Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The aim of this essay is to explore two housing proposals that the architect Ugo La Pietra developed in 1972 and 1983. These paradigmatic projects are analyzed in their respective contexts, as well as the implementation of modern technologies in the domestic space. In both cases, electronic devices interact with the human body, thereby reshaping and redefining objects, home environments and the city, offering different spatial and behavioral results that show a substantial change in the concept of designing space and objects. Such visionary projects not only anticipate the arrival of the Internet in the domestic and urban space, but also bring forward the idea of social networks as transforming agents of the domestic rituals and the common built environment, providing considerations and questions for reflection for the present day.

The Lehnos party room (Irurtzun, Navarre), built in 1974 and demolished in 1998, is one of the most revealing projects of Francisco Javier Biurrun's design thinking and the one in which his reflections on architectural space are most forcefully expressed. From this work emerge a series of considerations related to the architectural discipline in its artistic and conceptual condition, in tune with "Minimal Art", which the author assumes as a starting point in his projects. The article rescues a practically unknown project that has not been studied or documented so far and whose analysis allows us to identify essential aspects of Biurrun's architecture. 

Beyond the importance to draw in order to develop his projects, Gilles Clément has an extensive graphic repertoire linked to his need to capture the environment around him through drawing and painting. Although Clément is not particularly known for his artistic facet, this vocation has been with him since he was young. In his personal archives, he has accumulated a series of sheets ranging from drawings made during his youth to illustrations on a variety of subjects, which reveal unknown aspects of this paradigmatic gardener and landscape architect. This article aims to show the relevance of artistic expression for Clément outside the purely professional sphere, through a set of mostly unpublished documents.

This research paper investigates the architectural form in relation to visual perception and the meaning that the building suggests at a special level of its appearance, one that displays an unusual lightness, a static that defies gravity, as if the masses were hanging from invisible threads.  Buildings whose appearance of lightness is not based on the use of light materials that suppress the contrasts between lights and shadows and create spaces of uniform luminosity, but on heavy and opaque, stony and earthy materials that generate strong chiaroscuro contrast, in which it is based, paradoxically, on the sensation of lightness that they transmits and seem to posses.  

The existing bibliography of Miguel Fisac ​​is very large, even that which deals specifically with his religious production. This article tries to clarify certain aspects and put in value one work and an unbuilt project, all of them located in the province of Huelva -a small, remote and peripheral territory in autarky Spain-, and carried out in an interval of time of only seven years (1957-1964). Many questions appeared prior to the beginning of the research work. But from a cursory reading of the specific texts about his religious work, one could already intuit that, despite his 'forgetfulness', we were facing two important examples in the future, the essay and the series of magnificent religious architectures produced by the La Mancha architect in the pre and post-conciliar renewal period.

The uniqueness is inherent in each heritage landscape. It forces us to generate responsible architectural intervention projects, which do not involve direct transfers or project immediacy. However, far from attempting to systematize theories of action methodologies in heritage landscapes, it is possible to establish concepts recurrently used in them, such as the idea of a itinerary, which is identified with recognizable project tools that can be extrapolated to different heritage realities. Despite the heterogeneity of the landscapes to be treated, a compendium of real operations in heritage landscapes has been carried out, with very different cases and needs which, presented in a synthetic way, seek to show multiple conceptual meanings of the itinerary in the project intervention strategy.

Adyacente al flanco sur del Museo Kimbell en Fort Worth (Texas, EEUU) se encuentra una instalación del escultor y diseñador Isamu Noguchi. La obra, promovida por el mismo artista entre 1980 y 1983, es un homenaje póstumo al arquitecto del edificio, su amigo y antiguo colaborador Louis I. Kahn. Esta obra ha sido relativamente poco estudiada, ofreciendo sin embargo algunas claves del trabajo de su autor, de su relación con Kahn y aún de la disciplina en la que coincidieron, la arquitectura del paisaje. Coincidiendo con el cincuenta aniversario de la inauguración del museo (4 de octubre de 2022) este artículo pretende una aproximación a la instalación, de nombre Constellation, a sus orígenes –próximo y remoto– y a su definición material, todo ello con vistas a su valoración en el contexto de la obra de Noguchi, cuyas relaciones con la arquitectura todavía pueden ser exploradas con mayor profundidad.

Cartography has traditionally been one of the operations carried out from the position of power to turn a city into an ordered space, that is to say, predictable and stable. The aim of this text is to unveil this intention under the appearance of scientific objectivity that generates that the map, which is born from one journey, condition the following ones. But also, that it is the walker who has the last word and that, in his movement, he shows that he has the power both to abide by and to disregard the official cartographic guidelines, as well as to wander without any map or to make his own personal one, honest in its production and without pretensions of universality.

The architects who studied the social housing programme developed at the same time an interesting production of experimental single-family houses. These houses had a service area that facilitated the life of their users. Studies on typology have not considered the physical characteristics of these workplaces compared to the dwellings that were planned for the working class. Domestic tasks have been made invisible both in the physical configuration of the dwellings, which sought to hide their presence, and in the narrative of the women who carried them out in precarious conditions. In this work we will study The Carvajal house and the Huarte house in order to show the possible contradictions in the work of their authors when compared with their approach to social housing.

The concerns and explorations of the work of architect, author, and academic Miguel Guitart center around thephenomenological capacity of architecture in creating spaces of high perceptual content. His research seeks to articulate certain disciplinary tools capable of generating and enriching physical and sensory experiences related to the understanding of architectural space. This work organizes these experiences around both materialand immaterial issues. The revelation of the tactile, the luminous, and the visual are fundamental dimensions in the work of this researcher, whose academic work is spread between Spain and the United States.