ISSN: 2310-2799
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546,196 artículos
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Año:
2018
ISSN:
2254-6332, 1138-5596
José Antonio Ruiz de la Rosa; Juan Clemente Rodríguez Estévez
Servicio de Publicaciones de la Universidad de Navarra
Resumen
In recent years, some designs on the Gothic walls of the Cathedral of Seville have been discovered. Their research becomes one more step to the better knowledge of the building and guarantee its possibilities as a restoration tool.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Juan Miguel Otxotorena
Servicio de Publicaciones de la Universidad de Navarra
Resumen
This study endeavors to be a first step toward the revision of the modern works carried out in 1930s England in the field of housing, both private and collective. As we know, the interwar period marked the arrival in London of the ideals and methods of the Modern Movement. In a way, it delimited the space of its validity, ever uncertain and subject to debate, precarious and relatively marginal.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Ulrich P. W. Nagel
Servicio de Publicaciones de la Universidad de Navarra
Resumen
In August 1951 a congress took place in Darmstadt in the former West- Germany with the object to stimulate a cultural dialogue between architects and theorists of culture. This congress with the topic “Human Being and Space” had great importance in the german history of architecture. It joined together traditionally orientated architects like Bonatz, Neufert or Kreis and representatives of modern tendencies like Scharoun, Taut, Schwarz, Eiermann and Ruf amongst others. On cultural-critics side assisted Alfred Weber, Dolf Sternberger, Martin Heidegger and the spanish philosopher José Ortega y Gasset.
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Año:
2018
ISSN:
2254-6332, 1138-5596
José Manuel Pozo
Servicio de Publicaciones de la Universidad de Navarra
Resumen
On the whole it seems undeniable, from a liturgical and pastoral viewpoint, that both religious architecture and religious art of the second half of the 20th century have been unsatisfactory. In the final analysis, this denotes a failure of art and architecture.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Juan-Carlos Bamba; Alejandro-Jesús González
Servicio de Publicaciones de la Universidad de Navarra
Resumen
Prefabrication of natural resources builds a bridge that links agriculture with architecture, turning natural fibers into sustainable construction materials. The current research assumes natural resources as inexhaustible sources for architecture, suggesting the construction of emergency shelter prototypes built with eco-materials and taking them to their limit in extreme climatic conditions. The results generated out of the prototypes allow the evaluation of the mechanical, physical and chemical behavior of these eco-materials. Progressive improvement of the prototypes is aimed at the implementation of these eco-materials within the construction industry.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Jorge Torres Cueco
Servicio de Publicaciones de la Universidad de Navarra
Resumen
In the fifties, Spanish architecture began to approach the coherence and quality present in the rest of Europe. This congress, in three of its sections (the debate on housing, the state of industrialisation and and theoretical reflection), has tried to identify the factors that contributed to the achievments, and the failures, of this period of architectural culture. Vittorio Magnano Lampugnani analysed the permanence of modernity. Carlos Sambricio described the circumstances that surrounded the debate on housing and its importance in the first half of the decade. Mª José Cassinello defended the persistence of a scientific reason, identifiable with modernity, in the years immediately after the war in Spain. Antonio Pizza, on the other hand, compared European thinking with the isolation suffered by our predecessors. The final lesson by Thomas S. Hines referred to the architecture of R. Neutra. These different papers helped to consider the period in some depth.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Carlos Sambricio
Servicio de Publicaciones de la Universidad de Navarra
Resumen
After the Civil War, the process of reconstructing destroyed urban areas was only approached systematically (and not in a token fashion) around 1950, when the arrival of large numbers of rural immigrants threatened to collapse any possible ulterior transformation. A new kind of economic housing is considered, abandoning the rural-based criteria of both the DGRD and the INC, and the discussion leads to the possible industrialisation of building, abandoning the artisan criteria (building based on walled vaults) defended by Moya or Bassegoda...
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Año:
2018
ISSN:
2254-6332, 1138-5596
Mariano González Presencio
Servicio de Publicaciones de la Universidad de Navarra
Resumen
Adolf Loos and Josef Hoffmann represent the two opposing positions in the debate that occurred at the change of the century in Vienna on the subject of ornamentation. Regardless of the critical assessment that has been made of their respective figures, what are of interest are the arguments used in their controversies, because they coincide to a certain extent with some of the issues that have still not been solved by modern architecture. In this sense, their ideas on the role reserved for drawing in architectural design are by no means tangential. Drawing was the instrument used by Hoffmann and the secessionist artists in their desire to reduce the differences between arts and crafts.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Carlos de San Antonio Gómez
Servicio de Publicaciones de la Universidad de Navarra
Resumen
Film sets have been pioneers of new architectural images, such as, for example, the futuristic city used by Fritz Lang in Metrópolis (1926), or the aerodynamic architecture of Things to Come (1936). However, these images were not immediately corresponded by reality. One exception are the musicals of the thirties, which left their mark on dance halls and night clubs. Such is the case for Casablanca, a project by Gutiérrez Soto that no longer exists. Gutiérrez Soto designed another two projects: the Barceló cinemas (1930) and Fraga (1942), but they lacked the spatial and decorative richness of Casablanca.
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Año:
2018
ISSN:
2254-6332, 1138-5596
Fernando Inciarte
Servicio de Publicaciones de la Universidad de Navarra
Resumen
Hegel predijo el fin del arte. Acertó y se equivocó. Acertó, porque en nuestro siglo llegó a su fin una larga tradición de concebir el arte; y se equivocó, porque creía que a éste le sucedería la filosofía del arte, sin prever que, andando el tiempo, en nuestro siglo, iba a ser el arte mismo el que más eficazmente iba a asumir el cometido de reflexionar sobre su propia esencia. En nuestro siglo el arte se ha convertido en buena parte en la filosofía del arte de la que Hegel creía que se iba a desarrollar al margen de su mismo objeto, del arte mismo.
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