EGA. Vol 21, No 28 (2016): Conversando con... Jean Nouvel

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Conversando con... Jean Nouvel
Editorial: Aproximación histórica al dibujo de arquitectura en España en el siglo XX
La iconografía del Monasterio de El Escorial: Tradición e innovación en cuatro siglos de imágenes impresas
Goethe y la arquitectura teatral
La bóveda anular del Palacio de Carlos V en Granada. Levantamiento y análisis geométrico y constructivo
Restitución gráfica de la sala 12 del Palacio Condal de Oliva a partir del legado gráfico de Fischer y Lauritzem
Panoramas esféricos estereoscópicos
Los oscuros orígenes de la cámara oscura: Alhacén y sus predecesores
Las litografías de Louis Lozowick y su influencia en Louis Kahn
Formas, cultura técnica y expresión arquitectónica
La lectura de Jorge Oteiza de «Saber ver la Arquitectura» a través de sus reflexiones dibujadas: influencia en sus trabajos arquitectónicos
La biblioteca de un arquitecto modernista
Studio Labayen-Aizpurua. Un laboratorio experimental neoplasticista
La arquitectura desplegable conmemora los XXV años de paz. 50 Aniversario del Pabellón de Emilio Pérez Piñero
Concepto y representación espacial en la arquitectura expositiva del movimiento moderno. Reflexiones sobre la retícula, el vacío y la transparencia
Árboles, rostros y arquitectura, convergencias en el dibujo de Louis I. Kahn
Una casa para Juan Navarro Baldeweg
El dibujante de ideas y constructor de imagen. Fundamentos de dibujo de arquitectura
Los dibujos de José Borobio en el periódico de arquitectura ANTA
Análisis gráfico de los criterios de proyección de la Gran Vía de Colón de Granada y de su evolución constructiva
Antonio Bonet. Sistemas de agregación urbanística análisis gráfico de las viviendas del poblado Hifrensa (1967-75)
La parametrización, una herramienta informática como ayuda en eL proceso creativo deL arquitecto. La cubierta de un centro budista en tenerife
Documentación del patrimonio cultural. Método basado en la fusión de técnicas fotogramétricas y de escaneado óptico de triangulación
Action drawing. Una apuesta por el dibujo
Nueva York: relatos gráficos
La recuperación del cómic: Neutelings & Riedijk, Sanaa y Lebbeus Woods
Metodología para la reconstrucción virtual interactiva en modo videojuego del patrimonio cultural. Aplicación al castillo medieval de Torreparedones (Baena)

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/76550

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Metodología para la reconstrucción virtual interactiva en modo videojuego del patrimonio cultural. Aplicación al castillo medieval de Torreparedones (Baena)
(Universitat Politècnica de València, 2016-09-29) Porcuna Bermúdez, Diego; Córdoba de la Llave, Ricardo; Sanz Cabrera, Jerónimo; Montes Tubío, Francisco de Paula
[EN] Advances in graphical power of computers increase the realism of 3D virtual representations and the quality of details, allowing for very precise studies on the typology and constructive methods. This has allowed to put the images and graphic animations in a virtual scenario, in which the observer connects with the heritage interactively with total freedom of movement. Archaeological evidence of Medieval times at Torreparedones site identify a castle and an area of auxiliary services. By using the software of game engines, commonly used for leisure and entertainment, and archeological reports, is expected to reconstruct a dynamic scenario with elements of cultural heritage from the Torreparedones Castle of Baena that permits to analyze interactively the reconstructive hypothesis of reality obtained from the study, making the observer to lead the navigation among the patrimonial elements represented.
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Nueva York: relatos gráficos
(Universitat Politècnica de València, 2016-09-29) Barros da Rocha e Costa, Hugo A.; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio
[EN] Last semester, I was lecturing, as a visiting scholar, at Parsons School of Design, New York, My stay was focused on the research, communication and rendering of the Urban landscape, by means of personal drawing, as well by researching in New York libraries, museums and archives. Trying to “see” this dynamic city from the Bronx to Long Island Beach, through my personal drawing was such a visually enriching experience. Expressing the atmosphere, light and form I experienced under the Brooklyn Broadway metro beams, in the heart of Brooklyn, was thrilling, intense and stirring. Today, after a few short months there, New York has become so different to my eyes.These “on site” sketches exhibited on this article are among a larger group of around 300, incorporating varying style, scale and technique
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La recuperación del cómic: Neutelings & Riedijk, Sanaa y Lebbeus Woods
(Universitat Politècnica de València, 2015-09-29) Escoda Pastor, Carmen
[EN] The revival of drawn stories, which today we know as comics, provides architectural representation with great expressive potential, one which supports the transmission of ideas and concepts in an easy and attractive way. Architects started to use the language of comics as a form of communication, as seen in Archigram’s revolutionary manifestos, in Superstudio’s storyboards, in the comic books of Koolhaas and Big group, in the striking panels of Neutelings & Riedijk and Sanaa, and in the invention of Lebbeus Woods’s imaginary cities.The comic is represented as a panel, or as a diagram, or follows the style of contemporary comics. The different graphic techniques used, are an example of its contribution to contemporary architectural language as a tool for the research and the expression of the essence of the project
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Documentación del patrimonio cultural. Método basado en la fusión de técnicas fotogramétricas y de escaneado óptico de triangulación
(Universitat Politècnica de València, 2016-09-29) Molero Alonso, Borja; Barba, Salvatore; Álvaro Tordesillas, Antonio; Universidad de Valladolid; Ministerio de Economía y Competitividad
[EN] The continuing progress over the last years on three-dimensional surveying equipments –software and hardware– has increased the range of possibilities for the recording, documentation and dissemination of heritage. However, and based on this following hypotheses, there are yet several obstacles in the creation of photorealistic and reliable 3D models among some geometric and radiometric fields. These problems arise when the pieces offer difficulties for scanning such as the lack of defined edges in the geometry of the object in question and/or the impossibility of recording due to the type of finish (color, uniformity, reflectance...)This study suggests and presents results of a photorealistic model applied to the survey of the work of the sculptor Jorge Oteiza, whose pieces are characterized by geometries and textures against an ideal scanning. The solution contemplated here involves a methodology based on a combination of techniques: models captured by optical triangulation scanner Artec supported by the photogrammetric software PhotoScan in the texturing phase
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La parametrización, una herramienta informática como ayuda en el proceso creativo del arquitecto. La cubierta de un centro budista en tenerife
(Universitat Politècnica de València, 2016-09-29) Gilabert Sanz, Salvador
[EN] Creative processes of architecture are multiple and sometimes conceptually varied, in the project to cover a Buddhist center in Tenerife, we pretended not to turn away from a creative process of integration between the program or the budget, but also introducing own original concepts, and inspired by other arts. We have tried to dilute any mental border, creating networks between all this information to integrate these divers concepts in the realization of the project
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Análisis gráfico de los criterios de proyección de la Gran Vía de Colón de Granada y de su evolución constructiva
(Universitat Politècnica de València, 2016-09-29) Martínez-Ramos e Iruela, Roser; García Nofuentes, Juan Francisco
[EN] The construction of the Gran Via de Colón of Granada is developed/takes place between 1898, year in which the Church of the Sagrado Corazón is built, and 1934, approximate date of finishing of the building Caja de Previsión Social. By analyzing the original distribution plan of the properties –signed in 1891 by the municipal architect Modesto Cendoya y Busquets–, the building typologies –rental housing model– and using drawing as the building chronology interpretation tool, the design criteria of this unique opening project seems to evolve through time and differs from its starting point. Its execution was permanently conditioned to economic circumstances and improvisation factors which caused, among other effects, changes on the original distribution sites, adapting to the technical and economic vicissitudes which arose during the thirty-six years under construction
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Antonio Bonet. Sistemas de agregación urbanística análisis gráfico de las viviendas del poblado Hifrensa (1967-75)
(Universitat Politècnica de València, 2016-09-29) Ródenas García, Juan Fernando
[EN] Most of Bonet’s work in both architecture and urban planning uses patterns that implicitly contain systems of growth such as those found in natural biological life forms. When he designed La Ricarda House (1949-62), Bonet was looking not for a final definitive form but for a system that could grow. La Ricarda may be said to share its ‘genetic code’ with with his other works that also use sculptural expression of the roof and modular architecture as compositional resources (Berlingieri House, Rubio-Murcia House, Balañà House, the Hifrensa School). The same occurs on a larger scale in his urban developments, in which Bonet transforms a basic module to generate numerous versions around the idea of the city. As we shall see, in the Hifrensa housing development, systems of expansion are not a question of style, rather they are a tool to resolve the architect’s theoretical formulations
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Action drawing. Una apuesta por el dibujo
(Universitat Politècnica de València, 2016-09-29) Salgado de la Rosa, María Asunción; Raposo Grau, Javier Fco.; Butragueño Díaz-Guerra, Belén
[EN] The model of unlimited growth of the cities has entered into crisis and its consequences collide head-on with the understanding of the building as the ultimate purpose of the architecture. More than ever, it is necessary to generate a debate on the future of the architecture, raised from new points of view. Open the debate from the graphical experimentation, from the drawing, could be a solution, given that it is a discipline that has experienced one of the biggest technological advancements in recent times
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Los dibujos de José Borobio en el periódico de arquitectura ANTA
(Universitat Politècnica de València, 2016-09-29) Bernal López-San Vicente, Amparo
[ES] La dimensión artística del arquitecto zaragozano Jose Borobio Ojeda (1907-1984) es una parte esencial de su vida que articula su trayectoria personal y profesional. El conjunto de su obra gráfica ha sido analizada y difundida en diferentes exposiciones y publicaciones. En este artículo centramos el estudio en los apuntes de arquitectura realizados durante un viaje de estudios al Albarracín organizado por Teodoro de Anasagasti en 1930. Dos años después, Anasagasti seleccionaría esos apuntes para ilustrar el periódico decenal de arquitectura Anta que él mismo editaba. La expresividad del trazo lineal característico de sus dibujos le convirtió en un protagonista del discurso gráfico del periódico
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El dibujante de ideas y constructor de imagen. Fundamentos de dibujo de arquitectura
(Universitat Politècnica de València, 2016-09-29) Granero Martín, Francisco
[EN] It’s an article about the foundations for architectural drawing from the viewpoint and construction of the architectural ideal, establishing strategies and presenting doubts regarding the process that are focussed on the origin of its start through ambiguity, mystery, fruition, and memory
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Una casa para Juan Navarro Baldeweg
(Universitat Politècnica de València, 2016-09-29) Martínez-Díaz, José Enrique; Hidalgo Delgado, Francisco
[EN] Establishing the relations between the world of plastic project concerns and materially defined architectural forms is a step that arises in the work of many architects, including Juan Navarro Baldeweg as a leading figure. The underlying mechanisms concealed in nature around us and the physical forms that boost our creative drive are originated, a priori, in the same way for all the branches of art creating that bond between them.This article aims to achieve, through the figure of the architect, sculptor, painter and writer, Juan Navarro Baldeweg, and his project “A house for an intersection,” that conception of the artistic work where all the arts are related and intertwined to each other in the early stages their genesis, from the birth of an idea to its final result, materialized with the hand in the first steps, quasi physiological and influenced by the energies that are related to it.
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Árboles, rostros y arquitectura, convergencias en el dibujo de Louis I. Kahn
(Universitat Politècnica de València, 2016-09-29) Bravo de Laguna Socorro, Alberto
[EN] Throughout his life, Kahn drew architecture, landscapes, objects and other subjects. If we were to put together a selection of various different drawings and placed them in chronological sequence, we would be able to observe an evolution through different periods and variations in the act of drawing. There is a visible overlapping of technique and form, testament to his artistic inspiration, personal circumstances and, above all, his conception of architecture.In order to study these relationships, we selected two recurring motifs in his drawings – trees and self-portraits – to search for graphic convergence; their constant presence are proof of a graphic evolution that goes hand in hand with his architectural designs
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Concepto y representación espacial en la arquitectura expositiva del movimiento moderno. Reflexiones sobre la retícula, el vacío y la transparencia
(Universitat Politècnica de València, 2016-09-29) Layuno Rosas, Ángeles
[EN] The modern concept of the exhibition space was a consequence of a symbiosis produced between technical advances and changes in scientific and philosophical thought. On this basis, projects and theoretical proposals of architects such as Mies van der Rohe and Lina Bo Bardi are analyzed, in order to observe the ideological and aesthetic content of the principles that will shape the museographical tradition of Modern Architecture. In this sense, the various graphical documents are of greatest relevance, as vehicles which contribute to reconstruct an exhibition history that was not made, or altered over time.
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La arquitectura desplegable conmemora los XXV años de paz. 50 Aniversario del Pabellón de Emilio Pérez Piñero
(Universitat Politècnica de València, 2016-09-29) Pérez Belda, Emilio A.; Pérez Almagro, M. Carmen
[EN] Emilio Pérez Piñero carried out a transportable pavilion for exhibitions based on a flat reticular deployable structure made out of aluminium. A roof of 8.000 sqm covered the commemorative exhibition Spain 64. This structural achievement was meant to be used as a propaganda tool by the Spanish government of that time, in order to highlight the successes accomplished since the end of the Spanish Civil War, within the framework of the National propaganda campaign named 25 Years of Peace. Commissioned by the Spanish Ministry of Information and Tourism, the pavilion was subsequently installed in Madrid, San Sebastian and Barcelona.
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Studio Labayen-Aizpurua. Un laboratorio experimental neoplasticista
(Universitat Politècnica de València, 2016-09-29) Villanueva Fernández, María; Naya Villaverde, Carlos
[EN] With the development of the avant-garde in the early twentieth century, the debate, long before started, about the relation of art with architecture and furniture, was revived. The paper explains how those new artistic forms permeate through the development of those disciplines, and represent an image of modernity to some architects who take on that formal language and integrate it into their works. This research explores the case of the Studio of the Spanish architects Joaquin Labayen and Jose Manuel Aizpurua, who not only used Neoplasticism in their early works, following architects such as J.J.P. Oud or P. Mondrian, but also proposed a new interpretation of the modern vanguard through their personal perspective. Beyond a particular aesthetic, the artwork is used as a spatial solution
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La biblioteca de un arquitecto modernista
(Universitat Politècnica de València, 2016-09-29) Amado Lorenzo, Antonio
[EN] The architectural Art Nouveau of the early twentieth century in countries such as Spain, and particularly in the more peripheral cities such as A Coruña, was clearly influenced by the Vienna Sezession. The figure of Otto Wagner, and in particular the influence of publications about his work, and that of his followers, on the Madrid and Barcelona schools of Architecture was fundamental. An analysis of the library of the architect Julio Galán, who designed several of the most important works of architecture in A Coruña, confirms these influences
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La lectura de Jorge Oteiza de «Saber ver la Arquitectura» a través de sus reflexiones dibujadas: influencia en sus trabajos arquitectónicos
(Universitat Politècnica de València, 2016-09-29) López-Bahut, Emma
[EN] In 1953, Jorge Oteiza read Bruno Zevi’s book Architecture as Space. How to look at Architecture, making notes and drawings in his copy, which is preserved in his personal library. This reading had an influence on the architectural projects he was developing at that time, both in interiors such as the Córdoba Chamber of Commerce, or exteriors such as the façade of the Basilica of Aránzazu. From its analysis, this reading can be considered as a key point in the evolution of the sculptor’s relationship with architecture, as it led him to consider space as a common material, allowing him to progress in both disciplines.
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Las litografías de Louis Lozowick y su influencia en Louis Kahn
(Universitat Politècnica de València, 2016-09-29) Montes Serrano, Carlos; Galván Desvaux, Noelia
[EN] The paintings and drawings of the architect Louis Kahn were catalogued in a book by Jan Hochstim (1991), which allowed those interested in his graphic work to study them in greater depth in later publications. This essay is intended to show possible influences upon certain drawings by Kahn from the lithographs of Louis Lozowick, an artist who was very well known in the early 1930s because of his drawings of the American Scene
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Formas, cultura técnica y expresión arquitectónica
(Universitat Politècnica de València, 2016-09-29) Jordá Such, Carmen
[EN] The development of reinforced concrete techniques and the appearance of a hitherto unknown typology, shells, propitiated a surprising transformation of the modern canon, whose critical assessment needs to be updated from new interpretive hypotheses. The exuberant and curvilinear architectural work of the mid-20th century is explained in this article from the perspective of engineering that had experimented with strength contribution to form. Later, the ideas of architecture, structure and sculpture seem to fuse and be confused under the huge variety of solutions that a mouldable material such as concrete could deploy. The article explores the internationalized territory of warped geometries, ruled surfaces and parabolic profiles which, following in the wake of Freyssinet, Dischinger, Torroja or Candela, among others, captivated the architects of an entire era from Saarinen to Utzon, including the Smithsons or Le Corbusier himself, as well as Niemeyer, Tange, Sert and a long series of names that are still reference points due to the importance of their careers
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Los oscuros orígenes de la cámara oscura: Alhacén y sus predecesores
(Universitat Politècnica de València, 2016-09-29) Fraga, Fernando
[EN] In the heart of the 21st century, we have been surprised witnesses of a coarse pinhole projection among different professionals. This fact shows that in spite of the thorough study made by specialists, the so called Camera Obscura is something that has been talked about but only a few have experimented.Without the help of a lens, the image projected by a camera is dim and not clear. Only in ideal luminous circumstances, a good hole quality and total darkness would it be possible to efficiently trace the outline of the projected image. Once this fact has been confirmed since very old times, it was only a matter of time that curiosity or a stroke of luck led to place a lens in the little opening. While all these was going on, innumerable authors devoted to study the whole process. But, nevertheless, the graphic or written evidence that have reached us, is certainly poor.

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