EGA. Vol 25, No 40 (2020): Conversando con... J.I. Linazasoro

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Reseñas de libros

Artículos

conversando con... José Ignacio Linazasoro
La caja mural como componente fundamental para la recuperación de la geometría inconclusa de la iglesia vandelviriana de Santa María en Cazorla
De las bóvedas nervadas al cañón con lunetos. Las iglesias de bóveda baída en el ámbito valenciano
Reconstrucción del desaparecido claustro renacentista de Santa María de Monfero
Las dos almas de Diego Siloé: una aproximación analítica a la iglesia de la villa en Montefrío
Composición formal de las fachadas Barroco-Mestizas Arequipeñas (s. XVI-XVIII)
“Nuevos arquitectos, mismos albañiles”. Trasvase de conocimientos y sincretismo en cuatro portadas platerescas del sur y centro de Jalisco, México
Vitruvio affigurato. Cesariano y el dibujo para el conocimiento
Recursos gráficos para el posicionamiento SIG y análisis de la fortificación del siglo XX. Búnkeres en el entorno del peñón de Gibraltar
La restitución perspectiva a partir de una imagen fotográfica. El palacio de Jura Real de Valencia
L’Objet Trouvé come modello tra approcci analogici e digitali
Rafael Leoz y la abstracción geométrica en los años sesenta
La representación del museo portátil. Un concurso para un contenedor icónico
Dibujos que inmortalizan la ciudad. La arquitectura latente y perseguida del barrio de El Cabanyal
Jean Renaudie en Vaudreuil (1967-1968): grafismo abstracto y morfología paisajística de un urbanismo utópico
El dibujo de aproximación en Oporto: construyendo la imagen de la ciudad
La Villa Bianca de Terragni. Panorámica temporal de una promenade architecturale
Intensidad constructiva y visual en la obra inicial de Fargas y Tous (1954-1963)
La relación entre el dibujo y la escritura en la formación como arquitecto (1968-1972) de Rem Koolhaas

Aproximación histórica al dibujo de arquitectura en España en el siglo xx

Idear y hacer en el dibujo de arquitectura de Antonio Flórez Urdapilleta (1879-1941)

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/158574

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Reseñas de libros
(Universitat Politècnica de València, 2020-11-17) Campo Baeza, Alberto; Delgado Orusco, Eduardo; Álvarez Arce, Raquel; Ruiz de la Rosa, Jose Antonio; Álvarez González, Mª Ángeles; Torres Cueco, Jorge; Calatrava Escobar, Juan; Dercelles, Arnaud; Lizondo Sevilla, Laura; Domingo Calabuig, Débora; Prat García, Avelina; Gámiz Gordo, Antonio; Montes Serrano, Carlos; Departamento de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea; Grupo de Proyecto Arquitectura
[ES] Reseñas del vol. 25, nº 40 EGA
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“To Think and to Do” in the architectural drawing of Antonio Flórez Urdapilleta (1879-1941)
(Universitat Politècnica de València, 2020-11-17) Mosteiro, Javier; Guerrero, Salvador
[EN] Nowadays, the name of Antonio Flórez has a significant value for us. In both aspects of his work as an architect –school buildings and intervention in remarkable monuments– drawing played a predominant role. In this paper, we shall discuss the far-reaching import of this fact.To the interest of his professional drawings, in line with the idea of architecture that he proposed, it is necessary to add the esthetic value of his manner of wielding his pencil. In Flórez, we always find the architect drawing –thought and action–; but, at the same time, there is also the act of the artist (a figure he always felt close to, and whose training he held was rooted in that of the architect).Even given his uniqueness and his skill in drawing and watercolour, Flórez is nevertheless a clear testimony of what the practice of drawing represented for the architects trained at the Madrid School of Architecture, in the first decades of the 20th century.
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The relationship between drawing and writing in Rem Koolhaas’ training as an architect (1968-1972)
(Universitat Politècnica de València, 2020-11-17) Ventura Blanch, Ferran
[EN] This article explores the training Rem Koolhaas received during his early student years, his evolution in architectural drawing, and his use of writing as a tool in the design process. We will examine his initial works as a student. The first, titled The Surface, was a reaction to his first teacher’s recommendation he should be expelled from architectural studies due to his shortcomings in drawing. In the second, The Berlin Wall as architecture, aware of his lack of drawing skills, he resorts to the use of images and collages. In the third, Exodus, Koolhaas, now married to Madelon Vriesendorp, returns to drawing and painting to illustrate his architectural thinking, but in this case with illustrations drawn by his wife. We examine the three projects evidencing Koolhaas’ deficiencies, and demonstrate that the relationship between drawing and writing plays a major role in creating a new way of looking at architecture.
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Constructive and visual intensity in the initial work of Fargas and Tous (1954-1963)
(2020-11-17) Deulofeu Fuller, Glenn Andrés
[EN] The works that Josep María Fargas and Enric Tous built in the period between 1953 and 1964 represented a particular way of understanding modern architecture in Spain. The scarcity of building materials available at the time encouraged the architects to delve in a process of intense search for new constructive solutions, rigorously assessing not only technical issues, but also the way they were visually displayed. The predominant visual features in Fargas and Tous’ first works have been analyzed through a digital three-dimensional reconstruction process of a series of four of the most representative works in the aforementioned period. The method allows for a visual intellection that has been embodied in a sequence of texts and images. By doing this, the text aims to value a body of work that remains current in many of its architectural principles, despite its physical absence.
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Terragni’s Villa Bianca: the time horizon of an architectural promenade
(Universitat Politècnica de València, 2020-11-17) Carrau Carbonell, Teresa; Bosch Reig, Ignacio; Burgos Vijande, Alberto
[EN] During his short but brilliant professional career Terragni carried out some residential projects, including the outstanding Villa Bianca in Seveso. By means of the rationalist architect’s drawings we will understand why the form is truly the result of the function and that the envelope responds to the resolution of man’s needs. The initial state of the villa is analysed through the original plans, which contain the key to this villa, while the unpublished graphic documentation of the architect who restored it will give us an idea of its evolution over time and we will experience its current condition by an in-situ visit. Through the comparative analysis of the plans of the different periods we will discover its state of conservation as the architectural heritage of the Modern Movement.
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The approximation drawing in Porto: building the image of the city
(Universitat Politècnica de València, 2020-11-17) Úbeda Blanco, Marta; Mendoza Rodríguez, Isaac; López Bragado, Daniel; Lafuente Sánchez, Víctor A.
[EN] Porto is a city located in a privileged enclave. The observer is able to see its construction, both spatially and temporally, in a simple way. Collecting the concepts stated by several authors regarding the sensory experience that cities offer for their recognition and legibility, we move towards a reflection regarding the creation of the image of the city. On a more practical level applied to the specific case of the city of Porto, we will conclude with a detailed analysis, through the approximation drawing, which follows the story of K. Lynch, about fundamental elements in the recognition and identification of the urban image: borders, neighbourhoods, paths, nodes, landmarks, and the original relief itself.
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Jean Renaudie in Le Vaudreuil (1967-1968): abstract graphics and landscape morphology of a utopian urbanism
(Universitat Politècnica de València, 2020-11-17) Moreno Moreno, María Pura
[EN] This article examines Jean Renaudie’s drawings for the new city of Vaudreuil (1967-1968). The analysis of its structure, chromatism and formality allows for these sketches to be considered the turning point towards the fusion of architecture and urbanism in a unique theoretical framework. Renaudie’s purpose of expressing the complexity and desire for social cohesion in a graphic design willing to expose his idea of “city as a combination” against the functionalist zoning of the Athens Charter, strongly criticized by his generation will be addressed. The objective will be to demonstrate whether this graphic abstraction led to the “absolutely other space” capable of accommodating the new society, as advocated by the social theory of his intellectual referents such as Althusser, Foucault, Lévi Strauss, Lefebvre and Marcuse. And if, at the same time, it was the seed that was sown for subsequent materializations such as those developed in the urban complexes in Ivry-sur-Seine, Givors or Saint Martin d’Hères.
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Drawings that immortalize the city. The latent and persecuted architecture of the El Cabanyal
(Universitat Politècnica de València, 2020-11-17) Barros da Rocha e Costa, Hugo A.; Molina-Siles, Pedro; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio
[EN] After ten years, drawing indiscriminately the neighborhoods of Valencia, for no other reason than to observe and represent every corner of the city, we finally decided to use the communicative capacity of drawing as a tool to reclaim El Cabanyal’s negletic state of abandonment, that has been going through for many years, regardless its political burden. After setting this goal and analysing the morphological and social history of this neighborhood, we decided to travel the streets and rooftops of El Cabanyal, talk to its people, and draw, in situ, those different spaces, shapes, colors, atmospheres ... giving rise to dozens of drawings that immortalize the (still alive) remains of this urban ecosystem. Paper-shaped witnesses sketched with latent architectures, persecuted and threatened by oblivion that will accompany us during the course of this paper. After ten years, drawing indiscriminately the neighborhoods of Valencia, for no other reason than to observe and represent every corner of the city, we finally decided to use the communicative capacity of drawing as a tool to reclaim El Cabanyal’s negletic state of abandonment, that has been going through for many years, regardless its political burden. After setting this goal and analysing the morphological and social history of this neighborhood, we decided to travel the streets and rooftops of El Cabanyal, talk to its people, and draw, in situ, those different spaces, shapes, colors, atmospheres ... giving rise to dozens of drawings that immortalize the (still alive) remains of this urban ecosystem. Paper-shaped witnesses sketched with latent architectures, persecuted and threatened by oblivion that will accompany us during the course of this paper.
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The representation of the portable museum. A competition for an iconic container
(Universitat Politècnica de València, 2020-11-17) Falcón Meraz, José Manuel
[EN] The idea of a transportable architecture has been present throughout history. Different architects have experimented with this concept, managing to materialize it in typologies such as the pavilion at international exhibitions. Along the same lines, the museum, as a typology that seeks to get closer to the masses, has found a useful variant in the portable building. If temporary exhibitions acquire their value in their constant contact with the public, the idea of bringing the exhibition together with the architecture becomes relevant. Thus, this paper analyses the paradigmatic experience of the Guggenheim Foundation, a leading museum institution in the competition for a temporary museum in Tokyo. Through the analysis of the proposals of Ban, Nouvel, and Hadid, it will be observed how architects use the full force of their representational styles whilst facing a typological innovation, aiming to appeal and to communicate the original architectural content that will be the main object of the exhibition.
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Rafael Leoz and geometric abstraction in the 1960s
(Universitat Politècnica de València, 2020-11-17) Cervero Sánchez, Noelia
[EN] The work of Rafael Leoz (1921-1976) presents strong convergences with the analytical currents on geometry, regulation and construction, which were developed in Spain during the 1960s. The architect’s career, devoted to the harmonic systematization of the inhabitable space for its industrialization, was based on drawings and models of great formal value, which he later transferred to sculptures and ornamental designs. The observation of his references and principles as well as the chronological analysis of his relationship with the Geometric abstraction allow to deduce common features that start from the work as a means of scientific, aesthetic and social experimentation, and advocate for the integration of the arts.
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Mapping the Objet Trouvée as a model, between analogical and digital approaches
(Universitat Politècnica de València, 2020-11-17) Colonnese, Fabio
[EN] This article frames and discusses the use of found-objects as scale models or part of them in the architecture design and communication. While this age of digital technologies and semiautomatic production techniques has affected most of the traditional workflow and tools of architectural design process, the use of foundobjects in model-making is still practiced, revealed and promoted by contemporary architects and teachers. The historical roots and critical function of this practice in the artistic vanguards is here briefly presented before discussing their potential roles in relationship with the digital tools currently permeating the design process. Three different categories of found-objects modeling are finally identified and discussed, in relationship with the semantic and operative opportunities they offer to architectural representation.
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Perspective restitution from a photograph. The Palace of Jura Real in Valencia
(Universitat Politècnica de València, 2020-11-17) Ramón Constantí, Amanda; Gómez-Gil, Antonio
[EN] The aim of this paper is to show the method of the perspective restitution in the photography of the long lost Valencian palace of Jura Real, in order to digitally rebuild its façade. This work has been carried out through a search for old graphic and photographic material, in public and private archives. Fortunately, some elements have been found that belonged to the demolished palace, which provide a metric reference. As a result of the graphic procedure, details of which can be found in this text, the missing façade has been redrawn by introducing the information into a vector-drawing program (Autocad).
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Graphic resources for the GIS positioning and analysis of 20th-century fortification: bunkers in the vicinity of the rock of Gibraltar
(Universitat Politècnica de València, 2020-11-17) Atanasio Guisado, Alberto; Arévalo Rodríguez, Federico; Molina Rozalem, Juan Francisco; Ministerio de Economía y Competitividad
[EN] At the end of the Spanish Civil War, a fortification system was built along the northern shore of the Strait of Gibraltar. Its components include a network of bunkers to defend the coast, which is of enormous historical interest as another link in the evolutionary chain of fortification. However, in spite of institutional protection, the heritage value of these bunkers is still a subject of debate and today they remain ignored and abandoned to their fate. To raise awareness and contribute to the knowledge about these elements, we have devised a strategy based on the use of different graphic resources and documents discovered in military archives: georeferencing of the location and identification plans of the bunkers to draw up an inventory using geographic information systems; and an architectural analysis of the original floor plans and crosssections, as well as the creation of various 3D surveys.
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Vitruvius Affigurato. Cesariano, drawing for knowledge
(Universitat Politècnica de València, 2020-11-17) Martínez Díaz, Ángel
[EN] The Vitruvian edition of Cesare Cesariano is undoubtedly one of the key pieces of the architectural literature of its time. It is due to its content, trying to cancel a 1,500-year gap, updating and vulgarizing a knowledge considered as necessary. But perhaps its main value is its formalization, its way of presenting an integral discourse in which the verbal radically and intimately merges with the graphic in a work that uses the incipient resources of the printing press. Here, the main features of the drawings that make up the printed book and its Madrid handwritten complement will be summarily pointed out, tracing its affiliation and outlining its content and its most significant narrative resources. Rather than having been the author of the alleged second illustrated edition of the Ten Books, Cesariano deserves a preeminent place in the History of Architectural Drawing because of these resources.
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“New architects, same masons”. Knowledge transfer and syncretism in four plateresque portals of the south and center of Jalisco, Mexico
(Universitat Politècnica de València, 2020-11-17) González Rizo, Jesús Erick
[EN] Throughout the sixteenth and seventeenth centuries, the Cocas and Sayulteca Indians of central and southern Jalisco experienced, like other Mesoamerican societies, a profound process of transformation in the wake of evangelization. The testimonies of this era are few, and less architectural; In the region, unlike other areas such as Central Mexico, there are few diagnostic elements of the Plateresque style. In this work we analyze five unpublished examples through analogies, iconography, documentary sources and virtual anastylosis, in the towns of Mezcala, Teocuitatlán, Amacueca, and Santa Cruz. In some of the case studies, the trial and error process, typical of a learning and knowledge transfer stage between Europeans and natives, is evident. Apart from this, we can see in the chapels of the region an abundant repertoire of iconographic representations of the Tequitqui style or Indo-Christian art that reflect indigenous cultural continuity.
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Formal composition in Arequipean facades of the Barroco Mestizo (c. XVI-XVIII)
(Universitat Politècnica de València, 2020-11-17) Coll Pla, Sergio; Rios Vizcarra, Gonzalo; Costa Jover, Agustí; Lluis i Ginovart, Josep
[EN] The Barrocco Mestizo features formal wealth and knowledge of various origins. Its European origin is clear; however, its influences and evolution are not. This paper studies the medieval and classic influences in the Barroco Mestizo architecture. Specifically, it surveys the facades of the Churches of the Merced, San Francisco, the Company, Santo Domingo, San Augustine, and the Third Order. The facades of these churches are featured by its elaborate iconography.
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The two souls of Diego Siloé: an analytical approach to the Church of la Villa in Montefrio
(Universitat Politècnica de València, 2020-11-17) Ampliato Briones, Antonio; Acosta Almeda, Eduardo; Agencia Estatal de Investigación; Ministerio de Economía y Competitividad
[EN] This article examines the Renaissance church of La Villa in Montefrío, a milestone in the career of Diego Siloé, and presents an architectural analysis based on a new set of detailed plans. In this church, the complex topography of the hill and the changing urban reality are essential elements of the architecture. The audacious position of the building on the edge of the cliff and, even more notably, the dramatic protrusion of the apse and tower form part of an exercise in the control of distance, scale and movement, hallmarks of a mature Renaissance language. A homogeneous and unitary interior structure provides the basis for a series of formal strategies, culminating in a spatial duality that subtly transcends to the exterior. In this complex architecture created by Siloé, each compositional gesture operates simultaneously on several fronts, all combining to create a unified end result.
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Rebuilding of the lost renaissance cloisters of Santa Maria de Monfero (A Coruña)
(Universitat Politècnica de València, 2020-11-17) Lorenzo Aspres, Alberta
[EN] From the current cloisters of the hostelry of Santa María de Monfero (A Coruña) we can only see the southern wall, whose construction began at the end of the seventeenth century as the substitute of a previous renaissance cloisters of which little more than the corbels inscribed in thehallways walls and the two corners of the southern wall remain.With the intention of understanding and learn the material reality of this missing part of the building and undertake its graphical reconstruction, we present a recreation methodology which has been developed from the point of view of a triple analysis, based on the examination and interpretation of the historical documents, of the contemporary claustral typologies and of the inherited vestiges.
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From rib vaults to barrel vaults with lunettes. Sail vault churches in the valencia region
(Universitat Politècnica de València, 2020-11-17) Sender Contell, Marina; Perelló Roso, Ricardo; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura; Departamento de Mecánica de los Medios Continuos y Teoría de Estructuras; Centro de Investigación en Arquitectura, Patrimonio y Gestion para el desarrollo Sostenible
[EN] The architectural changes implemented in the transition from the Gothic style to the Classical style during the Renaissance led to the adoption of new spatial and compositional parameters that required the support of new geometric and structural systems. The evolution undergone by church vaulting systems in the Crown of Aragon from Gothic rib vaults to Baroque barrel vaults with lunettes is of particular interest in this context. As a stepping stone in this transformative process in the region of Valencia, some churches were roofed with a succession of sail vaults whose characteristics can unmistakably be ascribed to the Classical style. The geometric solution adopted for these spherebased vaults proved to be of critical importance.The text analyses five churches built in accordance with this system, showing the innovative geometrical approaches to their roofing solutions adopted by the various architects.
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La caja mural como componente fundamental para la recuperación de la geometría inconclusa de la iglesia vandelviriana de Santa María en Cazorla
(Universitat Politècnica de València, 2020-11-17) Estepa Rubio, Jesús; Estepa Rubio, Antonio
[EN] The Spanish Renaissance architecture is structured, in a general way, from pieces that, depending on the design criteria and the spatial configuration defined in the project, are joined to generate one result or another; this is what we will call “components.” This is justified by the fact that each builder had to plan the pieces of the puzzle that had been assigned to him and, therefore, it is not uncommon that, sometimes, disagreements appear between complementary pieces of the same work. Thus, the architect’s organizational capacity, as a composer of the formal configuration and as director of the executive process, plays a fundamental role.To recover the unfinished geometry of the church of Cazorla we will rely on the individualized study of the components that make up the set, paying special attention to the definition of the wall box that defines the volumetric envelope of the construction.

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