EN BLANCO. Revista de Arquitectura - Vol 11, No 26 (2019)

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/119676

Tabla de contenidos

Editorial

La pertinencia, el territorio y el tiempo

Entrevistas

Acerca de… Conversación con Barclay & Crousse.

Obras

Casas Vedoble
El Lugar de la Memoria
Museo del Sitio de la Cultura de Paracas
Aulario Piura
Casa C3

Artículos de investigación

Rocas de hormigón y agua en movimiento: la Forma de Grupo en la obra de Angela Danadjieva para Lawrence Halprin & Associates
El hormigón críptico de l’Église de Sainte Bernadette du Banlay en Nevers (1963-1966): Claude Parent y Paul Virilio
El relieve en fachadas de hormigón visto como trabajo colaborativo entre arquitectos y artistas plásticos

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Mostrando 1 - 10 de 10

El relieve en fachadas de hormigón visto como trabajo colaborativo entre arquitectos y artistas plásticos
(Universitat Politècnica de València, 2019-04-30) Fernández-Morales, Angélica
[EN] This article is about the interventions made by artists to exposed concrete buildings in the form of reliefs on the facades. Throughout history, architecture has served as a medium to support painting and sculpture in the ornamentation of its exterior walls. The incorporation of exposed concrete in architecture led to an exploration of the artistic and plastic possibilities of the material’s use in facades by architects and artists, particularly from the second half of the 20th century, and in some cases taking the form of sculptural reliefs. The 21st century has also provided us with some interesting examples of this art form, which inevitably requires collaboration between artist and architect. This article discusses three examples: the mural by Helmut Federle in the Swiss Embassy in Berlin, in collaboration with Roger Diener; the reliefs of Rémy Zaugg in the Justice Centre in Aachen, by Weinmiller Architects; and the relief by Esther Pizarro in the Conference Centre in Mérida, by Nieto Sobejano. In all three cases, the techniques employed in the execution of the concrete work were intended especially to respond to the aesthetic requirements of the artists, and the results are critical to defining the external image of the building.
El hormigón críptico de l’Église de Sainte Bernadette du Banlay en Nevers (1963-1966): Claude Parent y Paul Virilio
(Universitat Politècnica de València, 2019-04-30) Moreno Moreno, Maria Pura; Solano Rojo, Montserrat
[EN] In French architecture in the second half of the 20th century, the demand for urban planning, critical of the foundations of the Charter of Athens, was linked to the Gestalt psychology’s exploration of space. The inheritance of teachers such as A. Perret and Le Corbusier regarding the use of concrete as a fetish material of modernity was added to by proposals by architects like Claude Parent who sought the revaluation of his expressive properties, both visually and to the touch, and the sensory implications when referring to the imbalance of living. This article will analyze L'Église de Sainte Bernadette du Banlay in Nevers (1963-1966), built by Claude Parent under the “The Fonction Oblique” criteria of the Architecture Principe group, while abiding by the characteristics of the architecture of the bunkers of the Atlantic Wall investigated by one of members of this group - the urban planner philosopher, Paul Virilio. Parameters concerned with emplacement, circulation, function, space and the integral construction with concrete will allow for the revelation of whether the doctrine of “oblique architecture” bound it to fulfilling a religious function or if the alloy in the assimilated materiality of the bunkers was his answer to a coherent conception and spatial construction.
Rocas de hormigón y agua en movimiento: la Forma de Grupo en la obra de Angela Danadjieva para Lawrence Halprin & Associates
(Universitat Politècnica de València, 2019-04-30) Pérez Igualada, Javier; Departamento de Urbanismo; Escuela Técnica Superior de Arquitectura
[EN] The concept of Group-Form, proposed in 1964 by Fumihiko Maki and Masato Othaka, can be applied to the field of urban design, as an interpretation principle for landscape architecture. We will examine the validity of this hypothesis using as study cases two significant works of the firm Lawrence Halprin & Associates, designed in the late 60s by the architect Angela Danadjieva: the Ira Keller Fountain (1968-70)in the Auditorium Forecourt Park, an element of the Open Spaces Sequence of Portland; and the Canyon Fountain in Seattle's Freeway Park (1969-76).
Casa C3
(Universitat Politècnica de València, 2019-04-30) ARCHITECTURE, Barclay & Crousse
[EN] The Peruvian desert stands at the confluence of the Andes range and the Pacific Ocean, which creates a unique climate: highly humid, although without any rain, with constant temperatures that nearly match the comfort zone all year long. Avoiding an objectual relationship with context, the house is conceived as a soil extrusion rather than an object in landscape. Framing views is not a priority, but the creation of a microcosm that allows understanding its unique features by revealing its hidden qualities.
Aulario Piura
(Universitat Politècnica de València, 2019-04-30) ARCHITECTURE, Barclay & Crousse
[EN] Our project had as a main goal to create a learning atmosphere more than an architectonic type or shape. We considered the building should be capable of nestling informal learning: casual encounters for exchanging ideas between students and between students and teachers, in a friendly environment. For achieving that, creating a comfort zone in the permanently sunny, hot and dry climate of the Peruvian northern desert was key to the project. The open-air spaces within the geometric, 70 x 70m limits of the building, nurture the academic life the same way the dry forest allow living in this place: by creating a shade and allowing breeze to cross over.
Museo del Sitio de la Cultura de Paracas
(Universitat Politècnica de València, 2019-04-30) Barclay & Crousse ARCHITECTURE
[EN] An archaeological museum must find the delicate balance between archaeological conservation and divulgation to the public. A site museum, as the Paracas Julio C Tello Museum, acquires the additional challenge of merging to the absolute abstract landscape that was the cradle of this culture, which is now part of the most important biological and landscape reserve of the Peruvian coastal desert.
El Lugar de la Memoria
(Universitat Politècnica de València, 2019-04-30) Barclay & Crousse ARCHITECTURE
[EN] The project is carefully inserted into the dynamic of cliffs and ravines that ring the bay of Lima, attempting to merge with landscape by following the same territorial logic that characterizes its waterfront. By doing this, the building evokes memory in a much broader significance: the memory of landscape in its physical configuration and materiality, rather than dealing only with violence and political memory.
Casas Vedoble
(Universitat Politècnica de València, 2019-04-30) ARCHITECTURE, Barclay & Crousse
[EN] This set of four houses stems from an investigation into the typological variation of a “prototype”, the Equis House, located on the same bay. With the growing densification of constructions on the beach, we followed the pattern of coastal towns, made by the declination of a prototype following each time new circumstances of use, situation, and aspirations of the inhabitants. Although these houses were not designed as a set, over a period of three years they became a coherent and compact set of four adjoined houses originating from the same “prototype”. They form part of a unique research on the qualities of habitation offered by the Peruvian desert.
Acerca de… Conversación con Barclay & Crousse
(Universitat Politècnica de València, 2019-04-30) Abalos-Ramos, Ana; Llopis Fernández, Pablo
[EN] About the difference Twenty years and 10,000 kilometers separate the construction of the museum Mairaux in France and the Paracas Musuem in Peru. As a starting point, this interview will be interesting to know in which context Barclay & Crousse began in France, and if a turning point existed motivating the current focus of their work in the Peruvian context. The reality of our country, that through constant crises, and the aspirations of finding ourselves with our European roots, we had just graduated when we arrived in Europe. Jean Pierre first studied in Milan, and then we both ended up in Paris, I was studying and Jean Pierre was working with Enrique Ciriani. Later, thanks to our partnership with Laurent and Emmanuelle Beaudouin.
La pertinencia, el territorio y el tiempo
(Universitat Politècnica de València, 2019-04-30) Abalos-Ramos, Ana; Llopis Fernández, Pablo
Si algo define la obra de Barclay&Crousse diríamos que es la pertinencia. Esta afirmación podría ser el resultado de una primera mirada que se topa con la energía y la solidez que transmiten sus proyectos. Una energía firmemente unida al territorio y al clima, y una solidez profundamente anclada en la cultura y la tradición. Tras esa primera mirada, queda el análisis detenido de sus obras, sus dibujos, sus maquetas, para constatar tras él que su arquitectura es de todo menos arbitraria. Como si hubieran sido guiados por fuerzas ocultas nunca muy explícitas trabajan obstinadamente conectados con el contexto peruano; un contexto complejo tanto por sus condiciones geográficas como por sus condiciones socioeconómicas, que asumen y entienden con una actitud no enjuiciadora que les permite operar de forma consciente con las posibilidades reales de las que disponen.

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