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Alejandro de la Sota was born in 1913, and so belongs to the same generation as Jorn Utzon, Denys Lasdun, Aldo van Eyck and Jose Maria Coderch. However, it is only in recent years that his work has become known outside Spain. While de la Sota drew many lessons from the modern masters - from Mies van der Rohe in particular - he also managed to define a language of his own.
The 87th installment of the 2G magazine series from Koenig features the work of legendary Spanish architect Alejandro de la Sota (1913-96), who is widely recognized for a number of public buildings across Spain but remains underknown abroad.
Alejandro de la Sota was born in 1913, and so belongs to the same generation as Jorn Utzon, Denys Lasdun, Aldo van Eyck and Jose Maria Coderch. However, it is only in recent years that his work has become known outside Spain. 0While de la Sota drew many lessons from the modern masters - from Mies van der Rohe in particular - he also managed to define a language of his own. This work traces the influence of de la Sota on Spain's contemporary culture of architecture, examining in detail a range of his projects, from single-family houses to the Civil Government building in Tarragona.
A study of the building surface, architecture's primary instrument of identity and engagement with its surroundings. Visually, many contemporary buildings either reflect their systems of production or recollect earlier styles and motifs. This division between production and representation is in some ways an extension of that between modernity and tradition. In this book, David Leatherbarrow and Mohsen Mostafavi explore ways that design can take advantage of production methods such that architecture is neither independent of nor dominated by technology. Leatherbarrow and Mostafavi begin with the theoretical and practical isolation of the building surface as the subject of architectural design. The autonomy of the surface, the "free facade," presumes a distinction between the structural and nonstructural elements of the building, between the frame and the cladding. Once the skin of the building became independent of its structure, it could just as well hang like a curtain, or like clothing. The focus of the relationship between structure and skin is the architectural surface. In tracing the handling of this surface, the authors examine both contemporary buildings and those of the recent past. Architects discussed include Albert Kahn, Ludwig Mies van der Rohe, Alison and Peter Smithson, Alejandro de la Sota, Robert Venturi, Jacques Herzog, and Pierre de Meuron. The properties of a building's surface—whether it is made of concrete, metal, glass, or other materials—are not merely superficial; they construct the spatial effects by which architecture communicates. Through its surfaces a building declares both its autonomy and its participation in its surroundings.
Featuring over 100 of the most significant and influential houses of the twentieth century, For each of the houses included there are numerous, accurate scale plans showing each floor, together with elevations, sections and site plans where appropriate. All of these have been specially drawn for this book and are based on the most up-to-date information and sources.
In generale gli architetti non amano molto Hegel poiché egli ha collocato l’architettura al livello più basso tra le Belle Arti. Ciononostante questo contributo avanza l’ipotesi che l’opera architettonica di Alejandro de la Sota, il cui approccio è considerato essenzialmente funzionale, come si evince dai suoi disegni, sia in realtà molto vicina all’estetica hegeliana, idealista per eccellenza. Questo assunto sarà dimostrato a partire da alcuni concetti che sono presenti nell’opera di entrambi, anche se in maniera diversa: l’idea, la bellezza, lo spirito e la forma. | Generally speaking architects are not among Hegel’s greatest fans because he considers architecture as one of the least important forms of Fine Arts. Nevertheless, this contribution theorises that Alejandro de la Sota’s architectural works, whose essentially functional approach is visible in his drawings, are in actual fact very close to the aesthetics advocated by Hegel, the ultimate idealist. This hypothesis will be demonstrated using several concepts that are present, albeit differently, in the works of both men: idea, beauty, spirit and form.

Alejandro de la Sota: The American Model; 10. In defence of a logical architecture; 22. Esquivel Village; 30. Arvesù House, Madrid; 36. Pavilion for the Pontevedra Chamber of agriculture, Madrid; 40. Aeronautical workshops, Barajas; 46. Childrens ́s summer residence, Miraflores de la Sierra; 54. Clesa dairy factory, Madrid; 60. Provincial Government building; Tarragona; 72. Maravillas School sports hall, Madrid; 86. Housing block with commercial premises, Salamanca; 90. Varela House, Villalba; 96. César Carlos halls of residence, Madrid; 104. Bankunión Headquarters, Madrid; 108. Guzmán House, Algete; 114. Computational centre for Caja Postal de Ahorros, Madrid; 120. Domínguez House, Poio; 132. Telecommunications and Post Office building, León; 146. House by the sea, Alcudia

Published: 2023

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This edition of 2G presents a selection of buildings and projects by the modern Spanish architect, Alejandro de la Sota.
Now in its second edition: the trailblazing introduction and textbook on construction includes a new section on translucent materials and an article on the use of glass.