Pub Date : 2022-12-12DOI: 10.20868/cpa.2022.12.4963
Antonio Cantero Vinuesa
ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (1926-1930), con el propósito de contrastar la historia conocida sobre la visión del arquitecto con la realidad vivida por sus habitantes. Utilizando este caso de estudio, el objetivo es realizar una interpretación de lo oral como herramienta transversal para la historia, el análisis y el proyecto de la arquitectura, y con ello mostrar el valor instrumental de las entrevistas con los habitantes como nexo entre los hábitats y quienes los habitan.AbstractIn developing a more inclusive architectural history, using oral history as a methodology for accessing silenced experiences, sharing forgotten knowledge, and transcending the drawn or built construct can be enlightening. In 1972, the English version, Lived-in Architecture, Le Corbusier's Pessac Revisited, of architect Philippe Boudon's book, Le Corbusier's Pessac (1969), was published. His research was based on oral accounts of those who lived in Le Corbusier's housing project in the industrial neighborhood of Pessac on the outskirts of Bordeaux (1926- 1930), to contrast the known history of the architect's vision with the reality lived by its inhabitants. Using this case study, the aim is to interpret the oral source as a transversal tool for the history, analysis, and design of architecture, and thus to show the instrumental value of interviews with the inhabitants as a link between the habitats and those who inhabit them.
他们总结了一个更具包容性的建筑史的发展，利用口述历史作为一种方法来获得沉默的经验，分享被遗忘的知识，并超越所画或建造的建筑，这是有启发性的。1972年，建筑师菲利普·布登（Philippe Boudon）的书《勒柯布西耶（Pessac de le Corbusier）（1969年）的英文版《现场建筑》（Lived-in Architecture，Le Corbusier's Pessac Revisited）出版。他的研究是基于那些住在波尔多郊外佩斯萨克工业区（1926-1930年）勒柯布西耶住宅项目中的人的口头故事，目的是将建筑师的愿景与居民生活的现实进行对比。利用这一案例研究，目的是对口头进行解释，将其作为建筑历史、分析和项目的横向工具，从而展示与居民的采访作为栖息地与居住者之间联系的工具价值。摘要在发展一部更具包容性的建筑史时，将口头历史作为一种获得无声体验、分享被遗忘的知识和超越绘画或建筑的方法，可以得到启发。1972年，建筑师菲利普·布登（Philippe Boudon）的《现场建筑》（Live-in Architecture）的英文版《勒柯布西耶的佩萨克》（Le Corbusier's Pessac，1969年）出版。他的研究是基于对生活在波尔多郊区佩斯萨克工业区（1926-1930年）勒柯布西耶住房项目中的人的口头描述，将这位建筑师的著名历史愿景与其居民的现实生活进行了对比。利用这一案例研究，目的是将口头资料解释为建筑历史、分析和设计的横向工具，从而展示与居民交谈作为人居与居住者之间联系的工具价值。
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Pub Date : 2022-12-12DOI: 10.20868/cpa.2022.12.4965
Paula Vilaplana de Miguel
ResumenEste grueso volumen de 400 páginas, editado por Beatriz Colomina, Ignacio G. Galán, Anna-María Meister y Evangelos Kotsioris y publicado por MIT Press este mismo año, recoge, a través de una multiplicidad de autores y casos de estudio repartidos por todo el planeta, un catálogo polifacético de experiencias pedagógicas y experimentos educativos que exploran territorios conocidos y desconocidos en la enseñanza de la arquitectura y la concepción de los currículos académicos entre 1933 y 1987.AbstractThe 400-page volume, edited by Beatriz Colomina, Ignacio G. Galán, Anna-María Meister and Evangelos Kotsioris and published by MIT Press this year, brings together, through a multiplicity of authors and case studies from all over the planet, a multifaceted catalogue of pedagogical experiences and educational experiments that explore known and unknown territories in the teaching of architecture and the conception of academic curricula between 1933 and 1987.
它总结了比阿特丽斯·科洛米娜、伊格纳西奥·G.加兰、安娜·玛丽亚·迈斯特和埃万杰洛斯·科齐奥里斯编辑并于今年由麻省理工学院出版社出版的400页厚的卷，通过分布在地球各地的众多作者和研究案例，收集了，1933年至1987年期间探索建筑教学和学术课程设计中已知和未知领域的教学经验和教育实验的多方面目录。Abstract The 400-Page Volume，由Beatriz Colomina，Ignacio G编辑。Galan，Anna-Maria Meister和Evangelos Kotsioris，由麻省理工学院出版社今年出版，通过来自世界各地的众多作者和案例研究，将它们结合在一起，一份多方面的教学经验和教育实验目录，探索1933年至1987年期间建筑教学中的已知和未知领域以及学术课程的概念。
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Pub Date : 2022-12-12DOI: 10.20868/cpa.2022.12.4952
Eva Hurtado Torán
ResumenEl legado Mariano García Benito (en adelante MGB), formalizado en 2022 al Servicio Histórico del COAM, permite estudiar la obra de un arquitecto conocido por algunos edificios icónicos, pero no por el conjunto de su trabajo. Estudiante y profesional brillante, fue uno de los representantes de la generación que desarrolla la última arquitectura moderna y sus derivas en la España que salía de la autarquía. Su obra de vivienda colectiva en Madrid, con más de treinta edificios construidos, forma un corpus que puede leerse en clave de variaciones en torno a unos pocos conceptos proyectuales. El perímetro abarcante, los volúmenes en cizalla o la terraza como estancia abierta con un nuevo protagonismo, son estrategias que se depuran atravesando la urdimbre de los diversos tipos edilicios en los que el arquitecto trabajó. La organización espacial de las viviendas muestra un riguroso método de trabajo que consigue optimizar circulaciones y dimensionar con precisión el espacio para la domesticidad de la nueva burguesía, pero también para las clases sociales necesitadas de vivienda subvencionada. Las soluciones materiales, el diseño de los programas comunes y la investigación en torno al espacio abierto de corredores, terrazas y patios, caracterizan el trabajo en el hábitat doméstico de MGB quien, como otros autores coetáneos, explora interferencias que mantienen su vigencia en nuestra contemporaneidad. Se adelanta aquí una primera mirada a la obra de MGB, a través de sus proyectos de vivienda colectiva, que quiere enlazar con el conjunto de su obra a modo de registro previo que pueda anticipar investigaciones más específicas.AbstractThe legacy of Mariano García Benito (hereinafter MGB), formalized in 2022 at the Historical Service of the COAM, allows us to study the work of an architect known for some iconic buildings, but not for his work as a whole. A brilliant student and professional, he was one of the representatives of the generation that developed the latest modern architecture and its derivations in Spain as it emerged from autarky. His collective housing work in Madrid, with more than thirty buildings, constitutes a corpus that can be read in terms of variations around a few design concepts. The encompassing perimeter, sheared volumes, or the terrace as an open room with new prominence, are strategies that were perfected through the conglomerate of the various types of buildings in which the architect worked. The spatial organization of the dwellings shows a rigorous working method that manages to optimize circulations and accurately dimension the space for the domesticity of the new bourgeoisie, but also for those social classes in need of subsidized housing. The material solutions, the design of the common programs, and the research around the open space of corridors, terraces, and patios, characterize the work in the domestic habitat of MGB, who, like other contemporary authors, explores interferences that remain valid in our contemporan
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4826
Aida González Llavona
ResumenLos partidarios de la ‘arquitectura de los sentidos’, de la ‘arquitectura de la experiencia’, están de enhorabuena. Aunque a partir de la segunda mitad del siglo XX y de la mano de la crisis del racionalismo funcionalista moderno, el organicismo comenzó a recuperar alas, impulso y vigencia, lo cierto es que en la clásica y aún vigente confrontación entre lo racional y lo sensorial, el primero –el racionalismo– ha contado con el respaldo de la objetividad científica mientras el segundo –lo sensorial– ha sido víctima de su supuesto relativismo, ambigüedad y en muchas ocasiones impronta romántico sensiblera: la ciencia siempre ha sido el mejor aval para legitimar propuestas y teorías. Ocurre que, los avances de la neurociencia, que estudia el cerebro, (los mayores a finales de siglo XX y en las dos primeras décadas de este siglo XXI), otorgan cada vez más preeminencia a los aspectos emotivos y perceptivos que a los racionales y abstractos; cuestión ésta que ha revolucionado muchas disciplinas como la psicología y afectado a algunos de los discursos arquitectónicos, como el de Harry Francis Mallgrave. La reciente obra del arquitecto, académico, editor y distinguido profesor emérito en el Illinois Institute of Technology, se ha focalizado en la relación de las ciencias y humanidades contemporáneas con el pensamiento arquitectónico.AbstractProponents of the ‘architecture of the senses’ or of the ‘architecture of experience’ are in luck. Despite the fact that from the second half of the twentieth century, hand in hand with the crisis of modern functionalist rationalism, ‘organicism’ began to recover wings, momentum, and validity, the truth is that in this classic and ongoing confrontation between the rational and the sensory, the former—rationalism—has been supported by scientific objectivity, while the latter—the sensory—has been a victim of its alleged relativism and ambiguity, and on many occasions, sentimental romantic imprint: science has always been the best guarantee to legitimize proposals and theories. Yet it so happens that advances of neuroscience, which studies the brain, (the greatest at the end of the twentieth century and in the first two decades of this twenty-first century), give more and more prominence to the emotional and perceptive aspects than to rational and abstract ones. This issue has revolutionized disciplines such as psychology and affected certain architectural discourses, such as that of Harry Francis Mallgrave. The recent work of the architect, scholar, editor, and distinguished professor emeritus at the Illinois Institute of Technology, has focused on the relationship between contemporary science and humanities and architectural thought.
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4822
Héctor García-Diego Villarías, María Villanueva Fernández
ResumenBernard Rudofsky dedicó buena parte de su vida a explorar una manera de habitar personal y plena, lo que tuvo su reflejo en las numerosas exposiciones y publicaciones que alumbró. Y parte de ese proceso de investigación fue vertido en los diversos intentos de construir una casa para sí mismo y su mujer Berta, y que concluyeron con la construcción de ‘La Casa' en Frigiliana a principios de los años setenta. La presente investigación revela por vez primera las vicisitudes que rodearon el hallazgo del lugar y su posterior adquisición por parte del matrimonio a través del testimonio de Rudofsky anotado en uno de sus diarios personales. El artículo reconstruye con detalle la peripecia del matrimonio en España en 1969 al cotejar y extraer la información manuscrita en las 144 páginas de las que se compone este documento, información que no ha sido tratada con anterioridad. El episodio encierra un interés triple: en primer lugar, el del registro histórico de este suceso singular y el importante papel jugado por esta construcción en clave biográfica; en segundo lugar, el del encuentro del arquitecto extranjero con la España de la época —y que por tanto permite evocar a lo que pudieron enfrentarse algunos otros casos semejantes; por último, cabe destacar la singularidad de un proceso de proyecto que incluye el lugar en un estadio intermedio y que precisamente pone de relieve la intensa relación existente en este caso entre la casa, el entorno, el habitante y diseñador, y el habitar.AbstractBernard Rudofsky dedicated a significant part of his life to exploring a personal and fulfilling way of living, which was reflected in the numerous exhibitions and publications that he produced. Part of this research process was funneled into the various attempts to build a house for himself and his wife Berta, which concluded in the early seventies with the construction of La Casa in Frigiliana. This investigation reveals for the first time, from Rudofsky’s own account in one of his diaries, the challenges and mishaps that surrounded the discovery of the place and its subsequent acquisition by the couple. The article is an attempt to comprehensively reconstruct the couple’s ups and downs in Spain in 1969 by extracting and collating handwritten information from 144 pages of his diaries; information that has not been previously looked into. This article has a three-fold focus: firstly, that of the historical record of this unique event and the important role played by this construction in a biographical key; secondly, that of the meeting of the foreign architect with the Spain of the time, which allows us to imagine what other similar cases may have faced; finally, it is worth highlighting the uniqueness of a project process that includes the place in an intermediate stage and that highlights the intense relationship that exists in this particular case between the house, the environment, the user and designer, and living there.
伯纳德·鲁多夫斯基(bernard Rudofsky)一生中大部分时间都在探索一种个人而充实的生活方式，这反映在他出版的众多展览和出版物中。这个研究过程的一部分被投入到为他和他的妻子波塔建造房子的各种尝试中，最终在70年代早期在弗里利亚纳建造了“房子”。这项研究通过鲁多夫斯基在他的个人日记中记录的证词，首次揭示了围绕着这对夫妇发现这个地方以及随后获得它的变化。这篇文章详细重建了1969年西班牙婚姻的冒险，通过整理和提取144页的手稿信息，这些信息以前没有处理过。这一事件有三个有趣的特点:首先，这一独特事件的历史记录和这一结构在传记中所起的重要作用;其次，外国建筑师与当时的西班牙的相遇——因此，这让我们想起了其他一些类似的案例可能面临的问题;最后，值得注意的是项目过程的独特性，包括中间阶段的地方，这恰恰突出了在这种情况下存在的住宅、环境、居住者和设计师以及居住之间的强烈关系。伯纳德·鲁多夫斯基(bernard Rudofsky)在他的一生中致力于探索一种个人的、令人满足的生活方式，这反映在他制作的许多展览和出版物中。was Part of this research process funneled into the解决任何to build a house for himself and wife柏莎,which concluded in the early seventies with the construction of in Frigiliana的房子。这是第一次，从鲁多夫斯基自己的叙述在他的日记中，挑战和错误围绕发现的地方和随后的获得的夫妇。本文试图通过从144页日记中提取和整理手写资料，全面重建1969年这对夫妇在西班牙的起落;以前没有考虑过的信息。本文有三个重点:第一，关于这一独特事件的历史记录以及这一结构在一个传记关键中所起的重要作用;第二，外国建筑师与当时的西班牙建筑师的会面，使我们能够想象其他类似的情况可能会发生什么;最后，值得强调一个项目过程的独特之处，其中包括一个中间阶段的地点，并强调在这个特殊情况下存在于房子、环境、用户和设计师以及生活在那里的强烈关系。
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4832
Esteban Salcedo Sánchez
Abstract In the mid-1970s in Madrid, it’s possible to identify a series of experiences that went beyond traditional architectural practice, the established domains of academia and the usual dynamics of editorial and institutional activities. The art galleries, with their publications, curators, collectors, critics and visitors, proved to be a prolific setting for an informal network of agents and institutions that, through programming events of various formats, instituted an active mediation in the critical formation of the citizenry. The seminar “Nuevos Comportamientos Artísticos” (“New Artistic Behaviors”), held at the Madrid’s German Institute in 1974, was one of these events. Its gallery proved to be a pioneer in the exhibition of practices linked to art and design, which openly promoted their expansion into other fields of knowledge based on a local interpretation of what was noticed in Spain as “conceptual art”. The action “Survey of 24 art galleries in Madrid,” was the contribution to the seminar of the multidisciplinary collective Grup de Treball (GdT), and serves here to illustrate the activation of this network of galleries as a ‘counter-project’. An act of design, based on Peter Eisenman’s definition of ‘Conceptual Architecture’, that transcends art and controversies to offer an alternative. The exhibition of the survey’s answers accumulated the values of language, interface, platform and medium necessary to redefine the framework of relations between its participants. Whose association gathered a community with the capacity to be a Museum: a dematerialized, fragmented and heterogeneous institution that challenged conventional relationship between art, citizenry and the market.
摘要在20世纪70年代中期的马德里，我们可以发现一系列超越传统建筑实践、学术界既定领域以及编辑和机构活动通常动态的经验。事实证明，美术馆及其出版物、策展人、收藏家、评论家和访客是一个由代理人和机构组成的非正式网络的多产场所，通过各种形式的节目活动，在公民的批判性形成中建立了积极的中介。1974年在马德里德国学院举行的“新艺术行为”研讨会就是其中之一。事实证明，它的画廊是艺术和设计实践展览的先驱，这些实践基于西班牙对“概念艺术”的当地解释，公开推动了它们向其他知识领域的扩展。“马德里24家美术馆调查”活动是对多学科团体Grup de Treball（GdT）研讨会的贡献，旨在说明这一美术馆网络作为“反项目”的激活。一种基于彼得·艾森曼对“概念建筑”的定义的设计行为，它超越了艺术和争议，提供了一种替代方案。调查答案的展示积累了重新定义参与者之间关系框架所需的语言、界面、平台和媒介的价值。他们的协会聚集了一个有能力成为博物馆的社区：一个非物质化、碎片化和异质性的机构，挑战了艺术、公民和市场之间的传统关系。
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4830
Héctor García-Diego Villarías, María Villanueva Fernández
This quote from the catalogue of the wellknown 1960s MoMA exhibition entitled Architecture Without Architects could well be applied to the particular case of its author. At the end of that same decade, Bernard Rudofsky would choose the Spanish town of Frigiliana to design and build his own house, La Casa2 [Fig. 01], for which he had yearned since the 1930s, and which would finally come to an end in this idyllic corner of the peninsular periphery. Moreover, he would do so, following the quote, at a moment of full maturity, after having disseminated his ideas—among radicalism, eccentricity, and controversy—about architecture and domesticity through his exhibitions and writings3. Nevertheless, in addition, this “manifested physical freedom” would have to face quite a few difficulties that were reported in his detailed personal diaries.
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4831
Miguel Ángel Ruano Hernansanz
AbstractThe 1929 extension of the Real Club Náutico de San Sebastián (San Sebastian Royal Yacht Club), the work of Joquín Labayen and José Manuel Aizpurúa, was quickly labelled as a work influenced by Le Corbusier’s style paquebot, despite the fact that its authors never acknowledged this influence. Research into the history of the building, including the three main reforms it underwent in 1905, 1916 and 1929, revealed that all the reforms had sought the same naval appearance that the Donostia architects pursued in 1929, and that this decision had, on each occasion, come from the club’s board of directors. Indeed, Aizpurúa confessed to Giedion in a letter that the project was chosen because it resembled a ship. The previous projects were misunderstood because they were compared, out of context, with ocean liners; they were neither of the right size nor from the right period to be identified with this type of ship, whereas the 1929 refurbishment was. The ship model of the 1905 and 1916 buildings was the ‘schooner’, a smaller, lighter, sailing ship used for maritime competitions. Elements of these buildings which had so far been considered ‘decorative’, such as the mast, portholes, or hatches, were in fact defining features of this naval typology. First José Ángel Sanz Esquide broadened the spectrum of Aizpurúa’s influence, and later José Ángel Medina Murua practically delimited the inspiration of the Real Club Náutico building project to the ideas of Le Corbusier. But we might ask whether this intense, but anecdotal, Lecorbusierian influence really took place, or whether it was just the brainchild of the club’s historical tradition, of significant quality but without greater theoretical pretensions.
1929年，JoquíN Labayen和JoséManuel Aizpurúa的作品《圣塞巴斯蒂安皇家游艇俱乐部》（Real Club Náutico de San SebastiáN，San Sebastian Royal Yacht Club）被扩展为受勒·柯布西耶风格的paquebot影响的作品，尽管其作者从未承认这种影响。对该建筑历史的研究，包括它在1905年、1916年和1929年经历的三次主要改革，表明所有的改革都寻求与Donostia建筑师在1929年追求的海军外观相同的外观，而这一决定每次都来自俱乐部董事会。事实上，Aizpurúa在一封信中向Giedion承认，之所以选择这个项目，是因为它像一艘船。以前的项目被误解了，因为它们被断章取义地与远洋班轮进行比较；它们既没有合适的尺寸，也没有合适的时期来识别这种类型的船，而1929年的翻新是。1905年和1916年建筑的船模是“纵帆船”，这是一种用于海上比赛的较小、较轻的帆船。到目前为止，这些建筑的元素被认为是“装饰性的”，如桅杆、舷窗或舱口，实际上是这种海军类型的特征。首先，若泽·安赫尔·桑兹·埃斯奎德扩大了艾兹普鲁阿的影响范围，后来若泽·安吉尔·梅迪纳·穆鲁阿实际上将真正的努蒂科俱乐部建筑项目的灵感来源于勒·柯布西耶的思想。但我们可能会问，这种强烈但轶事般的莱科布西式影响是否真的发生了，或者这是否只是俱乐部历史传统的产物，具有重要的品质，但没有更大的理论假设。
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4829
Noemí Gómez Lobo, Diego Martín Sánchez
Contemporary living conditions are just a snapshot of an ever-changing social apparatus. A cloud of preconceptions manifests itself in the form of expectations when designing a house, revealing that architectural practice is gender-charged. It is embedded in a particular cultural context at a specific historical moment and is therefore affected by assumptions that link certain behaviors as appropriate for the sexed body1. These gender norms are part of the set of rules codified as spatial arrangements. In particular, residential architecture incorporates cultural notions of family, which are closely related to the roles assigned to each member. Japan presents a fertile ground if we are to analyze the detached house. It is not only notable for the quantity of houses built, but also for their quality. Some of the most memorable works of architecture are Japanese detached houses. However, although they enjoy worldwide recognition for their innovative proposals and have been intensively examined in terms of their aesthetic attributes, their gender dimension remains relatively unexplored.
{"title":"Daidokoro Monogatari: Stories of the Japanese house from the kitchen","authors":"Noemí Gómez Lobo, Diego Martín Sánchez","doi":"10.20868/cpa.2021.11.4829","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4829","url":null,"abstract":"Contemporary living conditions are just a snapshot of an ever-changing social apparatus. A cloud of preconceptions manifests itself in the form of expectations when designing a house, revealing that architectural practice is gender-charged. It is embedded in a particular cultural context at a specific historical moment and is therefore affected by assumptions that link certain behaviors as appropriate for the sexed body1. These gender norms are part of the set of rules codified as spatial arrangements. In particular, residential architecture incorporates cultural notions of family, which are closely related to the roles assigned to each member. Japan presents a fertile ground if we are to analyze the detached house. It is not only notable for the quantity of houses built, but also for their quality. Some of the most memorable works of architecture are Japanese detached houses. However, although they enjoy worldwide recognition for their innovative proposals and have been intensively examined in terms of their aesthetic attributes, their gender dimension remains relatively unexplored.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45648096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4827
Jesús Lazcano López
ResumenPara la construcción del Hotel Overlook (The Shining ,1980), Stanley Kubrick recurre a la reproducción de réplicas a escala 1:1 en los estudios Elstree de Londres de diferentes fragmentos de hoteles, moteles y resorts de vacaciones esparcidos por Estados Unidos. Mediante un trabajo minucioso de observación de fotografías y elaboración de maquetas se construyen unos decorados de los diferentes ámbitos que conforman el hotel. Kubrick compone una arquitectura que surge de un cuerpo fragmentario, construido y ensamblado que, mediante las posibilidades narrativas que ofrecen la steadicam y el montaje cinematográfico, se transforma en un espacio fílmico aparentemente unitario. El hotel se muestra como una arquitectura verosímil que, sin embargo, está repleta de paradojas, de referencias externas, de subtextos y de imposibilidades espaciales, pues al observar detenidamente la película se encuentran múltiples puntos que subvierten la lógica del espacio. A través de maquetas, fotografías y entrevistas, y su confrontación con la película, se elaboran planos de los diferentes ámbitos del Overlook con el objetivo de abrir un campo de reflexión sobre la intención de su posible ensamblaje. También sobre la relación que existe entre la estructura narrativa de la película, basada en tiempos y espacios que se entrelazan y la manera en que los decorados se unen entre sí, en la pantalla. Mediante un análisis basado en la expresión arquitectónica, el artículo estudia algunas de estas incongruencias espaciales para especular sobre una posible interpretación de la película en la que la arquitectura juega un papel nuclear desde su concepción, no sólo por la importancia de sus decorados en el desarrollo, sino también a un nivel iconográfico y narrativo.AbstractFor the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and
在这篇文章中，我们提出了一种新的方法，通过这种方法，我们可以了解到，在过去的几十年里，在欧洲和北美的许多地方，人们的生活方式发生了巨大的变化。通过对照片的细致观察和模型的阐述，构建了组成酒店的不同区域的装饰。库布里克的建筑源于一个支离破碎的身体，通过静态和电影蒙太奇提供的叙事可能性，将自己转变为一个看似统一的电影空间。酒店被展示为一个可信的建筑，但充满了悖论、外部参考、潜台词和空间的不可能，因为仔细观察电影，你会发现多个点颠覆了空间的逻辑。通过模型、照片和采访，以及它们与电影的对抗，对Overlook的不同区域进行了规划，目的是打开一个反思其可能组合的意图的领域。这是一个关于电影叙事结构之间的关系，基于相互交织的时间和空间，以及布景在屏幕上相互连接的方式。通过基于建筑表达分析,这篇研究这些空间不可能对高光诠释这部电影以来一直发挥着核架构的理念,不仅因为其装饰意义,而且是肖像水平和发展叙事。斯坦利·库布里克(Stanley Kubrick)，在伦敦的埃尔斯特里工作室(Elstree Studios)， 1:1规模复制了分散在美国各地的酒店、汽车旅馆和度假胜地的不同碎片。通过meticulous work of观测photographs and making models, sets of the不同areas are built that make up the旅馆。库布里克创作了一种建筑，它从一个碎片化的、构造的和组装的身体中出现，通过静态和蒙montage提供的叙事可能性，转变为一个似乎是单一的电影空间。酒店被渲染成一个合理的建筑;然而，它充满了悖论、外部参考、subtexts和空间不可能——这些都是通过对空间逻辑的持续破坏而出现的。使用模型、照片和采访，并将它们与电影进行比较，绘制了Overlook酒店不同区域的计划，目的是反映它们可能组合的目的。They are还的with the aim of反映on the existing link between the narrative structure of the film, based on intertwining times and spaces and the way in which the共同sets come on之上。Through an expression, the analysis based on architectural条将研究这些空间inconsistencies to speculate on a可能interpretation of the中央电影in which architecture plays a role from its两概念,not only to the重视of its sets during the production and filming stages, on an iconographic and narrative level。
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