Women and the Making of the University of Alicante Campus: Critical Reappraisals of Modern Architecture (1982–1999)

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Article Women and the Making of the University of Alicante Campus: Critical Reappraisals of Modern Architecture (1982–1999)

María-Elia Gutiérrez-Mozo, José Parra-Martínez and Ana Gilsanz-Díaz *

Department of Graphic Expression, Architectural Theory and Design, University of Alicante, 03690 San Vicente del Raspeig, Alicante, Spain; [email protected] (M.-E.G.-M.); [email protected] (J.P.-M.) * Correspondence: [email protected]

Received: 6 February 2020; Accepted: 28 April 2020; Published: 30 April 2020

Abstract: A stroll around the University of Alicante campus is like a journey through the history of Spanish architecture of the last 40 years, as many of its buildings exemplify the best production of the period. This legacy also tells a story about the role played by female architects within the profession. In fact, a gender reading reveals that only two women, Pilar Vázquez Carrasco, the architect of the Faculty of Sciences (FS, 1982) and the Social Club I (1987), and Dolores Alonso Vera, responsible for the Higher Polytechnic School IV (HPS, 1999), have designed structures on the campus over almost four decades and out of a total of more than 50 buildings. The FS is an example of structural sincerity whose brick and concrete materials and externalisation of services provide Brutalist echoes. The HPS IV is a design exercise consisting of a series of elegant, inviting volumes and open spaces intertwined with the campus garden. This essay focuses on the comparative analysis of these two award-winning works to unveil those contributions that female authorship has brought to their solutions by relating them to comparable buildings in space, time and type, but designed by male architects.

Keywords: female architects; Spanish architecture; peripheral modernism; postmodernism; University of Alicante; teaching facilities; gender perspectives; historiography; gender and place

1. Introduction The history and development of the University of Alicante (UA) campus gives insight into the role of female architects with regard to professional practice in Spain during the last two decades of the 20th century. In this respect, a gender perspective reveals that only two women, Pilar Vázquez Carrasco1 and Dolores (Lola) Alonso Vera,2 designed teaching facilities on this campus. Furthermore, both were appointed by winning competitions, with architectural works that reinterpreted in their own way a modern tradition that has served to preserve them from passing fashions. This paper explores two signiﬁcant buildings of the University of Alicante that were conceived by female architects. The ﬁrst

1 Pilar Vázquez Carrasco was born in Madrid in 1949. She graduated from the Higher Technical School of Architecture of Madrid (ETSAM) in 1977. Even before graduation, in 1975, she set practice in Alicante, where she had to move due to her husband’s, architect Miguel Dolç Rincón, career, completing her studies through distance learning. They both lived and worked in Alicante up until 1998, when they returned to Madrid. Over her professional practice she has always acted as a freelance architect. Vázquez Carrasco’s Educational, Research, Culture, and Sports Regional Ministry building in Alicante is one of her most signiﬁcant works. 2 Lola Alonso Vera was born in Alicante in 1951. She graduated from the Higher Technical School of Architecture of Valencia (UPV) in 1976. From 1998 to 2005, she was a faculty member at the Higher Polytechnic School in Alicante, where she taught Design Studio. In 2005, she was appointed head curator of the VIII Spanish Architecture Biennale. Her work has been exhibited at the VII Venice Architecture Biennale (2000) as well as at Expo 2000 in Hannover, being awarded and extensively published in national and international journals.

Arts 2020, 9, 57; doi:10.3390/arts9020057 www.mdpi.com/journal/arts Arts 2020, 9, x FOR PEER REVIEW 2 of 23 reinterpreted in their own way a modern tradition that has served to preserve them from passing fashions. This paper explores two significant buildings of the University of Alicante that were conceived by female architects. The first one is the Faculty of Sciences I and II (FS) constructed in 1982 by Pilar Vázquez Carrasco. The second is the Higher Polytechnic School IV (HPS IV) erected in 1999 by Dolores (Lola) Alonso Vera (Figure 1). Previous research into ‘gender perspectives in architecture’ (Pérez-Moreno 2018, 2019) have mainly covered historical reviews, from the ones conducted initially by Hayden and Wright (1976), Susana Torre (1977), and the Heresies Collective (1981) in North America, to the more recent work of Carmen Espegel (2006), Josenia Hervás y Heras (2015), Lucía Pérez-Moreno (2016), and Arias Laurino (2018) in Spain, who has focused on the forgotten female architects of modernism. Other research is centered around feminist reviews of spatial analysis (Rendell et al. 1999), largely related to the domestic realm, such as those also undertaken by Dolores Hayden (1981, 1984), Alice Friedman (1998), Beatriz Colomina (1992), Heynen and Baydar (2005), and Baydar (2012), to give some examples. Lastly, other lines of activity have centered around developing and promoting equality policies (Sánchez de Madariaga and Zucchini 2020), mainstreaming new gender perspectives into the management of infrastructures (Gutiérrez-Mozo et al. 2020), and rethinking urban design (Azara and Gil 2017; Col·lectiu Punt 6 2014, 2017; Sánchez de Madariaga and Novella-Abril 2020; etc.) as examples of the latest studies carried out in the Spanish context that reproduce personal experiences of several female architects (Álvarez Lombardero 2015). Some of these surveys are noteworthy for the discovery and recounting of the careers of past and present female architects, such as the abovementioned exploration of Alice Friedman (1998) or Mary McLeod and Victoria Rosner’s research project and website Pioneering Women of American Architecture (McLeod and Rosner 2012). However, outside the Anglo-Saxon sphere, the type of partnership that produces the architectural work is not usually considered and in most cases comes from collaboration. On the other hand, when architecture publications are a key source to investigate gender and place in architecture, it is crucial to question how the location of certain publishing hubs, cultural and educational institutions, etc., vis-à-vis the case studies proposed has affected their historical and historiographic account through their very editorial interests and/or political bias. The examination of who/what makes some places/architectures

Artsthe 2020norm, 9, and 57 others regional, as well as who gets published and who gets ignored, seems of utmost2 of 19 importance in peripheral areas such as Spain’s southeast coast, particularly when compared to Madrid or Catalonia. This aspect is fundamental to understanding the phenomenon in all its complexity and onedepth, is theas Facultyboth archive of Sciences research I and and II (FS) field constructed work are in essential 1982 by Pilarfor a V ácomprehensivezquez Carrasco. approach The second to isarchitecture the Higher as Polytechnic a discipline School and as IV a do (HPSmain IV) of erected individual in 1999 and bycollective Dolores life. (Lola) Alonso Vera (Figure1).

(a) (b)

Figure 1. FacultyFaculty of Sciences (FS, 1982), Pilar Vázquez Vázquez Carrasco ( a) and Higher Polytechnic School IV (HPS, 1999), DoloresDolores AlonsoAlonso VeraVera ((bb),), UniversityUniversity ofof Alicante.Alicante. Photos:Photos: Authors.Authors.

PreviousThis essay research thus questions into ‘gender the following perspectives statemen in architecture’t as a point of (departure:Pérez-Moreno “Men 2018 and, 2019women) have do mainlynot make covered different historical architecture reviews, and from neither the is ones one conducted better than initially the other. by Hayden Men and and women Wright perceive(1976), Wrightspace and(1976 their), Torre environment(1977), and differe the Heresiesntly and Collective this impacts(1981 architectural) in North America, production” to the (Muxí more Martínez recent work2008). of Therefore, Espegel(2006 we), Hervproposeás y Herasto study(2015 ),andP é rez-Morenoanalyze architecture(2016), and Ariasmade Laurino by women(2018) inworking Spain, whoindependently has focused to ondescribe the forgotten and understand female architects its particul of modernism.ar features and, Other hence, research reveal is centeredand evaluate around it, feminist reviews of spatial analysis (Rendell et al. 1999), largely related to the domestic realm, such as those also undertaken by Hayden(1981, 1984), Friedman(1998), Colomina(1992), Heynen and Baydar (2005), and Baydar(2012), to give some examples. Lastly, other lines of activity have centered around developing and promoting equality policies (Sánchez de Madariaga and Zucchini 2020), mainstreaming new gender perspectives into the management of infrastructures (Gutiérrez-Mozo et al. 2020), and rethinking urban design (Azara and Gil 2017; Col lectiu Punt 6 2014, 2017;S ánchez de Madariaga · and Novella-Abril 2020; etc.) as examples of the latest studies carried out in the Spanish context that reproduce personal experiences of several female architects (Álvarez Lombardero 2015). Some of these surveys are noteworthy for the discovery and recounting of the careers of past and present female architects, such as the abovementioned exploration of Friedman(1998) or Mary McLeod and Victoria Rosner’s research project and website Pioneering Women of American Architecture (McLeod and Rosner 2012). However, outside the Anglo-Saxon sphere, the type of partnership that produces the architectural work is not usually considered and in most cases comes from collaboration. On the other hand, when architecture publications are a key source to investigate gender and place in architecture, it is crucial to question how the location of certain publishing hubs, cultural and educational institutions, etc., vis-à-vis the case studies proposed has affected their historical and historiographic account through their very editorial interests and/or political bias. The examination of who/what makes some places/architectures the norm and others regional, as well as who gets published and who gets ignored, seems of utmost importance in peripheral areas such as Spain’s southeast coast, particularly when compared to Madrid or Catalonia. This aspect is fundamental to understanding the phenomenon in all its complexity and depth, as both archive research and field work are essential for a comprehensive approach to architecture as a discipline and as a domain of individual and collective life. This essay thus questions the following statement as a point of departure: “Men and women do not make different architecture and neither is one better than the other. Men and women perceive space and their environment differently and this impacts architectural production” (Muxí Martínez 2008). Therefore, we propose to study and analyze architecture made by women working independently to describe and understand its particular features and, hence, reveal and evaluate it, not as better or worse than male architecture, where we agree with Muxí, but different and even alternative. In order to crystalize the idiosyncrasies of gender accurately and thoroughly, it is essential that a woman is the architecture’s sole author, with no collaboration from male colleagues. In partnership it is impossible Arts 2020, 9, 57 3 of 19 to discern clearly the contribution of each collaborator, this being the result of how the work is shared. This is even more true if they are partners in life. The second basis for this essay is that the examination and understanding of female architects’ work is inextricably associated with an in-depth knowledge and experience of the local environment (cultural, geographical, economic, social, and administrative) as the levels of analysis required cannot be satisfied simply from the relevant publications, which provide necessary, but insufficient and frequently biased information. The aim of the analysis of both the Faculty of Sciences and the Higher Polytechnic School IV as case studies located on the University of Alicante campus is to describe and explain the particularities of the architecture created by women from two different generations who worked independently and relied on their own cultural background, by comparison with the work of their male peers. This research will entail looking beyond quantitative or enumerative knowledge already available on the theme. Instead, it will focus on the Iberian domain to explore in-depth qualitative knowledge that contributes to recognition that the work of female architects has brought something different to the discipline. By scouring through architectural works of quality and professional interest, often forgotten because of its female authorship and peripheral location, and discarded from architecture’s hegemonic ‘grand narrative’, we intend to contribute to its exposure, understanding, and appreciation. Ultimately, we are discussing the professional and cultural recognition of female architects’ work, focusing more on the qualitative aspects that tell us about these women’s intellectual and technical qualities. We will employ two scientific methods to achieve the research objectives: firstly, the case study and secondly, the comparative method, a systematic process of contrasting one or more parameters (local environment, proposed program of uses, materiality, and conceptual references), in order to establish points of similarity and difference between them, to analyze architecture produced by women in relation to that authored by men. As a result, this essay’s main contribution will emerge and consist of the study and discussion itself of the cases investigated. This entails the need to collect a significant number of examples through this inductive method with the aim of drawing general conclusions and proving our hypothesis. Therefore, this paper puts forth a seminal research procedure for further analysis of more buildings within the Spanish context, being conceived as a first step to rigorously test a methodology that will be evolved, adapted and/or improved according to the very nature of future case studies.

Context: The University of Alicante Campus The University of Alicante (UA) was created out of the Centre of University Studies, which was established in 1968 making the most of the buildings of the Rabasa military base that, during the Spanish Civil War (1936–1939), had occupied the old aerodrome, opened in 1919 as a fueling station for flights between Morocco and France. The UA campus appears in the local landscape like an oasis in the middle of an arid area on the urban periphery intersected by main carriageways in the municipality of San Vicente del Raspeig. This original isolated position between San Vicente and Alicante, which is served by the highway connecting both cities, has subsequently been affected by the construction of the A-7 bypass along the site’s southeastern edge and the expansion of San Vicente towards the University in the north east, giving the campus a different orientation (Martí-Ciriquián and Gutiérrez-Mozo 2019). The A-7 highway now connects the campus with Valencia to the north and Murcia to the south (AP7), and to Albacete (A3) and Alcoy (A70) to the west, which provides the UA excellent road connections with the region. These changes have transformed the previous vehicle access from the San Vicente road. Upon the construction of the tramline joining the campus to Alicante and the installation of the tram stop next to the bus stop, the main entrance has been converted to be served by public transport, thus emphasizing the pedestrian character of the campus’s main gate. The other two access points have acquired a complementary role, based on their site position and connections: the southeast entrance has vehicle access only from the highway, and the northeast gate is connected locally within the town of San Vicente (Figure2). Arts 2020, 9, x FOR PEER REVIEW 4 of 23 by public transport, thus emphasizing the pedestrian character of the campus’s main gate. The other Artstwo2020 access, 9, 57 points have acquired a complementary role, based on their site position and connections:4 of 19 the southeast entrance has vehicle access only from the highway, and the northeast gate is connected locally within the town of San Vicente (Figure 2). The planning of the campus has also evolved. Th Thee central axis formed by the military buildings has beenbeen shiftedshifted to to the the south-east south-east and and turned turned orthogonally, orthogonally, creating creating a new a central new central axis, not axis, only not because only ofbecause the building’s of the building’s functions function (generals services)(general services) but also becausebut also ofbecause their architectural of their architectural and planning and features.planning features. This can This be noted can be both noted in both their in size their and size scale, and scale, compared compared with with the former the former base, base, and and the creationthe creation of a publicof a public space space around around which which the buildings the buildings are sited, are forming sited, forming the largest the group largest of buildingsgroup of onbuildings campus. on campus. One thethe mostmost interestinginteresting planning planning initiatives initiatives on on the the university university site site is theis the pedestrianization pedestrianization of the of internalthe internal road road network, network, confining confining the vehicle the vehicle traffic traffic to the campusto the campus perimeter perimeter and moving and moving the parking the lotsparking to this lots ring. to this This ring. strategy This originatesstrategy originates from the from so-called the so-called Radburn Radburn model, developed model, developed by Clarence by C.Clarence Stein inC. the Stein United in the States United in the States 1920s. in Thethe planting1920s. The of linesplanting of trees of alonglines of the trees pedestrianized along the pathwayspedestrianized originates pathways from originates the tradition from of denotingthe tradition each of path denoting with its each own path plant with species, its own a feature plant usedspecies, both a feature in the Gardenused both City in andthe Garden various City Modern and various Movement Modern projects—such Movement as projects—such R. Unwin’s and as R. E. May’s,Unwin’s respectively. and E. May’s, If we respectively. consider this If together we consider with thethis campus’s together isolated with the but campus’s well-connected, isolated even but almostwell-connected, self-suffi cienteven situation,almost self-s the Anglo-Saxonufficient situation, influence the thatAnglo-Saxon inspired theinfluence design becomesthat inspired obvious the (designArnau-Amo becomes et al.obvious 2013). (Arnau-Amo et al. 2013).

Figure 2. TheThe University University of of Alicante Alicante (UA) campus. Courtesy Courtesy of of UA’s UA’s Technical OOffice.ﬃce.

Although the park design within the site generally obeys the principles of the French formal garden, following geometric patterns that determinedetermine the planting arrangements, two other areas relating more to an EnglishEnglish or landscapelandscape garden are worthworth highlighting:highlighting: the Bosque Ilustrado grove, which also plays a key role in the sustainable managementmanagement of the campus by deﬁningdefining the views and enhancing thethe environmental environmental quality, quality, as itas conceals it concea thels presencethe presence of San of Vicente’s San Vicente’s disused disused cement cement factory. Similarly,factory. Similarly, the landscaping the landscaping to soften theto soften visual andthe acousticvisual and impact acoustic of the impact A-7 highway, of the A-7 located highway, to the southlocated of to the the campus, south borderingof the campus, the UA bordering Museum, wherethe UA the Museum, creation of where a sloping the embankmentcreation of a provides sloping anembankment eﬀective barrier. provides In the an adjacent effective Science barrier. Park, In the the adjacent planting attemptsScience Park, a more the modern planting expression. attempts a moreThe modern UA campus expression. architecture also constitutes a rich and varied heritage that would be enough to represent,The UA campus by itself architecture and within also its setting, constitutes schematically a rich and andvaried quite heritage convincingly that would the be evolution enough ofto Spanishrepresent, architecture by itself and during within thelast its fortysetting, years. schematically It also possesses and quite the singular convincingly quality ofthe preserving evolution theof memory of its origin. Today, this legacy is particularly evident in a kind of ‘historic center’ denoted by the arrangement of the military facilities on a north-south axis, consisting of an aircraft hangar Arts 2020, 9, x FOR PEER REVIEW 5 of 23

Spanish architecture during the last forty years. It also possesses the singular quality of preserving the memory of its origin. Today, this legacy is particularly evident in a kind of ‘historic center’ Artsdenoted2020, 9 by, 57 the arrangement of the military facilities on a north-south axis, consisting of an aircraft5 of 19 hangar (1938) whose riveted structure is still preserved, and the Control Tower (ca. 1940), which was recently included in the Iberian DOCOMOMO Register. (1938) whose riveted structure is still preserved, and the Control Tower (ca. 1940), which was recently The first expansion of the campus in the 1980s was to the west and maintained the north-south included in the Iberian DOCOMOMO Register. alignment. It accommodates the Faculties of Law, Sciences, Philosophy, and Humanities; the Faculty The ﬁrst expansion of the campus in the 1980s was to the west and maintained the north-south of Education was housed in one of the military buildings. The resulting architecture is a sort of alignment. It accommodates the Faculties of Law, Sciences, Philosophy, and Humanities; the Faculty of restrained modernism with multiple references, such as the Faculty of Law’s expressionism or the Education was housed in one of the military buildings. The resulting architecture is a sort of restrained Brutalist features of the Philosophy building. It was during this period that female architects first modernism with multiple references, such as the Faculty of Law’s expressionism or the Brutalist played their role, particularly in Pilar Vázquez Carrasco’s FS buildings I and II, which exhibit a features of the Philosophy building. It was during this period that female architects ﬁrst played their striking rationality of emphatic forms fashioned in exposed brick and concrete. role, particularly in Pilar Vázquez Carrasco’s FS buildings I and II, which exhibit a striking rationality At the end of the same decade, postmodernism also burst onto the campus with the architecture of emphatic forms fashioned in exposed brick and concrete. for the Faculties of Economics and Business and Health Sciences. Both constructions are arranged to At the end of the same decade, postmodernism also burst onto the campus with the architecture the south of the new east-west axis created by the campus’s expansion. The construction of four for the Faculties of Economics and Business and Health Sciences. Both constructions are arranged community facilities brings the decade to a conclusion: the Sports Pavilion to the north, the former to the south of the new east-west axis created by the campus’s expansion. The construction of four Residential Hall to the east, Lecture Hall I and Vázquez Carrasco’s Social Club I, both to the west. community facilities brings the decade to a conclusion: the Sports Pavilion to the north, the former The buildings erected in the 1990s, both in terms of quality and quantity placed the UA campus Residential Hall to the east, Lecture Hall I and Vázquez Carrasco’s Social Club I, both to the west. in the spotlight, with the designs featured extensively in the main Spanish architecture publications. The buildings erected in the 1990s, both in terms of quality and quantity placed the UA campus Many were the result of international competitions. The buildings were located in the south and east in the spotlight, with the designs featured extensively in the main Spanish architecture publications. of the campus to bestow the kind of institutional imagery that the university sought. Then, the Many were the result of international competitions. The buildings were located in the south and east of east-west growth axis was closed to the east with Lecture Hall II, arranged around an open-air the campus to bestow the kind of institutional imagery that the university sought. Then, the east-west amphitheater, and completed with Alvaro Siza’s elegant yet subtle Rectorate building, facing the growth axis was closed to the east with Lecture Hall II, arranged around an open-air amphitheater, General Library. and completed with Alvaro Siza’s elegant yet subtle Rectorate building, facing the General Library. To the east of the Library is the Social Sciences building and to the west the Social Club II. To the east of the Library is the Social Sciences building and to the west the Social Club II. Parallel Parallel to these to the south is perhaps the most famous architectural sequence on campus, the to these to the south is perhaps the most famous architectural sequence on campus, the Germán Germán Bernácer building, the University Institutes, the Optics and Optometry School and Dolores Bernácer building, the University Institutes, the Optics and Optometry School and Dolores Alonso Alonso Vera’s HPS IV building. At the southern end of the long axis, which commences from the Vera’s HPS IV building. At the southern end of the long axis, which commences from the entrance to the entrance to the Sports Pavilion at the north end lies the UA Museum, the cultural counterpoint to Sportssports Pavilionactivity. atIn thethe north south-east end lies corner the UA of Museum,the campus, the Lecture cultural counterpointHall III contra tosts sports with activity. the Centre In the of south-eastChemistry cornerTechnology of the at campus, the opposite Lecture end. Hall III contrasts with the Centre of Chemistry Technology at the oppositeIn this new end. millennium, the campus has expanded beyond its boundaries, establishing itself in San VicenteIn this new with millennium, the new Faculty the campus of Education has expanded and beyond breaching its boundaries, the borders establishing of Alicante itself with in Santhe VicenteScience withPark. the new Faculty of Education and breaching the borders of Alicante with the Science Park. InIn aa nutshell,nutshell, this complex, as we previously stressed, cancan bebe said to representrepresent thethe historyhistory ofof thethe lastlast decadesdecades ofof SpanishSpanish architecture, architecture, while while also also expressing expressing the the role role of Spanishof Spanish female female architects architects in the in samethe same period. period. Up untilUp until 2012, 2012, only only three three structures—V structures—Vázquezázquez Carrasco’s Carrasco’s 1982 FS 1982 and FS 1987 and Social 1987 ClubSocial I andClub Alonso I and Alonso Vera’s Vera’s 1999 HPS 1999 IV—out HPS IV—out of a total of a of total more of thanmore 50 than buildings 50 buildings on the on campus the campus had been had designedbeen designed by women by women (Figure (Figure3). 3).

Figure 3. University of Alicante campus site plan with FS and HPS IV highlighted. Drawing: Carlos

Pastor García. Arts 2020, 9, x FOR PEER REVIEW 6 of 23

Arts Figure2020, 9, 573. University of Alicante campus site plan with FS and HPS IV highlighted. Drawing: Carlos 6 of 19 Pastor García.

2.2. Comparative Comparative Analysis Analysis

2.1.2.1. The The Environment Environment DuringDuring the the controversial controversial renovation renovation of of the the Ri Rijksmuseumjksmuseum in in Amsterdam Amsterdam (2001–2013), (2001–2013), the the local local CouncilCouncil took took the the side side of cyclists of cyclists and and invited invited Spanish Spanish office o ﬃCruzce Cruz y Ortiz y OrtizArquitectos Arquitectos to resubmit to resubmit their designtheir designproposal, proposal, thereby thereby firmly ﬁrmly establishing establishing a basic a basic principle principle of ci ofvic civic architecture, architecture, namely namely that that a a buildingbuilding should should defer defer to to the the urban urban environment onon whichwhich itit depends.depends. ForFor allall architecture, architecture, whatever whatever its itstime time and and place, place, the the building’s building’scontribution contribution toto thethe public space that that accommodates accommodates it it is is essential essential to to measuremeasure the the extent extent of of its its success success and and subsequent subsequent prestige. prestige. ThisThis contribution contribution may may be be expre expressedssed through through various various strategies: strategies: one one of of these these is isthe the passage. passage. HalfwayHalfway between between an an open-air open-air path path and and an an alley alley or or cut cut through, through, the the passage passage invites invites the the pedestrian pedestrian to to walkwalk through, through, opening anan areaarea of of encounter encounter and an exchanged exchange in which in which the public the public and the and private the private coalesce coalesceharmoniously. harmoniously. Dolores Dolores Alonso’s Alonso’s HPS IV HPS building IV building provides provides an inviting an inviting and partly and partly covered covered lateral lateralpassage passage avoiding avoiding a detour a detour round theround building the buildi and revealingng and revealing its interior its spaces. interior It evenspaces. encourages It even encouragesthe pedestrian the pedestrian to linger into itslinger peaceful in its excavatedpeaceful excavated patio (Figure patio4 (Figure). The architecture4). The architecture thus is thus able is to ablebreak to thebreak insularity the insularity to which to its which type, whichits type, is clearlywhich inspiredis clearly by inspired Modern by movement Modern referencesmovement is referencesprone. In is Spanish, prone. In the Spanish, native the language native language of both the of architectsboth the architects featured feat in thisured essay in this and essay its authors,and its authors,the word the ‘pasaje word’ has‘pasaje other’ has accepted other accepted meanings, meanings, including includin the welcomeg the welcome or reception or reception given to given someone. to someone.This building This building is an excellent is an excellent example example of hospitable of hospitable architecture. architecture.

(a) (b)

FigureFigure 4. 4. SketchSketch of ofadjacent adjacent area area (a ()a and) and passage passage (b ()b )through through the the HPS HPS IV. IV. Drawing: Drawing: Carlos Carlos Pastor Pastor García.García. Photo: Photo: Courtesy Courtesy of of UA’s UA’s Technical Technical Office. Oﬃce.

AnotherAnother example example is is to to be be found found in in the the intimate intimatelyly connected, connected, yet yet clearly clearly differentiated differentiated Pilar Pilar Vázquez’sVázquez’s FS FS buildings buildings I Iand and II, II, which which are are integrated integrated into into their their surroundings surroundings and and become become part part of of them.them. In In this this case, case, the the circulation circulation is is central central not not la lateral,teral, introducing introducing us us to to the the complex complex in in a abold bold and and assertiveassertive manner. manner. To To cross cross is is to to penetrate penetrate and and en encompasscompass the the complex complex of of structures structures that that comprise comprise thethe FS. FS. We We sense sense that that we we move move through through horizontal horizontal bloc blocksks and and that that we we are are received received by by vertical vertical blocks blocks withoutwithout really really knowing knowing with with any any certainty certainty the the natu naturere and and extent extent of of their their functions functions yet yet defined defined and and qualifiedqualified clearly clearly in in each each case. case. A A modest modest service service bloc blockk closes closes the the site site to to the the north, north, like like a aplaza, plaza, and and ensuresensures a a sunny sunny reception onon whichwhich thethe horizontal horizontal southern southern bridge bridge structure, structure, giving giving access access to the to openthe openspace space of the of court,the court, does do notes intrudenot intrude (Figure (Figure5). 5).

Arts 2020, 9, 57 7 of 19 Arts 2020, 9, x FOR PEER REVIEW 7 of 23

(a) (b)

FigureFigure 5. 5.SketchSketch of adjacent of adjacent area area (a) (anda) and plaza plaza (b) ( bnext) next to tothe the FS. FS. Drawing: Drawing: Carlos Carlos Pastor Pastor García. Garc ía. Photo:Photo: Authors. Authors.

TheThe whole whole responds responds to to the the idea idea of of civitascivitas minima minima thatthat Alberti( 1977([1485]) proposed 1977) proposed as a valid as model a valid for modelall architecture. for all architecture. The environment, The environment, in this case, in this is composedcase, is composed of the surrounding of the surrounding buildings. buildings. There is a Therecertain is a desire certain for desire introspection for introspection in the organization in the organization of the spaces, of the which spaces, for which the scientific for the communityscientific communityoccupying occupying the buildings the isbuildings extremely is extremely appropriate. appropriate. ForFor the the passerby, passerby, the the FS FSinvites invites repose. repose. However, However, for those for those who whowish wishto discover to discover its secrets, its secrets, the fullthe articulation full articulation of its ofparts, its parts, with withtheir their connect connectionsions and anddifferent different heights heights and and unexpected unexpected nooks nooks do do notnot make make it iteasy. easy. Similarities Similarities and and differences differences switch switch roles. roles. We We are are surprised surprised by by the the seemingly seemingly simple simple interplayinterplay of ofvolumes; volumes; the the layout layout consists consists of ofan anL at L atthe the southeast, southeast, a tower a tower at atthe the northeast, northeast, and and the the serviceservice block block to tothe the north, north, the thethree three of them of them creati creatingng the thesite’s site’s boundary. boundary. Yet what Yet what appears appears simple simple in thein floor the floorplans plans is not is true not truefor the for elevations, the elevations, mark markeded by sudden by sudden emphasized emphasized changes changes of level of levelthat at that firstat firstsight sight give givethe impression the impression of a oflabyrinth. a labyrinth. To overcome To overcome this, this, we wewould would need need to tounderstand understand the the specificspecific uses uses assigned assigned to each to each space. space. TheThe FS FS buildings buildings are are rigidly rigidly aligned aligned to tothe the cardinal cardinal points. points. To To some some extent, extent, they they seem seem to toforget forget theirtheir immediate immediate surroundings surroundings to tocreate create their their own own environment, environment, which which is isconceived conceived to tofacilitate facilitate the the concentrationconcentration of ofthe the scientific scientific community. community. Thus, Thus, we might we might say saythat thatwe find we findourselves ourselves on an on island, an island, or islet,or islet,in the in rich the and rich varied and varied landscape landscape of the of University the University of Alicante of Alicante campus. campus.

2.2.2.2. Program Program of Uses of Uses and and Architectural Architectural Programme Programme TheThe arrangement arrangement of of DoloresDolores (Lola) (Lola) Alonso Alonso Vera’s Vera HPS’s HPS IV is predicatedIV is predicated on thedesign’s on the assumptiondesign’s assumptionthat the site that must the havesite must a pedestrian have a pedestrian route linking route the linking parking the lot parking at its back lot at to its the back rest to of the the rest campus of thewhose campus park whose opens park before opens it. This before passage it. This acts pass as aage bridge, acts as being a bridge, partially being covered partially to provide covered shade. to provideThis passage shade. fliesThis overpassage the building’sflies over basementthe buildi andng’s separatesbasement a and small separa longitudinaltes a small service longitudinal area in the servicewest, area from in a largethe west, circulation from a spacelarge circulation around a central, space around excavated a central, patio serving excavated as a patio public serving forum as at a the publicsaid forum basement at the level. said This basement patio islevel. formed This by patio eight is prismaticformed by volumes—three eight prismatic involumes—three the north, three in in thesouth, north, and three two in thesouth, east—that and two define in the the east—t space’shat limits, define and the house space’s in the limits, basement and and house ground in the floor basementthe classrooms, and ground workshops floor the and classrooms, laboratories workshops of the School and oflaboratories Architecture of the (which School is housed of Architecture in the HPS (whichIV) (Figure is housed6). in the HPS IV) (Figure 6).

ArtsArts2020 2020, 9,, 57 9, x FOR PEER REVIEW 8 of8 of 19 23

(a) (b)

FigureFigure 6. HPS6. HPS IV: IV: main main circulations circulations scheme scheme (a) ( anda) and cross-section cross-section (b). (b Drawings:). Drawings: Carlos Carlos Pastor Pastor Garc García.ía.

AnotherAnother three three boxes boxes invade invade the the patio, patio, completing completing the planthe plan of lecture of lecture rooms, rooms, among among which which the one the devotedone devoted to Drawing to Drawing has been has conceived been conceived as a double as heighta double space. height This givesspace. rise This to angives ambulatory, rise to an ratherambulatory, like an openrather cloister, like an challenging open cloister, the verychallengin natureg ofthe this very type nature as an of enclosed this type space. as an A enclosed ramp runningspace. inA theramp east-west running axis in invitesthe east-west access toaxis the invites patio ( Gutiaccessérrez-Mozo to the patio and Maci(Gutiérrez-Mozoá-Mateu 2014 and). ThisArtsMaciá-Mateu 2020 is a, 9 prominent, x FOR PEER2014). architectural REVIEW This is a prominent element which architectura plays a cruciall element role which as space plays for a interpersonal crucial role as relations. space9 of 23 for Theinterpersonal ramp facilitates relations. exchange The between ramp thefacilitates members exchange of the university between community the members as well of asthe connecting university thecommunity most public as spaces well as of connecting the building the (Figure most public7). spaces of the building (Figure 7).

(a) (b)

Figure 7.7. HPSHPS IV:IV: View View of of the the ground ground ﬂoor floor passage passage (a) and (a) rampand ramp (b) linking (b) linking it to the it basement.to the basement. Photos: CourtesyPhotos: Courtesy of UA’s Technicalof UA’s Technical Oﬃce. Office.

Over the lowerlower parallelepipeds,parallelepipeds, which, as explained above, are devoted to lecture rooms, workshops,workshops, laboratories, and service areas, areare threethree longitudinallongitudinal two-storytwo-story volumes.volumes. These three prismsprisms house the teaching stastaff’sff’s oofficesffices and meeting rooms, being forfor climate and structural reasons completely open open and and glazed glazed on on the the north north and and having having very very few few and and small small openings openings to the to south. the south. The Thearchitect’s architect’s design design strategy strategy clearly clearly responds responds to toan anidea idea of ofprivacy privacy that that increases increases as as we we move move higher: higher: thethe upperupper levelslevels are placesplaces ofof individualindividual work; the basement is a place of encounter and exchange; finally,finally, thethe passagepassage onon thethe groundground floorfloor isis thethe spacespace thatthat linkslinks thethe buildingbuilding toto thethe campus.campus. The plan is as simple as it is rigorous andand eeffective.ffective. Located between the military buildings and the Faculty of Law, the FS occupies a substantial plot of the campus. Its buildings were constructed in two phases (I and II) but intended to be interpreted as a whole. The first, compact and separate, with a basement and four floors, is situated at the northeast limit. The second, an L shape, with a long arm to the south and a shorter arm to the west, has two floors, is completed at its north eastern end, with another block of five floors with three unequal arms that span out to the north, south and west (Martínez-Medina and Ferre de Merlo 2014) (Figure 8). FS I functions as a great foyer, illuminated naturally from above, from which corridors and stairways distend. Two compact volumes, at the north and west, mainly housing laboratories complete the outline. From the south, the FS II presents a longitudinal facade (the long arm of the previously mentioned L) with the covered entrance to the plaza, which both volumes define. This southern block mainly houses large lecture rooms and offices. The west wing of the L is connected by a passage in a north-south direction with a large volume to the northeast.

Arts 2020, 9, 57 9 of 19

Located between the military buildings and the Faculty of Law, the FS occupies a substantial plot of the campus. Its buildings were constructed in two phases (I and II) but intended to be interpreted as a whole. The first, compact and separate, with a basement and four floors, is situated at the northeast limit.Arts 2020 The, 9, x second, FOR PEER an REVIEW L shape, with a long arm to the south and a shorter arm to the west, has10 twoof 23 floors, is completed at its north eastern end, with another block of five floors with three unequal arms that span out to the north, south and west (Martínez-Medina and Merlo 2014) (Figure8).

(a) (b)

FigureFigure 8.8. FS:FS: mainmain circulationscirculations schemescheme ((aa)) andand cross-sectioncross-section ((bb).). Drawings:Drawings: Carlos PastorPastor GarcGarcía.ía.

FSWalkway I functions terraces, as a accessible great foyer, from illuminated stairs and naturallyexternal ramps, from above, lie above from the which passage corridors areas on and the stairwaysground floor distend. (Figure Two 9). compact The volume volumes, at the at north-east the north andend west,echoes mainly the design housing of laboratoriesthe FS I with complete an extra thefloor. outline. Again, From a series the of south, laborato the FSries II are presents grouped a longitudinal around a large facade central (the void long to arm the of north the previously and west, mentionedwith offices L) to with the thesouth. covered An additional entrance to one-st the plaza,ory service which bothblock volumes completes define. the Thiscomplex southern and blockturns mainlywhat would houses have large been lecture a wide rooms passage and oareaffices. into The a we westlcoming wing plaza, of the open L is connected in all directions, by a passage and to in the a north-southsun, giving directionunity to a with design a large of various volume dispar to theate northeast. elements. This modest volume adds a pleasant meetingWalkway place terraces,to the initial accessible whole. from stairs and external ramps, lie above the passage areas on the ground floor (Figure9). The volume at the north-east end echoes the design of the FS I with an extra floor. Again, a series of laboratories are grouped around a large central void to the north and west, with offices to the south. An additional one-story service block completes the complex and turns what would have been a wide passage area into a welcoming plaza, open in all directions, and to the sun, giving unity to a design of various disparate elements. This modest volume adds a pleasant meeting place to the initial whole.

Figure 9. FS: Walkway terraces (a) and (b). Photo: Courtesy of UA’s Technical Oﬃce.

2.3. Materiality The austere economy of materials, more in keeping with the spirit rather than the letter of modernism in no way impedes our vision, of the HPS IV, as an exemplary exercise of rich articulation of spaces with basic and inexpensive construction materials. The luxury, in this case, is provided by the project’s insightful ideas. The concrete structure and glazing with metal framing and slats in the facades pay homage to the legacy of the Modern Movement. Regardless of the modesty of building

Arts 2020, 9, 57 10 of 19

Arts 2020, 9, x FOR PEER REVIEW 12 of 23 materials, the squared railings, white plastering, cement ﬂoors, and wooden partition walls allow for a rich interplay of spaces (Figure 10).

(a) (b)

FigureFigure 10. 10. HPSHPS IV: MaterialityMateriality schemescheme (a ()a and) and north north facade facade (b). ( Drawing:b). Drawing: Carlos Carlos Pastor Pastor Garc ía.García. Photo: Photo:Courtesy Courtesy of UA’s of TechnicalUA’s Technical Oﬃce. Office.

In contrast, the FS buildings although older seem to subscribe to a later language, illustrated by the radical opposition between the ubiquitous brickwork that belongs to a timeless traditional past, and the uncompromising concrete, impeccably executed. In their intelligent interplay, the brickwork

Artscontributes 2020, 9, x FOR to PEER the building’sREVIEW durability, while the repetition of concrete elements, particularly13 of in 23 the connections between levels—such as the massive parapets and stairways—articulates the variety and plastic interest of the FS (Figure 11).

(a) (b)

FigureFigure 11. 11. FS:FS: Materiality Materiality scheme scheme (a) ( aand) and access access (b ().b ).Drawing: Drawing: Carlos Carlos Pastor Pastor García. Garcí a.Photo: Photo: Courtesy Courtesy of ofUA’s UA’s Technical Technical Office. Oﬃce.

Moreover, the profusion of exposed services and architectural devices, such as pipework to expel gases and smoke, movable slats, etc., emphasizes the material quality and technological control exerted by the architect over her building. Perhaps the most remarkable design feature of the building is found in the interior passages connecting the FS blocks. Here, the wonderfully wrought diaphanous vaults speak volumes about the ambitious objectives of this remarkable architecture (Figure 12). The design symbolizes the scientiﬁc spirit of enquiry previously mentioned. The care which went into the execution of this small “city of sciences” testiﬁes to the importance of these disciplines to the UA as a whole.

Arts 2020, 9, x FOR PEER REVIEW 14 of 23 Arts 2020, 9, 57 11 of 19

(a) (b)

Figure 12. FS: Views of thethe concreteconcrete stairwaysstairways ((aa)) andand interiorinterior glazedglazed vaultsvaults ((bb).). Photo:Photo: CourtesyCourtesy of UA’s TechnicalTechnical OOffice.ffice. 2.4. The References 2.4. The References Despite its relatively recent construction (1999), which was awarded by competition, the HPS Despite its relatively recent construction (1999), which was awarded by competition, the HPS IV contains definite features of the Modern movement, at a time and in a place, when its influence IV contains definite features of the Modern movement, at a time and in a place, when its influence had become part of the classical architectural canon. The arrangement of the building’s forms satisfies had become part of the classical architectural canon. The arrangement of the building’s forms the very definition of a clever, precise, and delightful game played with volumes and light; a game satisfies the very definition of a clever, precise, and delightful game played with volumes and light; whose rules are based on geometry and a whole disciplined application governs the space in its three, a game whose rules are based on geometry and a whole disciplined application governs the space in or rather four dimensions, above and beyond all other considerations (Gutiérrez-Mozo et al. 2018). its three, or rather four dimensions, above and beyond all other considerations (Gutiérrez-Mozo et To ascribe this building to what Jencks(1971) called late-modernism would not be appropriate, al. 2018). because apart from its aesthetic ambition noted at the time, the HPS IV stands out for its ingenious To ascribe this building to what Jencks (1971) called late-modernism would not be appropriate, devotion to observing the principles practiced by the Modern movement’s great masters. Being the because apart from its aesthetic ambition noted at the time, the HPS IV stands out for its ingenious results of both remarkable spatial achievements and functional deficiencies, such as its indifference devotion to observing the principles practiced by the Modern movement’s great masters. Being the to the local climate, this building represents a kind of return to the roots, like an act of faith in a results of both remarkable spatial achievements and functional deficiencies, such as its indifference rejuvenated modernism. to the local climate, this building represents a kind of return to the roots, like an act of faith in a Yet, the Faculty of Sciences’ small citadel can obviously be ascribed to post-modernism: both in rejuvenated modernism. its background of “complexities and contradictions” (Venturi 1966), and in the assault of its Brutalist Yet, the Faculty of Sciences’ small citadel can obviously be ascribed to post-modernism: both in forms and gestures from all sides. The L shaped structure described above receives us as we first reach its background of “complexities and contradictions” (Venturi 1966), and in the assault of its Brutalist the building from the campus. Its south façade provides access to the plaza and offers us passage forms and gestures from all sides. The L shaped structure described above receives us as we first beneath the bridge, which is crossed by a wide stairway and ramp. There, the possibility of taking reachArts 2020 the, 9, xbuilding FOR PEER from REVIEW the campus. Its south façade provides access to the plaza and offers15 of us23 three different routes diverts our attention from the lower windows of the building. Thus, a complex passage beneath the bridge, which is crossed by a wide stairway and ramp. There, the possibility of and contradictory design strategy organizes circulation and the privacy of the spaces opening to the taking three different routes diverts our attention from the lower windows of the building. Thus, a plaza (Figure 13). complex and contradictory design strategy organizes circulation and the privacy of the spaces opening to the plaza (Figure 13).

(a) (b)

Figure 13. Conceptual reference plans of HPS IVIV ((aa)) andand thethe FSFS ((bb)) Drawings:Drawings: Carlos PastorPastor GarcGarcía.ía.

As regards Brutalism, the exposed concrete, which is emphasized by the diagonals of the stairways, together with the exhibition of building services, when seen from the distance, remind us of a small-scale version of Piano and Rogers’s 1977 Pompidou Centre. Similarly, the display of forms, materials and technological devices seems to compose a Piranesi engraving.

2.5. Contemporary Pairs To place Dolores Alonso’s and Pilar Vázquez’s respective works in context and demonstrate their singularity, a comparison is made with other buildings designed and constructed by male architects, which are related closely in space, time and type. To do so, two case studies on the relatively proximate University of Murcia’s Espinardo campus (which is less than 80 km and 50 min’s drive from the University of Alicante campus) sharing similar design strategies, architectural solutions and program of uses (higher education facilities) are selected and examined. The first is the Faculty of Economics and Business (FEB) built in 1996–1999, which is proposed with respect to Alonso’s HPS IV completed in 1997–1999. The second is the Faculty of Veterinary Medicine (FVM) erected in 1984–1989, being presented in relation to 1982’s Vázquez’s FS. The main features of these four education buildings have been summarized in comparative Tables 1 and 2. As the HPS IV, the FEB was built in the late 1990s, being equally the result of an open competition in which a proposal prepared by Enrique Carbonell, Ad hoc msl, and Salvador Moreno, working in collaboration, proved to be the winner. Granted prominence on campus by its size and materiality, it lies at the center of the perimeter ring road, flanked by a grove to the south and open spaces to the east and west, while its northern vista is restricted by the University Library and the Faculty of Library and Information Science. Located in the northern part of the Espinardo campus, the FVM was constructed at the end of the 1980s. It appears as a sequence of longitudinal volumes structured along an east-west axis, having an irregular boundary and a seemingly immovable mass. The FVM gives the impression of a large complex engaging with the exterior through a series of small windows in the otherwise solid walls that define it (Figure 14).

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Table 1. Technical sheet for the FS of the University of Alicante and the FVM of at Murcia University.

Faculty of Science I–II Faculty of Veterinary Medicine Description (University of Alicante) (University of Murcia) Location Alicante Murcia Surface 201.27 km2 881.90 km2 Population/Density 334.887 (2019)/1639.53 per km2 447.182 (2018)/507.03 per km2 Climate Semi-arid warm Semi-arid warm Veremundo Nuñez Arenal, Isidro Architect(s) Pilar Vázquez Carrasco Luna Seco, Manuel García Cendan, Partners Manuel Díaz Ros Developer University of Alicante University of Murcia Project unknown 1984 Construction 1982 1989 Construction Pilar Vázquez Carrasco - Management Budget unknown 766,305.726 Pesetas (4.61 M €) 20,310.77 m2 Basement 1342.77 m2 15,330.50 m2 Ground floor 1325.00 m2 4957.00 m2 Basement 1786.94 m2 1st floor 1266.00 m2 3,683,00 m2 Ground floor 6213.47 m2 Surfaces 2nd floor 1.266.00 m2 1,735,00 m2 1st floor 3.241,70 m2 3rd floor 1.266.00 m2 3683.00 m2 2nd floor 1.481,82 m2 4th floor 1,735,00 m2 3rd floor 1.481,82 m2 FS I 6465.77 m2 4th floor 1.124,75 m2 FS II 13,845.00 m2 Number of Students 2158 940 Arts 2020, 9, 57 13 of 19

Table 2. Technical sheet for the HPS IV of the University of Alicante and the FEB of the University of Murcia.

Polytechnic School IV Faculty of Economics and Business Description (University of Alicante) (University of Murcia) Location Alicante Murcia Surface 201.27 km2 881.90 km2 Population/Density 334.887 (2019)/1639.53 per km2 447.182 (2018)/507.03 per km2 Climate Semi-arid warm Semi-arid warm Enrique Carbonell, Ad hoc (Carlos Architect(s) Dolores Alonso Vera Jurado and Juan A. Sánchez Partners Adriana Figueiras Robisco Morales), Salvador Moreno Pérez and Juan Luis Ballesteros Galante Developer University of Alicante University of Murcia Project 1997 1996 Construction 1999 1997–1999 Enrique Carbonell, Adhoc (Carlos Dolores Alonso Vera, Luis Martínez Jurado and Juan A. Sánchez Construction Management Planelles, architects and Juan Morales), Salvador Moreno Pérez Manuel Cánovas, civil engineer and Juan Luis Ballesteros Galante Budget 926,210,974 Pesetas (5.57 M €) 1,716,382,200 Pesetas (10.32 M €) 22,004.90 m2 10.953,11 m2 Basement 393.90 m2 Basement 3727.43 m2 Ground floor 3551.60 m2 Ground floor 3346.10 m2 1st floor 3727.20 m2 Surfaces 1st floor 1939.79 m2 2nd floor 3672.20 m2 2nd floor 1939.79 m2 3rd floor 3555.20 m2 Open spaces 1850.00 m2 4th floor 4037.80 m2 5th floor 3067.00 m2 Number of Students 500 3514

As the HPS IV, the FEB was built in the late 1990s, being equally the result of an open competition in which a proposal prepared by Enrique Carbonell, Ad hoc msl, and Salvador Moreno, working in collaboration, proved to be the winner. Granted prominence on campus by its size and materiality, it lies at the center of the perimeter ring road, flanked by a grove to the south and open spaces to the east and west, while its northern vista is restricted by the University Library and the Faculty of Library and Information Science. Located in the northern part of the Espinardo campus, the FVM was constructed at the end of the 1980s. It appears as a sequence of longitudinal volumes structured along an east-west axis, having an irregular boundary and a seemingly immovable mass. The FVM gives the impression of a large complex engaging with the exterior through a series of small windows in the otherwise solid walls that define it (Figure 14). Within the curving contours of the campus, the FEB emerges as a round volume of six floors formed by four parallel blocks of offices and lecture rooms oriented east-west, which are crossed perpendicularly by two other prisms that accommodate the corridors and communication hubs. The western orientation creates the building’s central space, where common areas, walkways, and stairways to higher floors flow in to form a great interior patio for access and encounters. The FEB Arts 2020, 9, x FOR PEER REVIEW 18 of 23 Arts 2020, 9, 57 14 of 19 Within the curving contours of the campus, the FEB emerges as a round volume of six floors formed by four parallel blocks of offices and lecture rooms oriented east-west, which are crossed creates an interior universe of relations that appears isolated from the rest of the campus, inviting us to perpendicularly by two other prisms that accommodate the corridors and communication hubs. The enter from the east via the three patios between the four teeth of its comb-like form (Figure 15). Artswestern 2020, 9 ,orientation x FOR PEER REVIEW creates the building’s central space, where common areas, walkways,16 ofand 23 stairways to higher floors flow in to form a great interior patio for access and encounters. The FEB creates an interior universe of relations that appears isolated from the rest of the campus, inviting us to enter from the east via the three patios between the four teeth of its comb-like form (Figure 15). The FVM is a complex formed by the juxtaposition of various volumes of different heights unified by the treatment of the exposed brick facade. The ground floor has a linear structure featuring a series of patios which separate functions and program requirements. Access is via two flights of stairs perpendicular to this axis, the east stair leads to a large hallway, the only communication space, from which a long corridor extends the whole length of the building, dividing it into two parts: the south with two story’s and the north with four floors. Subsequently, the building was extended to the west by building a veterinary hospital resulting in an excessively symmetric and rigid whole (Figure 16). The FEB’s orthogonal geometry engenders a strong concrete structure cladded by a series of expressive curtain walls which bring in natural light and afford views over the surrounding area. The glass surfaces also contribute to dematerializing the building’s conspicuous volume. The facades facing the south are defined by horizontal bands of perforated aluminum plates that protect from the sun, while the west facades are covered in a braided metal skin that provides additional thermalFigureFigure insulation. 14. 14. MurciaMurcia The University’s University’s continuity Espinardo Espinardo of these campus campus facades show showing is inginterrupted the the Faculty Faculty by of of theEconomics Economics staircases and and thatBusiness Business protrude externally.(FEB)(FEB) and and Faculty Faculty of of Veterinary Veterinary Me Medicinedicine (FVM). Dr Drawing:awing: Authors.

Figure 15. Photos and ground floor of the FEB, University of Murcia. Photos: Authors. Drawing: FigureUniversity 15. Photos of Murcia and Technical ground Division.floor of the FEB, University of Murcia. Photos: Authors. Drawing: University of Murcia Technical Division. The FVM is a complex formed by the juxtaposition of various volumes of different heights unified by the treatment of the exposed brick facade. The ground floor has a linear structure featuring a series of patios which separate functions and program requirements. Access is via two flights of stairs perpendicular to this axis, the east stair leads to a large hallway, the only communication space, from

Arts 2020, 9, 57 15 of 19 which a long corridor extends the whole length of the building, dividing it into two parts: the south with two story’s and the north with four ﬂoors. Subsequently, the building was extended to the west

Artsby building2020, 9, x FOR a veterinary PEER REVIEW hospital resulting in an excessively symmetric and rigid whole (Figure19 16of ).23

Figure 16. PhotosPhotos and and ground floor ﬂoor of the FVM,FVM, UniversityUniversity ofof Murcia.Murcia. Photos:Photos: Authors. Drawing: Drawing: University of Murcia Technical Division.

The FVM’s FEB’s orthogonalstructure of geometryreinforced engenders concrete is aad strongapted concreteto the complex structure plan cladded and requirements by a series for of classrooms,expressive curtainlaboratories, walls whichoperating bring theatres, in natural departments, light and aservices,fford views and over administration the surrounding areas area.that compriseThe glass the surfaces various also volumes contribute clustered to dematerializing together. All the these building’s volumes, conspicuous that share volume.the same Themateriality facades andfacing architectural the south areimage, defined reveal by horizontalslight variations bands ofin perforatedthe form, aluminumproportions, plates and thatrhythm protect of fromtheir windows.the sun, while In the the higher west facadesvolumes are of covered the north in façade, a braided the metal communication skin that provides areas protrude additional externally thermal andinsulation. interrupt The the continuity continuity of of these the facades and is interrupted the rectangularity. by the staircases that protrude externally. The FVM’s structure of reinforced concrete is adapted to the complex plan and requirements 3.for Discussion classrooms, laboratories, operating theatres, departments, services, and administration areas that compriseAs shown the various in our volumesanalysis above, clustered both together. the FS an Alld the these HPS volumes, IV, emphasize that share their the dialogue same materiality with the UAand campus architectural by enabling image, revealpassage slight across variations it. In the in thecase form, of the proportions, FS, via the andplaza, rhythm facing of north, their windows.which is demarcatedIn the higher by volumes the service of the block. north As façade, for the the HPS communication IV, via an entrance areas protrude and exit externally passage and through interrupt the building,the continuity which of is the located facades south and of the the rectangularity. campus. Yet in Murcia, the relations established between the buildings and their environment are quite different as both the FVM and the FEB appear remote 3. Discussion from the surrounding Espinardo campus. The FVM looks like an imposing wall and the FEB as aloof and insular,As shown creating in our their analysis own above,universe both at the FSmargin and theof the HPS world IV, emphasize outside. their dialogue with the UA campusThe space by enablingcreated in passage the FS across center, it. like In the a casehaven, of theis at FS, surface via the level. plaza, In facing contrast north, the which space is generateddemarcated in bythe the HPS service IV is block.sunk down As for a thelevel, HPS to IV,the via building’s an entrance base. and Thus, exit the passage welcome through is more the heartfelt,building, from which the is locatedcore of souththe building. of the campus. We are Yet not in discouraged Murcia, the relationsfrom entering; established we are between received the within.buildings In andcontrast, their environmentthe meeting areand quite connection different sp asaces both of the the FVM FVM and and the the FEB FEB appear are found remote in from the interior,the surrounding after crossing Espinardo the threshold. campus. TheAlthough FVM looks more like open an in imposing the FEB, wall the andFVM the space FEB is as decidedly aloof and secluded.insular, creating their own universe at the margin of the world outside. The stairs space createdand ramps, in the accentuated FS center, like by atheir haven, expose is atd surface concrete, level. creating In contrast the FS’s the most space distinctive generated feature,in the HPS is replicated, IV is sunk in down their a shared level, to postmodern the building’s allegiance, base. Thus, by theboth welcome the FVM is and more the heartfelt, FEB, whose from externallythe core of theprotruding building. stairways We are not form discouraged the most from arresting entering; image we areof both received buildings, within. although In contrast, their the formal and material languages are different. A single ramp giving access to the interior patio is crucial to the organization of the HPS IV’s public space. All other stairs are contained within the building, like platforms for a hidden theatre fly system. The idea of a nineteenth century vaulted foyer under a glazed roof is used in the FS’s two blocks, traversed by stairs and galleries. The HPS IV, in contrast, evokes the timeless cloister, paradoxically open, but no less intimate. Moreover, a certain Anglo-Saxon spirit of reserve,

Arts 2020, 9, 57 16 of 19 meeting and connection spaces of the FVM and the FEB are found in the interior, after crossing the threshold. Although more open in the FEB, the FVM space is decidedly secluded. The stairs and ramps, accentuated by their exposed concrete, creating the FS’s most distinctive feature, is replicated, in their shared postmodern allegiance, by both the FVM and the FEB, whose externally protruding stairways form the most arresting image of both buildings, although their formal and material languages are different. A single ramp giving access to the interior patio is crucial to the organization of the HPS IV’s public space. All other stairs are contained within the building, like platforms for a hidden theatre fly system. The idea of a nineteenth century vaulted foyer under a glazed roof is used in the FS’s two blocks, traversed by stairs and galleries. The HPS IV, in contrast, evokes the timeless cloister, paradoxically open, but no less intimate. Moreover, a certain Anglo-Saxon spirit of reserve, originator of Brutalism (Banham 1966) permeates the FS, which in the FVM borders on severity. In the HPS IV, with its Mediterranean air, a playful quality pervades, while in the FEB, an impression of what Jencks(1971) would describe as late-modern architecture can be ascribed to its display of technology and its derivative aestheticism. Yet, despite its deliberate referencing of La Tourette’s primary colored skylights, the overall mood is serious. In the architecture of these buildings we can read the slogans defining two chronologically closed but culturally dissimilar eras following one upon the other. Here is the postmodernist “more is not less” motto of the FS—and the FVM, although softened—as well as the “less is more” of the HPS IV’s reinvented modernity. Meanwhile, the FEB converts Gropius’s idea of “art and techniques: a new unity” into an ideology aligned with the high-tech movement of late modernity. This diversity of approaches corresponds to the differences between those faculties adhering to the idea of scientific progress (FS and FVM), and the FEB, which is indebted to the pragmatism of capital and, finally, the School of Architecture (HPS IV), which acknowledges artistic tradition. The FS and the HPS IV, respectively, flow versus measure, image versus geometry, represent, to some extent, two ways of understanding architectural practice: Baukunst vis-à-vis Architektur (Woodward 2008).

4. Conclusions Although sharing the same postmodern language, a comparable materiality in terms of their exposed brick and concrete walls as well as a reserved, introspective attitude, the FS and FVM differ substantially in their treatment of both interior and exterior public space. In the FVM, collective spaces are practically missing, being reduced to the strict programmatic requirements of common areas, which far from being places to stay are treated as mere passageways and vertical communications. Conversely, the FS creates a quiet, welcoming plaza at the UA campus and organizes its most significant blocks around central, meeting spaces filled with overhead natural light and animated by the dynamic presence of staircases and corridors. We contend that it is precisely the female architect who is responsible for this difference because of her concern for the collective, which leads to the creation of a forum at the FS and a foyer in each of its two blocks. Such spaces are completely absent, even disregarded, at the FVM where even the most minimal joies essentielles are not permitted. Due to the fragmentary nature of her building, which is the result of an articulation of different volumes, Dolores Alonso’s HPS IV overflows with sun, air, and greenery. Public spaces are generously designed, their dimensions prevailing over the small spaces, such as offices, conceived for private use. Thanks to the slopes located on the north side of the School, the conspicuous natural elements of the campus enter the building and spread over it though its main and secondary patios which connect all blocks of the complex. Moreover, these joies essentielles, unlike in the case of the FEB, can be enjoyed outside the building by the whole university community. The HPS IV also entices us with its playfulness that underlies any composition exercise and which incites us to action, to benefit and take pleasure in the full exercise of freedom. In contrast, the impeccable execution of the FEB prefers us to be spectators, admirers of its deployment and control of trades and materials, keeping its various Arts 2020, 9, 57 17 of 19 surprises only for its very users. At the HPS IV one feels instantly at home, where the act of inhabiting fosters the flourishing of the human condition. In its turn, the FEB welcome both its users and visitors with hospitality, but everyone must observe the rules of its formal etiquette. Due to their female authorship as well as these women’s attention to their physical and cultural milieu, both the FS and the HPS IV, each in their own way, are works that are sensitive to the community they serve, as permeable spaces that invite the public to discover them. Both buildings create training and learning habits. They acknowledge their place within the campus and yet create their own space. Thus, we believe we have shown in these case studies that the presence of female architects at the forefront of these projects has led to a positive and defining contribution above and beyond questions of function, construction, and language.

Author Contributions: The three authors have participated fully and cooperatively in the conception and development of this research. In addition, they have also jointly drawn up the bibliography and identified the works selected and the parameters for the analysis. M.-E.G.-M. has placed greater emphasis on the conceptual framework and the design of the study methodology, J.P.-M. on the writing of the article and A.G.-D. on the graphical documentation and final revision of the final manuscript. All authors have read and agreed to the published version of the manuscript. Funding: This research was funded by the Ministry of Science, Innovation and Universities, Spanish Government. Research Project Title: Women in Spanish (Post)Modern Architecture Culture, 1965–2000. Grant number: PGC2018-095905-A-I00. Acknowledgments: We would like to thank particularly architects Pilar Vázquez Carrasco, Jorge Dolç Vázquez and Pablo Carbonell (Ecoproyecta) for their contributions to this research. We are also grateful to the Technical Office of the University of Alicante and the Technical Division of the University of Murcia for providing documentation concerning the buildings studied. Conflicts of Interest: The authors declare no conflict of interest.

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