VLC arquitectura. Research Journal - Vol. 06, núm. 2 (2019)

Tabla de contenidos

Artículos de investigación

El SFMA, el MoMA y la codificación de la arquitectura de la región de la Bahía de San Francisco (1935-1953)
Cambridge Servicemen’s Memorial (Breuer, 1945): espacio público para el recuerdo
Una gramática de mocárabes: Dibujos de la Alhambra de Jones y Goury (1834-1845)
Punta Umbría: la cuarta ciudad de vacaciones de Educación y Descanso en España
Jorge Oteiza y Mariano Garrigues en el INIA (1951-57): un cruce de dos modernidades
Carlo Scarpa: arquitectura, abstracción y museografía

Reseñas

Reseña: Jaap Bakema and the Open Society. Dirk van den Heuvel (ed.)

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/130539

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Mostrando 1 - 7 de 7

Access status: Abierto ,
Review: Jaap Bakema and the Open Society. Dirk van den Heuvel (ed.)
(Universitat Politècnica de València, 2019-10-31) Merino del Río, Rebeca
[ES] Jaap Bakema and the Open Society compila textos de diferentes autores, entrevistas a personajes cercanos a Bakema, reportajes fotográficos, y documentación de archivo procedente mayoritariamente del Rijksarchief voor Nederlandse Architectuur en Stedenbouw que custodia el Het Nieuwe Instituut. Huyendo de una presentación cronológica, se recurre a una estructuración sistemática en torno a tres temas que serán los que articulen las distintas secciones: “A Man with a Mission”, “Building Social Relations” y “Growth and Change”. Tras el prólogo de Guus Beumer, director del Het Nieuwe Instituut, Heuvel presenta en el capítulo introductorio la figura de Bakema como uno de los arquitectos clave en la historia de la arquitectura contemporánea, destacando su compromiso social y la dimensión humana de sus escritos y propuestas arquitectónicas. En esta recensión se relacionan aquellos apartados que se consideran de gran utilidad para futuras investigaciones, deteniéndonos en aquellos capítulos que han suscitado un mayor interés personal debido a su proximidad con la investigación realizada hasta la fecha.
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Carlo Scarpa: architecture, abstraction and museology
(Universitat Politècnica de València, 2019-10-31) Ros Campos, Andrés
[EN] The last year that Carlo Scarpa taught at the IUAV, he proposed a civic museum as the topic of the course, in particular in the old Santa Caterina Convent in Treviso, which is currently the headquarters of the archive of the architect. The issue of the museology was developed during the lessons given at the University and dealt with several of his most recognised projects, in order to expose the guidelines of his museology approach. The message he conveyed in his classes did not describe precise details as much as acting strategies. But nevertheless, the approach to the work of Carlo Scarpa reveals a scale of museum detail that has never been experienced before. This care for the solutions of encounters and for the suitability of expositions constitutes a true contribution to the history of architecture and is, therefore, a model of the contemporary museology theory. The interest of the interventions of Scarpa, lies in the abstraction and refinement, both of his exhibition spaces and of the support elements of the works to be exhibited. This allows on occasions to be recreated in nuances that enrich the pieces with a delicacy that we could almost describe as a work of goldsmithing.
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Jorge Oteiza and Mariano Garrigues at INIA (1951-57): a crossroads of two modernities
(Universitat Politècnica de València, 2019-10-31) Labarta Aizpún, Carlos; Delgado Orusco, Eduardo
[EN] The fruitful decade of the nineteen-fifties, although a widely studied period, harbours unexpected eventualities, such as the confluence of a resolutely experimental sculptor and an architect of a more possibilistic nature. The circumstances surrounding the encounter and revelation of this joint work, very rarely mentioned in the corresponding literature, can be seen as an event that contributes to verifying, once again, the multi-faceted soul of the modern movement in Spain, whose fruitfulness was a result of its inherent hybridity, strengthened by the challenge of creating any classification. In this case, it is concluded that Oteiza’s piece, the result of his investigation into the spatial implications of the wall, is juxtaposed against the building by Garrigues without achieving a real dialogue with the incipient modernism in the architecture of the institute.
Access status: Abierto ,
Punta Umbría: the fourth holiday city of “Education and Rest” in Spain
(Universitat Politècnica de València, 2019-10-31) Carcelén González, Ricardo
[EN] In the middle of the 20th century, the pro-Franco Spanish government promoted a new holiday model for the regulation of rest and leisure for the working classes in the country: the holiday cities of Education and Rest Originating with the State’s vision to create tourist spaces, this research reviews the press of the time, to contrast the success of these complexes built in the 50’s in Tarragona, Perlora and Marbella. The results lead us to formulate the hypothesis of the possible continuity of this holiday model in the final stage of Franco’s regime. Revealing the existence of new study cases becomes the main goal of this work. In order to do so, the research shows unpublished documentation of the original project for a fourth holiday city of Education and Rest in Punta Umbría, Huelva, designed in 1968 by the architect Francisco de la Corte López. Although it would not be constructed, a study of the project documentation allows us to consider the influence that the context of the 60s had on that new holiday model in our country.
Access status: Abierto ,
A Grammar of Muqarnas: Drawings of the Alhambra by Jones and Goury (1834-1845)
(Universitat Politècnica de València, 2019-10-31) Gámiz Gordo, Antonio; Ferrer Pérez-Blanco, Ignacio
[EN] The muqarnas of the Nasrid Alhambra stand out as one of the most singular architectural episodes of Medieval Islamic art due to their sophisticated three-dimensional construction, whose layout remains little known. In 1834 and 1837, the architects Owen Jones and Jules Goury visited the monument in Granada and accomplished surprising drawings thereof, later published towards 1842-1845 as chromolithograph prints, which represented its architecture, ornaments, and muqarnas in a systematic way for the first time. In order to value their pioneering drawings, the historical data is briefly reviewed and several previous drawings of the Alhambra are cited. After consideration of a few questions regarding the process of data collection in Granada, a comparative analysis is presented of a cornice, a capital, an arch and a pendentive, with photos and computer-aided drawings. Thus, the principles or elementary grammar of muqarnas groupings described by these architects are highlighted, as well as the precision of their images, which resulted crucial to integrate and disseminate the architectural legacy of the Alhambra in the contemporary Western culture.
Access status: Abierto ,
Cambridge Servicemen’s Memorial (Breuer, 1945): a public space for remembrance
(Universitat Politècnica de València, 2019-10-31) Sanchis Gisbert, Salvador Jose; Ponce Gregorio, Pedro; Peris Blat, Ignacio; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
[EN] Marcel Breuer was in the first year of architectural technicians to graduate from Bauhaus School. The peculiar education he received there allowed him to explore the concept of design in its broadest sense. In his European stage we find, on the most private and small scale, unique solutions for furniture. In his first American stage we see a strong commitment with solutions related to the residential land and, when he earned international recognition, he developed large scale solutions for his public non-residential buildings and urban equipments in locations all over the world. It is strange to see that an architect like him did not have the opportunity to materialize any of his proposals associated with the public space. The 1945 Cambridge Servicemen’s Memorial project, also known as the Memorial War, is the most significant one he developed in his last years in Cambridge. Had it been built, it would have been a valuable example of modernity and contemporary reinterpretation of the monument in the public space.
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SFMA, MoMA and the Codification of Bay Region Architecture (1935-1953)
(Universitat Politècnica de València, 2019-10-31) Parra-Martínez, José; Crosse, John
[EN] This paper addresses the under-recognized implications of SFMA’s early architectural exhibition program. Conceived under founding director Grace Morley, a series of pioneering events first presented Bay Area architects’ work as interdependent with the region’s rich geographical and cultural context, offering new lens through which Eastern critics prompted to re-evaluate California modernism. Among these shows, the 1949 landmark exhibition Domestic Architecture of the San Francisco Bay Region would epitomize the postwar discussions upon the autonomy of American modern architecture. Correspondingly, by exploring SFMA-MoMA exchanges during Elizabeth Mock’s curatorship, this essay aims to examine the conflict of perceptions and intentions between the country’s two Coasts that brought about the 1949 show as part of a well-orchestrated campaign that had begun years before Lewis Mumford’s 1947 New Yorker piece triggered a controversy over the existence of a “Bay Region Style.” Contrary to prevailing assumptions that this exhibition was a delayed reaction to the 1948 MoMA symposium organized by Philip Johnson to refute Mumford’s arguments, it was the consequence of an effective regionalist agenda whose success was, precisely, that many influential actors in the United States were exposed, indoctrinated and/or seduced by the so-called Bay Region School’s emphasis on social, political and ecological concerns.

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