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Monumentalidad Y Arquitectura Tres Consideraciones Críticas: Lo Escrito, Lo Proyectado Y Lo Construido Durante El Periodo Moderno

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Monumentalidad Y Arquitectura Tres Consideraciones Críticas: Lo Escrito, Lo Proyectado Y Lo Construido Durante El Periodo Moderno Universidad Politécnica de Madrid Departamento de Proyectos Arquitectónicos E.T. S. Arquitectura TESIS DOCTORAL Monumentalidad y Arquitectura Tres consideraciones críticas: lo escrito, lo proyectado y lo construido durante el periodo moderno Autor: Jorge Cárdenas del Moral, Arquitecto Codirector: Antonio Miranda Regojo, Dr. Arq. Codirector: Rafael Pina Lupiáñez, Dr. Arq. 2016 Tribunal nombrado por el Mgfco. Y Excmo. Sr. Rector de la Universidad Politécnica de Madrid, el día Presidente D. Vocal D. Vocal D. Vocal D. Secretario D. Realizado el acto de defensa y lectura de Tesis el día en la Escuela Técnica Superior de Arquitectura de Madrid Calificación: EL PRESIDENTE LOS VOCALES EL SECRETARIO este trabajo está dedicado al espíritu de disconformidad que, en sus más diversas formas racionales, busca descubrir otros modos de ver y entender la realidad, a mis padres, Martha y Jorge, por la paciencia y enorme generosidad que me han permitido llegar hasta aquí, a mi hermano, Ricardo, por acompañarme aquí y allá, a mi poeta, Isabel, por haberme encontrado allá en el desierto, a mi maestro, Antonio Miranda, por hacer visible el camino, a todas las hermanas y hermanos que, en este lado del planeta y a lo largo de estos años, me han compartido un trozo de sus vidas. v ESTRUCTURA DE LA INVESTIGACIÓN Antecedentes 23 (0) DEFINICIONES Y DIFERENCIACIONES Parte 1 - Lo Escrito 77 (Primera) modernidad (1) LOOS, GÍNZBURG y TEIGE (Tardo) modernidad (2) GIEDION, MUMFORD y KAHN Parte 2 - Lo Proyectado 185 (Primera) modernidad (3) LA CELEBRACIÓN DE LA UTOPÍA (Tardo) modernidad (4) EL ENSAMBLAJE DE LA NUEVA MONUMENTALIDAD Parte 3 - Lo Construido 303 (Primera) modernidad (5) LOS DISPOSITIVOS MODERNOS (Tardo) modernidad (6) LA DIMENSIÓN URBANA Epílogo 407 (7) POSMODERNIDAD vii ÍNDICE ESPECÍFICO Resumen xix Abstract xxi « Antecedentes (0) DEFINICIONES Y DIFERENCIACIONES 25 0.1 El origen de una polémica 0.1.1 Inicio 27 0.1.2 Contexto 33 0.2 Representación de lo colectivo y simbolización 0.2.1 Motivos 37 0.2.2 Programas 41 0.2.3 Silos 45 0.3 Diferencias estructurales: monumento, monumentalismo y monumentalidad 0.3.1 Monumento 51 0.3.2 Monumentalismo 61 0.3.3 Monumentalidad 69 ix - Parte 1 Lo Escrito (Primera) Modernidad (1) LOOS, GÍNZBURG y TEIGE 79 1.1 Referencias: monumento y monumentalidad en su obra escrita 1.1.1 Preliminar 81 1.1.2 Escritos 1.1.2.1 Loos 85 1.1.2.2 Gínzburg 87 1.1.2.3 Teige 93 1.2 Coincidencias temáticas: crisis del ornamento 1.2.1 Ornamento 101 1.2.2 Cruce 103 1.3 Variaciones sobre la práctica 1.3.1 Práctica 111 1.3.2 Tecnología 117 1.3.3 Ideología 121 1.3.4 Sumario 125 (Tardo) Modernidad (2) GIEDION, MUMFORD y KAHN 129 2.1 El escenario de una nueva monumentalidad 2.1.1 Exilio 131 2.1.2 Nueve Puntos 135 2.2. Evolución de la crítica: oposiciones comparativas 2.2.1 Pseudo-monumentalidad 143 2.2.2 Neo-monumentalidad 151 2.3 Derivaciones conceptuales 2.3.1 Giedion 167 2.3.2 Mumford 173 2.3.3 Kahn 179 2.3.4 Recopilación 181 xi - - Parte 2 Lo Proyectado (Primera) Modernidad (3) LA CELEBRACIÓN DE LA UTOPÍA 187 3.1 La revolución y el símbolo 3.1.1 Movimientos 189 3.1.2 Torre 197 3.2 La transición del experimento ruso 3.2.1 Proceso 205 3.2.2 Constructivismo 215 3.3 Dos investigaciones de proyecto: Sant'Elia y Leonidov 3.3.1 Sant'Elia 225 3.3.2 Temas 227 3.3.3 Leonidov 235 3.3.4 Componentes 239 3.3.5 Investigación 245 (Tardo) Modernidad (4) EL ENSAMBLAJE DE LA NUEVA MONUMENTALIDAD 251 4.1 La escultura y el pedestal 4.1.1 Despolitización 253 4.1.2 Cubierta 257 4.1.3 Plataforma 269 4.2 Técnicas de proyecto 4.2.1 Contraste 277 4.2.2 Ensamblaje 281 4.3 Proyecto cívico 4.3.1 Figura 287 4.3.2 Investigación 291 4.3.3 Mega 297 xiii - - - Parte 3 Lo Construido (Primera) Modernidad (5) LOS DISPOSITIVOS MODERNOS 305 5.1 Monumento petrificado 5.1.1 Situación 307 5.1.2 Elementos 311 5.2 Herramientas de la sinrazón 5.2.1 Proyecto 325 5.2.2 Debate 331 5.3 Evolución simbólica del rascacielos: The Slab 5.3.1 Rascacielos 343 5.3.2 Transformación 345 5.3.3 Funcionamiento 347 5.3.4 Evolución 351 5.3.5 Símbolo 353 (Tardo) Modernidad (6) LA DIMENSIÓN URBANA 357 6.1 Incidencia en la ciudad: Rockefeller Center y Naciones Unidas 6.1.1 Prototipos 359 6.1.2 Conjuntos 365 6.2 Urbanismo monumental: Chandigarh y Brasilia 6.2.1 Planteamiento 377 6.2.2 Capitales 381 6.2.3 Capitolios 389 6.3 Observaciones críticas 6.3.1 Lectura 397 6.3.2 Embajada 405 xv Epílogo » (7) POSMODERNIDAD 7.1 Escolio final 7.1.1 Uno 409 7.1.2 Dos 415 7.1.3 Tres 419 Bibliografía 425 Antecedentes 427 Parte 1 - Lo Escrito 429 Parte 2 - Lo Proyectado 435 Parte 3 - Lo Construido 441 Epílogo 447 Bibliografía complementaria de arquitectura 451 Tesis Consultadas 455 Documentos Online 455 Bibliografía Complementaria General 457 Anexo A 459 Cronología 461 Los Tejedores de Alfombras de Kujan-Bulak honran a Lenin 473 Nine Points on Monumentality 477 Manifiesto de la Arquitectura Futurista 483 The Need for a New Monumentality 491 xvii Resumen El origen de esta tesis considera una lectura (quizás) pendiente: definir críticamente a la monumentalidad en el contexto de la arquitectura moderna. La idea de lo monumental durante la modernidad establece parte de la negación enmarcada en un planteamiento más amplio, basado en el rechazo a todo vínculo con la tradición y la historia. Desde el estatismo del monumento como objeto anacrónico, a la instrumentación de la arquitectura como herramienta simbólica, el proceso transformador más importante para la arquitectura durante el siglo XX contaba con algunas señales que nos daban la pauta para imaginar una realidad conformada por matices y desacuerdos fundamentales. La investigación no pretende contar una nueva historia sobre el periodo moderno, aunque irremediablemente se vale de su registro para presentar la discusión. Así, la idea crítica que sostenemos tiene que ver con las posibilidades estructurales y objetivas del discurso arquitectónico. Un discurso que se analiza en función de tres campos diferenciados, designados como: lo escrito, lo proyectado y lo construido en el periodo de estudio. De esta manera, pensamos que se favorecen las posibilidades dimensionales de la crítica y se amplía el sentido narrativo de la linealidad histórica. Para esta trabajo, la monumentalidad constituye una sustancia de estudio que evidencia las contradicciones, inadvertencias y matices necesarios en la articulación de una visión más compleja sobre los acontecimientos. Convencidos de la eficacia de un modelo dialéctico, que define la condición de lo monumental tanto en una valoración positiva (lo propicio, lo útil, lo verdadero, etc.) como negativa (lo falso, lo ostentoso, lo altisonante, etc.); observaremos que las diferencias alrededor del concepto derivan respectivamente en los significados de monumentalidad y monumentalismo. El contraste y la oposición de ideas expuestas a la luz favorece esa pretensión dimensional de la crítica. De los escritos de Sigfried Giedion -y la Nueva Monumentalidad- a Le Corbusier y la construcción de Chandigarh; o de la crítica anti-monumental de Karel Teige, pasando por el proyecto constructivista de Ivan Leonidov; los distintos episodios referidos en el trabajo encuentran sentido y rechazan las probabilidades arbitrarias y confusas de la selección temática. En ese orden, se busca asignar cierto rigor metodológico e incluso geométrico: la estructura propuesta toma el gran "periodo moderno" en dos bloques temporales, primera-modernidad (alrededor de 1910-1935) y tardo-modernidad (aprox. 1935-1960). En la primera parte se analizan una postura -en mayor medida- reactiva a las manifestaciones de esa hipotética condición monumental, mientras que en el segundo caso la postura se transforma y se perfila un nuevo escenario que anticipará ideológicamente parte de la evidente fractura posmoderna. A su vez, los tres registros anunciados previamente se componen de dos capítulos en función del marco temporal descrito; cada capítulo se desarrolla en tres partes que abundan en los aspectos preliminares de la discusión, luego exponen unos puntos centrales y finalmente orientan un posible recuento. El trabajo se complementa con una parte introductoria que fluye sobre definiciones concretas del monumento, el monumentalismo y la monumentalidad; además de que definirá la orientación de la crítica desarrollada. En una última intervención, a manera de conclusión, se reflexiona sobre el salto temporal, ideológico y estético que la posmodernidad representó para el tema de investigación. xix Abstract The purpose of this thesis is to consider a (perhaps) pendant issue: to define monumentality by means of critical approach within the modern context of architecture. The idea of what monumental is during modernity establishes a fraction of the "modern typical denial" based on the rejection of any link to tradition and history. From the anachronistic idea of static monuments, to the orchestration of architecture as a symbolic tool, the most important process of the revolution of architecture during the 20th Century had a few signs that allowed us to imagine a reality conformed by fundamental nuances and disagreements. The aim of this research is not to tell a new story about the modern period, although inexorable it takes note of the register to present the discussion. Therefore, the idea of what we expose as criticism has to do with structural and objective possibilities in the architectural discourse. A speech analyzed in response to three differentiated domains designated here as: the written, the projected and the built during the selected time.
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