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Casas Internacional España es un especial compilado por el fotógrafo Jordi Miralles. La suya es una mirada profesional, capaz de interpretar la arquitectura. Cada casa está en una situación particular y son los arquitectos quienes procuran integrarla al medio natural o edilicio. También aspiran a comunicarle atributos de sobriedad, rigor geométrico y sensorial, respondiendo a su vez a las características topográficas del entorno, en su formalización y materialidad, para implicarla en la experiencia de la luz y la sombra, la tierra y el aire, como aporte de la composición. Se establece así una complicidad entre la tierra, la casa y el mar, al reinterpretar en forma abstracta la reutilización o adecuación del material existente, participando plenamente de la atmósfera del lugar. Todas las acciones van dirigidas hacia una especie de intrusión natural. Estamos ante una tarea difícil, pero gratificante: evitar el impacto ambiental. Eludir los movimientos de tierra, lograr la eficiencia energética mediante la orientación, la ventilación cruzada, la iluminación natural, la domótica y los sistemas de captación de energía solar. Se tendrán en cuenta, además, el deseo de privacidad y las necesidades relacionales de quienes serán sus habitantes, la ilusión de vivir el paisaje mediante patios interiores y exteriores, se explorarán los modos de demarcar y desdibujar esos límites empleando láminas materiales y vegetación. El desafío es dar con un sistema constructivo que pueda adaptarse a los requerimientos del solar, al programa, a los futuros desarrollos, al tiempo de escoger para la vivienda una situación dominante por su emplazamiento, la volumetría, los materiales y la riqueza de colores.
This book presents and analyses the career of architect Carlos Ferrater since the creation of his new studio calledÊOAB (Office of Architecture in Barcelona). With the arrival of young architects to the team, Êthe activity of OAB is not only deployed in the execution of construction projects, but how it is also complemented and enriched by going into depth in other fields such as teaching and academic research. OAB draws on the collaborative nature of Carlos FerraterÕs previous studio, incorporating new ways of understanding the contributions of each team member to generate richer, more varied, and flexible projects. Their most relevant projects are the Beach Promenade in Benidorm, the Mandarin Hotel, the Zaragoza-Delicias Station, House A and Roca Barcelona Gallery, among many others. Recent works and projects presented by means of extensive photoreportages, plans, drawings and QR codes which link the printed matter and the digital world.
This book provides an overview of the work of Carlos Ferrater, one of the most active and internationally acclaimed Spanish architects working today. Recent projects such as the Fitness Center in Barcelona, the Impiva headquarters in Castellon, and the Movie Studio in Barcelona, represent a new level of architectural brilliance from Ferrater. With the close collaboration of the architect himself, this book has been grouped according to the scale of his projects, from private housing to urban developments. In addition to his architectural practice, Ferrater serves as professor at the Architecture School of Barcelona and has lectured extensively at national and international seminars, congresses, and symposia. He was also the director of the Sixth Biennial of Spanish Architecture.
A unique and multi-faceted talent, Juan Navarro Baldeweg is one of the two most highly acclaimed Spanish architects living at the start of the 21st century. Also an artist, his paintings have been exhibited at galleries and art fairs all over the world. In this text he reveals his views on art and artitecture, and presents his own paintings, photographs and drawings. Architectural projects are accompanied by sketches, plans, situation maps, axonometric drawings and photographs. It includes a commentary by J.M. Bonet, Director of the IVAM Modern Art Museum in Valencia and provides insight into Baldeweg's character and artistic career. The book was designed by Baldeweg himself.
On October 14-19, 1990, the 6th International Conference on the Conservation of Earthen Architecture was held in Las Cruces, New Mexico. Sponsored by the GCI, the Museum of New Mexico State Monuments, ICCROM, CRATerre-EAG, and the National Park Service, under the aegis of US/ICOMOS, the event was organized to promote the exchange of ideas, techniques, and research findings on the conservation of earthen architecture. Presentations at the conference covered a diversity of subjects, including the historic traditions of earthen architecture, conservation and restoration, site preservation, studies in consolidation and seismic mitigation, and examinations of moisture problems, clay chemistry, and microstructures. In discussions that focused on the future, the application of modern technologies and materials to site conservation was urged, as was using scientific knowledge of existing structures in the creation of new, low-cost, earthen architecture housing.
The production of this book stems from two of the editors’ longstanding research interests: the representation of architecture in print media, and the complex identity of the second phase of modernism in architecture given the role it played in postwar reconstruction in Europe. While the history of postwar reconstruction has been increasingly well covered for most European countries, research investigating postwar architectural magazines and journals across Europe – their role in the discourse and production of the built environment and particularly their inter-relationship and differing conceptions of postwar architecture – is relatively undeveloped. Modernism and the Professional Architecture Journal sounds out this territory in a new collection of essays concerning the second phase of the reception and assimilation of modernism in architecture, as it was represented in professional architecture journals during the period of postwar reconstruction (1945–1968). Professional architecture journals are often seen as conduits of established facts and knowledge. The role mainstream publications play, however, in establishing ‘movements’, ‘trends’ or ‘debates’ tends to be undervalued. In the context of the complex undertaking of postwar reconstruction, the shortage of resources, political uncertainty and the biographical complexities of individual architects, the chapters on key European architecture journals collected here reveal how modernist architecture, and its discourse, was perceived and disseminated in different European countries.