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Historia Dela Arquitectura Contemporánea Es Pan

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Historia Dela Arquitectura Contemporánea Es Pan JUAN DANIEL FULLAONDO MARÍA TERESA MUÑOZ HISTORIA DELA ARQUITECTURA CONTEMPORÁNEA ,...,, ES PAN OLA TOMO 111 Y ORFEO DESCIENDE MOLLY EDITORIAL © Juan Daniel Fullaondo © María Teresa Muñoz Prohibida la reproducción total o parcial sin la autorización de los autores. Portada¡ Montaje sobre una fotografía de María Teresa Muñoz (1996). ' . MOLLY EDITORIAL María Teresa Muñoz. c/ Príncipe de Vergara, 117. 28002 Madrid. I.S.B.N.: 84-922708-0-2 Dep. Legal: M-15340-1997 Impreso en España Fotocomposición e impresión: Tecnovic Arte Gráfico, S.L. Antonio Pérez, 8. Tel. 562 56 43. 28002 Madrid a Carlos Flores, a Bruno Zevi, y a José María Sastres 6 ÍNDICE NOTA PREVIA ...................................................................................... 9 PRÓLOGO.............................................................................................. 11 PRIMERA PARTE Los primeros disidentes.................................................................. 19 Seguimos con los primeros disidentes .... .. .. .. .. .. .. .... .. .. .. .. .... .. .. .. .. .. 25 Otras observaciones .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 31 Más notas sobre la primera generación ........................................ 35 José Antonio Coderch . .. .. .. .. .. ... .. .. .. 41 Más sobre Coderch . .. .. .. .. 65 Miguel Fisac . .. .. .. .. .. .. .. .. .. .. 73 Una cierta, apresurada, recapitulación .. .... .. .. .. .. .... .. .. .. .. .. .. .. .. .. .. .... 93 Últimos suspiros teóricos . 99 Algunos comentarios sobre los primeros episodios .. .. .. .. .... .. .. ...... 105 Un largo resumen de cuestiones olvidadas.................................... 121 Alejandro de la Sota ...................................................................... 135 Más comentarios con Sostres al fondo .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 157 Rafael Aburto con Asís Cabrero al fondo .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 169 Más notas al margen . .. .. .. .. .. .. .. 193 SEGUNDA PARTE La segunda disidencia, la madurez .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 203 Algunas notas sobre Julio Cano Lasso .......................................... 209 Más notas sobre Julio Cano .......................................................... 215 El problema crítico de Julio. Cano Lasso ...................................... 219 Sáenz de Oiza. Interpretaciones .................................................... 223 El pluralismo de Sáenz de Oiza .. .. .. .. .. .. .. .. .. .. .. .... .. .. .. .. .. .. .. .. .. .. .. .. .. 231 ¿Época orgánica?............................................................................ 237 La consagración .................................................. ~........................... 241 Siguiendo con Sáenz de Oiza ........................................................ 245 Corrales y Molezún .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 251 Sir José Antonio y Sir Ramón........................................................ 255 Fondo, figura, Kafka ...................................................................... 261 La rata y las cátedras .. .. .. .. .. .. .. .. 265 Team-Ten y surrealismo .. .. .. .. .... .. .. .. .. .. .. .. .. .. .. .. .. .... .. .. .. .. .. .. .. .. .. .. .. 269 Enigmas . .. .. .. .. .. .. .. .. .. .. .. 27 5 Artistas, -ismos, teoría ................................................................ 281 7 Expresionismo ma non troppo . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 287 En tomo a una larga conversación . .. .. .. 293 Algunos breves comentarios ulteriores . 299 El huevo, el salmón y los callos a la madrileña . .. ...... .. .. 305 Más notas sobre Corrales y Molezún ............................................ 309 El fakir. Epílogo festivo ................................................................ 313 TERCERA PARTE La tercera y cuarta generación "'···················································· 337 Notas sobre la tercera generación.................................................. 341 Más observaciones y protagonistas de esta nueva oleada generacional.................................................................................... 345 A vueltas con lo mismo.................................................................. 349 Las grandes figuras. García de Paredes ........................................ 353 Las grandes figuras. Javier Carvajal.............................................. 357 Otras grandes figuras. Antonio Vázquez de Castro y José Luis Í:ñiguez de Onzoño ........................................................................ 361 José Luis Í:ñiguez de Onzoño. Nota previa.................................... 365 El encuadre ..................................................................................... 367 Un intento de esbozo...................................................................... 373 El encuentro.................................................................................... 379 La instalación cultural..................................................................... 385 El enigma ........... :·............................................................................ -393 Clásicos, barrocos, manieristas . .. .. .. .. ... ... 399 El arquitecto .................................................................................. 405 Exiiios y retornos . .. .. .. ... .. 409 Algunos artistas . .. .. .. .. 417 Otros protagonistas. Higueras y Femández Alba . .. .. .. .. ... 429 Siguiendo con lo mismo ........................................................ ~....... 433 Rematando tristemente la faena .................................................... 437 La transición y el final .................................................................. 443 Comentarios l .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 447 Comentarios 11. .. .. ... ... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ... ... .. .. .. ... .. .. 455 Comentarios 111 . .. ... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 463 Algunas breves consideraciones sobre Antonio Femández Alba.. 467 Manierismos . .. 4 71 El enigma de Sáenz de Oiza. Summa Arquitectónica .................. 483 Cataluña~-.......................................................................................... 487 Eduardo Chillida. Una situación en Roma.................................... 491 La vaca con ventana ...................................................................... 501 La vaca y su ojo de buey................................................................ 503 ÍNDICE ONOMÁSTICO ...................................................................... 507 • Tom Wesselman. Naturaleza muerta nº 20, 1962. 9 NOTA PREVIA Ésta no es una colección completa, aunque pretendía serlo. De ahí el deseo de acumular más y más material, de avanzar incluso lo que habría de venir después, pero la avidez por reunir todo lo posible no era mayor que la energía en los rechazos. No, eso no. Tratando de documentar visiones sobre la arquitectura contemporánea española, Juan Daniel Fullaondo dispuso estas conversaciones en el centro de su obra. A través de ellas, repetitivas muchas veces y hasta difíciles de seguir, emerge la vida en forma de diálogo exhaustivo, en espíral. Y para poder escribir, hay que practicar primero hablando; la conversación libera de las secuencias deductivas y clasificatorias y deja paso a la estructura más natural del lenguaje directo. El objetivo no era más que escribir lo que él había visto con sus propios ojos, reunirlo todo en una especie de archivo histórico contemporáneo, para que los tiempos futuros puedan ver lo que realmente sucedió. El resultado, demasiado diferente de lo habitual para publicarse, como demasiado trabajoso es el abrirse paso contra corriente en el mundo de lo establecido. Y, por seguro que uno se encuentre de lo que hace, la arrogante hostilidad de tantos entendidos resulta agotadora. Los materiales que componen este trabajo están formados por todo aquello que se escapa entre las redes conceptuales al uso o ha sido dema­ siado despreciado para dejar tras sí algo más que un juicio apresurado. Y, ya que no se busca ninguna interpretación manifiesta, los significados deben surgir espontáneamente del montaje del propio material y recibir su poder de la evidencia. Seguramente nQ_~a arqui~fillfb_p~_rQ_sj_la rel~~ --~t§_n d~!a buen_a ar~JLS~. Un_c;ªpítulo sobre un amigo o ~_Qº-re- un füg_ar querigQ__q~ §e,QQ11gce bien conti~g_e m_ái_~a]J_ic:!llria-atquitec­ !§nica. q11~Jis-imrnm~!ªº!~~--c:!i~g_uisiciones--sobre el _J:>~rqué de-la-forma. Alguien dirá que parece no haber orden ni concierto; es-loprimen)-que advierten los visitantes. Esto produce una cierta inquietud, no sólo por la abundancia, sino por la desorganización obstinadamente mantenida. Pero, si se mira atentamente, si se lee atentamente, se descubre en seguida la deli­ cadeza, la inteligencia y la sensualidad de quien ha reunido todas estas expresiones. No importa lo que digas sobre esto, o sobre aquello otro, Juan Daniel Fullaondo, estás en lo cierto. M.T.M. Marzo de 1996 0 Jorge Oteiza. Estudios para la piedad de Aránzazu, 1969. 11 PRÓLOGO Todos los proemios son difíciles. Este de ahora, desde Gutiérrez Soto y Fisac hasta los inicios de Moneo, quizás lo sea más aún. Lo pensaba leyendo, hojeando más bien, el Catálogo de la Exposición del Equipo 57 (me avisaron unos meses antes, no sé bien quién,
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