VLC arquitectura. Research Journal - Vol. 04, núm. 1 (2017)
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Research articles
- Perret & Piacentini. A Comparative Analysis of Two Parallel Architectures
- Exploratory gazes. Unpublished photographs of Asís Cabrero's Italian trip
- Underground urbanity: from the carrefour à étages multiples to the ‘inner street’
- The changing symbology of the ordinary. An American visual approach
- Paimio´s Three Walls
- The exhibitions of El Lissitzky through Cine-Eye
Book reviews
- Alison and Peter Smithson: The Space Between. Edited by Max Risselada
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- PublicationAlison and Peter Smithson: The Space Between. Edited by Max Risselada(Universitat Politècnica de València, 2017-04-26) Ábalos Ramos, Ana; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura[EN] The Space Between (Walther König, Cologne, 2016) is the third part of the trilogy about the work of Alison and Peter Smithson seen through their own eyes. It follows The Charged Void: Architecture (2001) and The Charged Void: Urbanism (2005) both published by Monacelli Press, New York. This long-awaited book by Walther König features the same layout and general design as the two previous volumes but has a personality all of its own. The Space Between includes more than forty writings spanning the Smithsons’ entire career and features a wealth of illustrations from their own archives. Just as the The Charged Void was not merely a work about their work, this essential new volume is far more than just a compilation of their thoughts.
- PublicationThe exhibitions of El Lissitzky through Cine-Eye(Universitat Politècnica de València, 2017-04-26) Paz-Agras, Luz[EN] The Avant-Garde movements of the twentieth century explored the creative possibilities of new types of media in architecture, such as the photographic camera or cinema. In a series of experimental projects, authors such as El Lissitzky based their work on assimilating the human eye with a mechanical lens, making it possible to create new concepts of space. A simultaneous consideration of the resources of Vertov’s Cine-Eye in relation to the exhibition projects of El Lissitzky reveals some of his proposals as paradigmatic examples of the perceptive experimentation of the viewer in relation to art, and in a wider sense, to architecture. By analysing the cinematic resources of the film Man with a Movie Camera (1929), architectural aspects are analysed in the exhibition spaces of the Abstract Cabinet and PRESSA, identifying connections that break down the boundaries between the different disciplines.
- PublicationPaimio´s Three Walls(Universitat Politècnica de València, 2017-04-26) Grijalba Bengoetxea, Julio; Grijalba Bengoetxea, Alberto[EN] Alvar Aalto´s career has certainly been a complex one and has been reported by official historiography to be divided into some more or less well-defined periods which correspond to unitary in time clusters of projects. Thus, Paimio has come to be for architecture the consolidation of the Modern Finnish Project at its apparently orthodox splendor. Aalto, from the very beginning, was attracted by the possibility of generating his own project message. This may be the reason why he found researching into the evocative power of opposite conciliation which allowed him to obtain efficient tools to service his project. The peculiar presence of opposing elements in the same project governs the task of defining a new way to conceive architecture. There are truths in Paimio that withstand and refuse to be concealed under the apparent modern uniformity so many times appraised. All this becomes obvious and in many of the project syntax elements, but it is especially evident in the layout of the three walls of the rooms: the modern wall that stand weightless, defined by its immaterial abstraction; the heavy wall, defined by its physic features and bond to the XIX century tradition; and finally, the wall with an immaterial vocation, endowed with almost invisible features, and of deep eastern roots.
- PublicationThe changing symbology of the ordinary. An American visual approach(Universitat Politècnica de València, 2017-04-26) Santamarina-Macho, Carlos[EN] The concept of “the ordinary” has become an ever more usual reference in the analysis of certain architectonic and territorial situations; but also social ones, which seem to escape any order set by planning. Nonetheless, the word still carries a rather ambiguous meaning, because not only the term is in itself polysemic, but also because it can have several interpretations, sometimes in a contradictory way, depending on the area of study, the time or the place in which it is used. This text addresses some of these apparent contradictions through a selection of visual expressions that emerge from the reassessment of “the ordinary” within a particular context: America in the seventies. To illustrate our views, we will use the work of two renowned photographers: David Plowden and Stephen Shore. Architecture was the centre focus of their images, which are part of the broad tradition of depicting American everyday life. We will analyse and compare them with the purpose of identifying their frictions and, more importantly, the values that transformed each of them from the ordinary into a perfect tool to deal with the strange and unstable material situation lived in post-war America.
- PublicationUnderground urbanity: from the carrefour à étages multiples to the ‘inner street’(Universitat Politècnica de València, 2017-04-26) Clua, Alvaro[EN] As Manuel de Solà-Morales noted, urbanity relies on the variety and quality of relations between things, materials and human beings. Considered as such, how are we to achieve an underground urbanity? This paper seeks to address this question through a focussed reading of a number of European urban projects from the 20th century; all of which put special care into ensuring the quality of their subterranean passageways. We begin with the carrefour à giration, which was designed by Eugène Hénard in 1906, in order to identify four fundamental attributes of this kind of urbanity: legibility, spatiality, accessibility and activity. We then continue with a qualitative analysis of the 1933 Blå Bodarna passageway designed by Tage William-Olsson and Holger Blom in Slussen (Stockholm). Looking ahead some decades later, the sequence of passages under the Vienna Ring, built during the mayoralty of Franz J. Jonas, provides a good example of how fundamental the connectivity to the underground public transport system was to the success of these spaces. Finally, the article closes with a review of those underground places found in Santiago Calatrava’s Stadelhofen Station and the Stationsplein by Manuel de Solà-Morales: from the carrefour à étages multiples to the ‘inner street’.