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Casa  /  Arquitectura • Jornadas • Seminarios-talleres • Teoria Critica  /  Bernard Rudofsky o la refundación de la modernidad

Bernard Rudofsky o la refundación de la modernidad

Escrito por Antonio Pomet
21 octubre, 2013 Arquitectura, Jornadas, Seminarios-talleres, Teoria Critica aquitectura, Bernard Rudofsky, Centro José Guerrero 107 Comentarios
Árbol en la Casa de Frigiliana, Málaga

La modernidad se describe a menudo como ese proceso histórico que emergió  a partir de la Ilustración. La Ilustración, asimismo, se define como un movimiento cultural basado en la razón cuyas raíces se encuentran en el Renacimiento, el periodo histórico que hizo de puente entre la Edad Media y la Edad Moderna. Resulta inquietante encontrar hoy día tantas diferencias entre el hombre moderno y el renacentista, sobre todo cuando el renacentista parece en ocasiones una evolución del moderno  y no al revés. Y es que si miramos con perspectiva la historia nos damos cuenta de que el progreso, ese gran motor de la modernidad, no nos ha hecho progresar más que en la superficie.

Quizá la clave esté en el momento en que la Ilustración se mezcló con el positivismo del XIX. Del bienintencionado proyecto de homogeneización de una sociedad que aspiraba a la igualdad y a la sabiduría, pasamos a tener solo su espejismo. Mientras parecía que el hombre seguía la senda marcada por d’Holbach y Rousseau, era en realidad conducido hacia una de las sociedades más retrógradas de nuestra particular historia humana: la sociedad del espectáculo.

Pongamos un ejemplo que sirva para ilustrar la deficiente modernidad del hombre moderno y nos ayude a entrar en materia. Para muchos de los que no tenemos ni idea de arquitectura, un arquitecto no es más que la persona encargada de diseñar y construir una casa. Si nos suena alguno es  Ricardo Bofill, y más por los avatares cotidianos de su hijo que por las obras que ha realizado él. O Gaudí, al que atropelló un tranvía y aparece en el Trivial. A unos pocos les sonarán Moneo, Koolhaas, Le Corbusier. Pero poco más.

Sin embargo, un arquitecto es mucho más que la persona que construye la casa de un famoso o la ópera de una Generalitat megalómana. El ciudadano debería saber mucho más de su trabajo, pues  se trata de quien proyecta, construye y mantiene los edificios y las ciudades. Es quien diseña las condiciones de posibilidad del lugar donde vivimos, quien decide el modo en que vamos a habitar ese lugar, o cómo nos vamos a relacionar y qué vamos a hacer dentro él. Las implicaciones ideológicas  de su trabajo pasan desapercibidas para el hombre moderno, pero este debería prestar un poco más de atención a esta figura precisamente por la impronta que tiene la labor que desarrolla en su propia vida. A pesar de que hoy en día nos suene a pura contradicción, un arquitecto es o debería ser una mezcla de político y filósofo moral.

Las razones de que exista tanta distancia entre quienes componen los espacios y quienes los utilizan las encontramos en las propias relaciones socioeconómicas que establece una sociedad que promueve el yo y censura los espacios públicos, pero también en aquellos arquitectos que se dejan seducir por esa visión competitiva e individualista del trabajo, que olvidan que su verdadera labor es social y prefieren ver su nombre unido a una bastarda idea de prestigio.

Bernard Rudofsky fue un verdadero hombre renacentista que vivió en la modernidad y que intentó devolver a la figura del arquitecto el verdadero papel que nunca debió perder. Este diseñador, arquitecto, profesor, coleccionista, fotógrafo, historiador y dibujante expuso a través de su trabajo y  de su vida los problemas que una excesiva industrialización podía traer de la mano de un analfabetismo auspiciado por el ansia de consumo. En 1938 resumió los riesgos de esta espuria idea de progreso en una simple frase: “Lo que hace falta no es una nueva forma de construir, sino una nueva forma de vivir”.

Rudofsky no solo presta con sus reflexiones una base sólida al ideario situacionista (movimiento que por cierto tuvo en la acción arquitectónica uno de sus grandes protagonistas treinta años después) sino que preconiza los males de una sociedad occidental que ni siquiera había puesto los cimientos dela globalización. La necesidad de ver la arquitectura como una disciplina integrada en el arte de vivir es uno de los elementos más importantes de su legado: “Las casas deben volver a ser, como en el pasado, instrumentos para la vida, no simples máquinas de habitar”.

Anfiteatro de Mayu-Uray, tribu incaica Mara, Perú (Arquiteura sin arquitectos, 1964)

Su obra editada más representativa, Arquitectura sin arquitectos (1963), es una muestra fotográfica  de la arquitectura vernacular, popular, espontánea y anónima aparecida a lo largo de todo el mundo. Nacido como catálogo de una exposición del Museo de Arte Moderno de Nueva York, el libro muestra esos elementos imprescindibles de la arquitectura popular que Rudofsky reivindica para proyectar cualquier edificio: las necesidades impuestas por el clima, la topografía, los materiales propios del entorno y un especial interés por estudiar la habilidad de los saberes heredados por la cultura autóctona a través de la mano de obra de la localidad.

Con motivo del cincuenta aniversario de la publicación de este impresionante libro, hace dos semanas se celebró en el Palacio de los Condes de Gabia una serie de conferencias en torno a la figura de Rudofsky de la mano de los más prestigiosos conocedores de su obra.

Felicity Scott, de la Universidad de Columbia, se sitúo en la modernidad de posguerra en Estados Unidos para mostrar el impacto y reacción que tuvo la arquitectura capitalista en la obra de Rudofsky, quien llegó a plantear en otros términos lo que más tarde Michel Foucault denominaría técnicas de poder bio-políticas y anatómico-políticas desarrolladas en las construcciones occidentales. Alberto Ferlenga (Universidad de Venecia) habló de cómo la sostenibilidad y eficacia de las formas y materiales de la arquitectura popular ha sido en muchas ocasiones un gran referente para la arquitectura culta, y Giancarlo Cosenza describió los diálogos sobre modernidad que sostuvieron el arquitecto austriaco y su padre, Luigi Cosenza, a partir de su colaboración en el diseño y construcción de La Casa Oro en Nápoles. Marcel Vellinga, de la Universidad de Oxford Brookes, profundizó en la labor de Rudofsky a propósito de la arquitectura vernacular, mientras que Andrea Bocco, de la Politécnica de Torino, hizo un ameno recorrido a través de la filosofía desplegada por el arquitecto no solo en sus obras, sino en su vida cotidiana, donde el viaje, el cuidado del cuerpo o la austeridad cobraban especial relevancia en su búsqueda incesante del “arte de vivir”. Antonio Pizza, dela Universidad Politécnica de Cataluña, y Mar Loren, de la Universidad de Sevilla, centraron sus conferencias en torno a Rudofsky y a la arquitectura española del siglo XX, el primero haciendo un recorrido a través del paisaje arquitectónico mediterráneo, y la segunda focalizando la atención en La Casa, la construcción que hizo Rudofsky junto a José Antonio Cordech en Frigiliana (Málaga),  muestra tangible de los hermosos valores que el vienés trató de legar al mundo de la arquitectura y ejemplo sobresaliente de la necesidad y obligación del hombre de adaptarse al medio en una relación de armonía.

A Rudofsky se le puede considerar un artista multidisciplinar que, básicamente, dedicó su tiempo a indagar cómo debían los hombres habitar un espacio y vivir en el mundo. Desde esta perspectiva, antes que un arquitecto es un pensador, un autoexiliado de su contemporaneidad cuyo trabajo denuncia la necesidad de refundar el concepto de modernidad por uno de los caminos desechados  de la historia: el que tiende la mano al pasado y a los valores que hicieron posibles la convivencia entre el hombre y la naturaleza a lo largo de tantos siglos. Una de sus convicciones era que el consumo no era en absoluto sinónimo de riqueza, y si hoy viviera, estaría más persuadido que nunca de esa idea. Eso, en estos tiempos austeros, quizá sirva de inspiración. “Un hombre suburbano que  se queda dormido junto al cortacésped con una sección de su periódico dominical sobre la cabeza reinaugura el nacimiento de la arquitectura”, escribió en el prólogo de Arquitectura sin arquitectos.

Quizá no se pueda definir a Rudofsky como un nihilista, aunque habría sido un gran referente para empezar a construir después de los escombros, si al final los escombros se convierten en nuestro paisaje.

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Antonio Pomet
Antonio Pomet

Antonio Pomet ha sido profesor de literatura y periodista en diversos medios de comunicación nacionales. Actualmente trabaja en tareas editoriales y es colaborador habitual de este blog. Ha publicado los libros Mil perros dormidos (DVD, 2002) y Devoradores (Pre-Textos, 2008), y ha sido incluido en diversas antologías del relato y el microrrelato español e hispanoamericano.

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Sobre el autor

Antonio Pomet

Antonio Pomet

Antonio Pomet ha sido profesor de literatura y periodista en diversos medios de comunicación nacionales. Actualmente trabaja en tareas editoriales y es colaborador habitual de este blog. Ha publicado los libros Mil perros dormidos (DVD, 2002) y Devoradores (Pre-Textos, 2008), y ha sido incluido en diversas antologías del relato y el microrrelato español e hispanoamericano.

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