EGA. Vol 17, No 19 (2012): Conversando con... OSCAR NIEMEYER

Tabla de contenidos

Reseñas de libros

Artículos

Conversando con... Oscar Niemeyer
Territorio y cartografía. Paisajes e interpretaciones. Imágenes gráficas, cartográficas y literarias: el caso de Cádiz
Noticias sobre el manuscrito anónimo “Artes excelençias de la perspectiba”: breve crónica de una publicación
Apuntes sobre el origen de la línea
El Greco cartógrafo: vista y plano de Toledo (1608-1614)
La iglesia del convento dominico de Montesión en Sevilla. Una posible atribución a Hernán Ruiz II a partir de recientes levantamientos
El dibujo anónimo de la antigua Tabarka, Túnez
¿Tipologías o topologías? De las formas definidas tipológicamente en la arquitectura
De lo proyectado a lo construido. El Mercado Central de Valencia
KAHN Y BARRAGÁN. Convergencias en la plaza del Instituto Salk
Ruptura y renovación: el objeto arquitectónico en la metrópoli
Vistas de la ciudad
La escalera de honor de Santo Estevo de Ribas de Sil. Trazados geométricos
Espejos rotos “la imagen sin forma”
La Real Capilla del Alcázar de Madrid, análisis de la documentación gráfica existente para completar una reconstitución gráfica
La bóveda de crucería anervada del portal de Quart de Valencia
La docencia de la representación paramétrica. La representación paramétrica y los procesos no lineales
Dibujando esculturas de Chillida y Oteiza
La perspectiva como forma simbólica, una vez más. Elementos para una revalorización de la perspectiva y la visualidad en Arquitectura
La luz dibujada en Bizancio
El ensanche de la plaza de la Catedral de Oviedo de 1927. Estudio y restitución gráfica
Información y representación gráfica: La Manga del Mar Menor y el primer Plan Bonet (1961-1963)
La arquitectura de la escasez. Las casas baratas de Sant Cugat de Salt de 1956
Pensamiento divergente y creación gráfica arquitectónica. Motivación, actuación y desarrollo
Invención arquitectónica, EGA y los paisajes interiores. Arte, pedagogía poética y arquitectura
Manual o digital. Fundamentos antropológicos del dibujar y construir modelos arquitectónicos
La acequia gorda del río Genil en Granada: necesidad de integración urbana de una infraestructura milenaria
Modelos con nivel de detalle variable realizados mediante un levantamiento digital aplicados a la arqueología

URI permanente para esta colecciónhttps://riunet.upv.es/handle/10251/227023

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Reseñas de libros
(Universitat Politècnica de València, 2012-03-30) García Codoñer, Ángela
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Conversando con... Oscar Niemeyer
(Universitat Politècnica de València, 2012-03-30) Barros da Rocha e Costa, Hugo; Navarro Camallonga, Isabel
[EN] Oscar Niemeyer was born on the 15th December, 1907, in the Marvelous City , Rio de Janeiro. Since his first drawings as a child, to his commission to design an entire new city, in the jungle, fifty years passed by. Back then, Brasilia's sensual and at the same time, Modern forms, brought him international acclaim. Fifty (more) years after, approaching his 104rd birthday, his first work in Spain is recently finished. Another travel in time, has lead me to Burl Marx's stone waves, when the challenge to this interview starts, more than on decade ago.
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Territorio y cartografía. Paisajes e interpretaciones. Imágenes gráficas, cartográficas y literarias: el caso de Cádiz
(Universitat Politècnica de València, 2012-03-30) Chías Navarro, Pilar
[ES] Los estudios sobre la construcción del territorio y el paisaje están estrechamente vinculados con el patrimonio cultural, tanto tangible como intangible o vivo . A través de ellos, el propio ámbito geográfico se convierte en un recurso patrimonial conformado por un conjunto de fenómenos y procesos, de hitos y relaciones, que constituyen su auténtica memoria. Aplicando la máxima de conocer analizar actuar , estos estudios resultan fundamentales y previos ante cualquier actuación a diferentes escalas; y en este proceso de conocimiento, el papel de la cartografía, de la fotografía y el dibujo, de las vistas y los cuadros, como conjunto de imágenes objetivas y subjetivas, resulta imprescindible en unión a los testimonios escritos u orales. El entorno de la Bahía de Cádiz se ha elegido como ejemplo, por su gran riqueza y singularidad desde el punto de vista patrimonial.
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Noticias sobre el manuscrito anónimo “Artes excelençias de la perspectiba”: breve crónica de una publicación
(Universitat Politècnica de València, 2012-03-30) Gentil Baldrich, José María
[EN] Recently, an edition of a manuscript on perspective has been published. It is both a curious and unexplained work, which provides new elements for the knowledge of our scientific and artistic history. But if such a publication always means a remarkable event and, consequently, a reason for scholars to rejoice, it is even more due to the fact that both its edition and final study could be connected, to a great extent, with the Architectural Graphic Expression. Something that increases its value is the fact that the manuscript has been, long since, swirling around specialized publications, sometimes without presenting its true content. The Artes excelencias de la perspectiva is preserved at the Fundación Casa de Medina Sidonia in Sanlúcar de Barrameda, Cadiz, which also commissioned the facsimile edition to the Consejería de Cultura of Murcia. With colophon in June 2010, and distributed the following year, this edition was published in two volumes, and comprises the studies and transcriptions by three authors who will be quoted from now on: Andrés Martín Pastor, Domingo Beltrán Corbalán, and Francisco Reyes Marsilla de Pascual 1. Thus, it seems necessary to present a short chronicle of the vicissitudes of this peculiar work, to give a full insight into historic Spanish perspective experiences nowadays underrated together with the not always simple ways of approaching them.
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Apuntes sobre el origen de la línea
(Universitat Politècnica de València, 2012-03-30) Ampliato Briones, Antonio Luis
[EN] This paper explores the dynamic and tactile values that may be involved in the historical emergence of the line as a fundamental graphic resource. It attempts to look beyond the paradigm of visual-perceptual abstraction that is commonly associated with our concept of the line, suggesting that those core values form part of a long, slow and open historical process in which a primary graphic exercise indissolubly linked to the materiality of objects gradually collected a series of geometric empirical findings and, generation after generation, compiled an imaginary store. Eventually, the first geometric treatises imposed a strict syllogistic structure on this collection of individual geometric models. In addition to this material, dynamic concept of the line, the author argues that the first architectural drawings were a translation of sequential orders, an experience closely akin to the profound nature of ritual
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El Greco cartógrafo: vista y plano de Toledo (1608-1614)
(Universitat Politècnica de València, 2012-03-30) Calduch Cervera, Juan
[ES] El cuadro del Greco Vista y plano de Toledo y, especialmente, el plano delineado que incluye, uno de los primeros de ciudades españolas dibujados en planta, con una precisión y calidad sólo comparable a los planos militares de la época, plantea la cuestión de la formación del Greco como cartógrafo. El análisis del plano, como parte de la composición pictórica pero también como documento cartográfico considerado en sí mismo, abre nuevas hipótesis sobre sus conocimientos como cartógrafo y sobre la valoración de esta singular obra del pintor.
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La iglesia del convento dominico de Montesión en Sevilla. Una posible atribución a Hernán Ruiz II a partir de recientes levantamientos
(Universitat Politècnica de València, 2012-03-30) Manzano Pérez de Guzmán, Julia; Barrero Ortega, Pedro
[ES] En base a recientes levantamientos planimétricos, y a la intervención arquitectónica en la que han colaborado los autores de este artículo, sobre lo que queda del convento Dominico de Montesión en Sevilla, su Iglesia, se analizan sus esquemas arquitectónicos, comparándolos con otras obras de aquel momento en Sevilla y su entorno, atribuyéndose por primera vez su posible autoría al arquitecto Hernán Ruiz II.
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El dibujo anónimo de la antigua Tabarka, Túnez
(Universitat Politècnica de València, 2012-03-30) Vidal, Francisco Juan
[EN] Kept in the Simancas General Archive is an original manuscript drawing, which is anonymous and of uncertain age. It portrays a general, long distance view of the island of Tabarka (MPD, XIV-15, belonging to the State collection, Lº 5622). Research carried out as part of an international project on urban settlements founded between the XVI and XVIII centuries on island territories under Hispano-Italian rule (Integrated Action, MINICIN HI-2008-0197) has provided information which helps to illustrate this excellent graphical document.
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¿Tipologías o topologías? De las formas definidas tipológicamente en la arquitectura
(Universitat Politècnica de València, 2012-03-30) Marcos, Carlos L.
[EN] The concept of typology was originally stated by Quatremère de Quincy and implicitly developed by Durand, but its validity would be challenged at the onset of modernity. An interested and reductionist reading of the concept of typology and its appropriation by the historicist postmodernism trend eventually ended up in its discredit. Modern architecture may also respond to a typological analysis, especially if topological aspects are considered. Recently, architects such as Eisenman or FOA have classified their projects according to genealogies sharing topological affinities, demonstrating the validity of the typological approach.
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De lo proyectado a lo construido. El Mercado Central de Valencia
(Universitat Politècnica de València, 2012-03-30) Hidalgo Delgado, Francisco
[EN] This research article is centred on the investigation of changes which occurred between the original 1910- 1914 design of the Central Market in Valencia and its eventual construction in 1928. Information that was not previously documented has come to light through the work carried out during this investigation, concerning the basement of the main floor of the market, the main façade, the old pavilion of the Deputy Mayor, the administration pavilion, the inner curve of the dome and the outside stalls. There can be little doubt that the replacement of architects involved in the management of the Project in 1916 and new demands from the owners were behind these changes.
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KAHN Y BARRAGÁN. Convergencias en la plaza del Instituto Salk
(Universitat Politècnica de València, 2012-03-30) Amado Lorenzo, Antonio
[EN] Some thoughts about Luis Barragan´s contribution to the plaza at Louis I. Kahn s Salk Institute. Various texts and testimonies are examined, analyzing the sketches made by both architects and their points of convergence for the creation of this space. It also considers the influence of the Corbusian concept of perceiving the landscape through architecture on Barragan s work.
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Ruptura y renovación: el objeto arquitectónico en la metrópoli
(Universitat Politècnica de València, 2012-03-30) Giménez Ribera, Manuel; Departamento de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Arquitectura; Centro de Investigación en Arquitectura, Patrimonio y Gestion para el desarrollo Sostenible
[EN] Nowadays, architecture is searching for new approaches, a renewal of intentions in the pursuit of evolution, exactly as was happening at the beginning of the last century. Just like before, modernity cannot be achieved simply by stating that tastes have changed. Merely formal architecture does not imply the paradigm of modernity. Two buildings by Luis Albert, immersed in the city of Valencia, allow us to perform a graphic analysis of their development, completed after rationalising the initial formal intentions. It is impossible for architecture to exist without taking into account the context of its surroundings.
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Vistas de la ciudad
(Universitat Politècnica de València, 2012-03-30) Bigas Vidal, Montserrat; Bravo Farré, Luis; Contepomi, Gustavo
[EN] The city as the architectural setting where life takes place has frequently been a subject for painters and draughtsmen. While it has also been addressed by other media such as film, video and photography which, with technology, have significantly increased their communicative possibilities, drawing and painting remain the ones best capable of supporting the artists requirements: It is chiefly with drawing and painting that artists are able to revive the moving and initiating experience of the discovering of a great city. Through analyzing the work of a few graphic artists we will understand how drawing and painting overcome the limitations of photography and film, while technical aid opens up a new range of options and enables higher results. In the study of the following cases we shall observe the artists aim is no other than to reduce the gap between art and life.
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La escalera de honor de Santo Estevo de Ribas de Sil. Trazados geométricos
(Universitat Politècnica de València, 2012-03-30) Pernas Alonso, María Inés
[ES] La Escalera de Honor de Santo Estevo de Ribas de Sil es uno de los más bellos ejemplos de Escalera Monástica dentro de los conjuntos monasteriales gallegos. Su autoría permanece anónima. Es por tanto, el objetivo de este trabajo mostrar su arquitectura mediante su análisis gráfico, a través del cual se plantean los trazados y la modulación geométrica de las distintas partes componentes del conjunto.
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Espejos rotos la imagen sin forma
(Universitat Politècnica de València, 2012-03-30) Celaya, Patxi
[EN] What is has no name. What has a name is not. The question of the reflection of reality is on the base of our own cultures. The construction of the language, the patrimony of the artistic reflection of the above mentioned reality, shape our hereditary baggage. Consequently, it determines the way in which we approach its comprehension from every culture. A big differentiation appears in the two cultures in which I establish these small reflections: our western culture and that from the other side of the mirror, the Chinese. This differentiation is in the essence of the two cultures, for example in the denomination of things, that is, their own languages. It is not by chance that our western languages have been defined in an oral way and, on the contrary, the Chinese language is structured in a written way, pictographic in origin 1. This will be our Ariadna´s thread in this small labyrinth of mirrors that I propose here.
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La Real Capilla del Alcázar de Madrid, análisis de la documentación gráfica existente para completar una reconstitución gráfica
(Universitat Politècnica de València, 2012-03-30) Castaño Perea, Enrique
[EN] After the disappearance of the Alcazar of Madrid a numerous of Austrias vestiges were lost in Spain. One of the architectural lines of the time was the Alcazar chapel where they were held the main rituals of the court. The knowledge of this area gives us clues of the Habsburg monarchy and their relationships with other sectors of the seventeenth century in Spain. For this, they were organized and brought up to light all the documentary sources of the chapel and a rigorous work has been performen on the Chapel reconstruction
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La bóveda de crucería anervada del portal de Quart de Valencia
(Universitat Politècnica de València, 2012-03-30) Natividad Vivó, Pau; Calvo López, José; Muñoz Cosme, Gaspar; Escuela Técnica Superior de Arquitectura; Departamento de Composición Arquitectónica; Centro de Investigación en Arquitectura, Patrimonio y Gestion para el desarrollo Sostenible
[EN] The central part of the Portal de Quart, one of two surviving gates of the Mediaeval city walls of Valencia, includes a skew ribbed vault, placed over the central tribune, that eschews, for the first time in Hispanic Gothic, the usual solutions based on ribs and severies, using instead only whole ashlars. Such choice poses a number of new geometric problems connected with the design and execution of the vault, which are closer to Renaissance stereotomy than Gothic stonecutting. All this makes the vault a member of outstanding importance for Iberian Construction History. In our paper we present a precise photogrammetrical survey of this vault and, building on it, a study of its geometrical form and construction.
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La docencia de la representación paramétrica. La representación paramétrica y los procesos no lineales
(Universitat Politècnica de València, 2012-03-30) Coloma, Eloi; de Mesa Gisbert, Andrés
[EN] Representations often used by architects to develop his architectural projects contain information about it, but not about modeling processes that have been carried out to obtain those representations, which prevents automation of the modeling processes. This creates a tendency to develop the design process in a linear fashion, since it depends on the creation and maintain of multiple representations that need to be rebuilt manually each time the project changes. The parametric representation, however, is based on the description of the modeling process itself, which offers a radically different way of tackling the problem of representation and, by extension, the design itself. This article explains these arguments, contrasting them with the teaching experience of their authors during an advanced threedimensional modeling course at the School of Architecture of Barcelona (ETSAB).
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Dibujando esculturas de Chillida y Oteiza
(Universitat Politècnica de València, 2012-03-30) Álvaro Tordesillas, Antonio
[ES] Con el pretexto de levantar con fidelidad algunas esculturas de Chillida y Oteiza, y contribuir así a su dibujado planimétrico, el autor se cuestiona si el dibujo forma parte del proceso creativo de cada escultor. Por otra parte, la manera en que abordamos el dibujo de las esculturas ya acabadas, nos ayuda a comprender la complejidad, no sólo del pensamiento teórico de sus artífices, sino del rigor que supone un estricto levantamiento arquitectónico.
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La perspectiva como forma simbólica, una vez más. Elementos para una revalorización de la perspectiva y la visualidad en Arquitectura
(Universitat Politècnica de València, 2012-03-30) Alcayde Egea, Rafael
[EN] Although Panofsky s arguments have come under criticism for quite some time, they still seem to play a key role in the current disregard to perspective in architectural education. However, it is not clear that the essay expresses a negative conclusion about perspective. Furthermore, abstraction certainly implied the denial of perspective in Painting but, according to the opinion of the most celebrated masters of Modern Movement, not in Architecture.

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