Cuaderno de Notas最新文献

{"title":"Reseñas de libros","authors":"José Manuel Barbeito, José Antonio Flores Soto, M. Montoro, Marco Enia, Jelena Prokopljević, Isabel Rodríguez de la Rosa, Rodrigo de la O","doi":"10.20868/cn.2019.4294","DOIUrl":"https://doi.org/10.20868/cn.2019.4294","url":null,"abstract":"Reseñas de libros","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46098464","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":"‘Arquitectura luminosa’ y modernidad: el fenómeno de la ‘lichtarchitektur’ en la arquitectura moderna de entreguerras en Alemania y España","authors":"Rodrigo Almonacid Canseco","doi":"10.20868/cn.2019.4245","DOIUrl":"https://doi.org/10.20868/cn.2019.4245","url":null,"abstract":"ResumenLa “lichtarchitektur” o “arquitectura luminosa” es un fenómeno del período de entreguerras vinculado al desarrollo tecnológico, a la expresión artística de las vanguardias y a las nuevas demandas comerciales de la metrópolis. Los avances en luminotecnia y en la industria del vidrio son impulsados desde la Deutsche Werkbund para lograr una cooperación entre ingenieros luminotécnicos y arquitectos. En Alemania, la arquitectura moderna en seguida utiliza estos recursos para conseguir una imagen nocturna deslumbrante que destaque en las calles comerciales. El enorme éxito de esta tendencia suscita un debate para ver cómo controlar su impacto sobre el panorama urbano. En España, los arquitectos más vanguardistas pronto se hacen eco de esas novedades alemanas y comienzan a incorporarlas en algunas obras como signo de modernidad. Incluso se abre el debate sobre la regulación del problema estético urbano, apostando por seguir el modelo alemán.Abstract“Licharchitektur” or “Light Architecture” in the inter-war period is a phenomenon linked to technological development, to avant-garde artistic expressions and to new commercial metropolitan demands. The advances both in lighting and in the glass industry are driven by the Deutsche Werkbund in order to get a cooperation between lighting engineers and architects. In Germany, modern architecture promptly uses these resources to achieve a dazzling, night image that stands out in the commercial streets. The huge success of this trend stirs up a debate about the best way to control its impact on urban landscape. In Spain, the most avant-garde architects pay attention to those German novelties thereupon and begin to add them in some works as a sign of modernism. Even the question of regulating the urban aesthetic problem is raised, endorsing the German model.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46418271","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":"La arquitectura de las centrales nucleares en España (1963-1972)","authors":"Carlos Gonzalvo Salas","doi":"10.20868/cn.2019.4277","DOIUrl":"https://doi.org/10.20868/cn.2019.4277","url":null,"abstract":"ResumenEl presente artículo explora la Arquitectura de las centrales nucleares de primera generación en España, construidas entre 1963 y 1972. Las empresas eléctricas seleccionan a arquitectos reconocidos, como Antonio Fernández Alba, Ignacio Álvarez Castelao y Antonio Bonet Castellana, para las centrales nucleares José Cabrera, Santa María de Garoña y Vandellòs. Las propuestas que desarrollan estos arquitectos modifican el trazado urbanístico e incorporan en sus propuestas disciplinas plásticas. Sin embargo, las empresas eléctricas rechazan estas propuestas por incompatibilidades con la seguridad y la técnica nuclear. En su lugar, los tres arquitectos realizan actuaciones de menor escala y presupuesto. Estas intervenciones son igualmente necesarias para establecer un diálogo entre la escala geográfica del entorno, la escala de la central y la escala humana del trabajador.AbstractThis paper explores the Architecture of the first generation nuclear power plants in Spain, developed from 1963 to 1972. The spanish power companies selected to renowned architects such as Antonio Fernández Alba, Ignacio Álvarez Castelao and Antonio Bonet Castellana, for the José Cabrera, Santa María de Garoña and Vandellòs nuclear power plants. The proposals of this group of architects altered the urban structure and incorporate in their proposals plastic disciplines, as sculpture and paintings. Nevertheless, the power companies rejected these proposals because of incompatibilities with safety and nuclear technology. Instead, the three architects performed smaller and budget-scale strategies. These interventions are also required to establish a dialog between the geographic scale of the place, the scale of the nuclear power plant and the human scale of the worker.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46823765","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":"Espacios homotérmicos: una historia de la calefacción central en la arquitectura del siglo XIX","authors":"E. Prieto","doi":"10.20868/cn.2019.4246","DOIUrl":"https://doi.org/10.20868/cn.2019.4246","url":null,"abstract":"ResumenPropiciada por la Revolución Industrial, la irrupción de los nuevos sistemas de calefacción centralizada en sus diferentes variantes (aire, vapor o agua) dio pie a una verdadera revolución en la arquitectura: el paso desde la heterotermia (el espacio organizado en gradiente en torno a un único foco térmico) hasta la homotermia (el espacio isótropo servido por focos térmicos repartidos). Este artículo da cuenta de esta revolución a través de tres análisis complementarios: el análisis de los orígenes de los sistemas de calefacción centralizado; el de las crisis técnicas, sociales y simbólicas que produjo la implantación de dichos sistemas en los espacios del siglo XIX; y, finalmente, el de las estrategias que utilizaron los arquitectos de la época para integrar la nueva maquinaria.AbstractBrought on by the Industrial Revolution, the breakthrough of centralized heating in its different versions (air, steam, or water) gave rise to a genuine revolution in architecture: the passage from heterothermia (space organized in a gradient around a single thermal focus) to homothermia (the isotropic space served by split thermal foci). This article discusses that revolution through three complementary analyses: of the origins of centralized heating systems; of the technical, social, and symbolic crises produced by the implantation of those systems in 19th-century spaces; and of the strategies that architects of the period used to accommodate the new machinery.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45181130","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":"Hacia Arts & Architecture La revolución editorial de John Entenza (1938-1945)","authors":"D. Díez Martínez","doi":"10.20868/cn.2018.3813","DOIUrl":"https://doi.org/10.20868/cn.2018.3813","url":null,"abstract":"Resumen En enero de 1945 Arts & Architecture puso en marcha el programa CaseStudy House, un experimento ideado por John Entenza que les reservaríaa él y a su revista un lugar importante en la historia de la arquitectura moderna del siglo XX. Desde que asumió la dirección de Arts & Architectureen 1940, Entenza supo rodearse de creadores y artistas como Alvin Lustig,Ray y Charles Eames, Herbert Matter o Julius Shulman, que contribuyerona elevar el estándar gráfico de su publicación y le confirieron una identidadinnovadora que respaldaba visualmente el discurso intelectual vanguardista de compromiso con la arquitectura y el diseño modernos que defendía en sus páginas. Este artículo analiza los orígenes, las estrategias de trasformación y los nombres propios que hicieron realidad una revista que, cincuenta años después de su desaparición en 1967, sigue resultando tan atractiva y radical como cuando se editaba.AbstractIn January 1945 Arts & Architecture launched the Case Study House program, an experiment devised by John Entenza that would reserve for him and his magazine an important place in the history of modern architecture of the twentieth century. From the moment he took over the direction of Arts & Architecture in 1940, Entenza knew how to seduce creators and artists such as Alvin Lustig, Ray and Charles Eames, Herbert Matter and Julius Shulman, who contributed to raise the graphic standard of his publication and gave it an innovative identity that visually supported the avant-garde intellectual discourse of commitment to modern architecture and design that it defended in its pages. This article analyzesthe origins, the strategies of transformation and the proper names that made the magazine a reality that, fifty years after its disappearance in 1967, continues to be as attractive and radical as when it was published.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67732258","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":"Templo. Máquina. Caravana. El teatro y la ciudad en la Italia del siglo XX","authors":"Fernando Quesada López","doi":"10.20868/cn.2018.3816","DOIUrl":"https://doi.org/10.20868/cn.2018.3816","url":null,"abstract":"Resumen Entre 1965 y 1975 se produjo en Italia un debate muy intenso en torno a la arquitectura teatral, el edificio del teatro y su papel urbano, social y político. Se articuló alrededor de tres términos que suponen tres modos de relación entre el edificio teatral y la ciudad: el templo, la máquina y la caravana. Aquel debate, de una riqueza inusitada, quedó completamente al margen de la historiografía de la arquitectura italiana y europea, a pesar de su intensidad y de la importancia de todos sus protagonistas para la cultura arquitectónica del siglo XX. Muchos de los arquitectos, críticos e historiadores del momento intervinieron en este debate con propuestas de concurso no construidas, opiniones o análisis rigurosos. Uno de los más activos fue Guido Canella, con una amplia carrera como arquitecto de teatros y erudito de la cultura teatral, que además organizó en 1965 un curso de proyectos en el Politecnico di Milano, acompañado de conferencias, mesas de debate y actuaciones de grupos de la vanguardia internacional. Todo este material fue reunido en una publicación que inauguró este debate, y a la que todos sus protagonistas se refirieron en algún momento. Además de Guido Canella, otras personalidades como Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia y Manfredo Tafuri, intervinieron marcando un filón cultural que sigue estando completamente olvidado hoy día.AbstractBetween 1965 and 1975 there was a very intense debate in Italy about the theatrical architecture, the theatre building and its urban, social and political role. It was articulated around three terms that assume three ways of relation between the theatrical building and the city: the temple, the machine and the caravan. That debate, of an unusual wealth, was completely absent from the official historiography of Italian and European architecture, despite its intensity and the importance of all its protagonists for the architectural culture of the twentieth century. Many of the most prominent architects, critics and historians intervened in this debate with unbuilt competition proposals, opinions or rigorous analysis. One of the most active was Guido Canella, with a broad career as theatre architect and a scholar of theater culture himself. He organized a design studio at the Politecnico di Milano in 1965, accompanied by lectures, panel discussions and group performances by international avant-garde artists. All this material was gathered in a publication edited by Guido Canella that inaugurated this debate, called The Theatrical System in Milan, and to which all protagonists referred at some point of their respective interventions. In addition to Guido Canella, other personalities such as Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia and Manfredo Tafuri, intervened marking a cultural reef that remains widely forgotten today.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44483312","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":"Biuer... Chicago! Un argumento surrealista para el McCormick Tribune Campus Center","authors":"Daniel Gómez-Valcárcel Gómez","doi":"10.20868/cn.2018.3819","DOIUrl":"https://doi.org/10.20868/cn.2018.3819","url":null,"abstract":"Resumen Se tiende a considerar el McCormick Tribune Campus Center bajo una filiación pop. Sin descartar la evidencia del influjo de Robet Venturi, el artículo argumenta la raigambre surrealista, velada por su colorista y desenfadada retórica. Esta hipótesis no sería incoherente con el aprecio de Rem Koolhaas por las técnicas surrealistas (patentes en Delirious New York) y la apreciación de rasgos surrealistas en su obra temprana por parte de terceros. Se analizan, sobre aspectos concretos del edificio terminado y sobre documentos de desarrollo del proyecto, mecanismos destinados a producir efectos similares a los que los surrealistas perseguían con sus prácticas: la intensificación de la realidad más allá de la pura racionalidad. También sería coherente con el aliento de crítica epistémica que recibe el proyecto de las bases del concurso que le dio lugar, y que motivó la respuesta de Koolhaas mediante el binomio que forman el edificio y su panfleto coetáneo, Junkspace.AbstractUnder its casual and colorful appearance, the McCormick Tribune Campus Center built in 2003 at the Chicago IIT campus by Rem Koolhaas constitutes a perplexing -hard to grasp conceptually- architectural piece. The commission origin was an international competition whose bases demanded a building “equal in stature to Mies van der Rohe’s S. R. Crown Hall” that “will express the architecture of our time”. According to Koolhaas, the building, in which he subverts all kind of disciplinary categories that shape Mies’s work, is a built response to the condition of our time described in Junkspace, a text written in parallel to its construction proccess. The article argues that a surreal halo shines under its pop aesthetic. Being its significance reinforced by Koolhaas’ clear appreciation of the findings of the Surrealists -among whom, especially, Dalí’s paranoid-critical method-, it may constitute a clue of deeper arguments that, steeping the strategy and methodology of the project, contribute to articulate the construct with which its author gives response to the  competition intellectual demands.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67732304","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":"Editorial","authors":"R. García","doi":"10.20868/cn.2018.3812","DOIUrl":"https://doi.org/10.20868/cn.2018.3812","url":null,"abstract":"Editorial","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42185598","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":"Laminar ceilings? Shell construction in the work of some masters of modern architecture","authors":"Rafael García García","doi":"10.20868/cn.2018.3820","DOIUrl":"https://doi.org/10.20868/cn.2018.3820","url":null,"abstract":"AbstractThis contribution explores the constructive and formal potential of the laminar structures in the work of three prominent figures of Modern Architecture. Unlike the most memorable constructions of this type, the roof structures here considered are not the main and only protagonist element of the building. Conversely in these cases they have been designed as parts of the building more inconspicuous and integrated. The study excludes therefore the most important realizations and also more known, made by authors as Maillart, Candela, Isler, Torroja, Saarinen, Niemeyer, etc. which have been widely treated in the specialized literature. The paper is focused in architects as Le Corbusier, Alvar Aalto and Louis Kahn, for whom the study of their approach to the laminar seems not to have been made adequately as a whole till now. Are important too, the considerations resulting from the comparative analysis, shedding some light on the idiosyncratic way in which this type of structures was adopted by each architect.ResumenEn este artículo se explora el empleo realizado por tres figuras destacadas de la arquitectura moderna de la potencialidad formal y constructiva de las estructuras laminares. A diferencia de como ocurrió en la mayoría de las construcciones memorables de este tipo, la estructura de cubierta no es necesariamente el gran y único elemento protagonista, proyectándose más bien por el contrario, como partes del edificio más discretas e integradas. Se excluyen, por tanto, las realizaciones más importantes, pero también más conocidas, de autores como Maillart, Candela, Isler, Torroja, Saarinen, etc. ya ampliamente tratadas en la literatura dedicada al tema. Contrariamente, en este trabajo se centra la atención en arquitectos como Le Corbusier, Alvar Aalto, Louis Kahn, cuya aproximación menos evidente a lo laminar entendemos que no ha sido en conjunto suficientemente tratada hasta ahora. Son importantes también las conclusiones derivadas de los análisis comparativos, las cuales arrojan alguna luz sobre las particulares formas en que se adoptó este tipode estructuras por cada arquitecto.","PeriodicalId":40549,"journal":{"name":"Cuaderno de Notas","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67732317","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}