veredes

Rest area in Strømbu [Carl-Viggo Hølmebakk architect] | tectonicablog

admin — Thu, 17 May 2012 07:31:18 +0000

Rondane’s Tourist Route passes along 42 km from the mountains Rondane in his south end up to Folldal in the north. The building is located near the average point of this route, in a place that uses also as point of item trippers who want to cross the mountains afoot.

Rest area in Strømbu [Carl-Viggo Holmebakk] | Photography: Carl-Viggo Hølmebakk, Rickard Riesenfeld, Jarle Wæhler, Simon Skreddernes | tectonicablog.com

The meeting between these two user groups has been important for the project. For the tourists with car: how one presents the nature and the mountains during a stop of several minutes; and for those who travel afoot: how to retire or to come back to the civilization after a few days in a wild environment. Strømbu works also as center of information for different activities that take place in the zone, and is directed basically by the local parish.

[...]

C.-V. Hølmebakk

+ article is published in tectonica blog

House in Tousuien [Suppose Design Office] | disenoyarquitectura

admin — Thu, 17 May 2012 07:12:01 +0000

Suppose design office ha completado una interesante vivienda translúcida en la región japonesa de Hiroshima. La piel de plástico translúcido transmite desde el exterior una sensación de ligereza e incluso de delicadeza. Una vez en el interior la mezcla de hormigón pulido y madera para los suelos y la estructura de vigas y pilares de acero contrastan con el plástico. El interior se inunda de luz aunque la piel consigue amortiguar la incidencia de los rayos del sol, logrando una luz tenue y correctamente distribuida que aporta calidez. Cuando cae la noche ocurre lo contrario las luces del interior se proyectan hacia el exterior, de este modo se protege la intimidad de sus ocupantes en una de las zonas de mayor densidad de Japón.

House in Tousuien [Suppose design office] | Photography: Toshiyuki Yano | disenoyarquitectura.net

[...]

+ article is published in diseño y arquitectura

Òpera Prima. Overlapping condition. [Jujol without prompter] | Arnau Tiñena

admin — Thu, 17 May 2012 06:39:37 +0000

A landscape to be invented, to petrify the gravity, to stretch the space of a plot, to splash with light a wall, to turn the city to enter to the theatre … everything in an instant, a slow and alive instant, an instant out of the time.

A brief instant that is expanded without end, a process always unfinished … Architecture of intuitive, fresh gestures, of floating ideas executed in situ that transform constant … mutate, play, are exchanged, there are mixed … collections of frozen occurrences, catalogues of spots, colors and holes, whirlpools of formless energies.

The first work of an architect who starts sailing in solitarily.
The ideas seem not to exist, Jujol seems to project for overlapping, for accumulation of episodes… It is not possible to do a linear reading of the project, we do not find a concept that guides his development … it is the direct relation between a man and the manipulation of the matter. Jujol operates for overlapping of contradictory conditions to exploit the contrasts and to find the only and peculiar situations: Rapid and slow, enormous and insignificant, solid and liquid (and at some time gaseous), in three possible acts of the same prime opera: Time, space, matter in the transformation of the Theatre of the Working Patronage of Tarragona, known from 1930 like Theatre Metropol.

1st ACT

Jujol left his natal Tarragona, where it was born in 1879, and moved to Barcelona in 1886, where it initiated his studies of architecture in 1901. His skill in the drawing opened the doors him to work with big architects of the moment as Gallissà, from 1901, Font and Gumà, from 1903, and Gaudí, from 1906, (I joust the year in which it was obtaining the architect’s title), with whom it never stopped working. Jujol would initiate his trip in solitarily on 1908, arranging the collaborations with his own works. A trip that would gravitate between the Camp of Tarragona, the territory that saw it to be born, and Barcelona, the city where it studied and initiated the professional activity.

It was the same year when Jujol received, in plenary session he debates between supporters and detractors, the order of the working Patronage of Tarragona, which at the time concerned in the associative denominational network, of constructing a theatre in the lot that was occupying the garden of his social place placed in the number 46 of the Ravine Nongoes of Tarragona. The project had been proposed initially to Gaudí, probably to request Francesc Vidal and Barraquer, ecclesiastic district attorney at the time of the archbishopric, by the intention of ” raising the cultural standard, morally and religiously of the workers “. Gaudí yielded the order to a young person Jujol, who after two years of intense collaborations, had gained his confidence himself.

The project of the theatre Metropol begins in 1908, but the strong opposition of a sector of the Patronage impedes his ending. The life of the theatre will not be simple, it experiences continuous demolitions and transformations… The bombs of the pro-Franco army during the civil war and a series of reforms for the conversion of the theatre in cinema in 1939 spoilt the magic of Jujol’s plastic delirium, that there was not recovered up to the curosa Josep Llinàs’s intervention, very entered the nineties, in an archeologist’s exercise surgeon who deserved a prize FAD in 1996.

And it is that Jujol’s works move habitually in the comfort of the elastic time that stretches and contracts, hastens and moves back. They expand in the time, develop and are constructed slowly, transform, degenerate, are perverted and recover, but simultaneously they manage to preserve the immediacy and the fleetingness of the moment, the gesture of the hand that draws them and constructs them … something that Jujol will transmit and execute personally always in his architecture.

Gestures, traces, brands of the processes, unexpected opposing colors “in situ” flood obsessively ceilings, soils and walls, probably done in the silence of the night of a construction by half.

2nd ACT

To think this theatre as a project of overlappings… Arrhythmic and fragmented, conceived as a system of aggregations … the coherence, finally, comes in last term, if it is that it has to come. A set of crossed, alive ideas, which still today continue crossing and mixing to form diverse, autonomous atmospheres … the just and necessary thing in every moment, without prejudices or comities. Is everything possible, why not?

This inclusive attitude, sumatoria, that some of them have wanted to separate from the trend to Gaudí’s continuity, more worried by the formal homogeneity of the projects, allows to understand the Theatre as a set of small projects, small scenes that Jujol weaves and juxtaposes … the room, the access, the court, the stairs, the ceilings, the windows …. every element deserves to be rethought. The spaces and the elements clash, sometimes they are contradictory and sometimes they coexist, it is not important. Some are trodden to others, are pushed and fight for the light … Given the small dimension of the lot, The project of the Theatre Metropol is an exercise of introversion, of exploration of the interior world, of recreation in the details, which far from being mere decorative strategies, are capable of organizing the space and of restructuring the systems of forces multiplicacando the physical space of the accesses and the principal room.

The small room is an ovum prepared to be fertilized by the spectators, that, acceding from the Ravine It Nongoes, they cross a complex and narrow tangential way occasionally bathed by the light of an interior court, which today is the terrace of the cafeteria of the theatre. This ceremonial walk before the spectacle is the most intense point of the project and develops in different platforms to several levels, which they lead to orchestra and amphitheatres.

Dynamic space and movement, probably a project conceived from flows … spectators like water currents… Lightness, fragility, transparency and light … soaked deep rails, light stairs, metallic explicit structure, perforated and visual walls to expand the space.

3rd ACT

Though it is true that inherits a certain visual and methodological baggage of his first teachers, and it is not possible to understand Jujol without Gaudí, Gallissà, and Font Gumà, and without Ruskin, Horta or Olbrich, and without the visit to the baroque churches of Rome or his deep faith it christens and his rooting to the Field of Tarragona, Jujol is, over everything, a lover of the matter.

Any material is an opportunity. Jujol multiplies his range of possibilities undressing them of his significant habitual ones to find his vital content. To recycle, to re-use… It joins Them, doubles them, cuts them away, joins them, pierces them … in plastic operations nearer to Tristan Tzara’s fragmented writing, or to the actions of Dubuffet, Matta Clark, Pollock or Duschamp.
The slogan is always to include, always to adhere, to never reject.

Contact of the body with the surfaces, calligraphies and tracks that despliegan on the epidermis of objects that they find like in a chance way in a holiday of disguises … waves, fish, shells, probably a building under the water… The matter takes life and transforms, the ceilings fall apart, the painting slips and the stone becomes liquid…
To leave space at random and to the first intuitions… Jujol gets confused, turns aside and amuses itself. It confronts every problem of a local and referential way … a banister, a step, a bank, a handle…

To return to see the things as if we saw them for the first time. To invent.

Many consider to be the Theatre Metropol that first work that contains the genetic sequence of good part of his later work. In the Metropol there is a fragment of Manyac, of the Tower of the Creu, of Bofarull, of Negre, of Planelles … and also of Batlló, Milà and Güell… A made project of many projects … a beginning of many ends.

Arnau Tiñena . architect
barcelona. april,2012

sources
- C. Flores, J.M. Jujol, J.F. Ràfols. La arquitectura de J.M, Jujol. Archivo histórico de urbanismo y diseño. Publicaciones del coac. 1974.
- Montserrat Duran y Albareda. Josep M. Jujol, la Arquitectura escondida. Ed. Meteora. 2003.
- Asociación catalana de arquitectas. Josep Maria Jujol, arquitecto. 1879-1979. Colegio de arquitectos de Cataluña. 1989.
- Ignasi de Solà Morales. Jujol. Ed. Polígrafa. 1990.

Bathhouse in Thailand [TYIN Tegnestue] | arquitecturaviva

admin — Thu, 17 May 2012 06:10:35 +0000

The pavilion constructed by the Norwegians TYIN Tegnestue in Ban Tha Song Yang, to the north of Thailand, shelters the areas of bath and laundry of an orphanage, essential in a climate as the Thai, propitiously to the contagious diseases. Surrounded with a vast plantation of teak, the piece divides in two differentiated parts: an intimate zone delimited by blocks of concrete; and an area, more permeable, where the areas destined for the bath place.

Bathhouse in Thailand [TYIN Tegnestue] | Photography: Pasi Aalto | arquitecturaviva.com

[...]

TYIN Tegnestue

+ article is published in Arquitectura Viva

Rehabilitation of the Maison du Batîment d’Aquitaine [Nadau Lavergne Studio] | experimenta

admin — Thu, 17 May 2012 06:09:32 +0000

The Maison du Batîment d’Aquitaine was constructed in Bordeaux (France) in 1972. The building, which serves as headquarters for several official institutions, had remained obsolete due to his lack of flexibility and his thermal lacks. The French study Nadau Lavergne has rehabilitated it adding a double coating of wood to the old front of homigón and opening a great diaphanous gallery in the low floor.

Maison du Batîment d’Aquitaine, Nadau Lavergne Studio, 2012| experimenta.es

Nadau Lavergne has effected a rehabilitation that turns concerning four axes: improvement of the thermal conditions, renovation of the exterior image, flexibilización of the internal space and creation of polyvalent spaces. With this intervention, the building seeks to be raised in an architectural symbol of Gingko’s neighborhood, a district still in construction.

[...]

Alberto Peñalver Menéndez

+ article is published in experimenta

Revista de Arquitectura 1:100 [nº 37]

admin — Thu, 17 May 2012 06:09:13 +0000

Before the possibility of realizing a new number on BAK’s work Architects we converse again with the members of the study and after several meetings this possibility turned a reality. On having known his works and projects realized in the last years I thought a coherent and linear work compromised with all the aspects that they shape our labor, which follows and extends the line of thought of the study already approached in the number 17 of 1:100.

The “aesthetic – constructive” system – as them themselves they call it – has served them to canalize and to transform these thoughts into innumerable works. Integration with his environment, flexibility of uses, simple forms and a fenced digest of materials like conscious valuation of the resources – where the concrete is his principal ally – are some of the key points in BAK’s work and that there dye each of his works. 4 houses that we sense beforehand in this edition are a clear example thus of thinking the architecture with common sense, always opened new challenges, and attentive to the reality that surrounds them. Arq. Luis Corrales / Publisher.

+ article is published in 1:100

Restoration of ‘la Seca’ for Joan Brossa Scenic Space [Meritxell Inaraja i Genís] | quaderns

admin — Thu, 17 May 2012 05:09:09 +0000

The Drought takes the name of the Royal Drought or Royal Factory of Currency of the Crown of Aragon. The word mint, has his origin in the Arabic word sekka, which place means ” where currency is made “. The old factory, which was occupying several estates between the current street of the Drought and of Flassaders, has a history of at least five centuries, since in her there was coined currency of discontinuous form between and 1849, though part of the building is more ancient, probably of the 13th century or previous. It is clear that in July, 1441 the king Alfonso V granted his wife, Leonardo de Sos, the right to coin currency, and they were coined ” florins, duchies, shields, luises and treintenas “. In 1836 still pesetas were beaten by the inscription ” Principality of Catalonia “. In 1836 still pesetas were beaten by the inscription ” Principality of Catalonia “. In the documentation that remains in the House of the Ardiaca it is clear that the Mint of Barcelona stopped coining currency in 1849. After his closing, part of what had been a factory of the currency received a workshop of credits, a store of drug store and the last occupation was like a discotheque. The restoration realized in the estate number 40 of the street of the Flassaders, property of the Town hall of Barcelona?? It corresponds to a part of the space that occupied this former factory of the currency of ‘ The Drought ‘ of Barcelona.

Restoration of ‘la Seca’ for Joan Brossa Scenic Space [Meritxell Inaraja i Genís] | Photogrphy: Fotografia de Arquitectura Wenzel | quaderns.coac.net

Since already it has been mentioned, in the estate one could have documented structural low – medieval testimonies dated between ends of the 13th century and fundamentally in the 14th century. The principal part of the building is of middle of s. The XVIIth, moment in the one that transformed totally the physiognomy of the set. The structures that remain nowadays are of this period.

[...]

Meritxell Inaraja i Genís

+ article is published in Quaderns

DIM Party. International day of the Museum 2012. Marco

admin — Thu, 17 May 2012 05:08:04 +0000

As every year from 1977, the ICOM (International Advice of Museums) invites to the museums of the whole world to celebrating on May 18 the International Day of the Museum, created to promote the general interest for the management and the activities of the museums and centers of art. The motto for the DIM 2012 is ” Museums in a changeable world. New challenges, new inspirations “, that centres so much on the growth of the museums and the construction do on his future, since on the possibilities opened by the social networks and the new electronic mass media.

Once again, the MARCO adds to this celebration and offers a special programming on Friday, the 18th and Saturday, the 19th of May, with activities for public of all the ages, which add to the exhibitions that appear in rooms:

PRESENCE ACTIVATES. Action, object and public, in the ground floor
Performance and installation are based on the same beginning of presence; of active presence. This exhibition approaches different possibilities of relation between both artistic disciplines. His aim is the confluence of performance and installation in a many-colored landscape of dynamic facilities activated by the artists and / or the public, inside the spaces of the museum.

AMAYA GONZALEZ KINGS. To enter the work, to lose () in her, in the first plant
Amaya Gonzalez Kings reserves for the spectator an own space and calls on it to decipher the obsessions of the artist. A set of works that, from the central idea of loss, refer to games of meaning, to contradictory or complementary sensations, to the dilemma between feeling and reason, on line with the inconformity and ambivalence that they are typical of his work. [They will be last days to visit this sample, which is closed on Sunday, the 20th of maio]

Close to the visits guided to the exhibitions, the programming of the DIM 2012 in the FRAME includes workshops Xabarín18 for infantile public, concerts of chamber music in collaboration with the Professional Conservatoire of Music of Vigo, the presentation of the last pop video of the Galician group Holywater, and a new attempt of record of ‘ Only of guitar any more I never talk interpreted ‘ on the part of Gabriel Domínguez in Thom Kubli’s piece. For your part, the Friends of the MARCO will have the opportunity to demonstrate his endowments playing the role of reporters for one day, and as special occasion in this Holiday DIM, there will be realized a drawing of two nights in the Hotel I MARK between all the visitors during the weekend. In addition, the shop – bookshop restarts his activities under the new name RESCRÓMICA.

Marco Vigo
Príncipe 54 | 36202 Vigo
Date: on May 18, 2012 – May 19, 2012
Place: assembly hall and rooms of exposicións
Cost: free and free entry

+ info

Experiences to continuing before the crisis: policies of soil and housing in Cisjordania | urblog

admin — Wed, 16 May 2012 07:43:12 +0000

Since 1967 Israel has established approximately 150 accessions on West Bank (residential and in minor measure other uses), besides 100 positions of advanced ” not authorized “. The population of colonists has reached the 500.000, growing during the last decade to an annual rate of 5 ‘ 3 % (opposite to the 1 ‘ 8 % of the total Israeli population). The demand does not stop, and the processes of planning, management, urbanization and construction of housings are overlapped from the enthusiasm to the delirium, demanding again and again more I occur to incorporating. The question is unavoidable: how have they obtained so prodigious results? What so sophisticated as have effective technologies been applied in these spectacular actions of development? Being since it is our intention to learn and to share, we are going to try to see it.

by urblog.org

[...]

Poto

+ article is published in urblog

Las artes de Piranesi

admin — Wed, 16 May 2012 06:55:48 +0000

Caixaforum Madrid receives an exhibition on one of the most important illustrators of the S. The XVIIIth that cultivated as nobody the tridimensionalidad and the detail in the engraving. Giovanni-Battista Piranesi (1720-1778) was one of the most important draftsmen of the 18th century. The technology, the intensity and the evocative power of his work have had later influence in romantic, surrealistic artists and cubists. His engravings of Venetian jails inspire, still today, cinematographic sets. Thanks to the Benefit society ” The Caixa ” the first great complete exhibition will be able to see for the first time in Spain on the work of Piranesi, who will appear across new and innovative forms of observation of the engraving, that they will allow to the public to extend and to enrich the vision of the works with pieces that receive life.

Carcere, Carceri d’invenzione (1761 ca,). Firmin Didot 360, Calcografia, Tav 8. Fondazione Giorgio Cini, Venecia

The exhibition proposes to the public a tour for the path of Piranesi across more than 300 original engravings of the artist, that together with a complementary representation of photographies, figures and audio-visual they will allow to bring over the work of this Italian teacher to the great public.

The sample possesses royal reproductions, in diverse materials, of furniture and pieces of adornment Romans of his series Antichità Romane, the intense audio-visual one that provides with worrying depth and dimensions to his Jails of the Imagination and contemporary photographies of G. Basilico for his collection of engravings conference of Rome. A few comparisons that will allow to the public to discover the tridimensionalidad, the perspective and the detail of the engravings of Piranesi.

From Monday until Sunday, from 10 to 20 h. Price: free Activity
CaixaForum Madrid, Paseo del Prado, 36. 28014 MADRID

+ info

Seville, a few mushrooms eat up the Encarnación | elblogdefarina

admin — Wed, 16 May 2012 06:35:45 +0000

Anyone who reads the title of the article will be able to think that he has been wrong of page and that, for mistake, it has opened (for example) the World Today where holders as striking can be as ” The cunt of the Bernarda to declare Heritage of the Humanity “, ” Rajoy opens a thread in forocoches to explain the cuts ” or ” The Thermomix will have function of deconstruir “. But not, it is Fariña’s boring blog. In addition, which is said it is literal and true. At this point, and especially after the mobilizations of 15-M, the whole world knows to that “mushrooms” I refer and that The Incarnation consumed by such fruitful entities is a square. Provided that the fungi feeds of matter in decomposition it is not so strange either that, given the situation in the one that was the square and the reigning dampness in Seville in the last years, they could have appeared so luxuriant. Actually it have to of it having been titled by ” damned Places, square of the Incarnation “, in order that it was adding to such others as the square of Castile in Madrid and to contribute this way to the legend that this blog is promoting brings over of some ” urban places “, but the title that finally I have left seems to me to be more descriptive of the happened.

Las Setas in the night | Photography: Jujo | elblogdefarina.blogspot.com.es

Still I remember of the night in which DOmingo and Teresa they faced me to the reality of Las Setas.

[...]

José Fariña Tojo

+ article is published in el blog de José Fariña

Alga-Robic Horror Show | arquitectamoslocos?

admin — Wed, 16 May 2012 06:30:13 +0000

The Hotel Algarrobico is one of the icons of the Spain of the real-estate miracle, of the country of the marvels, of the Happy-go-lucky person, of the races against time of peladores of sea crabs, of tryings wines (with soda) of more than hundred Euros the bottle, of puracos Havana cigars cohiba and / or montecristo, of the Rumanian translators, of the fleets of audis, bemeúves, jáguares and porsches (one declare pooorsh).

Built with a couple. Well, with many couples: There they are put on the table by mayor, councilmen, president of the community, the secretary of Environment, counselors, technical personnel… Obvious Example of the Bóquépassa and of the Chicotraeotradecaviarperodelbuenobueno. It was constructed (already I say, with several couples) in the beach of the Algarrobico, coast of Charcoal-bins, Nature reserve of Gata-Níjar’s End. (Nature reserve? But if it was quite desert! If it was mu tastelessly! If what it was crying out for was a bunga-bunga that was putting it in orbit!).

Algarrobic Hotel | arquitectamoslocos.blogspot.com.es

[...]

José Ramón Hernández Correa

+ article is published in Arquitectamos locos?

Program of urban development rehabilitation, Brussels | espacioapropiado

admin — Wed, 16 May 2012 06:13:26 +0000

In these moments I am employed at a Contrat de Quartier (contract of neighborhood), that is to say, a program of rehabilitation of a neighborhood of Brussels to which funds are given him to renew or to construct public spaces, public buildings (schools, day-care centers …) but also they give themselves helps to deprived. These programs were created in the middle of the 90s and they are an example for many in Europe for his will to include the civil participation by means of popular consultation during the production of the project and not as soon as already it is done to see if ” the people like it “.

Program of urban development rehabilitation, Brussels | espacioapropiado.blogspot.com.es

In the new Contrat de Quartier they has been added the adjective (so fashionable that it is losing followers) “sustainable” (durable) because one tries to include in them the vision of three props of the sustainable development: the ecological thing (first the one that comes to the head), the economic thing and the social thing (that is in the habit of being relegated to consultation and not to a royal participation).

[...]

+ article is published in espacio apropiado

The Club of the Lost Paradise | lineasdetrabajo

admin — Tue, 15 May 2012 06:06:03 +0000

I was walking slow along the Dei Greci street. It was Thursday, and in the calm atmosphere of these last hours of the day, Venice was looking like another city. I crossed the bridge, got lost for the multicolored Riva degli Schiavoni and sat down in the edge of a channel to seeing to spend the life, allowing that my legs should range to few centimeters of the water. The red stucco of the fronts seemed to me to be at the time voluptuous, sonorously, and I began to imagine long nights of lust and carnival.

Sverre Fehn | lineasdetrabajo.com

He was thinking about all these things when I realized that it was not only; to my side, cut away against the livid light of the lanterns, I distinguished the figure of an old man in the one that up to this moment it had not repaired:
- when I sit down here – he said – I remember why I return to Venice again and again.
This city has a few dimensions that follow you, and always it gives you bienvenida.¹

[...]

Borja López Cotelo

+ article is published in lineas de trabajo

The beauty in the architecture | nochesininsomnio

admin — Tue, 15 May 2012 06:03:31 +0000

In epochs of crisis and of vacuous words, the beauty is an attribute that some of they of them consider to be superfluous. Others already have separated it as a banal term, developing in the last times an aesthetics kitch, of nature Disney or her considering as a formula to satisfy to the “majority” (bowl, it is supposed), wrong and equivocal meaning, since it delivers to this majority a quality that him does not belong. The majority, on the contrary, loves the beauty, both the interior of the persons and exterior (reflection of the first one). And in the architecture the same thing happens.

Ugalde House, Coderch | nochesininsomnio.blogspot.com.es

[...]

Cristina García-Rosales

+ article is published in espacio espacioso

A recollection for Lina Bo Bardi | lamujerconstruye

admin — Tue, 15 May 2012 06:02:29 +0000

We wanted that small traditions were taking root in these Meetings in the Architecture and one of them is her of the series of presentations begins with a reference to a woman arquitecta that has marked a way, a reference to professionals of great value and that are not, probably, it sufficiently known in the areas in which we move. If last year we speak about the German arquitecta Grette Schütte-Lihotzky, creative about the first prototype of modern kitchen, the famous kitchen of Frankfurt, this one year we wanted to have a brief recollection for the italo-Brazilian arquitecta Lina Bo Bardi. It was born in Rome in 1914 and died in Sao Paulo in 1992. He studied the career of architecture in Italy, graduating in 1939. There was employed with Gio Ponti, founder of the magazine Domus at Milan, city that it left in 1943 and in the one that escaped miraculously of the death after destroying his study in an allied bombardment. In the middle of the decade of the forties it moves to live through Brazil, where it will turn into one of the most representative figures of the Brazilian culture of the 20th century, across the intense architectural labor and popular design that it carried out along his life.

Well it can be said that together with Eileen Gray it shaped the feminine side of the modernity. Lina Bo was a complete artist, a great creative capacity led her to being employed at the most diverse activities: he collaborated in movies, sets for the opera and theatre, writing and journalism, painting, design of furniture, mode, jeweler’s shop and architecture, an architecture loaded with a peculiar sensibility humanizes, opposite to the technical spirit that was possessing the modern movement.

Sketch by Lina Bo Bardi | lamujerconstruye.org

It was provided with a genius that happened unnoticed in his time, but it was not the most important of Lina Bo, his real contribution consists of having rescued intelligently and sensitively what They Go Eyck was criticizing him to the modernity: the paper that has the architecture in relation to the company and to the place.

[...]

la mujer construye

+ article is published in La Mujer Construye

Foros Esarq 2012: Modos de ver. Ultimas localidades

admin — Tue, 15 May 2012 05:09:33 +0000

Next Tuesday, the 15th of May, inside the programming of the cycle of conferences “Foros Esarq 2012: Modos de ver” that organizes The Technical Top School of Architecture of the Universitat Internacional of Catalonia, ESARQ-UIC, the offices of Catalan architecture Aixopluc (David Tapias), Arquitecturia (Olga Felip y Josep Camps) and HArquitectes (David Lorente, Josep Ricart, Xavier Ros and Roger), formed by young architects, will give a conference under the title ” Last localities. “

The act, which will be opened the public, will take place at 16:00 in the Assembly hall of the Campus Barcelona of the UIC and will serve to think about the architecture of our times, from the vision of local and young offices of architecture with work constructed in Catalonia and recognized with diverse prizes, which will explain to us first hand his positioning opposite to the topics that the architecture raises nowadays.

- Aixopluc (David Tapias, ETSAB 1999)
+ aixopluc.net
- Arquitecturia (it begins in 2006 with Josep Camps y Olga Felip )
+ arquitecturia.net
- HArquitectes (David Lorente (Granollers, 1972), Josep Ricart (Cerdanyola del Vallès, 1973), Xavier Ros (Sabadell, 1972) and Roger Tudó (Terrassa, 1973). ETSA Vallès 1998-2000)
+ harquitectes.com

Pietilä’s pavilion | arquitectamoslocos?

admin — Tue, 15 May 2012 05:01:04 +0000

The Finnish architect Reima Pietilä, whose better work is maybe the Students’ Center Dipoli, of Espoo (about which we will speak another day), was announced by the Finnish pavilion of the Expo of Brussels of 1958. (Good exhibition. Remember that already we speak about the Spanish pavilion. But there are others very interesting all those, about whom maybe it is worth speaking in other occasions. Already we will see). At first this pavilion of youth does not prefigure the work of maturity (of a few years later). Or yes? I do not know it. But something becomes to me simpler to deal and, maybe, of explaining (or of explaining it to me itself). Pietilä gained the contest of the pavilion in 1957, four years after having obtained the architect’s title, and still very influenced by the school. There they had made him work on Theo van Doesburg’s theories, and had made him think about the modulation and about the plasticity of the right angle.

Finnish pavilion of the Expo de Bruselas in 1958 [Reima Pietilä] | arquitectamoslocos.blogspot.com.es

In his pavilion a ferreous modulation used, but not esclavizadora. That is to say, he took advantage of the advantages of the modulation to control the forms and the structure, but it did not fall down in the inflexibility, but it could form an expressive and fluid space.

[...]

José Ramón Hernández Correa

+ article is published in Arquitectamos locos?

What is the thearchitecture | multiplesestrategias

admin — Tue, 15 May 2012 05:00:56 +0000

This drawing must be read as a thesis capable of explaining the architecture completely, by no means and without possibility of reply. (What means that more than an inappealable declaration maybe it is a question of a specific attitude before the architecture, or of a simple biography).

SVERRE FEHN, What is an architecture | Image Fehn Archive | santiagodemolina.com

For Sverre Fehn the architecture is that one that makes the horizon visible. In occasions, thanks to being a slight contact with him; in others, it is the object capable of removing the look from him up to dissolving it; others, it is the construction raised as monument of the Sun and the time, turning to the horizon in the permanent, stable and eternal only thing. On the base of this tracing, the architecture allows to the man to separate of him and to float, or finally, gives him the illusion of submerging and even to sail under this solid inaprensible.

[...]

santiago de molina

+ article is published in multiples estrategias de arquitectura

Has architect died? | elperiodico

admin — Tue, 15 May 2012 04:55:11 +0000

This noble profession, which according to Vitruvio was busy with giving us ” firmitas, utilitas, venustas ” – solidity, functionality and beauty-, llangueix inexorably. The latter decade has supposed the progressive decomposition of an activity that before had had prestige and social relevancy. Not only it is that 45 % of the Spanish architects is nowadays without work, but the profession already will never be the same one. The crisis will give him a final thrust, but his decease is forged for time, the boom edificatori did not make accelerate any more than it.

by jordiriusbonjorn.blogspot.com

Recordamos que la figura del arquitecto consiste a dar cobijo a sus semblantes, ya sea para habitar, celebrar, aprender, trabajar… Tiene -tenía- la delicada responsabilidad de adecuar estos espacios con la máxima garantía de satisfacción para el usuario. Eso sí, desde un gran abanico de posibilidades tecnológicas y estilísticas.

[...]

Juli Capella

+ article is published in el periodico