The Civil Guard barracks, promoted by the Directorate-General of Devastated Regions [Dirección General de Regiones Devastadas, DGRD] (1939-1957), are an exception within the general marginality of this hybrid architecture in architectural historiography. However, such a prominence has led to a distorted and partial approach to the architecture of these barracks, ignoring the contemporary production of the Civil Guard’s technical services. This is the first study that deals with the post-war promotion of barracks, offering an analysis that sheds light on the interdependencies and contributions made by each organisation. The methodology is based on a bibliographical review, which includes the Reconstrucción journal, the consultation of the projects in the archives that hold the documentation of both organisations and the comparative analysis of their productions. This paper aims to show how the DGRD based the promotion of its barracks on the models created by the architects attached to the Civil Guard, taking them directly and adapting them to its propagandistic interests according to Franco’s ideology using strategic implantation, a commitment to specific typologies, excessive ornamentation and the emphasis on a collective way of life.
由受灾地区总局[Dirección General de Regiones Devastadas, DGRD](1939-1957)推动的国民警卫队军营是建筑史学中这种混合建筑的边缘中的一个例外。然而，这种突出导致了军营建筑的扭曲和局部方法，忽视了国民警卫队技术服务的当代生产。这是第一个关于战后营房推广的研究，提供了一个分析，揭示了每个组织的相互依赖性和贡献。该方法基于文献回顾，其中包括Reconstrucción期刊，对保存两个组织文件的档案中的项目进行咨询，以及对其产品进行比较分析。本文旨在展示DGRD如何基于国民警卫队建筑师创建的模型来推广其军营，根据佛朗哥的意识形态，使用战略植入，对特定类型学的承诺，过度装饰和对集体生活方式的强调，直接采用它们并使其适应其宣传利益。
{"title":"Las casas cuartel de la DGRD para la Guardia Civil: un modelo adaptado para la propaganda","authors":"Daniel Pinzón-Ayala","doi":"10.4995/vlc.2021.14921","DOIUrl":"https://doi.org/10.4995/vlc.2021.14921","url":null,"abstract":"The Civil Guard barracks, promoted by the Directorate-General of Devastated Regions [Dirección General de Regiones Devastadas, DGRD] (1939-1957), are an exception within the general marginality of this hybrid architecture in architectural historiography. However, such a prominence has led to a distorted and partial approach to the architecture of these barracks, ignoring the contemporary production of the Civil Guard’s technical services. This is the first study that deals with the post-war promotion of barracks, offering an analysis that sheds light on the interdependencies and contributions made by each organisation. The methodology is based on a bibliographical review, which includes the Reconstrucción journal, the consultation of the projects in the archives that hold the documentation of both organisations and the comparative analysis of their productions. This paper aims to show how the DGRD based the promotion of its barracks on the models created by the architects attached to the Civil Guard, taking them directly and adapting them to its propagandistic interests according to Franco’s ideology using strategic implantation, a commitment to specific typologies, excessive ornamentation and the emphasis on a collective way of life.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81597353","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}
The Garden in Motion is a concept that was developed by Gilles Clément in the early 1980s as the result of the experimentation conducted in his garden-house, La Vallée. Clément’s interest in promoting this garden archetype based on managing neglected land led him to write a number of works in order to explain the conceptual underpinnings of his model, with the ultimate aim of having them published. From the writing of the first manuscripts, dating from 1984, to the first edition of “Le jardin en movement” in 1991, he produced a series of different documents that would form the basis of the text that was finally published. It was a long process in which Clément not only had to fully develop his ideas but also to overcome the difficulties involved in finding a company to publish what he called his ‘petit livre’. The aim of this article is to show the creative process behind Clément’s book and its relationship with the creative process of building his garden, while endeavouring to reply to the question of whether it is possible to establish an equivalence between both processes. This is made possible through the analysis of documents kept by Clément in his personal archive, some of which have never been published.
{"title":"Le petit livre: el jardín de papel de Gilles Clément","authors":"Carlos Ávila Calzada","doi":"10.4995/vlc.2021.15357","DOIUrl":"https://doi.org/10.4995/vlc.2021.15357","url":null,"abstract":"The Garden in Motion is a concept that was developed by Gilles Clément in the early 1980s as the result of the experimentation conducted in his garden-house, La Vallée. Clément’s interest in promoting this garden archetype based on managing neglected land led him to write a number of works in order to explain the conceptual underpinnings of his model, with the ultimate aim of having them published. From the writing of the first manuscripts, dating from 1984, to the first edition of “Le jardin en movement” in 1991, he produced a series of different documents that would form the basis of the text that was finally published. It was a long process in which Clément not only had to fully develop his ideas but also to overcome the difficulties involved in finding a company to publish what he called his ‘petit livre’. The aim of this article is to show the creative process behind Clément’s book and its relationship with the creative process of building his garden, while endeavouring to reply to the question of whether it is possible to establish an equivalence between both processes. This is made possible through the analysis of documents kept by Clément in his personal archive, some of which have never been published.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"21 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84601873","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}
The appearance of new paradigms in the early 20th century due to the impact of industrialisation unleashed a reformulation of the strategies used for building from the beginning to the creative phase. This paper examines in depth how architect Gerrit Rietveld used industrialisation and the strategy used in his work at the time of the so-called Functionalist Period by analysing his different projects. Without an exhaustive analysis of all his work, the aim was to get to know another facet of the Utrecht architect apart from his best known neoplastic compositional facet, related to his preoccupation with responding to social needs by the efficient organization of space, making use of industrial products and with a special interest in the constructive aspect of his projects. Finally, Rietveld’s figure is associated with that of Habraken and the connections between both Dutch architects are analysed.
{"title":"La influencia de la industrialización en la obra de Gerrit Rietveld. Del módulo al Kernhuis","authors":"Ruth Arribas Blanco","doi":"10.4995/vlc.2021.14696","DOIUrl":"https://doi.org/10.4995/vlc.2021.14696","url":null,"abstract":"The appearance of new paradigms in the early 20th century due to the impact of industrialisation unleashed a reformulation of the strategies used for building from the beginning to the creative phase. This paper examines in depth how architect Gerrit Rietveld used industrialisation and the strategy used in his work at the time of the so-called Functionalist Period by analysing his different projects. Without an exhaustive analysis of all his work, the aim was to get to know another facet of the Utrecht architect apart from his best known neoplastic compositional facet, related to his preoccupation with responding to social needs by the efficient organization of space, making use of industrial products and with a special interest in the constructive aspect of his projects. Finally, Rietveld’s figure is associated with that of Habraken and the connections between both Dutch architects are analysed.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89381398","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}
This paper deals with the first hypotheses of elevations and of the architectural analysis of San Ildefonso’s Baths on the basis of unpublished data offered by the Book of written descriptive records (apeos) of 1542 in the Chapter on Seville Cathedral. Our own transformation methodology has been applied to this hitherto largely unknown book in order to attain and encompass graphic representation from the literary description. After giving a brief history of the Baths, the objective is to ascertain its location, by drawing hypothetical floor plans and elevations and analysing its typology, dimensions, spaces, and building elements. This research has shown that it was one of the most important bathing complexes in the historical centre of Seville, at least in the 13th Century, although it later became obsolete and was demolished in the 18th Century.
{"title":"Drawing and architectural analysis of San Ildefonso’s Baths in Seville (1542)","authors":"M. Núñez-González","doi":"10.4995/vlc.2021.13625","DOIUrl":"https://doi.org/10.4995/vlc.2021.13625","url":null,"abstract":"This paper deals with the first hypotheses of elevations and of the architectural analysis of San Ildefonso’s Baths on the basis of unpublished data offered by the Book of written descriptive records (apeos) of 1542 in the Chapter on Seville Cathedral. Our own transformation methodology has been applied to this hitherto largely unknown book in order to attain and encompass graphic representation from the literary description. After giving a brief history of the Baths, the objective is to ascertain its location, by drawing hypothetical floor plans and elevations and analysing its typology, dimensions, spaces, and building elements. This research has shown that it was one of the most important bathing complexes in the historical centre of Seville, at least in the 13th Century, although it later became obsolete and was demolished in the 18th Century.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"142 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77464752","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}
Given its positive economic, social and urban impact, even with low-cost or low-tech materialization, the urban creativity encouraged by the arts is of great interest today. This narrative reviews one of the most prolific careers in this regard addressing the pioneering work by Doris C. Freedman. The late 1960s and the 1970s, in the context of two financial crises, saw a groundbreaking effort to formalize innovative artistic programs that recycled the obsolete city and integrated local communities in the processes. Doris C. Freedman was the first director of NYC Department of Cultural Affairs, the Public Arts Council, and leader of the organization City Walls. These institutions promoted an unprecedented improvement of the public urban life through the cultural action. Such experiences led Freedman to the conception of her last project, the relevant and, still, ongoing Public Art Fund of New York City. This article focuses on her early professional years, when she began and consolidated herself in the task of legitimizing art as an urban instrument for shaping the city. This research provides a contextualized critical analysis on Freedman’s less-known experimental projects before the foundation of the Public Art Fund, enabling an extraordinary source of inspiration for a current creative city-making.
鉴于其积极的经济、社会和城市影响，即使是低成本或低技术的物质化，艺术所鼓励的城市创造力今天也引起了人们的极大兴趣。这篇文章回顾了在这方面最多产的职业之一，即多丽丝·c·弗里德曼的开创性工作。20世纪60年代末和70年代，在两次金融危机的背景下，见证了一项开创性的努力，将创新的艺术项目正式化，这些项目回收了过时的城市，并在此过程中整合了当地社区。多丽丝·c·弗里德曼(Doris C. Freedman)是纽约市文化事务部、公共艺术委员会的首任主任，也是“城墙”组织的负责人。这些机构通过文化活动促进了城市公共生活的空前改善。这样的经历使弗里德曼产生了她最后一个项目的概念，即与之相关且仍在进行中的纽约市公共艺术基金。这篇文章关注的是她早期的职业生涯，那时她开始并巩固了自己作为塑造城市的城市工具的艺术合法化的任务。本研究对弗里德曼在公共艺术基金成立之前不为人知的实验项目进行了语境化的批判性分析，为当前的创意城市建设提供了非凡的灵感来源。
{"title":"Art and Urban Regeneration in New York City. Doris C. Freedman’s Public Project","authors":"María F. Carrascal Pérez","doi":"10.4995/VLC.2021.12709","DOIUrl":"https://doi.org/10.4995/VLC.2021.12709","url":null,"abstract":"Given its positive economic, social and urban impact, even with low-cost or low-tech materialization, the urban creativity encouraged by the arts is of great interest today. This narrative reviews one of the most prolific careers in this regard addressing the pioneering work by Doris C. Freedman. The late 1960s and the 1970s, in the context of two financial crises, saw a groundbreaking effort to formalize innovative artistic programs that recycled the obsolete city and integrated local communities in the processes. Doris C. Freedman was the first director of NYC Department of Cultural Affairs, the Public Arts Council, and leader of the organization City Walls. These institutions promoted an unprecedented improvement of the public urban life through the cultural action. Such experiences led Freedman to the conception of her last project, the relevant and, still, ongoing Public Art Fund of New York City. This article focuses on her early professional years, when she began and consolidated herself in the task of legitimizing art as an urban instrument for shaping the city. This research provides a contextualized critical analysis on Freedman’s less-known experimental projects before the foundation of the Public Art Fund, enabling an extraordinary source of inspiration for a current creative city-making.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"11 1","pages":"97"},"PeriodicalIF":0.1,"publicationDate":"2021-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74702983","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}
Belén Onecha Pérez, José Luis González Moreno-Navarro, Sonsoles Puntos Pérez
The aim of this article is to show the origin and subsequent persistence of a way of organizing, from fragmentation, the teaching of architecture. To this end, an analysis of generalist historical treatises is carried out, highlighting, on one side, the differences in the organizational structure of the contents, on the other, in the approaches to the ends and means of architecture and, finally, in its interpretation of the original Vitruvian Triad. And it is the version of Perrault in his Abrégé of 1674 that radically misunderstood it, creating a structure that destroys the global vision of Architecture. With him begins the division into three parts; construction, distribution and decoration that will influence all subsequent treatises, except for two French authors, who already in the early and mid-nineteenth century rejected it by proposing other integrative alternatives. All in all, tripartite fragmentation, with a clear predominance of the third, firmly maintains its presence until the 20th century, and even today.
{"title":"La enseñanza de la Arquitectura como resultado de una tríada tergiversada","authors":"Belén Onecha Pérez, José Luis González Moreno-Navarro, Sonsoles Puntos Pérez","doi":"10.4995/vlc.2020.10981","DOIUrl":"https://doi.org/10.4995/vlc.2020.10981","url":null,"abstract":"The aim of this article is to show the origin and subsequent persistence of a way of organizing, from fragmentation, the teaching of architecture. To this end, an analysis of generalist historical treatises is carried out, highlighting, on one side, the differences in the organizational structure of the contents, on the other, in the approaches to the ends and means of architecture and, finally, in its interpretation of the original Vitruvian Triad. And it is the version of Perrault in his Abrégé of 1674 that radically misunderstood it, creating a structure that destroys the global vision of Architecture. With him begins the division into three parts; construction, distribution and decoration that will influence all subsequent treatises, except for two French authors, who already in the early and mid-nineteenth century rejected it by proposing other integrative alternatives. All in all, tripartite fragmentation, with a clear predominance of the third, firmly maintains its presence until the 20th century, and even today.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"50 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91397278","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}
When reading into the underlying thinking of every architectural project, there are references that, together with the motivation behind the making of all decisions, give rise to the contextual framework of the project for its critique. Renée Gailhoustet (1929-...) is an architect whose professional work, carried out between 1961 and 1995, synthesized political and social interests through typological experimentation, mainly in the field of collective housing. In her projects in urban peripheries, she tested architectural mechanisms that raised the questioning of the urban model emerged with the institutionalization of the functionalist postulates of the Athens Charter. In this article we will analyze the transition of her typological discourse in order to understand her text entitled "Alphabet" with which she formed a kind of "doxa" or vade mecum. The selected terms, in alphabetical order, specified her interests, which materialized as constants in her work, and intellectual coordinates which were coincident with those of other architects of her generation. The objective will be to demonstrate how the multi-directionality of these anthropological and architectural meanings modeled a theoretical corpus that, complemented by her philosophy studies and by her political commitment, geared her proposals towards the improvement of social conditions for coexistence and the rapport between the city and its people.
当阅读每个建筑项目的潜在思想时，有一些参考文献，连同所有决策背后的动机，产生了项目的上下文框架，以进行批评。ren e Gailhoustet(1929-…)是一位建筑师，他的专业工作在1961年至1995年间进行，主要是在集体住房领域，通过类型学实验综合了政治和社会利益。在她的城市外围项目中，她测试了建筑机制，提出了对雅典宪章功能主义假设制度化的城市模式的质疑。在本文中，我们将分析她的类型学话语的转变，以理解她的文本“字母表”，她形成了一种“doxa”或“vade mecum”。所选的术语，按字母顺序，具体说明了她的兴趣，这些兴趣在她的作品中作为常量，以及与她那一代其他建筑师一致的智力坐标。她的目标是展示这些人类学和建筑意义的多向性如何建立一个理论语料，辅以她的哲学研究和政治承诺，将她的建议转向改善社会条件，促进城市与人民之间的共存和关系。
{"title":"El atlas tipológico de Renée Gailhoustet: un “Abecedario” arquitectónico","authors":"María Pura Moreno Moreno","doi":"10.4995/vlc.2020.12495","DOIUrl":"https://doi.org/10.4995/vlc.2020.12495","url":null,"abstract":"When reading into the underlying thinking of every architectural project, there are references that, together with the motivation behind the making of all decisions, give rise to the contextual framework of the project for its critique. Renée Gailhoustet (1929-...) is an architect whose professional work, carried out between 1961 and 1995, synthesized political and social interests through typological experimentation, mainly in the field of collective housing. In her projects in urban peripheries, she tested architectural mechanisms that raised the questioning of the urban model emerged with the institutionalization of the functionalist postulates of the Athens Charter. In this article we will analyze the transition of her typological discourse in order to understand her text entitled \"Alphabet\" with which she formed a kind of \"doxa\" or vade mecum. The selected terms, in alphabetical order, specified her interests, which materialized as constants in her work, and intellectual coordinates which were coincident with those of other architects of her generation. The objective will be to demonstrate how the multi-directionality of these anthropological and architectural meanings modeled a theoretical corpus that, complemented by her philosophy studies and by her political commitment, geared her proposals towards the improvement of social conditions for coexistence and the rapport between the city and its people.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"20 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73513564","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}
Five (woodblock) prints of Ryōan-ji presents five approaches to the famous dry garden located in the homonymous temple in Kyoto. The aim has been to explore through them different peculiarities of this garden, and by extension, of Japanese dry gardens of Zen inspiration. The fields explored include narrative (Kawabata), music (Cage and Takemitsu), cinema (Ozu, Iimura) and architecture (Isozaki and Mies, in passing). The main intention has not been to give a unitary vison of Ryōan-ji. Instead, like the dazzle at the end of a haiku, I tried to build a mechanism of partial enlightenments, to show, at least partially, its complex essence. A mechanism which, simultaneously, sheds light on the narrative, the music and the architecture presented. The real protagonist of the text is the particular spatiality that this garden brings to life and the temporality that goes along with it; but also the constant correspondences of the play of traces and possible meanings disseminated across the different media.
{"title":"Un jardín rocoso. Cinco estampas de Ryōan-ji","authors":"José Vela Castillo","doi":"10.4995/vlc.2020.10901","DOIUrl":"https://doi.org/10.4995/vlc.2020.10901","url":null,"abstract":"Five (woodblock) prints of Ryōan-ji presents five approaches to the famous dry garden located in the homonymous temple in Kyoto. The aim has been to explore through them different peculiarities of this garden, and by extension, of Japanese dry gardens of Zen inspiration. The fields explored include narrative (Kawabata), music (Cage and Takemitsu), cinema (Ozu, Iimura) and architecture (Isozaki and Mies, in passing). The main intention has not been to give a unitary vison of Ryōan-ji. Instead, like the dazzle at the end of a haiku, I tried to build a mechanism of partial enlightenments, to show, at least partially, its complex essence. A mechanism which, simultaneously, sheds light on the narrative, the music and the architecture presented. The real protagonist of the text is the particular spatiality that this garden brings to life and the temporality that goes along with it; but also the constant correspondences of the play of traces and possible meanings disseminated across the different media.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"18 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74551967","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}
José Antonio Corrales planned four Colonization Villages between January 1954 and June 1956: Guadalimar, Vegas del Caudillo, Villafranco del Guadiana and Llanos del Sotillo. Corrales progressively built the shade in his colonization villages, protecting the outdoor spaces from the sun converting them into a place of relationship and gathering for its inhabitants. Llanos del Sotillo culminates a process, where his aim is masterfully achieved. Shade pursued in the orientation and urban layout, in the section of its streets, public galleries or under community buildings. The shade is also sought in the deepest thresholds of homes, becoming places where the boundaries between outside and inside fade and blur the division between public and private space, into greater wealth and complexity, enhancing community life under its shade. Years later in Elviña, Corrales presented us with community spaces, a sort of “streets in space” through which the dwellings could be accessed, as a partial evolution of his villages adapted to the geographical context, in this case searching for the sun and shelter from the rain. The sun and its shade mark and reveal community life in these works.
{"title":"José Antonio Corrales. Pueblos de Colonización. La construcción de la sombra","authors":"Nicolás Martín Domínguez","doi":"10.4995/vlc.2020.11750","DOIUrl":"https://doi.org/10.4995/vlc.2020.11750","url":null,"abstract":"José Antonio Corrales planned four Colonization Villages between January 1954 and June 1956: Guadalimar, Vegas del Caudillo, Villafranco del Guadiana and Llanos del Sotillo. Corrales progressively built the shade in his colonization villages, protecting the outdoor spaces from the sun converting them into a place of relationship and gathering for its inhabitants. Llanos del Sotillo culminates a process, where his aim is masterfully achieved. Shade pursued in the orientation and urban layout, in the section of its streets, public galleries or under community buildings. The shade is also sought in the deepest thresholds of homes, becoming places where the boundaries between outside and inside fade and blur the division between public and private space, into greater wealth and complexity, enhancing community life under its shade. Years later in Elviña, Corrales presented us with community spaces, a sort of “streets in space” through which the dwellings could be accessed, as a partial evolution of his villages adapted to the geographical context, in this case searching for the sun and shelter from the rain. The sun and its shade mark and reveal community life in these works.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85676197","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}
The Venezuelan Pavilion was one of Gordon Bunshaft's first projects for Skidmore & Owings. It was a large showcase, an airy place, a rectangle with glass walls. The exhibition was ordered between the glass perimeter and the plane on which the map of Venezuelan geography was placed. The exhibition accompanied the passage to the restaurant terrace and the tropical garden. With the success of the setup, the author architect and his team recognized the need to keep the influence of this approach in the shops and lobbies of their future buildings. For this reason, it was sought to deepen on how glazed planes improve both the internal space and the surrounding environment. Attempts have been made to reveal what Bunshaft pursues by exploring the attributes of glass sheets in his projects and reflecting on the “visual display” involved in the role of glass curtains “in and from” the pavilion. The study showed that to take heed of what is known “will be visible,” has brought a renewed perspective on the opportunities offered by the use of glass in architecture.
{"title":"Bunshaft’s showcase: exploración sobre el edificio vitrina. Feria Mundial, 1939","authors":"Andrea Parga","doi":"10.4995/vlc.2020.11357","DOIUrl":"https://doi.org/10.4995/vlc.2020.11357","url":null,"abstract":"The Venezuelan Pavilion was one of Gordon Bunshaft's first projects for Skidmore & Owings. It was a large showcase, an airy place, a rectangle with glass walls. The exhibition was ordered between the glass perimeter and the plane on which the map of Venezuelan geography was placed. The exhibition accompanied the passage to the restaurant terrace and the tropical garden. With the success of the setup, the author architect and his team recognized the need to keep the influence of this approach in the shops and lobbies of their future buildings. For this reason, it was sought to deepen on how glazed planes improve both the internal space and the surrounding environment. Attempts have been made to reveal what Bunshaft pursues by exploring the attributes of glass sheets in his projects and reflecting on the “visual display” involved in the role of glass curtains “in and from” the pavilion. The study showed that to take heed of what is known “will be visible,” has brought a renewed perspective on the opportunities offered by the use of glass in architecture.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"43 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73778219","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}
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