FclhN-T/s1600/1.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOLc9MxMb4N161JXcTS7l_HkyoudtQS2MLYQmNTxzH00IQo2x0jcz3FaMVGH8UbnuWqq0mTPdao8mg_BDYn7msmRJ39FxWZlbZM-yZRGFGFjdJ8gaBgOUXRtXjcC_veXjgYtMq8FclhN-T/s640/1.gif" width="640" /></a><span style="font-size: x-small;"><span lang="IT" style="font-weight: normal;">1.<i>
Pabell</i></span><i><span lang="IT">ó</span></i><i><span lang="IT" style="font-weight: normal;">n de Inglaterra, Giardini di Castello, enecia </span></i><span lang="IT" style="font-weight: normal;"> (f. @cultureshockit, British Council).</span></span></div>
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<br /></div>
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<br /></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">"La Altana es una suerte de
belvedere de madera, acompañado de una rampa,</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;"><span style="mso-spacerun: yes;"> </span>instalado sobre el techo de los palacios
venecianos". </span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Henri de R</span><span lang="FR" style="font-size: 12.0pt; mso-ansi-language: FR;">é</span><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">gnier.</span><i style="mso-bidi-font-style: normal;"><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"> </span></i><i style="mso-bidi-font-style: normal;"><span lang="FR" style="font-size: 12.0pt; mso-ansi-language: FR;">La Altana, o la vida veneciana, 1899-1924</span></i><span lang="FR" style="font-size: 12.0pt; mso-ansi-language: FR;">.</span><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;"></span><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<br /></div>
<br />
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1. <i style="mso-bidi-font-style: normal;">Freespace</i></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Cada vez que uno regresa a Venecia siempre es como
la primera vez, y esto probablemente sea un sortilegio. En nuestra ultima
visita tuvimos la suerte de estar presentes para el día de la apertura de la
Bienal de Arquitectura 2018. No es poca cosa, el llegar en el momento justo a
la <i style="mso-bidi-font-style: normal;">Ciudad Inextricable.</i> La conmoción
global del <i style="mso-bidi-font-style: normal;">opening</i> de @laBiennale fue
tánta este año y el deseo de visitar <i>La</i> <i style="mso-bidi-font-style: normal;">artificiosa</i>
fue tan grande, que se viralizó entre los arquitectos del mundo al <i style="mso-bidi-font-style: normal;">hashtag</i> #NotInVenice, para que los que
se quedaron en casa pudieran de alguna manera consolarse mutuamente. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Con esta nueva edición de corte británico se
estrenaron como comisarias el dúo dublinés Grafton Architects, formado por las
arquitectos Yvonne Farrell y Shelley McNamara, quienes se dieron a la tarea de
encontrar el nuevo tema de la <i style="mso-bidi-font-style: normal;">mostra</i>.
El reto, aportar una idea que motivase en la comunidad arquitectónica
internacional el entusiasmo necesario para producir con éxito la fiesta máxima de
la arquitectura del planeta. La meta, llenar las decenas de espacios culturales
y museísticos de la <i style="mso-bidi-font-style: normal;">Serenissima</i> con
propuestas que impulsaran el desarrollo del pensamiento global sobre la
arquitectura y la ciudad.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Con mucha curiosidad, y la alegría de saber que el
León de Oro 2018 se le otorgaba al gran historiador de la arquitectura Kenneth
Frampton (a quien luego tuvimos el honor de felicitar en su premiación en Ca' Giustian),
nos fuimos adentrando tanto por los <i style="mso-bidi-font-style: normal;">sestiere</i>
y por las <i style="mso-bidi-font-style: normal;">fondamenta</i> como por el
proyecto curatorial de esta edición, planteado en torno a la idea del espacio
libre, o <i style="mso-bidi-font-style: normal;">Freespace.</i></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br />
<span lang="ES" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: ES;">Lo explican así las curadoras: "<i style="mso-bidi-font-style: normal;">Freespace</i> significa la generosidad de
espíritu y el sentido de humanidad que centra la agenda de la arquitectura, en
especial con respecto a la calidad del espacio. Es la capacidad que tiene la
arquitectura de poder hacer ofrendas espaciales gratuitas y en responder a los
deseos no expresados de los visitantes. <i style="mso-bidi-font-style: normal;">Freespace
</i>celebra la habilidad de la arquitectura en encontrar hasta en las
condiciones más privadas, protegidas, exclusivas o comercialmente limitadas, nuevas
e inesperadas generosidades en cada proyecto. Significa dar la oportunidad de hacer
énfasis en los presentes gratuitos de la naturaleza, como la luz del sol y la de
la luna; el aire; la gravedad; los materiales.<i style="mso-bidi-font-style: normal;"> Freespace</i> invita a reexaminar modos de pensar, estimulando nuevas
maneras de ver el mundo, de inventar soluciones donde la arquitectura provea el
bienestar y la dignidad de cada habitante en este frágil planeta. <i style="mso-bidi-font-style: normal;">Freespace</i> puede ser un espacio para la
oportunidad, democrático, no-programado y libre para usos aún por concebir. Abraza
la libertad de imaginar el espacio libre del tiempo y la memoria, uniendo al
pasado, al presente y al futuro, construyendo sobre las estratificaciones de
nuestra herencia cultural, entretejiendo lo arcaico con lo contemporáneo".2 </span><br />
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Como pueden ver, es un tema muy bien intencionado.
Pero es tan vasto que se vuelve también a la vez en algo elusivo, vago e
inaprensible, lo cual ha hecho que por entre sus meandros y entresijos conceptuales
muchos de los participantes o bien se hayan perdido gustosamente, o<b style="mso-bidi-font-weight: normal;"> </b>bien no entendieron -o no quisieron
entender-<b style="mso-bidi-font-weight: normal;"> </b>ni jota, o, peor aún, terminaran
no hablando para nada de arquitectura. Este último resultado es la critica m<b style="mso-bidi-font-weight: normal;">á</b>s contumaz y repetida que se le hace a
la curaduría de las Grafton.</span><br />
<br /></div>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJfprP0eJYyS4IGNomC0Wg0f_M2A9zcun6e-H33_l9zYXMhncHn_bv13VifinGCsWq5m4knoL6nmxpVfRRgvZDr2IPYguCgOBOLhb2Y6_455__LQIvtBZm6HCHX5icKAIKuZwC8tH0T6IY/s1600/2.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="655" data-original-width="1170" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJfprP0eJYyS4IGNomC0Wg0f_M2A9zcun6e-H33_l9zYXMhncHn_bv13VifinGCsWq5m4knoL6nmxpVfRRgvZDr2IPYguCgOBOLhb2Y6_455__LQIvtBZm6HCHX5icKAIKuZwC8tH0T6IY/s640/2.gif" width="640" /></a></div>
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<div align="center" class="MsoBodyTextIndent" style="text-align: center; text-indent: 0in;">
<span style="font-size: x-small;"><span lang="ES">2. <i>El </i> <i>Pabellón
de Inglaterra </i>(f. @venice.architecture.biennale).</span></span></div>
<div align="center" class="MsoBodyTextIndent" style="text-align: center; text-indent: 0in;">
<br /></div>
<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">2. <i style="mso-bidi-font-style: normal;">Belvedere</i></span></b></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Venecia estos días es una fiesta permanente. Como
fuegos de artificio que iluminan el cielo o el agua sin cesar, así se suceden
también las charlas, los <i style="mso-bidi-font-style: normal;">vernissages</i>,
los coloquios y los eventos colaterales en los palacios y en los pabellones y
en los campos y en los jardines y en los espacios de todos los formatos y
colores, tanto en la ciudad como en sus islas como en las naves de la laguna (BIG,
por ejemplo festejó su <i style="mso-bidi-font-style: normal;">opening </i>en un
barco pirata en el Gran Canal).3 Las largas horas del verano no alcanzan para
verlo todo y siempre uno se pierde algo maravilloso o se entera tarde de algo a
lo que quería asistir… </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Esto, en si mismo, es asombroso: ver a una ciudad
entera, por un lado, repleta de bote en bote de arquitectos, y por el otro,
vibrando apasionadamente al compás de la arquitectura.</span><br />
<br />
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">Pero por eso mismo,
buscábamos por todos lados a la arquitectura. Y nos preguntábamos, dónde, dónde
está la arquitectura en esta Biennale? Aunque uno este acostumbrado por los
tiempos que vivimos a que los arquitectos tengamos que sufrir cada vez más a
que se </span><span lang="ES" style="font-size: 9.0pt; mso-ansi-language: ES;"></span><span lang="ES" style="mso-ansi-language: ES;">nos despoje de nuestros milenarios roles,
contenidos y prácticas de trabajo (por la mediocre industria de la construcción
que cada vez cree necesitarnos menos y por un mundo del arte donde a falta de
mejores ideas todo el mundo "instala" o "construye" algo),
lo que nos faltaba era una bienal donde ya ni los arquitectos mismos parecieran
demasiado interesados en mostrar arquitectura <i style="mso-bidi-font-style: normal;">per se.</i></span>
</div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">En esta bienal las imposturas abundan. Todo el
mundo anda metido a artista, a cineasta, a investigador, a curador o a comunicador
social. Incluso, a "rebelde". Pareciera más bien una Biennale de
teatro, de arte o una <i style="mso-bidi-font-style: normal;">mostra del cinema.</i>
Por ende, son naturalmente muchas y muy inusitadas las variaciones sobre el
tema del <i style="mso-bidi-font-style: normal;">Freespace</i> que tienen lugar. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Encontramos arquitectura en las museografias de algunos
de los shows e instalaciones. Como, por ejemplo, la inolvidable exposición del Pabellón
de Italia, al fondo de un Arsenale majestuoso, titulada <i>"Arcipelago Italia"</i>,
curada por el arquitecto Mario Cucinella de MCArchitects. Esta explora "el
rol de la arquitectura como instrumento clave para promover el crecimiento y el
desarrollo de los territorios internos del país".4 Una exposición que, mas
allá de ser extremadamente bella, con sus altas cajas de luz creando una calle
donde se recorre toda Italia y sus orgánicas mesas insulares apoyadas en
pilares de madera extraídos de la laguna de Venecia, hace una reflexión<span style="mso-spacerun: yes;"> </span>que seria sumamente útil hacernos para los
territorios de Venezuela. </span><br />
<br />
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXc4iJsgICYMtY3Zcewd7lymp2mFKxIhR8MsXTPEFAm4XKCnzfWFOPXLye66uMgPXal2Mo9D9OlcsrgRri-pYw2vBg24jmXbu5F2xbplv-VUh7eDAxVT4i-K97ECh3prXwBGjd-5zCoS_2/s1600/3.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="596" data-original-width="870" height="438" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXc4iJsgICYMtY3Zcewd7lymp2mFKxIhR8MsXTPEFAm4XKCnzfWFOPXLye66uMgPXal2Mo9D9OlcsrgRri-pYw2vBg24jmXbu5F2xbplv-VUh7eDAxVT4i-K97ECh3prXwBGjd-5zCoS_2/s640/3.gif" width="640" /></a></span></div>
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<span style="font-size: x-small;"><span lang="IT">3.<i> La escalinata a la altana britanica.<b> </b></i></span><i><span lang="ES">Pabellón de Inglaterra</span></i><span lang="ES"> (f. @venice.architecture.biennale).</span></span></div>
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<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES;">O bien, también encontramos arquitectura en la
impactante museografia del Pabellón de Alemania, con la propuesta
<i>"Unbuilding Walls"</i> de los curadores GRAFT y Marianne Birthier, quizás
la m</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">á</span><span lang="ES" style="mso-ansi-language: ES;">s exacta puesta en
escena de una exposición de arquitectura que hayamos visto jamás.5 La reflexión
celebra la reunión de Alemania por ya 28 a</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">ñ</span><span lang="ES" style="mso-ansi-language: ES;">os, el mimo tiempo que duró el Muro de Berlín. De
allí que hayan construido una muralla virtual de color negro que aparece y
desaparece visualmente al movernos por el pabellón y que sirve de soporte para
explorar "los efectos de la división y de la integración y el proceso de
curación como un fenómeno espacial dinámico", analizando proyectos que
están sobre la antigua línea de la frontera entre Berlín oriental y occidental.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Mas de lo mucho que vimos en la #BiennaleArchitettura2018,
un solo pabellón nos pareció que cumplía la invocación hecha por las curadoras.
Solo uno hacia resaltar esa idea de la generosidad, del don gratuito ofrecido
al visitante desconocido, de la ofrenda espacial que une el espacio libre del
tiempo y la memoria y donde, como dijera Víctor Hugo una vez, "lo bello
vale tanto como lo útil".6 Solo uno, hizo arquitectura.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Se trata de una enorme construcción efímera y
ligera hecha con andamios y piezas de aluminio, que se sitúa arriba, montada
por encima de las copas de los árboles de los Giardini di Castello donde están
todos los principales pabellones, asomándose por encima para permitirnos
admirar a la ciudad marina y su laguna. Solo eso:<span style="mso-spacerun: yes;"> </span>un gesto monumental. Un <i style="mso-bidi-font-style: normal;">belvedere.</i> Abajo, el Pabellón de Inglaterra, vacío, solo con sus
paredes blancas.</span><br />
<br />
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES;">Los curadores británicos, Caruso St. John
Architects y el artista Marcus Taylor,</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;"> aludiendo a la veneciana tipología de la Altana,</span><span lang="ES" style="mso-ansi-language: ES;"> construyeron un espacio urbano en el
techo del pabellón, al que se le llega por una monumental escalinata lateral
también de aluminio. En medio de la enorme <i style="mso-bidi-font-style: normal;">piazza,
</i>asoma la cumbrera del techo del neoclásico edificio, sugiriendo tanto la
imagen de una isla (Albión) como la de un mundo sumergido hundido por
debajo".7 Su grandiosa idea les valió a los ingleses una mención especial
en la Biennale. Nosotros les hubiéramos dado el León de Oro.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="mso-ansi-language: ES;">Sobre la plataforma, apostados en la baranda del
Pabellón de Inglaterra, estamos al aire libre, como en tantas otras plataformas
de madera que pueblan los techos de esta ciudad. Imposible no recordar aquí el celebrado
texto de Henri de R</span><span lang="ES" style="mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">é</span><span lang="ES" style="mso-ansi-language: ES;">gnier,
"Sobre la Altana": </span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<i style="mso-bidi-font-style: normal;"><span lang="ES" style="mso-ansi-language: ES;">"Esta terraza, este
belvedere se apoya sobre el techo del palacio, dominando sus viejas tejas en
pendiente. Que veo desde aquí? Una esquina reluciente del Gran Canal; el domo
redondeado de una iglesia y otros techos, otras chimeneas, envueltos en un silencio
profundo donde percibo al mismo tiempo, lejano y como sordamente ritmado, un
murmullo que es una presencia: el murmullo del mar batiendo sobre las playas
del Lido. Y ya no sé sino una cosa: que este silencio, este palacio, esta
terraza aérea que pronto sabré reconocer como una Altana, todo ello, es
Venecia. Y que soy feliz".</span></i><span lang="ES" style="mso-ansi-language: ES;">8 </span><br />
<br /></div>
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<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QU1OWveByMb8e2bZJ6r5_fzRej_AECfRrNeUHZ5E2B2rLS6-Jwv6FniHreYPglW3fNq7IYrTlvna8ZLi24xCZuPmlsNXHJF7VlHuhHq542G42AJYpqlm4BLhFwRK9k0snH1p3ck-8ukW/s1600/4.gif" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="630" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3QU1OWveByMb8e2bZJ6r5_fzRej_AECfRrNeUHZ5E2B2rLS6-Jwv6FniHreYPglW3fNq7IYrTlvna8ZLi24xCZuPmlsNXHJF7VlHuhHq542G42AJYpqlm4BLhFwRK9k0snH1p3ck-8ukW/s640/4.gif" width="640" /></a></span></div>
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<div align="center" class="MsoBodyTextIndent" style="text-align: center; text-indent: 0in;">
<span style="font-size: x-small;"><span lang="IT">4. <i>Piazza/belvedere.</i> </span><i><span lang="ES">Pabell</span></i><i><span lang="ES">ón de Inglaterra </span></i><span lang="ES">(f. @venice.architecture.biennale).</span></span><br />
<br /></div>
</div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">NOTAS:</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="FR" style="font-size: small; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">1<i style="mso-bidi-font-style: normal;">. "L'Altana est une sorte de belvédère en bois, muni d'une rampe,
installé sur le toit des<span style="mso-spacerun: yes;"> </span>palais vénitiens".</i>
En: Henri de Régnier. <i style="mso-bidi-font-style: normal;">L'Altana, ou la Vie
vénitienne 1899-1924</i>, Mercure de France, Paris, 1927.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="IT" style="font-size: small; mso-ansi-language: IT; mso-bidi-font-size: 12.0pt;">2. Yvonne Farrell +
Shelley McNamara. Folleto de la Biennale Architettura 2018,
promozione@labiennale.org, Venecia, 2018.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span style="font-size: small; mso-bidi-font-size: 12.0pt;">3. Bjarke Ingels Group: http://m.big.dk/</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="IT" style="font-size: small; mso-ansi-language: IT; mso-bidi-font-size: 12.0pt;">4. Arcipelago Italia.
Padiglione Italiano alla Biennale Architettura 2018: www.arcipelagoitalia.it</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span style="font-size: small; mso-bidi-font-size: 12.0pt;">5. Unbuilding Walls. German Pavilion at the 16th International
Architecture Exhibition 2018: www.unbuildingwalls.de</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="FR" style="font-size: small; mso-ansi-language: FR;">6<i style="mso-bidi-font-style: normal;">. "Le
beau vaut autant que l'utile".</i> Víctor Hugo.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">7. </span><span lang="ES" style="font-size: small; mso-ansi-language: ES;">@venice.architecture.biennale</span><span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">: </span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES" style="font-size: small; mso-ansi-language: ES; mso-bidi-font-size: 12.0pt;">https:www.instagram.com/p/BjLEM1pDh60/?utm.source=ig_share_sheet&igshid+1vxurdjg442hv</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="FR" style="font-size: small; mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;">8. <i style="mso-bidi-font-style: normal;">"Cette terrasse, ce belvédère est posé sur le toit de Palais. De
la je domine ses vieilles tuiles en pente (…) Que vois-je encore? un coin
luisant du Grand Canal, le dôme arrondi<span style="mso-spacerun: yes;">
</span>d'une église, puis d'autres toits, d'autres cheminées, tout cela (…)
enveloppé d'un silence profond ou je perçois cependant, lointain et comme
sourdement rythmé, un murmure qui est une présence (…) le murmure de la mer
montante sur les plages du Lido. (…) Je ne sais qu'une chose (…) c'est que ce
silence (…),<span style="mso-spacerun: yes;"> </span>ce palais, cette terrasse aérienne
que je n'appelle pas encore une altana, tout cela, c'est Venise et que je suis
heureux…"</i> <span style="mso-spacerun: yes;"> </span>H. de Régnier. <i style="mso-bidi-font-style: normal;">Op. Cit.,</i> 1926.<span style="mso-spacerun: yes;"> </span></span></div>
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<span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-size: 12.0pt;"><span style="mso-spacerun: yes;"> </span></span><br />
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Julio 24 de 2018: https://www.elnacional.com/opinion/columnista/altanella_245169/ </span><br />
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><br /></span></div>
</div>
</div>
</div>
Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0tag:blogger.com,1999:blog-8834351563354750280.post-40626778739439650722019-09-19T11:52:00.002-04:002019-10-17T15:36:12.971-04:00Aire*<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9qODDSmBO4Ze8iUt_NTo1x4d1az4OKtgbwS4UZp7APNCIZghRvFDbUq7SpuZsje0LsFUXhijsyC0mnbbtjZyB-qlvKFaixoWUQSJ_OmtnrqsFAt5GB-RQfYROgRdmRVk4bCyXgqBmI_A/s1600/1.+Puede+subsistir+una+ciudad+sin+Air+Rights.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="344" data-original-width="261" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC9qODDSmBO4Ze8iUt_NTo1x4d1az4OKtgbwS4UZp7APNCIZghRvFDbUq7SpuZsje0LsFUXhijsyC0mnbbtjZyB-qlvKFaixoWUQSJ_OmtnrqsFAt5GB-RQfYROgRdmRVk4bCyXgqBmI_A/s640/1.+Puede+subsistir+una+ciudad+sin+Air+Rights.JPG" width="484" /></a><span style="font-size: x-small;"><span lang="ES-TRAD" style="font-weight: normal;"> </span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><span lang="ES-TRAD" style="font-weight: normal;">1.<i> Pu</i></span><i><span lang="ES" style="font-weight: normal;">ede una ciudad
sobrevivir sin </span></i><span lang="ES" style="font-weight: normal;">Air Rights? (f. Primer ascenso de un montgolfier).</span></span></div>
<div class="MsoNormal">
<br /></div>
<br />
<div style="text-align: right;">
"Es un hecho que el futuro contendrá al pasado, </div>
<div style="text-align: right;">
no lo reemplazará".</div>
<div align="right" class="MsoNormal" style="text-align: right;">
<span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">Jorge Otero-Pailos.1</span></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<br /></div>
<div align="right" class="MsoNormal" style="text-align: right;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-size: 12.0pt; mso-ansi-language: ES;">1. Oxigeno,
Nitrógeno y Argón</span></b></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Quien
haya visto alguna vez florecer una Ceiba entenderá lo que digo. En cierta época
del año estos árboles parece que van a secarse, tan desnudos se quedan. Lo que
ocurre es que muy pronto van a cubrirse totalmente de copos blancos. Uno podía
estar sentado, por ejemplo, en clase, cuando empezaban a entrar
imperceptiblemente por las ventanas esos azarosos corpúsculos sin peso, esas
semillas blancas recién liberadas que flotaban ligeras en el viento, planeando
en completo estado de ingravidez, para ir a posarse en los lugares más
disímiles: el pupitre, la papelera, la calva del profesor de Castellano. Alguno
con más suerte cayó en el patio del colegio, y es hoy un gigante.</span></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Toda la
urbanización duraba así, inmersa en su diario baño de éter, suspendida entre
las rutas de las semillas aladas, semejantes a las del Cardo y a las del Diente
de león, como colgada de un sueño. Y –si es que podemos comparar un árbol con
un edificio- cada vuelo, desprendiéndose de su cuna vegetal para ir a recorrer
la incertidumbre de las calles por un terreno fértil donde germinar, contenía
la fiel promesa de una gran construcción. Ese era el escalofrío sentido al
contemplar un copo en la palma de la mano: la responsabilidad por el destino de
aquella pequeña isla flotante que nos había tocado en suerte, por su
arquitectura errante. Ahora lo debíamos sembrar. ¿Cuál sería el lote más
propicio?</span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Friedrich
Nietzche escribió: “todo lo que es bueno es ligero”.2<i style="mso-bidi-font-style: normal;"> </i>Gabriele D’Annunzio aseguró en <i style="mso-bidi-font-style: normal;">La
ciudad muerta</i>: “las alas impalpables son las que vuelan más lejos”; mientras
que Anna de Noailles le cantó hasta el cansancio a "la nobleza del aire”.3,4
Inflamadas visiones celestes. Bajo ellas, junto al piso, yace la ciudad. La
ciudad, mitad cósmica mitad terrena, afianzada en el suelo, pero a la vez móvil
y rica, ¿podrá encontrar en el aire su salida más diáfana?</span></div>
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<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimXmZUL6RFm29p7nAfO_bF0s-MVj6JQYiWSx2elNPEE3pID-Wgpqj9alozuRlI6e6SfCbwJKpqjnFKyeI3xkwPGmMc6Bn8__W4EcQaBkZhfn8SDJKSVUz-1akn2r-j5cIDVWMz-Sl682gb/s1600/2.+Ceiba%252C+La+Floresta.+Rossella+Consolini%252C+2009+ccs+en+flor.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="604" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimXmZUL6RFm29p7nAfO_bF0s-MVj6JQYiWSx2elNPEE3pID-Wgpqj9alozuRlI6e6SfCbwJKpqjnFKyeI3xkwPGmMc6Bn8__W4EcQaBkZhfn8SDJKSVUz-1akn2r-j5cIDVWMz-Sl682gb/s640/2.+Ceiba%252C+La+Floresta.+Rossella+Consolini%252C+2009+ccs+en+flor.jpg" width="640" /></a></div>
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<div class="MsoBodyTextIndent" style="text-align: center;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">2. <i style="mso-bidi-font-style: normal;">"Ceiba, La Floresta"</i>
(f. Rossella Consolini, 2009 - Facebook group "Caracas en flor").</span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="mso-ansi-language: ES;">2. Una ciudad celeste</span></b><span lang="ES" style="mso-ansi-language: ES;"></span></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Con el
hervidero de intereses terrenales que le están trancando el juego en tierra,
los monumentos, los sitios monumentales y los distritos históricos de nuestra
ciudad, muchos de ellos sin haber sido designados ni protegidos aún por nadie,
con sus lugares irremplazables y toda la cultura urbana, siguen indefensos ante
los filisteos del “desarrollo”. Caracas, imaginada solo como una gran vaca
lotificable en cortes de carnicero, en <i style="mso-bidi-font-style: normal;">beefsteaks
</i>para el gaznate, en sórdidos metros cuadrados para usufructuar, ¿podrá
escapar en el casco de su nave aérea?</span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Reconozcámoslo:
ciento veinte años tenemos al menos de retraso frente a nuestro gran <i style="mso-bidi-font-style: normal;">alter ego</i> urbano: Nueva York. En 1925 ya
allí se estaba fundando la Municipal Art Society, tras el empuje del City
Beautiful Movement<i style="mso-bidi-font-style: normal;">,</i> el movimiento
cultural urbano que desde los días de la Exposición Mundial de Chicago luchó
por una nueva concepción para las ciudades americanas, coordinando su planificación
con los mejores arquitectos y artistas. Todo ello inició desde entonces la saga
de la protección de la memoria de Nueva York, una ciudad tan desatinada, tan
nueva, tan violenta, tan cambiante y tan ferozmente reacia a la conservación como
la nuestra.</span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">El
talante conservacionista con el tiempo vio surgir en Nueva York el primer Comité para un Plan Adecuado para la Ciudad.
Un primer fallo de la Corte Suprema decidió en 1954 que <i>“la comunidad debe ser bella”.</i> En 1965, se promulgó la primera<i style="mso-bidi-font-style: normal;"> Ley de Monumentos</i> y tuvieron lugar las
primeras audiencias públicas para garantizar salvarlos. La conciencia se
difundía lenta pero efectivamente. La ciudad vio nacer las primeras campañas de
auto-salvación: <i style="mso-bidi-font-style: normal;">“Adopte un monumento”,
“Salve a Nueva York”.</i>5 </span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Se
fundaron la<i style="mso-bidi-font-style: normal;"> </i>Comisión Asesora para la
Preservación de Monumentos y la Architectural League. Nacieron las primeras
asociaciones vecinales urbanamente correctas: los Amigos de la Arquitectura del
Hierro Vaciado, los Amigos de Central Park, la Asociación de la Quinta Avenida,
entre otras. La ciudad y sus defensores agrupados lograron que se designaran
los primeros Distritos Históricos (como Greenwich Village) y contemplaron
satisfechos la protección de miles de monumentos gracias a los recursos que
fueron apareciendo tras presenciar cómo se salvó en Park Avenue a la iglesia de
Saint Bartholomew -obra del arquitecto Bertham Grosvenor Goodhue, 1903-, con la
venta histórica de sus Derechos de aire al edificio de atrás. Desde entonces,
los <i style="mso-bidi-font-style: normal;">Air Rights</i> se convirtieron en la
principal e indiscutible tabla de salvación para equilibrar el desarrollo en la
ciudad contemporánea.</span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Aire. El
aire también se mide: en metros cúbicos. Es espacio cuantificable. Por lo
tanto, es una operación igual de simple sacarle el cubicaje a un globo
aerostático que calcular el R10 de una parcela. Campo Alegre tenía varias
toneladas de aire vendible flotando sobre los techos de las casas de Mujica Millán
antes de su innecesaria destrucción en los 90. Sin embargo, aunque no hemos
podido lograr hasta ahora (2018) crear la indispensable Ley paraguas que permita la
Transferencia de Derechos de Aire a nivel nacional para la salvaguarda del
patrimonio urbano en toda Venezuela, desde 1999 (cuando escribiéramos nuestro
primer alegato a favor de la implementación de esta herramienta para nuestra
ciudad) hay buenas nuevas.6</span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">En julio
de 2017, el Concejo Municipal de Chacao dio un extraordinario paso en este
sentido, al aprobar la Ordenanza No. 007-17, titulada <i>"Ordenanza sobre la Protección
y Defensa <span style="mso-spacerun: yes;"> </span>del Patrimonio Cultural del
Municipio Chacao"</i> (en cuya redacción nos enorgullece haber colaborado
junto a la abogado Maria Auxiliadora Dubuc, el Concejal Shully Rosenthal y la
abogado patrimonial Iris Rangel de APAHIVE, todos ciudadanos de primera línea
que honran a esta la ciudad por su lucha por la salvaguarda de su memoria
urbana). </span></div>
<div align="center" class="MsoBodyTextIndent" style="text-align: center;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Dicha
ordenanza de avanzada menciona en su Titulo II Articulo 11, entre las atribuciones
del recién creado Consejo para la Protección y Defensa del Patrimonio Cultural
del Municipio Chacao, su potestad para </span></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="ES" style="mso-ansi-language: ES;">"Estudiar, diseñar, recibir, proponer
y tramitar las propuestas para la transferencia de Derechos de Construcción
o Derechos del Aire".</span></b><span lang="ES" style="mso-ansi-language: ES;">6 </span></div>
<div class="MsoBodyTextIndent">
<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Por lo
tanto, defensores del patrimonio, pongan atención: tan solo con este párrafo
histórico esta ordenanza le abre las puertas a la inclusión en todo el
territorio nacional al instrumento de los Derechos de aire. Es su bautizo
legal. De ahora en adelante es importante empezar a apelar a este recurso para
que miles de metros sean transferidos a zonas donde la densificación sea inocua
y por ende pueda salvarse cualquier patrimonio en peligro en nuestra ciudad.
Así como puedan salvarse también los bolsillos de los propietarios de bienes
patrimoniales, algo que no es menos importante.</span></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">En el
caso de Chacao, por ejemplo, un buen destino receptor de aire patrimonial seria
la Avenida Francisco de Miranda. En Las Mercedes, la Avenida Río de Janeiro. Esos
volátiles metros pueden grácilmente zurcar la atmósfera para irse a posar donde
sea más adecuado construirlos. El dinero de la venta siempre dejará muy
contentos a los propietarios de bienes monumentales. Al fin y al cabo, se trata
de vender metros, ¿no? Pero no de memoria urbana, sino de aire.</span></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Así,
pues, queridos lectores, sobre nuestras cabezas levita el atajo que nos hará
saltar el siglo largo de retraso en materia de conservación urbana. Cuando un
propietario privado de un monumento no este interesado en conservarlo y desee
demolerlo para venderlo; cuando el municipio no haya encontrado un comprador
alternativo para la propiedad o no pueda el mismo adquirirlo, entonces, en vez
de conceder ningún permiso de demolición, el municipio le permitirá al propietario
<i style="mso-bidi-font-style: normal;">vender su aire</i>, es decir, ofrecer en
venta publica todo lo que podría construirle encima de cualquier propiedad
patrimonial, según la ordenanza vigente en esa parcela de la ciudad.</span></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<br /></div>
<div class="MsoBodyTextIndent" style="text-align: justify;">
<span lang="ES" style="mso-ansi-language: ES;">Arriba,
en el cielo, gravita una ciudad celeste. Un dorado aéreo. En el aire avistamos un
gran bandada de <i style="mso-bidi-font-style: normal;">montgolfiere</i>s con
cintas tricolores que esperan pomposamente estacionados sobre Las Mercedes.
Mientras tanto, sobre el Caracas Country Club parece celebrarse una regata de
doradas goletas aladas. Por los cuatro puntos cardinales, miles de aeróstatos,
de construcciones diáfanas, de negocios volátiles, de copos de Ceiba, divagan
flotando ansiosamente sobre el valle y el litoral, esperando ver dónde pueden
atracar en la ciudad… </span><br />
<br />
<span lang="ES" style="mso-ansi-language: ES;">Para salvar de una vez y para siempre su memoria urbana.</span><br />
<br /></div>
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<br /></div>
<div class="MsoBodyTextIndent" style="text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNjVfX7kKlH2OWlVPlkMsVeb2oWmdv_6wADgB-HmRo-wnbaK9rRDsBuhKmVdZp8TKuK9IWwvqE2lMZ0zvaqkH2-WOaw3ArSkd7B1Njb6SJSYG8cYC_SP6STlxKmNwRxn1q1Fnx8GfBIJFP/s1600/3.+Los+Derechos+de+Aire+al+rescate+del+patrimonio.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1005" data-original-width="1512" height="424" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNjVfX7kKlH2OWlVPlkMsVeb2oWmdv_6wADgB-HmRo-wnbaK9rRDsBuhKmVdZp8TKuK9IWwvqE2lMZ0zvaqkH2-WOaw3ArSkd7B1Njb6SJSYG8cYC_SP6STlxKmNwRxn1q1Fnx8GfBIJFP/s640/3.+Los+Derechos+de+Aire+al+rescate+del+patrimonio.jpg" width="640" /></a></div>
<div class="MsoBodyTextIndent">
<div style="text-align: center;">
<span lang="ES" style="font-size: x-small; mso-ansi-language: ES;">3. <i style="mso-bidi-font-style: normal;">Los Derechos de Aire al rescate del patrimonio.</i></span></div>
<div style="text-align: center;">
<br /></div>
<br /></div>
<div class="MsoBodyTextIndent">
<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">* Basado en el articulo del mismo
nombre publicado en la columna de Arquitectura de <i style="mso-bidi-font-style: normal;">El Nacional</i> el dia lunes 28 de junio de 1999.</span></div>
<div class="MsoBodyTextIndent">
<br /></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span lang="ES-TRAD" style="font-size: 10.0pt; mso-ansi-language: ES-TRAD;">NOTAS:</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span style="font-size: 10.0pt;">1.
"It is given that the future will contain the past, not replace it…" Jorge
Otero-Pailos. </span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">Palabras de apertura del PhD en Preservación Histórica, Graduate School of
Architecture, Planning and Preservation (GSAAP), Columbia University, Nueva
York,<span style="mso-spacerun: yes;"> </span>Enero 17, 2018.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span style="font-size: 10.0pt;">2.
"All that is good is easy; everything divine runs away with light feet".
Friedrich Wilhelm Nietzche. <span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Beyond Good and Evil.</i> Duck und Verlag
von C.G.Naumann, Leipzig,
1886.</span></div>
<div class="MsoBodyTextIndent" style="text-indent: 0in;">
<span style="font-size: 10.0pt;">2.
Gabriele D’Annunzio. </span><i style="mso-bidi-font-style: normal;"><span lang="IT" style="font-size: 10.0pt; mso-ansi-language: IT;">La citta morta, </span></i><span lang="IT" style="font-size: 10.0pt; mso-ansi-language: IT;">1896. En:<i style="mso-bidi-font-style: normal;"> Tragedie, sogni e misteri, </i>Volumen 1,
Antonio Mondadori Editore, Milan, 1939.</span><span lang="IT" style="mso-ansi-language: IT;"></span></div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">3. Condesa Anna de Noailles. <i style="mso-bidi-font-style: normal;">Oeuvre poetique complete,</i> </span><span style="font-size: 10.0pt;">Ed. Than-Van Ton-That, 3 vol. </span><span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">Editions du Sandre, Paris, 2013. </span><span lang="ES" style="mso-ansi-language: ES;"></span></div>
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<span style="font-size: 10.0pt;">4.<i style="mso-bidi-font-style: normal;"> </i>Gregory F. Gilmartin.<i style="mso-bidi-font-style: normal;"> Shaping the City: New York and the Municipal Art Society, </i>Clarkson
Potter Publishers, Nueva York, 1995.</span></div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">5. Hannia Gomez.
"Aire". Arquitectura, <i style="mso-bidi-font-style: normal;">El
Nacional</i>, Caracas 28 de junio de 1999:
http://hanniagomez.blogspot.com/2008/01aire.html?m=0</span></div>
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<span lang="ES" style="font-size: 10.0pt; mso-ansi-language: ES;">6. Concejo Municipal de Chacao. <i style="mso-bidi-font-style: normal;">Ordenanza No. 007-17,</i> <i style="mso-bidi-font-style: normal;">Ordenanza sobre la Protección y Defensa<span style="mso-spacerun: yes;"> </span>del Patrimonio Cultural del Municipio Chacao</i>,
Gaceta Municipal Municipio Chacao, Numero Extraordinario: 8592, Caracas, Julio
7, 2017.</span></div>
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<span style="font-size: small;">Publicado en: Opini<span lang="ES">ó</span>n,<i><i> @ELNACIONAL</i>Web, </i>Caracas, Mayo 1 de 2018: https://www.elnacional.com/opinion/columnista/aire_233134/</span></div>
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Hannia Gómezhttp://www.blogger.com/profile/01098599601806715689noreply@blogger.com0