ISSN: 2310-2799
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546,196 artículos
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Año:
2020
ISSN:
2531-1360, 2340-177X
García Millán, Juan; de Molina, Santiago
Universidad CEU San Pablo
Resumen
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Año:
2020
ISSN:
2531-1360, 2340-177X
Pérez Díaz de Arcaya, Edurne
Universidad CEU San Pablo
Resumen
In 1933, as people were fleeing Europe, an experimental school opened in North Carolina called Black Mountain College (BMC). While the exiles from the old continent strove to continue a linear history in their new homeland, American society, the forerunner of pragmatism, shed everything inherited and found its own point of departure in the void. During the economic crisis and after the voluntary renunciation of everything that had come before, the void, the most abundant material, represented newness. The rise of science and the discovery of the laboratory method that would reap success in the BMC opened the way to a network of domestic laboratories that aspired to manipulate the void to make it visible for an instant. Architecture finds the source of its following ideas in the ephemeral apparitions of such volatile material. The threshold at which the void becomes visible is the original form of future architecture.
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Año:
2020
ISSN:
2531-1360, 2340-177X
Aguado Benito, José Antonio; Beniro Roldán, Emilia; García Herrero, Josué
Universidad CEU San Pablo
Resumen
In his preliminary designs for the Church of San Esteban Protomártir (in Cuenca, Spain), Miguel Fisac unveiled, for the first time, one of the unique elements of his architecture: the gull beam. This article presents an analysis of this enigmatic and ill-starred proposal, based on unpublished documentation produced for the Espíritu Santo School in Calahorra (La Rioja, Spain) and the church for Ciudad de los Niños in Costa Rica.Though never used in practice, ‘gull beams’ represent an essential link in the evolutionary path of Fisac’s collection of unitary concrete elements, from the earliest porticos and porches to his later ‘bone beams’.A hypothesis is constructed based on a detailed analysis of these projects, casting light on how Fisac planned to execute his gull beams, a mystery whose solution is found, as in other moments in the evolution of his work, in vernacular building traditions.
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Año:
2020
ISSN:
2531-1360, 2340-177X
González de la Cal, José Ramón; Blanco Paz, Josefa
Universidad CEU San Pablo
Resumen
In all the architecture by Manuel de las Casas (Talavera de la Reina 1940 – Madrid 2014) we can find a common invariant that will be present in a very clear way since his first project: Moro House (1963-1971). This invariable is the ability to use the drawing of the plan as the main tool for all the project. The Moro House is a clear example of this idea. It doesn’t have an elevation, only needs the plan. The section is created as it touches the floor, becoming the plan as well. This debut construction unveils its influences on its composition: Organic Architecture, Brutalism and the fact that this composition guarantees the rationalism of vernacular construction. Its outline is based on a system of parallel load-bearing walls, a pentagram created by varying the distance between these walls so that the diagonal sometimes makes distances seem longer and other times shorter
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Año:
2020
ISSN:
2531-1360, 2340-177X
Ferraz-Leite Ludzik, Alejandro
Universidad CEU San Pablo
Resumen
This article arises from ongoing postdoctoral research, whose objective is to extract from hermeneutics some theoretical principles for the understanding of architectural works. In this case, the text draws upon Luigi Pareyson, an author considered one of the greatest exponents of hermeneutics in the Post-World War II era, alongside Gadamer and Ricoeur. Pareyson develops an aesthetic philosophy, called ‘Teoria della Formatività’ (Theory of Formativity). This text takes a concrete reflection of Pareyson and, on that basis, establishes a conceptual relationship between authors such as Rafael Moneo, Sáenz de Oíza, Luigi Andreoni, Álvaro Siza, Fernando Távora or Eladio Dieste; discovering that they have in common the ‘artisticness’ of a work that represents a human effort to achieve perfection, as well as the consecration of an ‘achievement’ in the field of aesthetics that signifies an ‘artwork’.
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Año:
2020
ISSN:
2531-1360, 2340-177X
Salazar Lozano, María del Pilar; Cidoncha Pérez, Antonio José
Universidad CEU San Pablo
Resumen
The trips that Spanish architects made to the USA in the 1950s were a major source of the exchange of knowledge and information between the Spanish and American architecture of that time. Among them, we can highlight those done as a complement to the academic formation. Some of the Spanish architects who travelled to the USA entered post-graduate programs in some of the most prestigious schools of architecture.The aim of this article is to provide an overview of the context and circumstances of those trips and to learn more about a few of them. We try to understand whether the Modern Movement was introduced in Spain through the academic formation, and at the same time, we try to explain the beginning of the cultural exchange in this field between Spain and the USA.
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Año:
2020
ISSN:
2531-1360, 2340-177X
Pastor, María de Miguel; Sentieri Omarrementería, Carla
Universidad CEU San Pablo
Resumen
This paper examines how the changing concept of privacy in western society has affected the design of the bed and its relationship with the bedroom by focussing on two turning points, the 17th Century and the 20th Century, characterised by the appearance and demise of the bedroom respectively. This article outlines the chronological development of the concept of privacy in the home and analyses several illustrative examples of beds in both periods. The authors’ research reveals that whereas the 17th Century bed marked the onset of a room specifically for sleeping, modern technologies are reversing this process and turning the bed back into an item of interior architecture dissociated from the bedroom.
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Año:
2020
ISSN:
2531-1360, 2340-177X
Martín Domíngez, Nicolás
Universidad CEU San Pablo
Resumen
About Madrid José Antonio Corrales would write 14 poems. The land faced with its sky will be the essence of its landscape. If the sky and its panorama represent lightness, mutability and movement, the earth and its landscape are their opposites. Corrales will run simultaneously, between the two without dispensing with any. Seven of these poems are presented here, some of them unpublished, two houses for this city, whose documentation was never published is shown as a reflection of these verses. Projected between 1966 and 1967, they manifest the same simultaneous duality whose result is revealed as a sign of identity of his architecture. In them, the section is making its way, light in its dialogue with the land.
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Año:
2020
ISSN:
2531-1360, 2340-177X
Labarta Aizpún, Carlos; Delgado Orusco, Eduardo
Universidad CEU San Pablo
Resumen
Biennial exhibition in Madrid (1951), this research seeks to rediscover this exceptional figure, a woman and avantgarde artist in a country and in circumstances in which this condition was extraordinary. To this end, we will analyse one of her major works, the frieze crowning the exterior facade of the church of the Dominican seminary of Alcobendas (1955-1960), dedicated to the Dominican martyrs, as is evident from its name –Glorificación de los mártires(Glorification of the Martyrs)– an example of the spiritual, formal and material integration between sculpture and architecture.
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Año:
2020
ISSN:
2531-1360, 2340-177X
Minguet Medina, Jorge
Universidad CEU San Pablo
Resumen
The transfer of the center of the architectural culture from Europe to America within a general translatio imperii will completely modify the social orientation of the Modern Movement and transform it into a politically deactivated style that would be preferably called Fordist Modernism. The layers of this transformation are diverse and convergent: the attempt of integration within, and the later flight from totalitarian regimes by the great ideologues of the modern; their selection and assimilation to the culture of American private initiative; and finally, the unquestionable triumph of the ideology of consumption and its alignment with the new and aestheticized style will gradually complete this diametral change in the history of twentieth-century architecture. The second part of the century can’t be understood but through the filter of this veiled but radical transformation.
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