Cuadernos de Proyectos Arquitectonicos最新文献

{"title":"To speak in order to inhabit: oral tools for the history, analysis, and design of architecture","authors":"Antonio Cantero Vinuesa","doi":"10.20868/cpa.2022.12.4963","DOIUrl":"https://doi.org/10.20868/cpa.2022.12.4963","url":null,"abstract":"ResumenEn la elaboración de una historia de arquitectura más inclusiva, utilizar la historia oral como metodología para acceder a experiencias silenciadas, compartir conocimientos olvidados y trascender el constructo dibujado o construido, resulta esclarecedor. En 1972, se publicó la versión en inglés, Lived-in Architecture, Le Corbusier’s Pessac Revisited, del libro del arquitecto Philippe Boudon, Pessac de Le Corbusier (1969). Su investigación se basaba en relatos orales de quienes vivían en el proyecto de viviendas de Le Corbusier en el barrio industrial de Pessac a las afueras de Burdeos (1926-1930), con el propósito de contrastar la historia conocida sobre la visión del arquitecto con la realidad vivida por sus habitantes. Utilizando este caso de estudio, el objetivo es realizar una interpretación de lo oral como herramienta transversal para la historia, el análisis y el proyecto de la arquitectura, y con ello mostrar el valor instrumental de las entrevistas con los habitantes como nexo entre los hábitats y quienes los habitan.AbstractIn developing a more inclusive architectural history, using oral history as a methodology for accessing silenced experiences, sharing forgotten knowledge, and transcending the drawn or built construct can be enlightening. In 1972, the English version, Lived-in Architecture, Le Corbusier's Pessac Revisited, of architect Philippe Boudon's book, Le Corbusier's Pessac (1969), was published. His research was based on oral accounts of those who lived in Le Corbusier's housing project in the industrial neighborhood of Pessac on the outskirts of Bordeaux (1926- 1930), to contrast the known history of the architect's vision with the reality lived by its inhabitants. Using this case study, the aim is to interpret the oral source as a transversal tool for the history, analysis, and design of architecture, and thus to show the instrumental value of interviews with the inhabitants as a link between the habitats and those who inhabit them.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45807278","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}

{"title":"Radical Pedagogies\", an inquiry onto architectural education","authors":"Paula Vilaplana de Miguel","doi":"10.20868/cpa.2022.12.4965","DOIUrl":"https://doi.org/10.20868/cpa.2022.12.4965","url":null,"abstract":"ResumenEste grueso volumen de 400 páginas, editado por Beatriz Colomina, Ignacio G. Galán, Anna-María Meister y Evangelos Kotsioris y publicado por MIT Press este mismo año, recoge, a través de una multiplicidad de autores y casos de estudio repartidos por todo el planeta, un catálogo polifacético de experiencias pedagógicas y experimentos educativos que exploran territorios conocidos y desconocidos en la enseñanza de la arquitectura y la concepción de los currículos académicos entre 1933 y 1987.AbstractThe 400-page volume, edited by Beatriz Colomina, Ignacio G. Galán, Anna-María Meister and Evangelos Kotsioris and published by MIT Press this year, brings together, through a multiplicity of authors and case studies from all over the planet, a multifaceted catalogue of pedagogical experiences and educational experiments that explore known and unknown territories in the teaching of architecture and the conception of academic curricula between 1933 and 1987.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47451982","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}

{"title":"Variaciones en la obra residencial de Mariano García Benito. Una terraza en Madrid","authors":"Eva Hurtado Torán","doi":"10.20868/cpa.2022.12.4952","DOIUrl":"https://doi.org/10.20868/cpa.2022.12.4952","url":null,"abstract":"ResumenEl legado Mariano García Benito (en adelante MGB), formalizado en 2022 al Servicio Histórico del COAM, permite estudiar la obra de un arquitecto conocido por algunos edificios icónicos, pero no por el conjunto de su trabajo. Estudiante y profesional brillante, fue uno de los representantes de la generación que desarrolla la última arquitectura moderna y sus derivas en la España que salía de la autarquía. Su obra de vivienda colectiva en Madrid, con más de treinta edificios construidos, forma un corpus que puede leerse en clave de variaciones en torno a unos pocos conceptos proyectuales. El perímetro abarcante, los volúmenes en cizalla o la terraza como estancia abierta con un nuevo protagonismo, son estrategias que se depuran atravesando la urdimbre de los diversos tipos edilicios en los que el arquitecto trabajó. La organización espacial de las viviendas muestra un riguroso método de trabajo que consigue optimizar circulaciones y dimensionar con precisión el espacio para la domesticidad de la nueva burguesía, pero también para las clases sociales necesitadas de vivienda subvencionada. Las soluciones materiales, el diseño de los programas comunes y la investigación en torno al espacio abierto de corredores, terrazas y patios, caracterizan el trabajo en el hábitat doméstico de MGB quien, como otros autores coetáneos, explora interferencias que mantienen su vigencia en nuestra contemporaneidad. Se adelanta aquí una primera mirada a la obra de MGB, a través de sus proyectos de vivienda colectiva, que quiere enlazar con el conjunto de su obra a modo de registro previo que pueda anticipar investigaciones más específicas.AbstractThe legacy of Mariano García Benito (hereinafter MGB), formalized in 2022 at the Historical Service of the COAM, allows us to study the work of an architect known for some iconic buildings, but not for his work as a whole. A brilliant student and professional, he was one of the representatives of the generation that developed the latest modern architecture and its derivations in Spain as it emerged from autarky. His collective housing work in Madrid, with more than thirty buildings, constitutes a corpus that can be read in terms of variations around a few design concepts. The encompassing perimeter, sheared volumes, or the terrace as an open room with new prominence, are strategies that were perfected through the conglomerate of the various types of buildings in which the architect worked. The spatial organization of the dwellings shows a rigorous working method that manages to optimize circulations and accurately dimension the space for the domesticity of the new bourgeoisie, but also for those social classes in need of subsidized housing. The material solutions, the design of the common programs, and the research around the open space of corridors, terraces, and patios, characterize the work in the domestic habitat of MGB, who, like other contemporary authors, explores interferences that remain valid in our contemporan","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44288143","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}

{"title":"The architect´s brain. Neuroscience, creativity and architecture, de Harry Francis Mallgrave","authors":"Aida González Llavona","doi":"10.20868/cpa.2021.11.4826","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4826","url":null,"abstract":"ResumenLos partidarios de la ‘arquitectura de los sentidos’, de la ‘arquitectura de la experiencia’, están de enhorabuena. Aunque a partir de la segunda mitad del siglo XX y de la mano de la crisis del racionalismo funcionalista moderno, el organicismo comenzó a recuperar alas, impulso y vigencia, lo cierto es que en la clásica y aún vigente confrontación entre lo racional y lo sensorial, el primero –el racionalismo– ha contado con el respaldo de la objetividad científica mientras el segundo –lo sensorial– ha sido víctima de su supuesto relativismo, ambigüedad y en muchas ocasiones impronta romántico sensiblera: la ciencia siempre ha sido el mejor aval para legitimar propuestas y teorías. Ocurre que, los avances de la neurociencia, que estudia el cerebro, (los mayores a finales de siglo XX y en las dos primeras décadas de este siglo XXI), otorgan cada vez más preeminencia a los aspectos emotivos y perceptivos que a los racionales y abstractos; cuestión ésta que ha revolucionado muchas disciplinas como la psicología y afectado a algunos de los discursos arquitectónicos, como el de Harry Francis Mallgrave. La reciente obra del arquitecto, académico, editor y distinguido profesor emérito en el Illinois Institute of Technology, se ha focalizado en la relación de las ciencias y humanidades contemporáneas con el pensamiento arquitectónico.AbstractProponents of the ‘architecture of the senses’ or of the ‘architecture of experience’ are in luck. Despite the fact that from the second half of the twentieth century, hand in hand with the crisis of modern functionalist rationalism, ‘organicism’ began to recover wings, momentum, and validity, the truth is that in this classic and ongoing confrontation between the rational and the sensory, the former—rationalism—has been supported by scientific objectivity, while the latter—the sensory—has been a victim of its alleged relativism and ambiguity, and on many occasions, sentimental romantic imprint: science has always been the best guarantee to legitimize proposals and theories. Yet it so happens that advances of neuroscience, which studies the brain, (the greatest at the end of the twentieth century and in the first two decades of this twenty-first century), give more and more prominence to the emotional and perceptive aspects than to rational and abstract ones. This issue has revolutionized disciplines such as psychology and affected certain architectural discourses, such as that of Harry Francis Mallgrave. The recent work of the architect, scholar, editor, and distinguished professor emeritus at the Illinois Institute of Technology, has focused on the relationship between contemporary science and humanities and architectural thought.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47326476","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}

{"title":"Diario 1969: acerca del relato personal de Bernard Rudofsky sobre el descubrimiento de Frigiliana","authors":"Héctor García-Diego Villarías, María Villanueva Fernández","doi":"10.20868/cpa.2021.11.4822","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4822","url":null,"abstract":"ResumenBernard Rudofsky dedicó buena parte de su vida a explorar una manera de habitar personal y plena, lo que tuvo su reflejo en las numerosas exposiciones y publicaciones que alumbró. Y parte de ese proceso de investigación fue vertido en los diversos intentos de construir una casa para sí mismo y su mujer Berta, y que concluyeron con la construcción de ‘La Casa' en Frigiliana a principios de los años setenta. La presente investigación revela por vez primera las vicisitudes que rodearon el hallazgo del lugar y su posterior adquisición por parte del matrimonio a través del testimonio de Rudofsky anotado en uno de sus diarios personales. El artículo reconstruye con detalle la peripecia del matrimonio en España en 1969 al cotejar y extraer la información manuscrita en las 144 páginas de las que se compone este documento, información que no ha sido tratada con anterioridad. El episodio encierra un interés triple: en primer lugar, el del registro histórico de este suceso singular y el importante papel jugado por esta construcción en clave biográfica; en segundo lugar, el del encuentro del arquitecto extranjero con la España de la época —y que por tanto permite evocar a lo que pudieron enfrentarse algunos otros casos semejantes; por último, cabe destacar la singularidad de un proceso de proyecto que incluye el lugar en un estadio intermedio y que precisamente pone de relieve la intensa relación existente en este caso entre la casa, el entorno, el habitante y diseñador, y el habitar.AbstractBernard Rudofsky dedicated a significant part of his life to exploring a personal and fulfilling way of living, which was reflected in the numerous exhibitions and publications that he produced. Part of this research process was funneled into the various attempts to build a house for himself and his wife Berta, which concluded in the early seventies with the construction of La Casa in Frigiliana. This investigation reveals for the first time, from Rudofsky’s own account in one of his diaries, the challenges and mishaps that surrounded the discovery of the place and its subsequent acquisition by the couple. The article is an attempt to comprehensively reconstruct the couple’s ups and downs in Spain in 1969 by extracting and collating handwritten information from 144 pages of his diaries; information that has not been previously looked into. This article has a three-fold focus: firstly, that of the historical record of this unique event and the important role played by this construction in a biographical key; secondly, that of the meeting of the foreign architect with the Spain of the time, which allows us to imagine what other similar cases may have faced; finally, it is worth highlighting the uniqueness of a project process that includes the place in an intermediate stage and that highlights the intense relationship that exists in this particular case between the house, the environment, the user and designer, and living there.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41407701","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}

{"title":"24 Galleries, a museum: The Survey as a Design Tool","authors":"Esteban Salcedo Sánchez","doi":"10.20868/cpa.2021.11.4832","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4832","url":null,"abstract":"Abstract In the mid-1970s in Madrid, it’s possible to identify a series of experiences that went beyond traditional architectural practice, the established domains of academia and the usual dynamics of editorial and institutional activities. The art galleries, with their publications, curators, collectors, critics and visitors, proved to be a prolific setting for an informal network of agents and institutions that, through programming events of various formats, instituted an active mediation in the critical formation of the citizenry. The seminar “Nuevos Comportamientos Artísticos” (“New Artistic Behaviors”), held at the Madrid’s German Institute in 1974, was one of these events. Its gallery proved to be a pioneer in the exhibition of practices linked to art and design, which openly promoted their expansion into other fields of knowledge based on a local interpretation of what was noticed in Spain as “conceptual art”. The action “Survey of 24 art galleries in Madrid,” was the contribution to the seminar of the multidisciplinary collective Grup de Treball (GdT), and serves here to illustrate the activation of this network of galleries as a ‘counter-project’. An act of design, based on Peter Eisenman’s definition of ‘Conceptual Architecture’, that transcends art and controversies to offer an alternative. The exhibition of the survey’s answers accumulated the values of language, interface, platform and medium necessary to redefine the framework of relations between its participants. Whose association gathered a community with the capacity to be a Museum: a dematerialized, fragmented and heterogeneous institution that challenged conventional relationship between art, citizenry and the market.  ","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41853827","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}

{"title":"Diary 1969: Bernard Rudofsky’s personal account of his discovery of Frigiliana","authors":"Héctor García-Diego Villarías, María Villanueva Fernández","doi":"10.20868/cpa.2021.11.4830","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4830","url":null,"abstract":"This quote from the catalogue of the wellknown 1960s MoMA exhibition entitled Architecture Without Architects could well be applied to the particular case of its author. At the end of that same decade, Bernard Rudofsky would choose the Spanish town of Frigiliana to design and build his own house, La Casa2 [Fig. 01], for which he had yearned since the 1930s, and which would finally come to an end in this idyllic corner of the peninsular periphery. Moreover, he would do so, following the quote, at a moment of full maturity, after having disseminated his ideas—among radicalism, eccentricity, and controversy—about architecture and domesticity through his exhibitions and writings3. Nevertheless, in addition, this “manifested physical freedom” would have to face quite a few difficulties that were reported in his detailed personal diaries.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44909820","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}

{"title":"The ‘yacht’ elevated to ‘ocean liner’1. History of the Real Club Náutico de San Sebastián beyond the Lecorbuserian myth, 1905–1929","authors":"Miguel Ángel Ruano Hernansanz","doi":"10.20868/cpa.2021.11.4831","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4831","url":null,"abstract":"AbstractThe 1929 extension of the Real Club Náutico de San Sebastián (San Sebastian Royal Yacht Club), the work of Joquín Labayen and José Manuel Aizpurúa, was quickly labelled as a work influenced by Le Corbusier’s style paquebot, despite the fact that its authors never acknowledged this influence. Research into the history of the building, including the three main reforms it underwent in 1905, 1916 and 1929, revealed that all the reforms had sought the same naval appearance that the Donostia architects pursued in 1929, and that this decision had, on each occasion, come from the club’s board of directors. Indeed, Aizpurúa confessed to Giedion in a letter that the project was chosen because it resembled a ship. The previous projects were misunderstood because they were compared, out of context, with ocean liners; they were neither of the right size nor from the right period to be identified with this type of ship, whereas the 1929 refurbishment was. The ship model of the 1905 and 1916 buildings was the ‘schooner’, a smaller, lighter, sailing ship used for maritime competitions. Elements of these buildings which had so far been considered ‘decorative’, such as the mast, portholes, or hatches, were in fact defining features of this naval typology. First José Ángel Sanz Esquide broadened the spectrum of Aizpurúa’s influence, and later José Ángel Medina Murua practically delimited the inspiration of the Real Club Náutico building project to the ideas of Le Corbusier. But we might ask whether this intense, but anecdotal, Lecorbusierian influence really took place, or whether it was just the brainchild of the club’s historical tradition, of significant quality but without greater theoretical pretensions.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47589500","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}

{"title":"Daidokoro Monogatari: Stories of the Japanese house from the kitchen","authors":"Noemí Gómez Lobo, Diego Martín Sánchez","doi":"10.20868/cpa.2021.11.4829","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4829","url":null,"abstract":"Contemporary living conditions are just a snapshot of an ever-changing social apparatus. A cloud of preconceptions manifests itself in the form of expectations when designing a house, revealing that architectural practice is gender-charged. It is embedded in a particular cultural context at a specific historical moment and is therefore affected by assumptions that link certain behaviors as appropriate for the sexed body1. These gender norms are part of the set of rules codified as spatial arrangements. In particular, residential architecture incorporates cultural notions of family, which are closely related to the roles assigned to each member. Japan presents a fertile ground if we are to analyze the detached house. It is not only notable for the quantity of houses built, but also for their quality. Some of the most memorable works of architecture are Japanese detached houses. However, although they enjoy worldwide recognition for their innovative proposals and have been intensively examined in terms of their aesthetic attributes, their gender dimension remains relatively unexplored.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45648096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"El espacio fílmico del Hotel Overlook en The Shining a través de sus decorados","authors":"Jesús Lazcano López","doi":"10.20868/cpa.2021.11.4827","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4827","url":null,"abstract":"ResumenPara la construcción del Hotel Overlook (The Shining ,1980), Stanley Kubrick recurre a la reproducción de réplicas a escala 1:1 en los estudios Elstree de Londres de diferentes fragmentos de hoteles, moteles y resorts de vacaciones esparcidos por Estados Unidos. Mediante un trabajo minucioso de observación de fotografías y elaboración de maquetas se construyen unos decorados de los diferentes ámbitos que conforman el hotel. Kubrick compone una arquitectura que surge de un cuerpo fragmentario, construido y ensamblado que, mediante las posibilidades narrativas que ofrecen la steadicam y el montaje cinematográfico, se transforma en un espacio fílmico aparentemente unitario. El hotel se muestra como una arquitectura verosímil que, sin embargo, está repleta de paradojas, de referencias externas, de subtextos y de imposibilidades espaciales, pues al observar detenidamente la película se encuentran múltiples puntos que subvierten la lógica del espacio. A través de maquetas, fotografías y entrevistas, y su confrontación con la película, se elaboran planos de los diferentes ámbitos del Overlook con el objetivo de abrir un campo de reflexión sobre la intención de su posible ensamblaje. También sobre la relación que existe entre la estructura narrativa de la película, basada en tiempos y espacios que se entrelazan y la manera en que los decorados se unen entre sí, en la pantalla. Mediante un análisis basado en la expresión arquitectónica, el artículo estudia algunas de estas incongruencias espaciales para especular sobre una posible interpretación de la película en la que la arquitectura juega un papel nuclear desde su concepción, no sólo por la importancia de sus decorados en el desarrollo, sino también a un nivel iconográfico y narrativo.AbstractFor the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42483761","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}