DSpace Collection:https://hdl.handle.net/10171/427962024-03-28T08:58:57Z2024-03-28T08:58:57ZEl proyecto de Oskar Hansen para Auschwitz y la monumentalización del debate sobre la guerrahttps://hdl.handle.net/10171/561892020-03-04T03:53:02Z2017-01-01T00:00:00ZTitle: El proyecto de Oskar Hansen para Auschwitz y la monumentalización del debate sobre la guerra
Abstract: La propuesta de Oskar Hansen para el Monumento a las Víctimas del Fascismo en Auschwitz renunciaba a tener una forma inmutable, tanto por la interacción que reclamaba del visitante como por el efecto del paso del tiempo. De esta manera manifestaba su incapacidad para representar el horror provocado por la guerra, y menos aún para explicarlo. Adoptando la forma de un pedestal vacío, lo que verdaderamente pretendía monumentalizar era el debate que debía suscitarse en su superficie, de posiciones cambiantes e incluso contradictorias, pero necesario para evitar el olvido.; Oskar Hansen’s proposal for the Memorial to the Victims of Fascism in Auschwitz renounced to have an immutable shape, both because of the interaction it claimed from the visitor and the effect of the passage of time. Devoid of a focus for commemoration and surrounded by remnants of the camp that were meant to acquire a romantic outlook in the future, it proclaimed its inability to depict the horror provoked by the war, let alone to explain it. Its transgressor character aroused the suspicion of the victims, who did not feel themselves represented on Hansen’s empty pedestal. Its novelty was based on shifting the burden of memory from the object ( the traditional monument) to the subject ( the viewer), as Postmodernism would do later, and stimulating critical thinking about the past. But above all, and because of its reluctance to ‘ talk’, it aspired to remain a valid space for remembrance, regardless of the transformations that postwar society’s relationship with the architectural heritage of Nazism went through. This relationship has been swinging like a pendulum over the years, first ignoring or underplaying the symbolic power of these buildings. Later on, when German society felt ready to ‘ come to terms with the past’, almost every trace of Nazism was deemed worthy of preservation, and the birth of the countermonument ( many of which literally replicated the mechanisms that Hansen put in place in Auschwitz) helped to shape a critical review of this period. And finally, it seems that the excess of memory during the last decades of the twentieth century is giving way to the normalization of this legacy as just one more element in the urban landscape. Given the changing nature of these attitudes, rather than a specific response, what Hansen really intended to monumentalize was the debate that should be fostered on the surface of his monument, as an antidote to oblivion.2017-01-01T00:00:00ZV Bienal de Arquitectura Latinoamericana. BAL2017 en Pamplonahttps://hdl.handle.net/10171/561882020-03-04T03:51:58Z2017-01-01T00:00:00ZTitle: V Bienal de Arquitectura Latinoamericana. BAL2017 en Pamplona
Abstract: La celebración el pasado mes de abril de una nueva edición, la quinta, de la Bienal de Arquitectura Latinoamericana BAL2017 congregó en Pamplona a una selección de quince equipos de arquitectos jóvenes latinoamericanos, provenientes de siete países. Con la inclusión de los trabajos enviados por bienalistas de ediciones anteriores, fueron en total treinta y dos los equipos y ocho los países representados, convirtiendo a Pamplona por unos días en un escaparate del mejor presente de la arquitectura emergente latinoamericana.; The celebration last April of a new edition, the fifth edition of the BAL2017 Biennial of Latin American Architecture, brought together in Pamplona a selection of fifteen teams of young Latin American architects from seven countries. With the inclusion of the works sent by biennialists of previous editions, there were a total of thirty-two teams and eight countries represented, making Pamplona in a showcase of the best emerging Latin American architecture for a few days.
The Biennial, which also offers its programs in Madrid and Barcelona, has two parts: one in which a guest country, Colombia in this case, stars in the conferences and debates that this time focused almost thematically on the well-known social achievements achieved in Medellín and Bogotá with the strategic use of architecture as an effective tool of social action, and a second where the selected teams presented their work. What has been seen has been a set of proposals of great interest and quality, with programs as small as single-family housing to as large as an intermodal center or a government building; with environments that range from the urban periphery, the historic center or the lush landscape. A set that conveys a feeling of optimism before an architecture with commitment, with reflection, with an ethical attitude in the proportion between the means and the ends pursued, with a constructive emphasis in the approaches. An architecture with a preferential option for the most with less that has a lot of common sense and a lot of ambition and intensity in the contents and that developed in an environment lacking the suffocating European regulations produces results that seen from this periphery are enviable.2017-01-01T00:00:00ZLa España de Kahn: un viaje y una ensoñaciónhttps://hdl.handle.net/10171/561872020-07-30T12:26:44Z2017-01-01T00:00:00ZTitle: La España de Kahn: un viaje y una ensoñación
Abstract: Aunque el interés de Louis Kahn por la arquitectura europea en general y española en particular es conocido y se encuentra bien documentado, no fue hasta 1972 cuando el arquitecto de Filadelfia visitó por primera –y única– vez nuestro país. Lo hizo con ocasión de la invitación cursada por la Feria de Barcelona para participar en las Jornadas Técnicas de la Construcción y el Urbanismo, celebradas en el Recinto de Montjuich del día 6 al 9 de junio de 1972. La singularidad de la visita del arquitecto norteamericano a España anima a descender al detalle de las Jornadas y su breve estancia en el país. Sin embargo, la relación de Kahn con España no termina en Barcelona. Su buena formación clásica, y la influencia de otros arquitectos, fomentaron su afición por los grandes ejemplos de la arquitectura española y, especialmente, con Granada y Córdoba. Hasta el punto de preparar un viaje específico para visitar estas dos ciudades, aunque su repentina muerte truncó esta nueva estancia. Pese a ello, el análisis de la obra de Kahn desvela ciertas influencias españolas y, con ello, el sueño de un viaje que nunca se realizó (al menos físicamente).; Louis kahn's interest in European architecture in general, and in the Spanish one particularly, is known and well documented. Yet, it was not until 1972 when the American architect visited our country. The reason was the invitation by the Barcelona Fair to participate in the Technical Conference about Construction and Urbanism, held in the Montjuich Campus from 6 to 9 June 1972. The singularity of this visit inspires to analyze in depth the Conference and his brief stay in Spain.
Kahn shared the event with some of the most prominent architects at the time as kenzo Tange, James Stirling and Frei Otto. kahn gave the lecture titled " Architecture and human agreement" , a deep talk where he expressed his concerns about the nature of art and architecture. After that, he spent some days visiting Barcelona where David Mackay, partner of the architecture studio MBM, showed him some of his works along with Antoni Gaudi's masterpieces.
Nevertheless, kahn's relationship with Spain does not end in Barcelona. His classical education, and the influence of other architects, encouraged his enthusiasm for the great examples of Spanish architecture and, especially, with Granada and Cordoba. Up to the point to prepare a specific trip to visit these two cities two years after his visit to Barcelona. Yet work problems suspended momentarily this travel and his unexpected death a few weeks later ended with this dream trip.
Despite of that, the analysis of the work of kahn reveals certain Spanish influences. For example, the relation between central space of the Salk Institute for Biological Studies in La Jolla with the Court of the Myrtle of the Alhambra; or the geometrical solutions of the First Unitarian Church of Rochester or the Dominican Motherhouse in Media with the Palace of Charles V. All these relations express the interest and knowledge of kahn about f the Spanish architecture but also, the desired of trip never realized ( at least physically).2017-01-01T00:00:00ZSuperposición: literal y fenomenal. La influencia del Anni Albers en el gran almacén de BijenKorf de Marcel Breuerhttps://hdl.handle.net/10171/561862020-03-04T03:52:22Z2017-01-01T00:00:00ZTitle: Superposición: literal y fenomenal. La influencia del Anni Albers en el gran almacén de BijenKorf de Marcel Breuer
Abstract: El artículo considera el gran almacén De Bijenkorf como un hito en la carrera de Marcel Breuer. El edificio representa un cambio desde la superposición literal a la fenomenal en lo que respecta al tratamiento de las fachadas. Esta evolución solo puede ser entendida a través de la influencia de Anni Albers en su obra. La estrategia de estratificación superficial como resultado de la cualidad de la superposición fenomenal permite al edificio adquirir su presencia característica. Un fenómeno ocurre cuando las diferentes capas se combinan en una imagen que alude a un tejido y confiere al edificio su materialidad. Entonces, solidez y transparencia se mezclan: Sol y Sombra.; The article considers the De Bijenkorf department store as a milestone in Marcel Breuer’s career. The shift it involves can only be understood through the discoveries made in surface superimposition by his Bauhaus colleague Anni Albers. Her influence involves her evolution from 1936 onwards, following her first trip to Mexico to gain a first-hand understanding of Mayan textiles. This learning involved the transition from a design based on the structure of the fabric to another more spontaneous one in which figurative motifs were superimposed onto the structural background.
Anni Albers’ progress inspired Breuer’s Dutch project. The strategy of surface superimposition in the field of architecture made façades the subject of study. Concerning this issue, there are three main stages in the architect’s career: the first began in the 1940s, and was based on the literal superimposition of sunshades, which finally led to the vibrations of the different planes of glass used; the second was initiated in the 1950s, with the Dutch projects built in stone, and based on the notion of phenomenal superimposition as determinant; and the third was that of the 1960s and 1970s, in which stone gradually gave way to the larger scale of prefabricated concrete, enabling him to play with the project’s sculptural features.
The example studied here illustrates the transition from the first to the second stage. It is characterised by planar stratification. Firstly, the main volume was established as a background in gestaltic terms. The restaurant’s long, deep apertures emphasized the volumetric treatment. Secondly, the volume’s external planes were also addressed in superficial terms, not as the surface of the volume in itself, but as a fabric superimposed on it. In turn, this fabric was composed of different layers. The pattern of loophole windows and the texture of the travertine slabs need to be understood as transparent and superimposed. In the latter case, the pattern varied from one façade to the other due to the different shapes of the stone slabs. This enabled the architect to play with distinct vibrations that would be perceived from different distances.
The strategy of planar stratification as the result of the quality of phenomenal superimposition enables the building to acquire its characteristic presence. A phenomenon occurs when the different layers blend into one image that alludes to a textile and gives the building its materiality. Solidity and transparency then merge: Sun and Shadow.2017-01-01T00:00:00Z