The magazine of art and New architecture Forms, edited in Madrid between 1966 and 1975, it took part decisively in the construction of an architectural and plastic culture and turned into a referential publication into the aseptic and inert cultural and publishing context of his epoch. The texts of his director, Juan Daniel Fullaondo and his multidisciplinary interest for the synthesis of the arts, turned into an essential element into the creative speech of his time, contributing a vision to speculate of the architecture and of the art, which amplified his significance towards new contexts and references. The Museum Oteiza, the colaboración with the Delegation of Navarre of the Architects’ Official College Vasco Navarro and the Town hall of Valle de Egüés, has edited the publication “Fullaondo and the New magazine Forms. Contributions to the construction of an architectural culture in Spain (1966-1975)”, a volume written by Lucía C. Perez Moreno, who analyzes the transcendency and the contributions of this singular publishing project, in which the presence of the work and Jorge Oteiza’s thought was a constant reference.
In the pages of New Form, Juan Daniel Fullaondo assumed a historical commitment on having recovered the path of a set of architects and artists who might have fallen down in the oblivion, constructed a historical project that provided with theoretical support to a few not constructed architectures that, differently, would have got lost. And it seated in the architectural Spanish culture a creator as Oteiza, whose work and thought still is an unquestionable reference in the architecture, at the time that he claimed a place for the national architecture in international forums and leading her to forming a part it activates of the complex scene of the moment. All this, with a reflexive own evolution that demonstrated his understanding of the architecture from the form – always understood as unavoidable tool of the creator to form the space – and that showed a look in continuous question of the above mentioned, capable thing of inciting the reader to the permanent reflection, definitively, to the crisis of the known.
The volume conforms across four “looks” that go deeply in problematic cultural of the moment: a “rebellious look” before the understanding partial and slanted of the modernity; a “operative look” before the domain of a few organic architectures with scanty fortune; a “polyhedric look” before a figure as that of Oteiza, ununderstood and, nevertheless, advanced to his time; and a “crossed look” before an international architecture with which to establish analogies for a valuation of native. To them there adds a previous study that, in a chronological way, he presents relevant questions of the magazine, as his format, structure, protagonists, particularities and influences of other publications.
In agreement with this structure, the first chapter approaches how one was organizing the past of the Spanish architecture of the twenties and thirties. Fullaondo showed a “rebellious look” to written up to the date that led him to questioning an approximation to the architecture exclusively to discipline, to claim a place for the Basque – of Navarre culture in the modern history of the Spanish architecture before the predominant Castilian – Catalan bifocalidad drawn by other authors, as Carlos Flores or Oriole Bohigas and to reject the historical constructions based on a tendentious selection of related works to an architectural definite language, in this case the rationalist.
The second one, analyzes how the organic architecture seated in the Bruno Zevi’s ideal ones, took in his hands a new direction consciously led to provide with theoretical support to a few essentially drawn and occasionally constructed architectures. The verification of a ‘Organic Decade’ in the Spanish architecture of the sixties, is a rotunda ejemplificación of the “operative look” omnipresent in Fullaondo’s critique. His approximation to works, drawings or figures demonstrated an erudition worried by aspects compositivos and formal, in a few years in which they saw others in the technological thing, the social thing or methodological sufficient reason to create an architectural work.
The third chapter shows the “polyhedric look” offered concerning the work and Jorge Oteiza’s thought. Fullaondo found in him a magisterial figure, a paternity for the accepted orphanhood of the architectural national culture. Oteiza was a white of different reflections that allow to penetrate in how it evolved Fullaondo’s own reflexive labor, from a university critique, towards a critique of interpretation.
Finally, a fourth look analyzes the relation between the magazine with the international panorama. In the French scene they were ideal shared, essentially across Claude Parent’s experimental work. The “crossed look” between the French panorama and the Spanish allowed to Fullaondo to write in L’architecture d’aujourd’hui and to announce a generation young Spanish belligerent and innovative architects, with a comparable labor to the international trends, stating this way, the rapid evolution of the national architecture, removed already from the local, bifocal and retarded tradition offered in the Zodiac and Werk magazines.
Lucía C. Pérez Moreno (Zaragoza, 1979) is a doctor architect in 2013 for the Technical Top School of Architecture of the Technical University of Madrid. In 2008 MsAAD obtained the title of máster in the Graduate School of Architecture, Planning and Preservation de Columbia University in New York and in 2003 of arquitecta for the School of Architecture of the University of Navarre, where the Extraordinary Prize obtained End of Career, 2 º Reward Chair Arcelor and 2 º National Prize of University Studies granted by the Department of Education and Science. In 2009, it obtained the scholarship “Itziar Carreño”, granted by the Museum Oteiza, to develop the investigation that has allowed the edition of this publication.