This article examines how the most recognisable urban forms of the Siedlung in the first postwar period in Germany were influenced by previous experiences in the construction of the urban periphery involving the company town and the garden city. The adaptation of these peripheral settlements – in which the desired balance between the country house and the urban dwelling was achieved by introducing terraced housing – to meet certain requirements of sufficient density to satisfy the growing demand for small dwellings was to determine the final configuration of the “modern Siedlung,” the settlement characteristic of the expansion of the large German city in the 1920s. An urban form that was to combat the housing shortage problem by providing systematic, medium-density housing groups consisting mainly of linear buildings several storeys high integrated with the open space in a remarkable balance between building and nature. On the basis of original sources from that period, this text addresses noteworthy aspects of this evolution towards a spatial, functional and aesthetic shaping of the collective accommodation characteristic of a Modernist German urbanism which still deserves to be taken into consideration in the current discussion about urban density.
{"title":"La periferia en la ciudad alemana: de la ciudad-jardín a la Siedlung moderna","authors":"Jorge Bosch Abarca","doi":"10.4995/vlc.2020.10994","DOIUrl":"https://doi.org/10.4995/vlc.2020.10994","url":null,"abstract":"This article examines how the most recognisable urban forms of the Siedlung in the first postwar period in Germany were influenced by previous experiences in the construction of the urban periphery involving the company town and the garden city. The adaptation of these peripheral settlements – in which the desired balance between the country house and the urban dwelling was achieved by introducing terraced housing – to meet certain requirements of sufficient density to satisfy the growing demand for small dwellings was to determine the final configuration of the “modern Siedlung,” the settlement characteristic of the expansion of the large German city in the 1920s. An urban form that was to combat the housing shortage problem by providing systematic, medium-density housing groups consisting mainly of linear buildings several storeys high integrated with the open space in a remarkable balance between building and nature. On the basis of original sources from that period, this text addresses noteworthy aspects of this evolution towards a spatial, functional and aesthetic shaping of the collective accommodation characteristic of a Modernist German urbanism which still deserves to be taken into consideration in the current discussion about urban density.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"31 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85921723","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 last year that Carlo Scarpa taught at the IUAV, he proposed a civic museum as the topic of the course, in particular in the old Santa Caterina Convent in Treviso, which is currently the headquarters of the archive of the architect. The issue of the museology was developed during the lessons given at the University and dealt with several of his most recognised projects, in order to expose the guidelines of his museology approach. The message he conveyed in his classes did not describe precise details as much as acting strategies. But nevertheless, the approach to the work of Carlo Scarpa reveals a scale of museum detail that has never been experienced before. This care for the solutions of encounters and for the suitability of expositions constitutes a true contribution to the history of architecture and is, therefore, a model of the contemporary museology theory. The interest of the interventions of Scarpa, lies in the abstraction and refinement, both of his exhibition spaces and of the support elements of the works to be exhibited. This allows on occasions to be recreated in nuances that enrich the pieces with a delicacy that we could almost describe as a work of goldsmithing.
Carlo Scarpa在IUAV教授的最后一年，他提出了一个公民博物馆作为课程的主题，特别是在特雷维索的旧Santa Caterina修道院，这是目前建筑师档案的总部。博物馆学的问题是在大学的课程中发展起来的，并处理了他最知名的几个项目，以揭示他的博物馆学方法的指导方针。他在课堂上传达的信息并没有描述精确的细节，而是描述了行动策略。但无论如何，Carlo Scarpa的作品展现了前所未有的博物馆细节。这种对偶遇的解决方案和展览的适宜性的关注构成了对建筑史的真正贡献，因此是当代博物馆学理论的典范。斯卡帕的介入感兴趣之处在于他的展览空间和所展出作品的支撑元素的抽象和精炼。这使得有时可以在细微的差别中重现，使作品变得更加精致，我们几乎可以将其描述为金匠作品。
{"title":"Carlo Scarpa: arquitectura, abstracción y museografía","authors":"Andrés Ros Campos","doi":"10.4995/vlc.2019.10989","DOIUrl":"https://doi.org/10.4995/vlc.2019.10989","url":null,"abstract":"The last year that Carlo Scarpa taught at the IUAV, he proposed a civic museum as the topic of the course, in particular in the old Santa Caterina Convent in Treviso, which is currently the headquarters of the archive of the architect. The issue of the museology was developed during the lessons given at the University and dealt with several of his most recognised projects, in order to expose the guidelines of his museology approach. The message he conveyed in his classes did not describe precise details as much as acting strategies. But nevertheless, the approach to the work of Carlo Scarpa reveals a scale of museum detail that has never been experienced before. This care for the solutions of encounters and for the suitability of expositions constitutes a true contribution to the history of architecture and is, therefore, a model of the contemporary museology theory. The interest of the interventions of Scarpa, lies in the abstraction and refinement, both of his exhibition spaces and of the support elements of the works to be exhibited. This allows on occasions to be recreated in nuances that enrich the pieces with a delicacy that we could almost describe as a work of goldsmithing.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"141 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80143859","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}
Jaap Bakema and the Open Society compila textos de diferentes autores, entrevistas a personajes cercanos a Bakema, reportajes fotograficos, y documentacion de archivo procedente mayoritariamente del Rijksarchief voor Nederlandse Architectuur en Stedenbouw que custodia el Het Nieuwe Instituut. Huyendo de una presentacion cronologica, se recurre a una estructuracion sistematica en torno a tres temas que seran los que articulen las distintas secciones: “A Man with a Mission”, “Building Social Relations” y “Growth and Change”. Tras el prologo de Guus Beumer, director del Het Nieuwe Instituut, Heuvel presenta en el capitulo introductorio la figura de Bakema como uno de los arquitectos clave en la historia de la arquitectura contemporanea, destacando su compromiso social y la dimension humana de sus escritos y propuestas arquitectonicas. En esta recension se relacionan aquellos apartados que se consideran de gran utilidad para futuras investigaciones, deteniendonos en aquellos capitulos que han suscitado un mayor interes personal debido a su proximidad con la investigacion realizada hasta la fecha.
Jaap Bakema和开放社会汇编了不同作者的文本、对Bakema附近人物的采访、摄影报道和档案文件，这些文件主要来自Stedenbouw的荷兰建筑师Rijksarchief voor Nederlandse Architectuur，该机构由Het Nieuwe研究所管理。为了避免按时间顺序呈现，我们围绕三个主题进行了系统的结构，这三个主题将阐明不同的部分:“一个有使命的人”、“建立社会关系”和“成长与变化”。开场白后Guus Beumer介绍,《新民主党Instituut主任Heuvel章入门图中的关键Bakema作为一个建筑师contemporanea架构,强调其承诺的历史作品和建议的社会和人类dimension arquitectonicas。在这篇综述中，我们列出了那些被认为对未来研究非常有用的章节，重点是那些由于接近迄今为止所进行的研究而引起个人更大兴趣的章节。
{"title":"Reseña: Jaap Bakema and the Open Society. Dirk van den Heuvel (ed.)","authors":"Rebeca Merino del Río","doi":"10.4995/vlc.2019.11710","DOIUrl":"https://doi.org/10.4995/vlc.2019.11710","url":null,"abstract":"Jaap Bakema and the Open Society compila textos de diferentes autores, entrevistas a personajes cercanos a Bakema, reportajes fotograficos, y documentacion de archivo procedente mayoritariamente del Rijksarchief voor Nederlandse Architectuur en Stedenbouw que custodia el Het Nieuwe Instituut. Huyendo de una presentacion cronologica, se recurre a una estructuracion sistematica en torno a tres temas que seran los que articulen las distintas secciones: “A Man with a Mission”, “Building Social Relations” y “Growth and Change”. Tras el prologo de Guus Beumer, director del Het Nieuwe Instituut, Heuvel presenta en el capitulo introductorio la figura de Bakema como uno de los arquitectos clave en la historia de la arquitectura contemporanea, destacando su compromiso social y la dimension humana de sus escritos y propuestas arquitectonicas. En esta recension se relacionan aquellos apartados que se consideran de gran utilidad para futuras investigaciones, deteniendonos en aquellos capitulos que han suscitado un mayor interes personal debido a su proximidad con la investigacion realizada hasta la fecha.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90355199","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 muqarnas of the Nasrid Alhambra stand out as one of the most singular architectural episodes of Medieval Islamic art due to their sophisticated three-dimensional construction, whose layout remains little known. In 1834 and 1837, the architects Owen Jones and Jules Goury visited the monument in Granada and accomplished surprising drawings thereof, later published towards 1842-1845 as chromolithograph prints, which represented its architecture, ornaments, and muqarnas in a systematic way for the first time. In order to value their pioneering drawings, the historical data is briefly reviewed and several previous drawings of the Alhambra are cited. After consideration of a few questions regarding the process of data collection in Granada, a comparative analysis is presented of a cornice, a capital, an arch and a pendentive, with photos and computer-aided drawings. Thus, the principles or elementary grammar of muqarnas groupings described by these architects are highlighted, as well as the precision of their images, which resulted crucial to integrate and disseminate the architectural legacy of the Alhambra in the contemporary Western culture.
{"title":"A Grammar of Muqarnas: Drawings of the Alhambra by Jones and Goury (1834-1845)","authors":"Antonio Gámiz Gordo, Ignacio Ferrer Pérez-Blanco","doi":"10.4995/vlc.2019.10947","DOIUrl":"https://doi.org/10.4995/vlc.2019.10947","url":null,"abstract":"The muqarnas of the Nasrid Alhambra stand out as one of the most singular architectural episodes of Medieval Islamic art due to their sophisticated three-dimensional construction, whose layout remains little known. In 1834 and 1837, the architects Owen Jones and Jules Goury visited the monument in Granada and accomplished surprising drawings thereof, later published towards 1842-1845 as chromolithograph prints, which represented its architecture, ornaments, and muqarnas in a systematic way for the first time. In order to value their pioneering drawings, the historical data is briefly reviewed and several previous drawings of the Alhambra are cited. After consideration of a few questions regarding the process of data collection in Granada, a comparative analysis is presented of a cornice, a capital, an arch and a pendentive, with photos and computer-aided drawings. Thus, the principles or elementary grammar of muqarnas groupings described by these architects are highlighted, as well as the precision of their images, which resulted crucial to integrate and disseminate the architectural legacy of the Alhambra in the contemporary Western culture.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"19 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82455348","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 addresses the under-recognized implications of SFMA’s early architectural exhibition program. Conceived under founding director Grace Morley, a series of pioneering events first presented Bay Area architects’ work as interdependent with the region’s rich geographical and cultural context, offering new lens through which Eastern critics prompted to re-evaluate California modernism. Among these shows, the 1949 landmark exhibition Domestic Architecture of the San Francisco Bay Region would epitomize the postwar discussions upon the autonomy of American modern architecture. Correspondingly, by exploring SFMA-MoMA exchanges during Elizabeth Mock’s curatorship, this essay aims to examine the conflict of perceptions and intentions between the country’s two Coasts that brought about the 1949 show as part of a well-orchestrated campaign that had begun years before Lewis Mumford’s 1947 New Yorker piece triggered a controversy over the existence of a “Bay Region Style.” Contrary to prevailing assumptions that this exhibition was a delayed reaction to the 1948 MoMA symposium organized by Philip Johnson to refute Mumford’s arguments, it was the consequence of an effective regionalist agenda whose success was, precisely, that many influential actors in the United States were exposed, indoctrinated and/or seduced by the so-called Bay Region School’s emphasis on social, political and ecological concerns.
本文探讨了SFMA早期建筑展览项目未被充分认识的影响。在创始董事Grace Morley的构想下，一系列开创性的活动首次将湾区建筑师的作品与该地区丰富的地理和文化背景相互依存，提供了新的视角，通过东方评论家促使重新评估加州现代主义。在这些展览中，1949年具有里程碑意义的“旧金山湾区国内建筑”展览是战后关于美国现代建筑自主性的讨论的缩影。相应地，通过探索伊丽莎白·莫克策展期间SFMA-MoMA之间的交流，本文旨在研究这个国家两个海岸之间的观念和意图的冲突，这种冲突导致了1949年的展览，作为刘易斯·芒福德1947年在《纽约客》上发表的一篇文章引发了关于“湾区风格”存在的争议之前几年开始的精心策划的运动的一部分。人们普遍认为，这次展览是对1948年菲利普·约翰逊(Philip Johnson)为反驳芒福德的论点而组织的MoMA研讨会的延迟反应，与此相反，它是一个有效的地区主义议程的结果，其成功恰恰在于，美国许多有影响力的行动者都被所谓的湾区学派(Bay Region School)对社会、政治和生态问题的重视所暴露、灌输和/或引诱。
{"title":"SFMA, MoMA and the Codification of Bay Region Architecture (1935-1953)","authors":"José Parra-Martínez, J. Crosse","doi":"10.4995/vlc.2019.10939","DOIUrl":"https://doi.org/10.4995/vlc.2019.10939","url":null,"abstract":"This paper addresses the under-recognized implications of SFMA’s early architectural exhibition program. Conceived under founding director Grace Morley, a series of pioneering events first presented Bay Area architects’ work as interdependent with the region’s rich geographical and cultural context, offering new lens through which Eastern critics prompted to re-evaluate California modernism. Among these shows, the 1949 landmark exhibition Domestic Architecture of the San Francisco Bay Region would epitomize the postwar discussions upon the autonomy of American modern architecture. Correspondingly, by exploring SFMA-MoMA exchanges during Elizabeth Mock’s curatorship, this essay aims to examine the conflict of perceptions and intentions between the country’s two Coasts that brought about the 1949 show as part of a well-orchestrated campaign that had begun years before Lewis Mumford’s 1947 New Yorker piece triggered a controversy over the existence of a “Bay Region Style.” Contrary to prevailing assumptions that this exhibition was a delayed reaction to the 1948 MoMA symposium organized by Philip Johnson to refute Mumford’s arguments, it was the consequence of an effective regionalist agenda whose success was, precisely, that many influential actors in the United States were exposed, indoctrinated and/or seduced by the so-called Bay Region School’s emphasis on social, political and ecological concerns.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"28 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76902746","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 fruitful decade of the nineteen-fifties, although a widely studied period, harbours unexpected eventualities, such as the confluence of a resolutely experimental sculptor and an architect of a more possibilistic nature. The circumstances surrounding the encounter and revelation of this joint work, very rarely mentioned in the corresponding literature, can be seen as an event that contributes to verifying, once again, the multi-faceted soul of the modern movement in Spain, whose fruitfulness was a result of its inherent hybridity, strengthened by the challenge of creating any classification. In this case, it is concluded that Oteiza’s piece, the result of his investigation into the spatial implications of the wall, is juxtaposed against the building by Garrigues without achieving a real dialogue with the incipient modernism in the architecture of the institute.
{"title":"Jorge Oteiza y Mariano Garrigues en el INIA (1951-57): un cruce de dos modernidades","authors":"Carlos Labarta Aizpún, Eduardo Delgado Orusco","doi":"10.4995/vlc.2019.10965","DOIUrl":"https://doi.org/10.4995/vlc.2019.10965","url":null,"abstract":"The fruitful decade of the nineteen-fifties, although a widely studied period, harbours unexpected eventualities, such as the confluence of a resolutely experimental sculptor and an architect of a more possibilistic nature. The circumstances surrounding the encounter and revelation of this joint work, very rarely mentioned in the corresponding literature, can be seen as an event that contributes to verifying, once again, the multi-faceted soul of the modern movement in Spain, whose fruitfulness was a result of its inherent hybridity, strengthened by the challenge of creating any classification. In this case, it is concluded that Oteiza’s piece, the result of his investigation into the spatial implications of the wall, is juxtaposed against the building by Garrigues without achieving a real dialogue with the incipient modernism in the architecture of the institute.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"28 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84551270","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}
In the middle of the 20th century, the pro-Franco Spanish government promoted a new holiday model for the regulation of rest and leisure for the working classes in the country: the holiday cities of Education and Rest Originating with the State’s vision to create tourist spaces, this research reviews the press of the time, to contrast the success of these complexes built in the 50’s in Tarragona, Perlora and Marbella. The results lead us to formulate the hypothesis of the possible continuity of this holiday model in the final stage of Franco’s regime. Revealing the existence of new study cases becomes the main goal of this work. In order to do so, the research shows unpublished documentation of the original project for a fourth holiday city of Education and Rest in Punta Umbría, Huelva, designed in 1968 by the architect Francisco de la Corte López. Although it would not be constructed, a study of the project documentation allows us to consider the influence that the context of the 60s had on that new holiday model in our country.
在20世纪中期，亲佛朗哥的西班牙政府推动了一种新的假期模式，以规范该国工人阶级的休息和休闲:教育和休息度假城市起源于国家创造旅游空间的愿景，本研究回顾了当时的新闻，对比了50年代在塔拉戈纳，佩罗拉和马贝拉建造的这些综合体的成功。研究结果使我们提出了在佛朗哥政权的最后阶段这种假日模式可能继续存在的假设。揭示新的研究案例的存在成为本工作的主要目标。为了做到这一点，研究显示了未发表的原始项目文件，该项目是Punta的第四个度假城市教育和休息Umbría, Huelva，由建筑师Francisco de la Corte于1968年设计López。虽然它不会被建造，但对项目文件的研究使我们能够考虑60年代的背景对我国新假期模式的影响。
{"title":"Punta Umbría: la cuarta ciudad de vacaciones de Educación y Descanso en España","authors":"Ricardo Carcelén González","doi":"10.4995/vlc.2019.10692","DOIUrl":"https://doi.org/10.4995/vlc.2019.10692","url":null,"abstract":"In the middle of the 20th century, the pro-Franco Spanish government promoted a new holiday model for the regulation of rest and leisure for the working classes in the country: the holiday cities of Education and Rest Originating with the State’s vision to create tourist spaces, this research reviews the press of the time, to contrast the success of these complexes built in the 50’s in Tarragona, Perlora and Marbella. The results lead us to formulate the hypothesis of the possible continuity of this holiday model in the final stage of Franco’s regime. Revealing the existence of new study cases becomes the main goal of this work. In order to do so, the research shows unpublished documentation of the original project for a fourth holiday city of Education and Rest in Punta Umbría, Huelva, designed in 1968 by the architect Francisco de la Corte López. Although it would not be constructed, a study of the project documentation allows us to consider the influence that the context of the 60s had on that new holiday model in our country.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"49 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85431220","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}
Salvador José Sanchis Gisbert, Pedro Ponce Gregorio, Ignacio Peris Blat
Marcel Breuer was in the first year of architectural technicians to graduate from Bauhaus School. The peculiar education he received there allowed him to explore the concept of design in its broadest sense. In his European stage we find, on the most private and small scale, unique solutions for furniture. In his first American stage we see a strong commitment with solutions related to the residential land and, when he earned international recognition, he developed large scale solutions for his public non-residential buildings and urban equipments in locations all over the world. It is strange to see that an architect like him did not have the opportunity to materialize any of his proposals associated with the public space. The 1945 Cambridge Servicemen’s Memorial project, also known as the Memorial War, is the most significant one he developed in his last years in Cambridge. Had it been built, it would have been a valuable example of modernity and contemporary reinterpretation of the monument in the public space.
{"title":"Cambridge Servicemen’s Memorial (Breuer, 1945): espacio público para el recuerdo","authors":"Salvador José Sanchis Gisbert, Pedro Ponce Gregorio, Ignacio Peris Blat","doi":"10.4995/vlc.2019.10833","DOIUrl":"https://doi.org/10.4995/vlc.2019.10833","url":null,"abstract":"Marcel Breuer was in the first year of architectural technicians to graduate from Bauhaus School. The peculiar education he received there allowed him to explore the concept of design in its broadest sense. In his European stage we find, on the most private and small scale, unique solutions for furniture. In his first American stage we see a strong commitment with solutions related to the residential land and, when he earned international recognition, he developed large scale solutions for his public non-residential buildings and urban equipments in locations all over the world. It is strange to see that an architect like him did not have the opportunity to materialize any of his proposals associated with the public space. The 1945 Cambridge Servicemen’s Memorial project, also known as the Memorial War, is the most significant one he developed in his last years in Cambridge. Had it been built, it would have been a valuable example of modernity and contemporary reinterpretation of the monument in the public space.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"30 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82604319","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}
Julio Grijalba Bengoetxea, Alberto Grijalba Bengoetxea, J. Andrés
According to Lessing’s theory, time and space are the concept bases of aesthetics. Architecture belongs to the realm of space, following this theory. There is no unitary discourse that substantiates the presence and the representation of time in Architecture. Our approach in this paper is based on the idea that the attributes of time and its passage, understood in their deep sense, are nothing but an essential issue of Architectural Project. Thus, the construction of our discourse hinges on four gazes to four projects, as defined in the first of “Four Quarters” by T.S. Elliot, published in 1936. The outside wall of the experimental house of Muuratsalo represents the gaze to a previous ruin, confronted with the detained time by the white that covers everything. The fragment of the wall of Sankt Markus, by Björhagen, evokes the lost unity. The courtyard enclosure of the Värmlan Regional Museum is a look in two different times. Finally, the outside wall of the Särestö Museum explores the bond between Architecture and nature throughout time.
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Since it was selected in 1998, the Memorial has been immersed in numerous debates that reached a level of controversy throughout 2017. This work conceived by Peter Eisenman and Richard Serra, was modified and carried out only by Peter Eisenman. The debates and controversies amassed have allowed for certain clarifications that exceed the original claims of the authors, but in any case, it seems that they were confirmed in their possibility or in their contingency. These facts show the relationship between the object and subject in the significant act, in its different approaches: from the interaction with the work, the intersubjective relations – self-referent or not – the interaction between subject and object, subject and context, subject and interpretation. Until moving the significant capability from the original indications to the new context, that can in any case re-configure a new sign. In this, the sketch is seen as a post-metaphysical aesthetic structure beyond the concept of an open work; adding the temporal dimension that underlines the distinction between difference and differ, in two moments: the constitution of the sign and its temporary displacement. This exemplifies the concepts of différence and différance by Jacques Derrida, together with the concepts of contamination or the appearance of contraband meanings, including the event that Eisenman longed for.
{"title":"Estrategia estética-significante (postestructuralista) en el Memorial del Holocausto","authors":"J. M. Puigdollers","doi":"10.4995/VLC.2019.10399","DOIUrl":"https://doi.org/10.4995/VLC.2019.10399","url":null,"abstract":"Since it was selected in 1998, the Memorial has been immersed in numerous debates that reached a level of controversy throughout 2017. This work conceived by Peter Eisenman and Richard Serra, was modified and carried out only by Peter Eisenman. The debates and controversies amassed have allowed for certain clarifications that exceed the original claims of the authors, but in any case, it seems that they were confirmed in their possibility or in their contingency. These facts show the relationship between the object and subject in the significant act, in its different approaches: from the interaction with the work, the intersubjective relations – self-referent or not – the interaction between subject and object, subject and context, subject and interpretation. Until moving the significant capability from the original indications to the new context, that can in any case re-configure a new sign. In this, the sketch is seen as a post-metaphysical aesthetic structure beyond the concept of an open work; adding the temporal dimension that underlines the distinction between difference and differ, in two moments: the constitution of the sign and its temporary displacement. This exemplifies the concepts of différence and différance by Jacques Derrida, together with the concepts of contamination or the appearance of contraband meanings, including the event that Eisenman longed for.","PeriodicalId":40566,"journal":{"name":"VLC Arquitectura-Research Journal","volume":"34 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-04-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89078283","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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