EN BLANCO. Revista de Arquitectura - Vol 14, No 33 (2022)

Tabla de contenidos

Editorial

La despedida. Un espacio

Obras

Cementerio de San Michele en Venecia, Italia
Dos casas funerarias. Patio en Thionville y cripta en Damelevières, Francia
Crematorio en Ostende, Bélgica
Cementerio, capilla y centro de visitantes de Iganawa, Japón
Casa funeraria Tangassi en San Luis Potosí, México
Crematorio de Igualada en Barcelona, España
Tumba en Venecia, Italia
Adecuación de aceso y columbario en el Cementerio de Robregordo, España

Artículos de investigación

(Sin) Espacios y tiempos para la muerte
Apropiaciones del Terrassenhaussiedlung Sankt Peter. Modelo de arquitectura residencial
Objetividad y forma. Mies y el Edificio de Oficinas de Hormigón

Permanent URI for this collectionhttps://riunet.upv.es/handle/10251/190021

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Now showing 1 - 12 of 12

Access status: Abierto ,
Adecuación de aceso y columbario en el Cementerio de Robregordo, España
(Universitat Politècnica de València, 2022-10-27) MUKA Arquitectura
[EN] The project arose from the need to build a columbarium in the extension of the Robregordo Cemetery, in the mountains of the Sierra de Madrid, whose first extension had been completed a few years earlier. The access, from the new extension, has no covered area in which to mourn the arrival of the coffin or ashes; a gate-like door, a perimeter wall of irregular granite ashlars that separates the interior from the exterior and two cypress trees placed symmetrically to serve as a reference from a more distant position are the pre-existing elements on the site.
Access status: Abierto ,
Tumba en Venecia, Italia
(Universitat Politècnica de València, 2022-10-27) Alberto Campo Baeza
[EN] IL CIELO IN TERRA. We would like to make the most beautiful house in the world, but also the simplest. On a small plot within the Capoluogo Cemetery in S. Doná di Piave in Venice. A piece of heaven on earth. It will be a shaded box, pierced by light, a reinforced concrete cube of 3x3x3 m. To bring the light inside, we will drill the corners of the six square planes that make up the cube, producing a square 60x60 cm opening on each plane, so that two holes never coincide in the same trihedron.
Access status: Abierto ,
Crematorio de Igualada en Barcelona, España
(Universitat Politècnica de València, 2022-10-27) Estudio Carme Pinós
[EN] The crematorium building sits close to the chapel, right on the top of a hill and in such a way that from the cemetery the new building is not visible, yet from the building one can perceive the atmosphere and the beauty of the cemetery. The project acts on the desire to blend into the cemetery without distorting the poetry that emanates from it. The main idea in the crematorium was to sensitively understand the situation the program involves. It wants to connect with the nature around and strike a dialogue between visitors and the distant landscape discernible through the windows, a dialogue between life and death.
Access status: Abierto ,
Casa funeraria Tangassi en San Luis Potosí, México
(Universitat Politècnica de València, 2022-10-27) Tatiana Bilbao Estudio
[EN] Of all architectural typologies, a funeral parlor is one of the most difficult to design due to its profound symbolism. Death is represented in many ways by different cultures. In the Mexican tradition, death is not only a process of respect, grief, and fear, but has been culturally defined as a major social event. To give the project spatial definition we always came back to the concepts of limits, transitions, permanence, temporality, and thresholds that define death s social and cultural dimension.
Access status: Abierto ,
Cementerio, capilla y centro de visitantes de Iganawa, Japón
(Universitat Politècnica de València, 2022-10-27) David Chipperfield Architects
[EN] Inagawa Cemetery is located on a steep site in the Hokusetsu Mountain Range of the Hyogo prefecture, approximately 40 kilometres north of Osaka. The cemetery is laid out across terraces and bisected by a monumental flight of steps leading up to a shrine at the highest point an axis that orients the whole project.
Access status: Abierto ,
Crematorio en Ostende, Bélgica
(Universitat Politècnica de València, 2022-10-27) OFFICE Kersten Geers David Van Severen
[EN] The crematorium is an important public building. It has however an ambiguous relationship with self expression, torn between its own technical content and its ceremonial character. To overcome this we designed the building as a big inclined table of which the roof is the protagonist. As a nature morte developed together with the artist Richard Venlet it is intended to communicate its particular public content.
Access status: Abierto ,
Dos casas funerarias. Patio en Thionville y cripta en Damelevières, Francia
(Universitat Politècnica de València, 2022-10-27) GENS
[EN] The existing shop is a former dwelling which seems odd amongst the commercial area big boxes. The program of the operation is no less ambiguous, as it merges commercial and ritual purposes. A generic box wraps the dwelling and its extensions, doubling the former surface. Its volume copies the surrounding ones while its shade refers to the conspicuously neutral grey suits of the profession. The public funeral home is located within the cemetery enclosure. It opens the surrounding wall with a timeless colonnade which sinks into the darkness of the building, below the natural sloping ground level. Seen from the cemetery, the new building surfaces like a large slab among the graves.
Access status: Abierto ,
San Michele Cemetery in Venice, Italy
(Universitat Politècnica de València, 2022-10-27) David Chipperfield Architects
[EN] Established in 1807 as Venice s principal cemetery, and enlarged in 1839 when two islands were joined together, San Michele has been under continuous development for over 200 years, but its romantic exterior contrasts sharply with the sometimes rather municipal character of its interior. Following an international competition, the development and extension of the north-east side of the cemetery began. The proposal was developed in two main phases and realised over an extended period, with the first phase of construction beginning in 2004 and the second phase being completed in 2017. A further phase currently remains in planning, along with a proposal to create a connected cemetery island to the east.
Access status: Abierto ,
Objetividad y forma. Mies y el Edificio de Oficinas de Hormigón
(Universitat Politècnica de València, 2022-10-27) Blat Tatay, Andrea
[EN] The Office Building, designed by Mies van der Rohe in 1923, appears to be a simple prism built with just two materials: concrete and glass. In this project, and for the first time, Mies conceived a structural system to which he assigned aesthetic qualities, without sacrificing clarity and objectivity, by spiritualizing tectonic processes; in this way, he designed a building that is characterized by the lightness and subtle dynamism of its composition. A series of concrete platforms appear to float freely, one above the other, thanks to a carefully designed structure using transparent glass. The aim of this article is, therefore, to contribute to the knowledge of one of the five projects that make up Mies van der Rohe's manifestos for a new architecture. The evaluation of the structure as an architectural form, the relationship between the design of the building section and the transparency of the glass, as well as the problem of access to the building and its representation, are addressed in the text. To contribute to a better understanding of this project, original documents are analyzed, and a new graphic reconstruction of the building's floor plan is provided.
Access status: Abierto ,
Apropiaciones del Terrassenhaussiedlung Sankt Peter. Modelo de arquitectura residencial
(Universitat Politècnica de València, 2022-10-27) Cascales Barrio, Juan
[EN] The collapse of public housing policies has been accompanied by an impoverished disciplinary debate that accepts without question the regulatory framework, conventional building types, linear design processes and highly precarious floor area ratios. Part of the problem is rooted in insufficient analysis of the proposals developed at the height of the avant-garde experimentations of the 1960s and their results. This lacuna has created the illusion that we are confronting unprecedented challenges, when in reality they are deeply ingrained problems that were widely debated and addressed in multiple works, completed or semi-aborted in the critical climate of the 1970s, that have never received the attention they deserve. A case in point is Terrassenhaussiedlung Sankt Peter, which is still in excellent condition today. Various publications highlight its structuralist conceptualisation aimed at delivering a quality urban, social and private life to its users. This paper analyses its historical context and compares it with similar works of the same period, focusing on the exceptional working method as well as its siting and the system of criteria and rules that orchestrate the integration of the structural, programmatic and formal systems in a complex and original configuration.
Access status: Abierto ,
(Sin) Espacios y tiempos para la muerte
(Universitat Politècnica de València, 2022-10-27) Luque Pulgar, Emilio
[EN] The invisibilisation of death, its medicalisation and bureaucratisation, the denial of its times and spaces in contemporary culture, hinder its cultural treatment through rituals, especially collective ones. A symptom of this refusal to consider death as a component of our common experience is the visceral rejection of the typically Victorian post-mortem photograph. However, there have been many different ways of dealing symbolically with death throughout the history of the West. Spaces dedicated to burial and commemoration of the dead have historically also been zones of conflict. Tackling collective tasks of the widest scope, such as climate change, must lead us to reposition ourselves in secular time frames, in which our actions (once again) acquire a significance that is not limited to our lifetimes. We will surely also see the emergence of ways of building legacies, also architectural or urbanistic, in which the aim will be to lighten the burden of future generations, expanding their capacities for action, instead of enduringly embodying our designs in time. This is what Greta Thunberg refers to as cathedral thinking . Perhaps we will detect these changes in the experience of death through the widespread composting of our mortal remains, thereby re-introducing them to cycles of fertility.
Access status: Abierto ,
La despedida. Un espacio
(2022-10-27) García Clariana, Inés
[EN] The nine architectures featured in this issue are intended to exemplify the contemporary diversity of funerary typology. From East to West, from the tomb to the cemetery, the works of architects who have confronted the process of bidding farewell during their lifetime are shown. On the surface, some of the typologies seem to have the capacity to be extrapolated from one culture to another, but we must be aware - beyond the spatial parameters - that they do not represent the same death or the same ritual, even if, in essence, it is a farewell. These circumstances, which intertwine the emotional, the spiritual, ceremony (ritual) and symbolism, make funerary architecture an existential space.

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