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La CASA JAPONESA Documentos de Takeshi Nakagawa Composición Arquitectónica 5 La CASA JAPONESA Espacio, memoria y lenguaje Departamento de Composición Arquitectónica Editorial Escuela Técnica Superior de Arquitectura Reverté Universidad Politécnica de Madrid Documentos de Composición Arquitectónica 5 La CASA JAPONESA Colección dirigida por Jorge Sainz Takeshi Nakagawa Documentos de Composición Arquitectónica 5 La CASA JAPONESA Espacio, memoria y lenguaje Prólogo José Manuel García Roig Traducción y epílogo Nadia Vasileva Revisión y edición Jorge Sainz Departamento de Composición Arquitectónica Editorial Escuela Técnica Superior de Arquitectura Reverté Universidad Politécnica de Madrid Veranda cerrada de la villa Rinshunkaku, construida en 1649, durante el periodo Edo, y trasladada en 1917 al parque Sankei-en, Yokohama. Esta edición forma parte de las labores de Índice investigación del Departamento de Composición Arquitectónica de la Escuela Técnica Superior de Arquitectura de Madrid, que también han colaborado, ambos, en su edición y publicación. Asimismo, la Fundación Japón ha colaborado con una ayuda para la traducción y la publicación de este libro. Prólogo Edición original: Elogio de la quietud, elogio del silencio, Nihon no ie: kūkan, kioku, kotoba elogio de la nada ( む ‘Mu’) 7 Tokio: Toto Shuppan, 2002 Edición en inglés: Prefacio 29 The Japanese house: in space, memory and language Introducción 33 Tokio: I-House Press, 2005 Traducción: I. Espacios de transición © Nadezhda Vasileva Nicheva 1 El suelo de tierra / tataki 39 [email protected] 2 El umbral de entrada / agarikamachi 47 Esta edición: © Editorial Reverté, Barcelona, 2016 3 La piedra para descalzarse / kutsunugi-ishi 55 Isbn: 978-84-291-2305-0 4 La veranda / engawa 64 Cualquier forma de reproducción, distribución, comunicación pública 5 La terraza de tierra a cubierto / dobisashi 73 o transformación de esta obra sólo puede realizarse con la autorización de sus titulares, salvo las excepciones previstas por la Ley 23/2006 II. Divisiones de Propiedad Intelectual, y en concreto por su artículo 32, sobre ‘Cita e ilustración de la enseñanza’. Los permisos para fotocopiar o 6 Celosías / kōshi 85 escanear algún fragmento de esta obra pueden obtenerse en Cedro 7 Persianas de caña / yoshizu 95 (Centro Español de Derechos Reprográficos, www.cedro.org). 8 Mamparas correderas opacas / fusuma 103 Editorial Reverté, S. A. Calle Loreto 13-15, local B · 08029 Barcelona 9 ‘Shōji’ para contemplar la nieve / yukimishōji 115 Tel: (+34) 93 419 3336 · Fax: (+34) 93 419 5189 Correo E: [email protected] · Internet: www.reverte.com III. Ambientes Impreso en España · Printed in Spain 10 El hogar rehundido / irori 127 Depósito Legal: B 3896-2016 11 El baño / furo 135 Impresión: Gráficas Palermo, Madrid 12 La estancia familiar / chanoma 143 # 1440 13 La cocina / katte 151 Registro bibliográfico Nº depósito legal: B 3896-2016 IV. Componentes Isbn: 978-84-291-2305-0 Autor personal: Nakagawa, Takeshi 14 El pilar central / daikokubashira 159 Título uniforme: [Nihon no ie : kūkan, kioku, kotoba. Español] 15 El dintel corrido / nageshi 167 Título: La casa japonesa : espacio, memoria y lenguaje / Takeshi Nakagawa ; prólogo, José Manuel 16 El nicho decorativo / oshi-ita 175 García Roig ; traducción y epílogo, Nadia 17 El techo / tenjō 183 Vasileva ; revisión y edición, Jorge Sainz Edición: 1ª edición V. Accesorios Publicación: Barcelona : Reverté, 2016 Descripción física: 311 p. : il., plan. ; 24 cm 18 Tapices de paja / tatami 195 Nota al título y menciones: Traducción de Nihon no ie: kūkan, kioku, kotoba 19 La escalera aparador / hakokaidan 203 Encabezado materias: Arquitectura japonesa Encabezado materias: Arquitectura doméstica 20 La cómoda / tansu 211 VI. Materiales 21 La laca / urushi 219 22 Las tejas / kawara 227 VII. Símbolos 23 El altar doméstico budista / butsudan 239 24 La placa familiar / hyōsatsu 247 25 La ceremonia fundacional / jichinsai 255 Conclusión 261 Glosario 263 Epílogo El hábitat japonés contemporáneo 279 Procedencia de las ilustraciones 305 Transcripción de términos japoneses Consonantes Gran parte de los términos japoneses usados en este Algunas consonantes tienen una pronunciación dis- texto ya tienen una transcripción oficial en el alfa- tinta a la oficial en español: beto latino, según el sistema de romanización Hep- [h] no es muda, se pronuncia como la j española; burn. Para el lector hispanohablante, dicha trans- por ejemplo, el término hisashi debería leer- cripción puede generar, en algunos casos, ciertos se [jisashi]; errores de pronunciación debidos a la particulari- [g] independientemente de la vocal posterior, se dad fonética del idioma. pronuncia como en gasa, no como en gente; No obstante, su alteración ortográfica con res- [j] se pronuncia [dʒ], africada postalveolar sono- pecto a la transcripción ya adoptada podría origi- ra, en lugar de cómo en español [x], fricativa nar mayores inconvenientes para la labor de futuras velar sorda; por ejemplo, el término shōji de- consultas y trabajo de investigación de los lectores bería leerse [shoudʒi]; interesados en la materia. Por ese motivo, hemos [z] se pronuncia como en inglés, consonante fri- preferido conservar la transcripción oficial, con las cativa dentoalveolar sonora [ʒ], en lugar de siguientes advertencias: cómo en español [θ], fricativa dental sorda; por ejemplo, el término zukuri debería leer- Vocales se [ʒukuri]. Para las vocales largas se ha seguido el modelo del sistema Hepburn tradicional, a excepción de las dos Se ha seguido el modelo occidental de poner pri- siguientes, que se representan por un macrón (el mero el nombre, seguido del apellido, para evitar signo diacrítico ¯ situado sobre la vocal): confusiones al lector hispanohablante. La única ex- [ā] a larga, se pronuncia [aa] cepción que se ha hecho son los nombres propios [ō] o larga, se pronuncia [ou] de lugares conocidos, que se han conservado en su [ū] u larga, se pronuncia [uu] forma original. Elogio de la quietud, elogio del silencio, elogio de la nada ( む ‘Mu’) José Manuel Mikazuki ni García Roig chi wa oboro nari soba no hana Con una luna naciente la tierra convertida en pura niebla de flor blanca de soba Bashō En un artículo aparecido en mayo de 1911 en la Revue de Paris, titu- lado “L’architecture au Japon”, Robert Mallet-Stevens se sorprendía de que los innumerables escritos publicados hasta entonces sobre la arquitectura de todos los países del mundo apenas hubiesen dedica- do unas cuantas líneas a la arquitectura del Japón. 1 Después de pasar revista a los logros alcanzados por las diferen- tes culturas a lo largo de la historia (desde los templos de Grecia a las mezquitas bizantinas, pasando por los santuarios de Egipto y las catedrales góticas), el arquitecto francés se detenía en la casa con te- jado de paja de los campesinos japoneses, pues le producía una «fas- cinante quietud». Para él, esta casa constituía el epítome de la arqui- tectura porque era sincera: «cada elemento constructivo posee una lógica finalidad; cada detalle, su utilidad; y toda ella parece formar parte del ambiente que la rodea porque se encuentra estrechamen- te vinculada a la naturaleza.»2 Como el mismo Mallet-Stevens señalaba, uno de los rasgos esen- ciales que determinan el carácter de la arquitectura japonesa lo cons- tituye el empleo casi exclusivo de la madera como material de cons- trucción. En efecto, la arquitectura tradicional japonesa se ha basado José Manuel García Roig es profesor titular del en un modelo estructural de pilares y vigas de madera. Debido a Departamento de Composición ello, las técnicas de la carpintería alcanzaron un elevado grado de Arquitectónica de la Escuela Técnica Superior de Arquitectura sistematización; y sus materiales, sistemas de montaje y métodos de de la Universidad Politécnica de Madrid (Upm); y responsable de la edición española (2007) de La casa y la vida japonesas 1. Robert Mallet-Stevens, vue de Paris (París), volumen páginas 529-530. de Bruno Taut (1937). “L’architecture au Japon”, Re- lxxxx, 15 de mayo de 1911, 2. Ibídem, página 522. 8 la casa japonesa prólogo 9 modulación, un nivel de perfección inigualable. Todos estos proce- Kengo Kuma situó la casa Lotus (2005) en un bosque privado. Pa- dimientos se aplicaron tempranamente, por ejemplo, a la construc- seando a su través se llega a un estanque que penetra en la casa, a la ción del teatro Nō. que se puede acceder cruzándolo si se salta de piedra en piedra. El Los escenarios del teatro Nō tienen pintado un pino en la pared cerramiento está formado por delgadas placas de travertino suspen- trasera, lo que denota su origen mítico. Frente al patio de butacas se didas y colocadas de modo que entre pieza y pieza queda un espacio yergue una estructura reticular de cuatro pilares situados en los cua- abierto de su misma dimensión, a la manera del dibujo de un da- tro ángulos de una plataforma, también de madera, elevada sobre el mero: los árboles del bosque actúan como telón de fondo de la casa, terreno. El espacio abarcado por esa estructura se cubre a su vez con y se integran en su atmósfera para llegar a formar parte de ella. un entramado que cierra el ámbito de la retroescena. De aquí parte En la casa de fin de semana en Usui-gun (1998), Ryue Nishizawa un pasillo inclinado que conduce a un paso cerrado con una corti- entiende los patios como retazos de naturaleza que penetran en el na. Por delante, y distribuidos a lo largo de él, se plantan tres pinos ámbito doméstico (figura p. 1). Estos patios suponen un tamiz que (ichi no matsu, ni no matsu, san no matsu). Todo el terreno que ro- filtra el exterior, un paso progresivo hacia el interior profundo (oku), dea la estructura está constituido por un suelo de grava, algo parti- dentro de la vocación de no revelar la intimidad de la casa, de pro- cularmente significativo en el arte japonés. piciar un mundo de sombras. La utilización de cortinas translúci- La forma de representar el pino dibujado en la escena del tea- das resuelve la privacidad de los moradores y supone un trasunto tro Nō sigue ciertas convenciones empleadas desde siempre, pues del papel desempeñado por las shōji.
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