On-Site: New Architecture in Spain Highlights Spain's Recent
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Award Steering Committee
Aga Khan Award for Architecture 2 0 1 3 AWARD STEERING COMMITTEE His Highness the Aga Khan, Chairman. Mohammad al-Asad is a Jordanian architect and architectural historian. He is the founding director of the Center for the Study of the Built Environment in Amman. Dr. al-Asad studied architecture at the University of Illinois at Urbana-Champaign and history of architecture at Harvard University, before taking post-doctoral research positions at Harvard and at the Institute for Advanced Study at Princeton. He has taught at the University of Jordan, Princeton University, the Massachusetts Institute of Technology and the University of Illinois at Urbana-Champaign, where he was the Alan K. and Leonarda Laing Distinguished Visiting Professor. He was also adjunct professor at Carleton University in Ottawa. Dr. al-Asad has published in both Arabic and English on the architecture of the Islamic world, in books and academic and professional journals. He is the author of Old Houses of Jordan: Amman 1920-1950 (1997) and Contemporary Architecture and Urbanism in the Middle East (2012); and co-author (with Ghazi Bisheh and Fawzi Zayadine) of The Umayyads: The Rise of Islamic Art (2000) and (with Sahel Al Hiyari and Álvaro Siza) Sahel Al Hiyari Projects (2005). He is the editor of Workplaces: The Transformation of Places of Production: Industrialization and the Built Environment in the Islamic World (2010), and co-editor (with Majd Musa) of Architectural Journalism and Criticism: Global Perspectives (2007) and Exploring the Built Environment (2007). Dr. al-Asad has been a member of the board of directors of organisations including the Jordan National Gallery of Fine Arts (part of the Royal Society for Fine Arts), the Jordan Museum, and the Royal Institute of Inter-Faith Studies in Amman. -
The Architectural Style of Bay Pines VAMC
The Architectural Style of Bay Pines VAMC Lauren Webb July 2011 The architectural style of the original buildings at Bay Pines VA Medical Center is most often described as “Mediterranean Revival,” “Neo-Baroque,” or—somewhat rarely—“Churrigueresque.” However, with the shortage of similar buildings in the surrounding area and the chronological distance between the facility’s 1933 construction and Baroque’s popularity in the 17th and 18th centuries, it is often wondered how such a style came to be chosen for Bay Pines. This paper is an attempt to first, briefly explain the Baroque and Churrigueresque styles in Spain and Spanish America, second, outline the renewal of Spanish-inspired architecture in North American during the early 20th century, and finally, indicate some of the characteristics in the original buildings which mark Bay Pines as a Spanish Baroque- inspired building. The Spanish Baroque and Churrigueresque The Baroque style can be succinctly defined as “a style of artistic expression prevalent especially in the 17th century that is marked by use of complex forms, bold ornamentation, and the juxtaposition of contrasting elements.” But the beauty of these contrasting elements can be traced over centuries, particularly for the Spanish Baroque, through the evolution of design and the input of various cultures living in and interacting with Spain over that time. Much of the ornamentation of the Spanish Baroque can be traced as far back as the twelfth century, when Moorish and Arabesque design dominated the architectural scene, often referred to as the Mudéjar style. During the time of relative peace between Muslims, Christians, and Jews in Spain— the Convivencia—these Arabic designs were incorporated into synagogues and cathedrals, along with mosques. -
20 Years in Spain
20 YEARS IN SPAIN 1993-2013 Few of us would have imagined that 20 years after we opened a small office in Madrid we would be looking back on our contributions to some of the most innovative and influential projects that have been realized in Spain over that period. Probably none of us would have foreseen that five years after the onset of a lingering global financial crisis we would have a thriving multi- disciplinary Spanish practice, advising, planning, designing and supervising the delivery of projects all over the world. We are tremendously proud of the achievements of our colleagues in Spain over these 20 years and are confident that they will go on to achieve more great things in the next 20. Gregory Hodkinson Arup Group Board 20 YEARS IN SPAIN 1993 - 2013 At the service of life Arup has been able to successfully combine the small with the large, engineering with architecture and Scandinavian democracy with British empiricism. The firm, started in 1946 by the Danish engineer, Ove Arup, and founded in its present form in 1963 with the British architect, Philip Dowson, celebrates its first twenty years in Spain as mindful of its legacy as it is to its future. Those who have made many iconic works possible in recent decades are also responsible for minimal works in harsh and demanding social and technical environments, because as much talent is required to build a small bridge in a remote region of China as it is to erect a skyscraper in Europe. It is a saga of mythical engineers of the likes of the late-lamented Peter Rice – without -
Manifiesto De La Alhambra English
Fernando Chueca Goitia and others The Alhambra Manifesto (1953) Translated by Jacob Moore Word Count: 2,171 Source: Manifiesto de la Alhambra (Madrid, Dirección General de Arquitectura, 1953). Republished as El Manifiesto de la Alhambra: 50 años después: el monumento y la arquitectura contemporánea, ed. Ángel Isac, (Granada: Patronato de la Alhambra y Generalife, Consejería de Cultura, Junta de Andalucía : Tf Editores, 2006) 356-375. We, the signers of this Manifesto, do not want to be pure iconoclasts, for we are already too weary of such abrupt and arbitrary turns. So people will say: “Why the need for a Manifesto, a term which, almost by definition, implies a text that is dogmatic and revolutionary, one that breaks from the past, a public declaration of a new credo?” Simply put, because reality, whose unequivocal signs leave no room for doubt, is showing us that the ultimate traditionalist posture, which architecture adopted after the war of Liberation, can already no longer be sustained and its tenets are beginning to fall apart. […] Today the moment of historical resurrections has passed. There is no use denying it; just as one cannot deny the existence of the Renaissance in its time or that of the nineteenth century archaeological revivals. The arts have tired of hackneyed academic models and of cold, lifeless copies, and seek new avenues of expression that, though lacking the perfection of those that are known, are more radical and authentic. But one must also not forget that the peculiar conditions implicit in all that is Spanish require that, within the global historical movement, we move forward, we would not say with a certain prudence, but yes, adjusting realities in our own way. -
Scottish Parliament Building Edinburgh, Scotland
Scottish Parliament Building Client: Location: Edinburgh, Scotland Date: Typology: In 1998 EMBT won the bid to design the new Edinburgh Parliament building. The Architect: proposal generated great enthusiasm due to its organic capacity to combine existing Project directors: elements with new technologies through the contemporary and unique language of the Design team: Barcelona studio. The project’s development centered on reflecting the characteristics Gross floor area: of the country and its inhabitants via a new way of building that was directly linked to the land itself. This close tie to the site and its setting would, when the adjacent distillery is demolished, enable the generation of multiple perspective lines on the city. Intentionally, a contrast is sought, a conceptual distance, between the new construction and Holyrood Palace, the twelfth-century royal residence that has been renovated many times. Unlike the palace, which dominates the landscape, the new Scottish Parliament drops literally into the hillside terrain, the lowest part of Arthur’s Seat, and appears to sprout from the living stone. Client: The Scottish Executive Government Location: Edinburgh, Scotland Date: 2004 Typology: Civic Government, Landscape Architects: Enric Miralles, Benedetta Tagliabue in a joint venture with: RMJM Scotland LTD, M.A.H Duncan, T.B. Stewart EMBT Staff Competition: Joan Callis, project leader. Constanza Chara, Omer Arbel, Fabian Asunción, Steven Bacaus, Michael Eichhorn, Christopher Hitz, Francesco Mozzati. Leonardo Giovanozzi, Fergus Mc Ardle, Fernanda Hannah, Annie Marcela Henao, Ricardo Jimenez. Project: Joan Callis, project leader. Karl Unglaub, site architect Constanza Chara Umberto Viotto, Michael Eichhorn, Fabian Asunción, Fergus Mc Ardle, Sania Belli , Gustavo Silva Nicoletti, Vicenzo Franza , Antonio Benaduce, Andrew Vrana, Bernardo Ríos, Torsten Skoetz, Tomoko Sakamoko, Javier García Germán,. -
Exhibition an Exhibition Especially Designed for the Spaces of Aut
au t. a rc hit ek tu r und ti ro aut: presse Exhibition l architecture speaks: im adambräu 60 the language of MVRDV 20 innsbruc An exhibition especially designed for the spaces of aut , translating the MVRDV design DNA into experienceable toweres. lois k. austri we place aut. architektur und tirol lzenbacher platz a lois welzenbacher platz 1 6020 innsbruck. austria + 43.512.57 15 67 [email protected], www.aut.cc press conference Friday, July 5th, 11 am 1 with Arno Ritter (Director aut. architektur und tirol) and Nathalie de Vries (MVRDV founding partner) f t + 4 + 4 3. 3. 51 opening Friday, July 5th, 7 pm 51 2. Introduction: Arno Ritter (Director aut), 2. 57 57 Marco Hennis (Dutch Embassy, Vienna) 15 15 67 Opening with Winy Maas, Jacob van Rijs and Nathalie de Vries 67 (MVRDV founding partners) 12 exhib. duration July 6th to September 28th 2019 ww office opening hours tue – fri 11am to 6pm sat 11am to 5pm w. au @ closed during holidays au t. cc t. cc further information aut. architektur und tirol lois welzenbacher platz 1, 6020 innsbruck t + 43.512.57 15 67, [email protected] contact: Claudia Wedekind / Cam nhi Quach short text Founded in 1993 by Winy Maas, Jacob van Rijs and Nathalie de Vries, the MVRDV architectural office has around 250 employees and realises buildings and urban deve- lopment projects of all types and sizes all over the world. Their most famous projects include the Dutch Pavilion at Expo 2000 in Hanover, the striking Silodam residential project in Amsterdam and the Market Hall in Rotterdam. -
A Design Research Journal of the Moorish Influence of Art and Design in Andalusia Written and Designed by Breanna Vick
FOLD UN - A design research journal of the Moorish influence of art and design in Andalusia written and designed by Breanna Vick. This project is developed as a narrative report describing personal interactions with design in southern Spain while integrating formal academic research and its analysis. Migration of Moorish Design and Its Cultural Influences in Andalusia Migration of Moorish Design and Its Cultural Influences in Andalusia UROP Project - Breanna Vick Cover and internal design by Breanna Vick. Internal photos by Breanna Vick or Creative Commons photo libraries. All rights reserved, No part of this book may be reproduced in any form except in case of citation or with permission in written form from author. Printed and bound in the United States of America. Author Bio Breanna Vick is a Graphic Designer based in Minneapolis, Minnesota. She is interested in developing a deeper understanding of different methods of design research. On a site visit to Morocco and Spain in May through June of 2017, Breanna tested her knowledge of design research by observing Moorish design integrated in Andalusia. By developing a research paper, establishing sketchbooks, collecting photographs, and keeping journal entries, she was able to write, design and construct this narrative book. With Breanna’s skill-set in creating in-depth research, she has a deep understanding of the topics that she studies. With this knowledge, she is able to integrate new design aesthetics into her own work. Project Objective My undergraduate research project objective is to advance my understanding of how Moorish design appears in cities located throughout the southern territory of Spain. -
Catalonian Architectural Identity
Catalan Identity as Expressed Through Architecture Devon G. Shifflett HIST 348-01: The History of Spain November 18, 2020 1 Catalonia (Catalunya) is an autonomous community in Spain with a unique culture and language developed over hundreds of years. This unique culture and language led to Catalans developing a concept of Catalan identity which encapsulates Catalonia’s history, cuisine, architecture, culture, and language. Catalan architects have developed distinctly Catalan styles of architecture to display Catalan identity in a public and physical setting; the resulting buildings serve as a physical embodiment of Catalan identity and signify spaces within Catalan cities as distinctly Catalonian. The major architectural movements that accomplish this are Modernisme, Noucentisme, and Postmodernism. These architectural movements have produced unique and beautiful buildings in Catalonia that serve as symbols for Catalan national unity. Catalonia’s long history, which spans thousands of years, contributes heavily to the development of Catalan identity and nationalism. Various Celtiberian tribes initially inhabited the region of Iberia that later became Catalonia.1 During the Second Punic War (218-201 BC), Rome began its conquest of the Iberian Peninsula, which was occupied by the Carthaginians and Celtiberians, and established significant colonies around the Pyrennees mountain range that eventually become Barcelona and Tarragona; it was during Roman rule that Christianity began to spread throughout Catalonia, which is an important facet of Catalan identity.2 Throughout the centuries following Roman rule, the Visigoths, Frankish, and Moorish peoples ruled Catalonia, with Moorish rule beginning to flounder in the tenth-century.3 Approximately the year 1060 marked the beginning of Catalan independence; throughout this period of independence, Catalonia was very prosperous and contributed heavily to the Reconquista.4 This period of independence did not last long, though, with Catalonia and Aragon's union beginning in 1 Thomas N. -
531448835 Toc.Pdf
1 Definition of FAR • 1997. Richard Koek, Winy Maas and Jacob van Rijs 2 FAR Catalogue • 1997 • MVRDV: Winy Maas, Jacob van Rijs and Nathalie de Vries with Tom Mossel and Joost Grootens 13 Acknowledgements 14 Greyness on the Dutch Mesa ·Text• 1994 ·Richard Koek, Winy Maas and Jacob van Rijs 32 34 Permanence • Town planning study for the manifestation 'Rotterdam 2045' on the future development of the Rotterdam region, The Netherlands • 1995 • MVRDV 52 Dutch tendencies. Statistics • 1996. Arnold Reijndorp and Vincent Kornpier • Re-editing: MVRDV 58 Campingland• Text• 1997 •Arnold Reijndorp and Vincent Kornpier 66 Villageland •Text• 1997 •Arnold Reijndorp and Vincent Kornpier 74 Lelyland • Study for the development of Lelystad, The Netherlands • 1994 • Tom Mossel • Re-editing: MVRDV, 1996 94 Landscape· Text• 1995 • Winy Maas 98 Datascape ·Text• 1996 • Winy Maas 104 Emptyscape • Locus seminar • 1992 • Patricia Bijvoet, Winy Maas and Christian Zalm • Re-editing: MVRDV, 1997 114 Windscape• Case study on the location of windmill parks in The Netherlands • 1997 • MVRDV 120 When dense, when lite?. Text• 1997. Harm Tilman 128 130 Rat tests • Opinions • 1997 • MVRDV 136 Who is afraid of massiveness? ·Global statistics • 1996 • MVRDV 146 Climate • statistics • 1996 • MVRDV 152 And Holland?• statistics • 1996 • MVRDV 152 KWC FAR 12 • Kowloon Walled City Density study • 19.95 • Laurence Liauw 174 Far East • HongKong Tower typology • 1998 •Jacob van Rijs 190 192 Aztecs!. Light rules • 1997. MVRDV 216 Holland city. Calculation • 1997. MVRDV 222 Meteorite -
Winy Maas Wed
WINY MAAS WED. FEBRUARY 4, 2015 6:00 PM, S.R. CROWN HALL APPROACH ABOUT “We pursue a fascination Winy Maas is one of the co-founding directors of the architecture and urban planning firm for radical, investigative MVRDV, based in Rotterdam, Netherlands. He is furthermore professor at and director spatial research focusing of The Why Factory, a research institute for the future city, he founded in 2008 at TU on the urban landscape, Delft. Since 2013 he is Visiting Professor at the University of Hong Kong, before that he the public realm, and the was among others Professor at ETH Zurich, Berlage Institute, MIT, Ohio State and Yale influence of architecture University. on the everyday lives of its inhabitants and users.” MVRDV was founded in 1993 by Maas, Jacob van Rijs and Nathalie de Vries in Rotterdam, the Netherlands for the purpose of providing solutions to contemporary architectural and -MVRDV urban issues. MVRDV’s collaborative, research-based design method has resulted in a variety of building, urban planning and installation projects. The most recent project is the Market Hall in Rotterdam (pictured below), which includes a combination of housing and MUST READ retail. MVRDV Buildings (2013, MVRDV has been the recipient of countless awards some of which include Marketing MVRDV) Award Rotterdam, Red Dot Design Award for 2013 (Book Mountain) & 2011 (Balancing Barn), A&W Architect of the Year 2012, RIBA Manswer Medal and City of Rotterdam Vertical Villages (2012, Architecture Award. The Why Factory & MVRDV) WORK KM3: Excursions on Capacities (2006, MVRDV) Spacefighter: The Evolutionary City (2005, MVRDV) FARMAX: Excursions on Density (1999, MVRDV) Market Hall, Rotterdam, the Netherlands (2014) Book Mountain, Spijkenisse, the Netherlands (2012) For more information about their projects, please visit their website at: www.mvrdv.nl. -
Spanish Colonial Revival Historic Resources • Santa Barbara, California
SPANISH COLONIAL REVIVAL HISTORIC RESOURCES • SANTA BARBARA, CALIFORNIA INTRODUCTION Known for its Spanish Colonial Revival architecture, Santa Barbara owes much of its charm to the many thick plaster walls and clay tile roofs of this style. The various subtle details carved in wood or crafted in iron add to the quality of the architecture and character of the city. Spanish Colonial Revival architecture will always be key to Santa Barbara’s identity. See the El Puelo Viejo Design Guidelines for more details of the style. HISTORIC RESOURCES DESIGN GUIDELINES: 11. SPANISH COLONIAL REVIVAL CITY OF SANTA BARBARA HISTORY In 1916, Bertram Goodhue, author of a book on Spanish Colonial architecture, helped to kick-start the new Spanish style with his designs for the Panama- California Expo in San Diego. Until then, the only Spanish themed architecture was based on Mission prototypes. Soon, however, architects and patrons began to look to Spain itself for detailed examples of the Spanish style. Throughout the territories originally settled by the Spanish in the Southwest, as well as Texas and Florida, the Spanish Colonial Revival flourished. In Santa Bar- bara, the style was championed by many architects including George Washington Smith, Lutah Maria Riggs, Winsor Soule, Reginald Johnson, William Edwards, and Joseph Plunkett. Also key to the success of the Spanish Colonial Revival in Santa Barbara was the The 1920s Spanish Colonial Revival hotel in West Beach neighborhood features deco- Plans and Planting Committee through which Pearl Chase and others helped to rative tile steps and a plaster balustrade leading to the front entrance. sway Santa Barbara towards a more unified architectural style based on the City’s Spanish Colonial and Mexican past. -
Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture
Exploring Mexican Hybrid Baroque: New Perspectives on Colonial Architectural Sculpture by Maxine Compean A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master in Art History Carleton University Ottawa, Ontario ©2015 Maxine Compean ABSTRACT My research aims to challenge existing notions of cross-cultural histories during the early modern era. This thesis will speak to an alternative analysis of the cultural consequences of colonialism and how Indigenous and Mestizo styles that emerged in Mexico had a global cultural impact. During the 17th and 18th centuries, Mestizo and Indigenous architects and sculptors succeeded in creating a different artistic product from the Spanish Baroque that enabled them to represent Christian symbols in their own way. In turn, while the Spanish conqueror was physically and intellectually removed from current European artistic developments, he was visually drawn by Tequitqui architecture because it was not only a new style but it also exuded a different identity. Through the analysis of written testimonies by Spanish friars, historians and architects it is evident that the result of cultural hybridity made an impression on the European's visual culture. After close observation it became evident that the discussion of Tequitqui art, especially regarding Indigenous and Mestizo artist's recognition, is often neglected in art history books. Most literature covers the usual discourse of Spain shaping Mexican culture due to colonialism, but the opposite discussion is nonexistent. Therefore this study aims to challenge the Western discourse and 2 propose that the cosmopolitanism of Tequitqui art and the artists who created it deserve acknowledgment in the literature of Baroque art history.