VLC arquitectura. Research Journal - Vol. 02, núm. 1 (2015)

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Artículos de investigación

De la région à l’unité de voisinage: l’urbanisme du Groupe L’Equerre, 1937-52
Precisiones sobre la luz en el Pantheon de Roma
Un pabellón para Constantin Meunier, del arquitecto Gaston Eysselinck (1929)
Escenografía simulada de lo colectivo: Mimesis y simulacro en el barrio Tiburtino
El entramado como estrato vertical en la arquitectura de Alison y Peter Smithson

Reseñas

Fotografía y arquitectura moderna en España, 1925-1965. Iñaki Bergera (ed.)

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/49766

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Mostrando 1 - 7 de 7

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A pavilion for Constantin Meunier by architect Gaston Eysselinck (1929)
(Editorial Universitat Politècnica de València, 2015-04-17) Dubois, Marc
[EN] At the end of the 19th century, the Belgian sculptor Constantin Meunier (1831-1905) had an international reputation. The main theme of his oeuvre is the working class. His sculptures were frequently exposed in different European cities. Two of his works were presented at the art biennale of Venice in 1907. The Ny Carlsberg Glytotek in Copenhagen possesses the largest collection of Meunier’s sculptures (48 pieces). In 1929, the S.C.A.B. (Société Centrale d’Architecture de Belgique), the national architects organisation, launched a competition for the "Monument au Travail", a monument that puts four reliefs and five sculptures together in Laken (Brussels). The architect Mario Knauer (1879-1948) was chosen to build the monument. The young architect Gaston Eysselinck (1907-1953) participated with a fascinating project, but was directly eliminated by the jury. What were the ideas of Eysselinck’s proposition? A pavilion with a roof garden and an open ceiling? A meditation space where the light enters, following the example of Dante’s Paradise? Or was he influenced by the German pavilion of Mies van der Rohe in Barcelona, built in the beginning of 1929?
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Further observations on the light in the Pantheon in Rome
(Editorial Universitat Politècnica de València, 2015-04-17) Linares de la Torre, Oscar
[EN] Adriano’s Pantheon is one of the most celebrated works in the history of architecture. Many questions have captivated its visitors, but it is the light that has captured most of the attention: after stripping the building of its symbolic load, the manifestation of its interior light seems to be the only purpose of this immense “space-light” that has fascinated architects, art historians, painters and photographers throughout time. It seems difficult to add anything new, but being fully aware of this, the author of this article hopes to point out some of the different aspects of light in the Pantheon that he considers haven’t been developed enough: the reason behind the solar and urban orientation of the temple regarding the north-south axis; the reconstruction of the light and shadow sequence that must have occurred in the original access to the interior of the temple; the interpretation of the ocular beam of light as an immaterial reminiscence of the false central support of the Etruscan domes, turned into a subtle column that without ever reaching the vertical position, falls in different ways on the surfaces that create the interior.
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Photography and Modern Architecture in Spain, 1925-1965. Iñaki Bergera (ed.)
(Editorial Universitat Politècnica de València, 2015-04-17) Blanco Agüeira, Silvia
[EN] Under the same title as the research project it stems from, this book is intended as the catalogue for the exhibition held at the ICO Museum (Madrid) between June and September 2014. The project, under the direction of Iñaki Bergera, brought together several researchers and guest authors in order to analyse, document and disseminate the role of photography in the construction of modernity in Spain. Both the exhibition and the catalogue are vehicles for the initial presentation of the research carried out.
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Simulated scenography of the collective: Mimesis and simulacrum at the Quartiere Tiburtino
(Editorial Universitat Politècnica de València, 2015-04-17) Franco, David
[EN] The goal of this paper is to examine critical practices of residential architecture in Southern Europe that appeared during a period of economic instability –the post- war in the mid-twentieth century-, and that may provide useful elements for re-thinking housing models during the current context of crisis. To do so, I have studied the Quartiere Tiburtino in Rome, one of the most influential housing developments of Italian-neorealism, from an expanded cultural perspective, understanding it as an design exercise that recovers the realm of everyday life for architecture, through the pre-modern concept of mimesis and, simultaneously, incorporating the notion of the simulacrum as a legitimate cultural construction. I have examined in detail the various mimetic processes -linguistic, technological and typological-, through which the Quartiere Tiburtino deals with the living conditions of urban immigrants from rural areas of Italy; and the creation of a social simulation of great complexity -the invention of a shared urban identity for the new inhabitants of the neighborhood, which becomes the most significant contribution of the project to the debate about the possibilities of architecture as a social and politically engaged practice.
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Editorial
(Editorial Universitat Politècnica de València, 2015-04-17) Guimaraens Igual, Guillermo; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio; Departamento de Composición Arquitectónica
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From region to neighborhood unit: the urbanism of Group L’Equerre, 1937-52
(Editorial Universitat Politècnica de València, 2015-04-17) Grulois, Geoffrey
[EN] From 1937 to 1952, the young architects from Liège that formed Group L’Equerre and served as the secretariat of the Belgian section of the International Congress of Modern Architecture (CIAM) initiated a reflection about the development of the Liège industrial agglomeration and its population centers. What sources did they mobilize to build a reflexive and multi-scalar approach to urban planning from the regional scale to that of the inhabited neigbourhood? The discovery of the original drawings of the survey of the Liège Region (1948-1952) and plans for a neighborhood unit on the plateau of Trixhes (1937-1952) in two archives—Archives of the city of Liège and the archives of architecture of ULB—allow us to explore an emerging practice of regional planning and neighborhood design in Belgium. In this article, we trace how architects from Group L’Equerre took advantage of the advance in human geography and regional planning to build a specific planning approach to Belgian cities that goes beyond the CIAM principles of the functional city in order to incorporate concerns for the natural environnement and traditional community levels. In this way, the paper questions the supposed dominance of the Athens Charter for modern urbanism on the development of postwar town planning in Belgium by identifying the emergence of landscape and community issues in the practice of regional and local development.
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The lattice as vertical stratum in the architecture of Alison and Peter Smithson
(Editorial Universitat Politècnica de València, 2015-04-17) Delgado Berrocal, Sonia
[EN] This article discusses the concepts of lattices, stratum and stratification, based on the discourse narrated by Alison Smithson in her article “Layers and layering” (1981), and the works in which Alison and Peter Smithson worked with the strata and the stratification, using the lattices as a means to carry out its architecture. In this sense, the Smithson –after several experiments with vertical strata that filtered and broke the classical static vision, as in the Ascot Pavilion, 1955–, raised an exploration that would take to two consecutives stages. The first stage is linked to the seventies, where the fixed lattices appeared as filters, veils, membranes, insinuating and protector skins, that is to say, weft flat surfaces (overlapping each other or on different spaces), as shown in St. Hilda's College, 1967-70. A second stage is related with the eighties, where those lattices begin to separate, creating intermediate spaces –to be occupied with the art of inhabitation– as in the exhibition Christmas Hogmanay, 1980, and that, subsequently, would finish ramifying three-dimensionally as in the porch of Hexenhaus, 1984-2002. These reflections will be re-taken in contemporary architecture, as new possible reference to the creation of stratified future spaces.

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