[en] This research starts from the reflection on how creative ideas are generated in architecture. According to the hypothesis that ideas are not something innate, but that everything is the result of cumulative knowledge, that is, of experience, and that we create from it, that is why the architectural result is personal and unique. The focus is on understanding how Glenn Murcutt came up with his own recognizable architecture. Emphasizing the concept of imitating others, of copying as a way of learning to understand and understand each other. In addition to the copy, a concept external to architecture is introduced, which is translation according to the personal definition of Jorge Luis Borges. That it is based on the fact that the result of the translation depends on the understanding of the world of the translator, and that knowledge is the essential tool to be able to make a good translation, through the good use of language. The way of understanding Borges' translation "unfaithful to the original" always sought to improve the confusing aspects with his interpretation. These concepts of copying and translation are introduced in the field of architecture through examples that help to understand their nuances, and then focus on two facets of Murcutt. One in his early works where he made copies of Mies Van Der Rohe's glass pavilion, and the second, which will be more detailed. Exploring the Farnsworth house and the Marie Short house through a comparative analysis, where the overlap with the Mies archetype is still evident, and we can find many coincidences between elements and syntax, but the detail is not preserved, almost completely erasing the trace of Mies . Murcutt's understanding of the world makes this translation reflect his way of thinking and feeling, the result will be that the Marie Short house has all the conditions established by Borges to consider it to be a good translation, and that it manages to overcome some aspects of the original.

[gl] Esta investigación parte da reflexión sobre como se xeran ideas creativas na arquitectura. Segundo a hipótese de que as ideas non son algo innato, senón que todo é o resultado do coñecemento acumulado, é dicir, da experiencia e que creamos a partir dela, por iso o resultado arquitectónico é persoal e único. O foco está en comprender como Glenn Murcutt xurdiu coa súa propia arquitectura recoñecible. Facendo énfase no concepto de imitar aos demais, de copiar como forma de aprender a entendernos e entendernos. Ademais da copia, introdúcese un concepto externo á arquitectura, que é a tradución segundo a definición persoal de Jorge Luis Borges. Que se basea en que o resultado da tradución depende da comprensión do mundo do tradutor e que o coñecemento é a ferramenta esencial para poder facer unha boa tradución, a través do bo uso do idioma. O xeito de entender a tradución de Borges "infiel ao orixinal" sempre buscou mellorar os aspectos confusos coa súa interpretación. Estes conceptos de copia e tradución introdúcense no campo da arquitectura a través de exemplos que axudan a comprender os seus matices e logo céntranse en dúas facetas de Murcutt. Un nos seus primeiros traballos onde fixo copias do pavillón de cristal de Mies Van Der Rohe e o segundo, que será máis detallado. Explorando a casa Farnsworth e a casa Marie Short a través dunha análise comparativa, onde a superposición co arquetipo Mies aínda é evidente e podemos atopar moitas coincidencias entre elementos e sintaxe, pero o detalle non se conserva, borrando case por completo o rastro de Mies. . A comprensión do mundo de Murcutt fai que esta tradución reflicta a súa forma de pensar e sentir, o resultado será que a casa Marie Short ten todas as condicións establecidas por Borges para considerala unha boa tradución e que consegue superar algúns aspectos da o orixinal.