Resumen:
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[EN] This research aims to analyse the development of a multiculturalist discourse in
European post-war architecture (1950s-1960s). It focuses on the work of the Dutch
architect Aldo van Eyck (1918-1999), who built his ...[+]
[EN] This research aims to analyse the development of a multiculturalist discourse in
European post-war architecture (1950s-1960s). It focuses on the work of the Dutch
architect Aldo van Eyck (1918-1999), who built his theoretical framework by merging
modern architecture, pre-war avant-garde and the artistic production of non-Western
cultures. The Otterlo Circles, presented by Van Eyck during the last CIAM (1959), were
an attempt to synthesize a complex design methodology based on a concept of time
inherited from James Joyce. After introducing the post-war architectural context of
his time, we take the writings of Carola Giedion-Welcker, Van Eyck¿s mentor in Zurich,
as a starting point for a conceptual analysis of his essays. The three official versions
of the Otterlo Circles are then presented, suggesting an unofficial fourth version: Van
Eyck¿s house in Loenen aan de Vecht, which will be interpreted as a Collection of
experiences-objects-memories. The house and its objects will be used as an initial
step to unpack how global travel and art collecting sustained a non-universalist view
which gave rise to a profound reconceptualization of architecture. By using the Otterlo
Circles, Van Eyck¿s work appears as the result of a reconciliation of many different
cultures, discovered through travels and reading. The keys to understanding his
designs are to be found in his house, in the multicultural Collection of objects and
strategies he used to build his personal discourse. Following this research, Van Eyck¿s
own house stands out as a necessary place to start any analysis of his work. This
research, for the first time, attempts a conceptual explanation of the Otterlo Circles,
exploring its theoretical implications for architectural design. Moreover, it develops a
novel analysis of his home in Loenen, not only as an architectural project, but as a
device intersecting with objects, inhabitants and spatial concepts, a holistic approach
to the analysis of domesticity.
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Agradecimientos:
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This research has been funded with a Predoctoral Fellowship by the Department of Education, Research and Culture of the Valencian Community. The collaboration of the Aldo and Hannie van Eyck Foundation, especially through ...[+]
This research has been funded with a Predoctoral Fellowship by the Department of Education, Research and Culture of the Valencian Community. The collaboration of the Aldo and Hannie van Eyck Foundation, especially through Tess van Eyck (head), has also been essential to access the documents and the architect's own home.
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