8º Congreso Internacional de Arquitectura Blanca - CIAB 8

La Cátedra Blanca de Valencia ha programado la celebración en la Universidad Politécnica de Valencia del 8º Congreso Internacional de Arquitectura Blanca los días 7, 8 y 9 Marzo de 2018.

En cada edición, exponen en el congreso una selección de los mejores estudios a nivel internacional que están trabajando con el hormigón como materia principal de sus proyectos. Los proyectos presentados responden a diversas economías, emplazamientos y funciones, pero comparten el denominador común de haber sido concebidos todos ellos en hormigón.

El Congreso se complementa además con una serie de comunicaciones que aportan una gran cantidad de obras arquitectónicas que completan el gran compendio de obras expuestas en los tres días de Congreso. Las comunicaciones al congreso no sólo tienen un carácter autobiográfico, sino que se realizan comunicaciones de carácter histórico, teórico o tecnológico, mostrando también las últimas novedades desarrolladas por las empresas del ámbito del hormigón.

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/107233

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Mostrando 1 - 20 de 24

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Investigación sobre construcción 3D y sus aplicaciones
(Editorial Universitat Politècnica de València, 2018-02-27) Ramírez Collado, Vicente; Puchades Valencia, José Luis; Martín Rodríguez, Joaquín; Muñoz Montes, José Guillermo
[EN] This article intends to give an understanding of the process of research into cement materials, focussed on 3D printing. A group of four students at the Universitat Polit.cnica de Val.ncia – three architectural engineers and one electronic and automotive industrial engineer, spent three years researching and developing both a mobile 3D printing device; and a cement material to be extruded by this device and be capable of modelling any type of figure with FDM technology. The main objective of this research is the application of this new construction system to the house-building and real estate sector; reducing occupational hazards, costs and waste material.
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Entendiendo el Partido Arquitectónico de un Rascacielos, basado en sus Flujos, su Forma, Contexto Urbano e Integración Estructural
(Editorial Universitat Politècnica de València, 2018-02-27) Romano, León
[EN] The document analyses the Torre Reforma skyscraper from its architectural part to its final form, based on its flow efficiency, human comfort, and the immediate urban context. It also analyses the rationale that leads the project to break away from a generation of all-glass façade buildings.
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Arquitectura, dispositivo de experiencia memorial
(Editorial Universitat Politècnica de València, 2018-02-27) Azulay Tapiero, Marilda; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] Architecture can introduce us to the experience of memory; memory as reflection, and architecture as a drive for the experience of remembering as well as a container of information. Each object is de ned in a process in which different actors, their wills, options and experiences, are taken into account. This is the case of the artworks addressed by the present communication, in which we reveal and ask ourselves about the architectural gesture, the evoked memory and its social interpretation. Artworks that have achieved prominence for different reasons, such as the Hall of Remembrance, of Arieh Elhanani, Arieh Sharon and Benjamin Idelson (1961) in Yad Vashem, Jerusalem; for its scientific and historical significance, such as the Holocaust History Museum, also in Yad Vashem, by Moshe Safdie (2005); for its cultural or architectural relevance, such as the Jewish Museum (Extension of the Berlin Museum with the Department of the Jewish Museum) by Daniel Libeskind in Berlin (1999); and even because of the controversy they have raised, such as the Memorial to the Murdered Jews of Europe, also in Berlin, known as the Holocaust Memorial, by Peter Eisenman (2004).
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Reinforced concrete prototypes for the factory in Italy (1950-1975). The architectural expressive machines
(Editorial Universitat Politècnica de València, 2018-02-27) Quadrato, Vito
[EN] The relationship between architectural expressiveness and concrete formal structure was the leitmotif of the Italian structuralism in the second post-war two decades. The design of industrial structures radicalized this relationship because of the nature of the production processes that imposed to the architect the dimension of standardisation, repetition and economy of means. This approach reduced the distance between architectural form and informal building. This research aims to show how this condition transforms the idea of design process by some Italian authors, in the restricted field of reinforced-concrete structures for industry. The architectural form becomes a process that includes all the aspects of the project: the technological content (cooling, ventilation and water-drainage systems), the economic side, the engineering start up. In this way, the project of industrial structures is an outcome of the components design, constituted by structural elements (pillars, beams, desk boards), and controlled by the project of a structural bay, as a device for the design process. In this sense, the proposed paper shows the research on the Kodak factory in Marcianise by Aldo Favini and Gianluigi Gh. as a paradigm of this phenomenon. The paper illustrates how the hollow structural form of the elements addresses the problem of the technological content in the architectural design, showing morphological- structural models that isolates the bay as a design device. This aspect defines a specific quality of the industrial prototypes, developed through the professional partnership between the architect and the engineer. The knowledge about this kind of industrial prototypes is useful on one hand to admit these building as an Italian historical heritage that needs to be preserved, on the other hand to understand how it is possible transform these buildings through a new adaptive reuse.
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Hormigón armado y estética de la modernidad en el Colegio Alemán de Valencia
(Editorial Universitat Politècnica de València, 2018-02-27) Benet Morera, Irene; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura
[EN] The project and construction of the German School of Valencia took place between 1957 and 1961 by the architects Pablo Navarro Alvargonzalez and Julio Trullenque (supervised by Rolf Dieter Weisse and Peter Müller) who fully adapted to the principles of Modern architecture. In addition, typical influences of constructive and architectural practices in the German context are detected due to the collaborative work between technicians of both nationalities (Spanish and German). This is the case of the modern conception of the building as a block arranged on a free floor and its exposed concrete structure, combined with independent enclosure walls, taking special care of the finishing. Furthermore, it is remarkable the detailed development of the structural project, and the widespread use of reinforced concrete, whose pouring and curing processes were rigorously controlled. This represented an innovation in Valencia since constructive quality from postwar period on was quite precarious. These issues bring to light the need to delve into the building and its construction once again, given the significance and early chronology as a participatory work of the architectural modenity of the 20th Century.
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Rehabilitando en hormigón. Alternativa “low cost” en un entorno de crisis
(Editorial Universitat Politècnica de València, 2018-02-27) Celis D'Amico, Flavio; Echeverria Valiente, Ernesto; da Casa Martín, Fernando; Delgado Conde, Ignacio
[EN] The focus of the paper is the rehabilitation with fair-faced concrete of the new Learning and Research Center (LCR) of the Alcalá University. The intervention has been strongly conditioned by the economic costs, and the use of concrete has helped to reduce it, in a difficult period of public finances. The use of fair-faced concrete as integral constructive solution (from the structural to the final finishes) has allowed to build the LCR without significant budgetary slippages, with the usual difficult of the historical heritage rehabilitation and its uncertain technical and constructive problems.
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Refugio en la Viña
(Editorial Universitat Politècnica de València, 2018-02-27) Esteve, Ramón
[EN] The house is located in the municipality of Fontanars, on the outskirts of the village surrounded by large acreage. The project seeks the maximum environmental and landscape integration because of its border location between a zone of pine forests and the grapevine fields, being practically diluted in the vegetation. This contributes the decision to develop the entire program in a single floor, in addition to the material chosen, which provides shade consistent with the place.
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Centro de Día para Enfermos de Alzheimer en Benavente
(Editorial Universitat Politècnica de València, 2018-02-27) García Rubio, Rubén; Vela Navarro, Sonsoles
[EN] A social force that appears, a stratum that emerges, a cave that looks at... A new Day Care Centre for People with Alzheimer’s Disease in Benavente (Zamora) whose functional requirements and dialogue with the context are materialized on a new horizon line. An inhabited stratum that converses with the context as a half-buried element extends its retaining walls and allows the reinforced concrete to provide the character of the building.
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Intervención en la Fuente de la Serreta. Rugat, Valencia, España
(Editorial Universitat Politècnica de València, 2018-02-27) Alapont-Ramón, José-Luis; Peña Cerdán, Antonio; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] This paper describes two low-budget interventions carried out in Rugat, a small village in the Albaida Valley in Valencia, financed by FEDER funds. The aim was to regenerate the urban environment of the small and somewhat deteriorated available public space. In both cases concrete was used as the essential material, adapting its formal possibilities, color and texture to the conditions of each site. Besides improving access and the connections with existing buildings and streets, the local council wished to recover small leisure spaces and meeting places with the minimum standards of quality and dignity. The spaces’ only common interest was the presence of small public fountains, previously out of service, which were included in the renovation. The Serreta Fountain was on a corner between two curving streets on a steep slope. The challenge here was to merge the vertical aspect of the terrain with the horizontal design of the program, organized into two levels, connecting both streets with the fountain below and a platform above that acted as both balcony and protection. The entire project was achieved with a single piece of concrete that acted as foundation, steps, bench, wall, slab and pavement, with a masonry wall and spectacular tree in the background.
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Espai Vert. Estructura como símbolo
(Editorial Universitat Politècnica de València, 2018-02-27) Calleja Molina, Manuel
[EN] Espai Vert is a singular architectonic work built in Valencia in the early 90’s. Its colossal fair-faced concrete structure combined with a profuse vegetation make it an architectural symbol of its time. This work can be catalogued as Brutalist due to its dimensions and materiality. Likewise, it belongs to the residential modular architec- ture, as there are a whole range of space combination rules that t its dwellings according to a regular layout. In recent years academic interest has increased towards this building, and currently various research teams and institutions are exposing its value. The present work exposes the architect’s points of view about some of the main points of this project through an interview, analysing the design and structural part of this building, and concludes with the importance and meaning of concrete in this work.
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Turning Point at the UNESCO Headquarters. Crossed Influences between Pier Luigi Nervi and Marcel Lajos Breuer
(Editorial Universitat Politècnica de València, 2018-02-27) Martín Fuentes, Javier
[EN] The history of architecture is closely linked to the evolution and the use of materials. Concrete was the most important material of the 20th century, becoming the medium for a new architecture. Many different architects not only relied on the use of concrete as their main mode of expression but also got involved in the quest for a new architectural language for the so-called new material. Pier Luigi Nervi and Marcel Breuer are not only among the great architects of the last century, but above all, they are masters of concrete, both developing extensive bodies of work based on the use of the material. Nervi and Breuer worked together in a virtuosic piece of architecture, the building for the UNESCO Headquarters in Paris. Built mainly in concrete and inaugurated in 1958, it occupies a relevant place in the history of architecture. This paper wants to highlight how during that process, both architects underwent a radical change in their careers and in relation to the use of concrete, turning this project in a milestone for the history of architecture as a whole.
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Planos horizontales de hormigón. La Escuela Oficial de Idiomas en Gandía
(Editorial Universitat Politècnica de València, 2018-02-27) Santatecla Fayos, José; Moreno-Puchalt, Jesica; Lizondo Sevilla, Laura; Belda Biurrun, Iñaki; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Departamento de Mecánica de los Medios Continuos y Teoría de Estructuras; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] The purpose of the article to promote the architecture of the Official Language School of Gandía, Valenica. The building, answering to the specific conditions of an urban scene that acts as a partition between the compact city and the dispersed city, solving a specific functional program from 3 combined architectural elements; concrete planes, white clinker volumes and courtyards. The complimentary game of full and empty spaces generate an urban space through a public agora, a tensioned space between concrete horizontal planes that connect different perspectives through strategically placed courtyards.
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Centro Etnográfico Mandeo. Hormigón y memoria
(Editorial Universitat Politècnica de València, 2018-02-27) Barge Ferreiros, Santiago; Bouza Cora, María Belén
[EN] Located in the remarkable landscape of the Mandeo River basin, the Ethnographic Center is a space for education and information, and is conceived as a primitive ‘cabin’ that melds with the surrounding woods. The program is organized in a series of volumes that are interconnected, and that can function independently or jointly, a feature that gives the building a great versatility of use. The use of the self-compacting concrete (sprayed from the lower parts of the walls and roofs) to configure the walls has allowed to make them compact and homogeneous and has also allowed to resolve, with a single material, both the enclosure and the structure of the whole complex.
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Casa de la Cantera
(Editorial Universitat Politècnica de València, 2018-02-27) Esteve Cambra, José Ramón
[EN] Located on the top of a hillside, in one of the most established housing states of Valencia, the House of the Quarry is based on the extreme conditions of the ground with the aim of climbing the slope to get views of the landscape.
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Una iglesia entre hormigón: la puesta en obra de un proyecto docente
(Editorial Universitat Politècnica de València, 2018-02-27) Moreno Hernández, Álvaro; Espinosa García-Valdecasas, Ana; Espinosa García-Valdecasas, María
[EN] The lecture introduces the process of a unique construction –a church- conceived in exposed white concrete, with a very defined texture and with desire to become part of a contemporary line of sacred architecture. Transforming difficulty into opportunity became the projectÅLs motto, to cope with the crisis that started in 2008. This is the narration of the process of renunciations that where necessarily made for its construction, and how this scarcity gave way to the experimenting with concrete to produce some of the elements of the Liturgy, including the altar, which will become the synthesis of the project.
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ISH03. Benissa, Alicante. España
(Editorial Universitat Politècnica de València, 2018-02-27) Nomarq, estudi d'arquitectura
[EN] A haven in which one can contemplate nature in a landscape with the Mediterranean Sea as backdrop... the entire territory is conceived as an additional material in the project. The respect to the settings and the surrounding nature, as well as maximizing both contemplation and enjoyment of this natural environment, are the key factors that determine the starting points in the design of this dwelling. The idea of this project arises from the own morphology of the site, designing from and for its setting. Under this premise, the construction of a detached house is carried out, subjecting the use and location of the house to the plot’s geometry and adapting it both to the site’s orientation and the views. We propose architecture of territory, that the presence of our construction impels us to imagine the place where it is erected. A building that seems to be strongly rooted in the ground, that give us the impression of being a natural part of its environment. As Peter Zumthor says in his book Thinking Architecture: “It awakens all my passion to project buildings that, with the passage of time, remain anchored in this natural way with the form and history of the place where they are located
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Condominio de Apartamentos,Torre de Amsterdam, City Santa Fe, Ciudad de México
(Editorial Universitat Politècnica de València, 2018-02-27) García Fuertes, Susana; Serrano Orozco, Pablo
[EN] The project is developed in one of the roundabout of Av. San- ta Fe, placing a tower at the extreme east end of the land. It is a circular building of 32 oors that solved the beginning of the block. The plan is 42.09 m in diameter, houses a gap more that half of it, 22.70m in diameter, being the place where the vertical circula- tions can be found, making all the connections through the bridges achieving that the movement always has an exterior façade. The entire structure is built with concrete.
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Spanish ‘Plastic’ Architecture. A critical reading and design approach
(Editorial Universitat Politècnica de València, 2018-02-27) Camporeale, Antonio
[EN] The following critical text proposes a series of notes and reflections on the reinforced concrete architecture, not on the material itself. Since its invention, concrete has combined two potentialities, deriving from the two materials of which it is composed: the ‘elastic’ potential, which has been developed and has reached a consolidated form and tradition, and the ‘plastic’ one. The last one has been little experienced at the beginning and, in the course of recent history of architecture, has found space in architectural criticism in the meaning of "expressive", "brutalist", "sculptural", ending up to influence 'superficially' (related to the surface) of architecture. The 'plastic' architecture, instead, is three-dimensional and unifies the construction and spatial qualification in a single design gesture. This critical approach not only allows reconsidering the history of modern/contemporary architecture starting from the necessary collaboration between space and construction that unifies the final judgment on the works, but allows influencing the project, adhering to a formative process of those geographic-cultural areas that possess those certain characters, the masonry one. The Spanish "plastic" architecture is, in that sense, a clear example: in many buildings this "masonry" character is clearly identified, due to the architectural exploitation of the reinforced concrete plastic potential.
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Intervención en la Plaza de la Iglesia de Rugat, Valencia, España
(Editorial Universitat Politècnica de València, 2018-02-27) Peña Cerdán, Antonio; Alapont-Ramón, José-Luis; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] This paper describes one of the projects carried out in Rugat, a small village in the Albaida Valley in Valencia (Spain) on a low budget obtained from FEDER funds. The aim was to renovate the somewhat degraded available public space of the urban environment. In both cases concrete was used as the essential material, adapting its formal possibilities, color and texture to the conditions of each site. Besides improving access and the connections with existing buildings and streets, the local council wished to recover small leisure spaces and meeting places with the minimum standards of quality and dignity. The spaces’ only common interest was the presence of small public fountains, previously out of service, which were included in the renovation. The Church Square project consisted of recovering and renovating a public space in Rugat even though, due to its reduced size, could not originally be considered a public square. Neither was it the traditional public space that contained the village church, in spite of being close to it, but was created as the result of a bend in the road that passes through the village.
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La construcción del lenguaje en el Teatro Popular de Sciacca de Giuseppe y Alberto Samonà
(Editorial Universitat Politècnica de València, 2018-02-27) Margagliotta, Antonino; De Marco, Paolo
[EN] The Sciacca Popular Theatre by Giuseppe Samonà and his son Alberto - two important figures of Italian architecture - is one of the most significant Italian building of the second half of the 20th century. Inaugurated in 2015, after a forty years long construction, the building has an original layout with two auditoriums; composed by three big volumes (a parallelepiped, a cone and a pyramid) and expresses an architecture of image, an idea of space determined by pure forms and using a single material (the raw concrete). The use of three archetypal forms is a return to the origin, an idea al- most classical and rational of architecture; at the same time is the evocation of an archaic perfection. Within this context, the use of raw concrete is also fundamental. Understood as primitive material, it participates to the expression of stability and durability across the building. As a result, the building is converted to an icon that sits in the landscape like a monument. In this sense, this architecture is a tribute to Le Corbusier, built through the interpretation of the great master language. The Sciacca Theatre represents, probably, the most remarkable example of architecture by Le Corbusier in Italy.

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