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Twentieth Century Latin American Architecture: a Network and a Digital Exhibition Hugo SEGAWA University of Sao Paulo
<Presentations Day1>Twentieth Century Latin American Title Architecture: a Network and a Digital Exhibition Author(s) SEGAWA, Hugo CIRAS discussion paper No.81 : Architectural and Planning Citation Cultures Across Regions --Digital Humanities Collaboration Towards Knowledge Integration (2018), 81: 8-17 Issue Date 2018-03 URL https://doi.org/10.14989/CIRASDP_81_8 © Center for Information Resources of Area Studies, Kyoto Right University Type Research Paper Textversion publisher Kyoto University Presentations / Day1 Twentieth Century Latin American Architecture: a Network and a Digital Exhibition Hugo SEGAWA University of Sao Paulo designed by the architect Horiguchi Sutemi and built inside the Ibirapuera Park in Sao Paulo city in 1954, on the occasion of the 4th centennial of the foundation of the city of São Paulo. This, and other examples of forgotten or unknown facts of how ar- chitectural exchanges and the architectural culture in Brazil was shaped, demonstrate that this kind of database is an important tool for research, and would be especially useful for data mining analysis. The Observatório de Arquitectura Latinoamer- icana Contemporánea – ODALC (Observatory of As representative of a joint research group, a Contemporary Latin American Architecture) is a network dedicated to the study of the Modern Latin network of researchers of the University of São American Architecture, the invitation to be in this Paulo (Brazil), Universidad Nacional (Colombia) symposium came in an important moment of discus- and Universidad Autónoma Metropolitana (Mexi- sion and decision regarding the use of digital tools co) dedicated to the study of contemporary Latin and data bases within the activities of the group, al- American architecture and cities since 2011. -
The Integration of the Arts
The Integration of the Arts By Carlos Raúl Villanueva HE arts bear witness to the cultural meaning of each overbearing isolation. These pictorial themes are there- period; we can discover the features that marked a fore worthwhile per se, independently of the architectural Thistoric individuality thanks to them. The more they space in which they are found. What is more, it is them demonstrate the union of concept or formal participation that give the characteristic stamp to this environment. The between them, the more clearly the social axis around example of this is the Sistine Chapel by Michelangelo, in which the man/culture duality revolves unfolds itself. The which the pictorial values are evidently superior to the presence of this axis favours the agglutination of artistic architectural space and totally indifferent or neutral with expression. What is more, the unity of human content is regard to them. fertile and a necessary condition so that the total inte- When the world of plastic arts is impregnated by a sin- gration flourishes. Architecture, painting, sculpture and gle concept, when it is dealt with by a single philosophy, technique combine around a common aim, around a col- when a single vision enriches its components, the arts lective purpose. The coming together of objectives facili- coexist in the same terrain (often in contact with them), tates the plastic synthesis. but they do not necessarily tie in to the total merger. The At the moment, within this synthesis, due to its adher- integrating effort is not necessary. Total union is not nec- ence to functional themes, architecture holds the responsi- essary, either as an intention or as a consequence of joint bility for first defining the generalities, for sketching, right work. -
Vida Y Obra De Carlos Raúl Villanueva Astoul
UCV VALORES VIDA Y OBRA DE CARLOS RAÚL VILLANUEVA ASTOUL Foto © Alfred Brandler © Fundación Villanueva Juan Pérez Hernández Universidad Central de Venezuela. Caracas, diciembre 2017 0 UCV VALORES VIDA Y OBRA DE CARLOS RAÚL VILLANUEVA ASTOUL Juan Pérez H e r n á n d e z 1 UCV VALORES UNIVERSIDAD CENTRAL DE VENEZUELA (UCV) Dra. Cecilia García-Arocha Márquez Rectora Dr. Nicolás Bianco Colmenares Vicerrector Académico Dr. Bernardo Méndez Acosta Vicerrector Administrativo Dr. Amalio Belmonte Guzmán Secretario VICERRECTORADO ACADÉMICO (VRAC) Dra. Inírida Rodríguez Coordinadora del Vicerrectorado Académico DIRECCIÓN DE TECNOLOGÍA DE INFORMACIÓN Y COMUNICACIONES (DTIC) Lic. Delisa De Guglielmo Directora Lic. Adriana Rosal Sub - Directora Lic. Patricia D’Alessandro Jefe de División de Integración de Sistemas Lic. Antonio Machado Analista de Sistemas Lic. Gustavo Paredes Analista de Sistemas Lic. Lisbeth Burgos CONSEJO DE PRESERVACIÓN Y DESARROLLO (COPRED) Arq. Aglais Palau Ontiveros Directora Dr. Juan Pérez Hernández Conservador de Obras de Arte (Jefe) FUNDACIÓN VILLANUEVA (FV) Arq. Paulina Villanueva Directora Cecilia Castrillo Secretaria General 2 INDICE CARLOS RAÚL VILLANUEVA ASTOUL. (30 de Mayo de 1900, Londres, Inglaterra - 16 de agosto de 1975, Caracas, Venezuela) 5 Bibliografía seleccionada. 46 Fuentes de Información Electrónica. 48 Agradecimientos. 49 3 VIDA Y OBRA DE CARLOS RAÚL VILLANUEVA ASTOUL Carlos Raúl Villanueva, en el estudio de su Casa “Caoma”, ubicada en la urbanización La Florida, Caracas, Venezuela Foto © Paolo Gasparini © Fundación Villanueva. Caracas, Venezuela 4 CARLOS RAÚL VILLANUEVA ASTOUL. (30 de Mayo de 1900, Londres, Inglaterra - 16 de agosto de 1975, Caracas, Venezuela) Carlos Raúl Villanueva Astoul, nace el 30 de Mayo de 1900, en Londres, Inglaterra. -
Caracas (Venezuela) in Terms of the Categories of Cultural Property Set out in Article 1 of the 1972 World Heritage Convention, This Is a Group of Buildings
Category of property Caracas (Venezuela) In terms of the categories of cultural property set out in Article 1 of the 1972 World Heritage Convention, this is a group of buildings. No 986 History and Description History The origin of the Central University of Venezuela is in the Identification foundation of the Royal and Pontifical University by a decree of Philip V in 1721, promulgated during the Spanish Nomination Ciudad Universitaria de Caracas colonial period. It operated in the Santa Rosa Seminary, located in the main square of the city of Caracas, today the Location Municipality of Libertador, Caracas Plaza Bolívar. In 1827 Simón Bolívar promulgated the new Republican Statutes for the University, and in 1856 it State Party Republic of Venezuela became independent of the Seminary and was transferred to the former San Francisco Convent, two blocks south-west of Date 29 July 1999 the Plaza Bolívar. The University soon started growing and occupied other buildings outside the convent. The dispersion caused problems to the work and it was thus decided to concentrate the university in a new enclosure, a campus in the outskirts of Caracas. The new university demanded a Justification by State Party modernization of the institution, in order to correspond with The Ciudad Universitaria de Caracas, created by the the new requirements of the time. Venezuelan architect Carlos Raúl Villanueva, is an example In 1942 the studies for the new university campus began, of outstanding quality representing the highest ideals and focusing first on the faculty of medicine and the clinical concepts of modern city planning, architecture, and art. -
Embracing Modernity: Venezuelan Geometric Abstraction the Ap Tricia & Phillip Frost Art Museum Frost Art Museum the Patricia and Phillip Frost Art Museum
Florida International University FIU Digital Commons Frost Art Museum Catalogs Frost Art Museum 10-13-2010 Embracing Modernity: Venezuelan Geometric Abstraction The aP tricia & Phillip Frost Art Museum Frost Art Museum The Patricia and Phillip Frost Art Museum Follow this and additional works at: https://digitalcommons.fiu.edu/frostcatalogs Part of the Fine Arts Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Frost Art Museum, The aP tricia & Phillip Frost Art Museum, "Embracing Modernity: Venezuelan Geometric Abstraction" (2010). Frost Art Museum Catalogs. 45. https://digitalcommons.fiu.edu/frostcatalogs/45 This work is brought to you for free and open access by the Frost Art Museum at FIU Digital Commons. It has been accepted for inclusion in Frost Art Museum Catalogs by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. EMBRACING MODERNITY Venezuelan Geometric Abstraction Front Cover: Mateo Manaure, Untitled, 1977, Acrylic on wood, 56½ × 21½ x 1 1/8 inches, Art&Art, LLC Collection Alejandro Otero, Model- Project for Park Avenue, New York, 1982, Mixed media, 46 ½ x 15 x 15 inches Ella Fontanals-Cisneros Collection, Miami Contents Acknowledgements 6 Introduction 7 Director's Foreword 8 Dr. Carol Damian Embracing Modernity: Origins of Geometric Abstraction in Venezuela 9 Francine Birbragher-Rozencwaig Embracing Diversity: Venezuelan Geometric Abstraction in the Sixities and Seventies 15 Maria Carlota Perez Exhibited Artists Miguel Arroyo 22 Armando Barrios -
A La Sombra Del Cubo. Entresijos Del Pabellón De Venezuela En Expo Montreal 67
A la sombra del cubo. Entresijos del Pabellón de Venezuela en Expo Montreal 67 RESUMEN ABSTRACT En la modernidad, la voluntad de experimentar una In modem times, the willingness to experiment a space interacción espacio-temporal ha propuesto una obra time interaction has proposed a work of art that has be convertida en momento neurálgico de aplicación de came a neuralgic moment of application of constructive unos principios constructivos determinados que ha principIes, which has required a user-spectator that has exigido un espectador-usuario transformado en transformed into an active interpreter and participant. This participante e intérprete activo. Este artículo aborda la article is an approximation to the complex relationship compleja relación que se teje entre el arte, la arquitectura between art, architecture and the inhabitant, especially y el usuario, especialmente en aquellas obras en busca those architectural projects that have been developed de la Síntesis de las Artes. Se estudian estas relaciones towards the search of dialogue between the arts. This en el caso concreto del Pabellón de Venezuela en la relationship is structured in the specific case of the Ven Exposición Internacional de Montreal en 1967, realizado ezuelan Pavi/ion at the Montreal World's Fair in 1967, por Carlos Raúl Villanueva, con la manifiesta designed by Carlos Raul Villanueva, with an obvious complicidad del artista Jesús Soto. A través de los complicity shared with artist Jesus Soto. Through the off entresijos precisados en este caso de estudio se screen situations specifíed in this case study, the existing caracterizan las relaciones existentes entre arte y relationships between art and architecture, artist and ar arquitectura, entre arquitecto y artista, entre obra y chitect, work and the inhabitant, are characterized, show espectador/usuario, que muestran un nuevo estadio de ing a new stage of integration between the art and its integraCión entre las artes y su percepción. -
Arch 5124 ARCHITECTURAL HISTORY 2 Part 2B
arch 5124 ARCHITECTURAL HISTORY 2 Part 2B 30 April 2015 15.3 Mb, 13,751 words 22 Early 20th Century. Modernism 23 Frank Lloyd Wright. Mies van der Rohe 24 Le Corbusier JUGENDSTIL, RIGA, LATVIA Built from 1899. In Riga, two main styles, decorative and romantic-nationalistic. Riga is one of the largest centres of Art Nouveau, with more than a third of the buildings of its Central District;. The main street for Riga's Art Nouveau district is Elizabetes, which crosses Brivibas Boulevard, also Alberta and Strelnieku Streets. There are 800 Jugendstil buildings in Riga. Most were designed and built by Latvian architects. The Latvian Ethnographic Exhibition in 1896 and the Industrial and Handicrafts Exhibition in 1901, which commemorated the city's 700th anniversary were dominated by pavilions designed in the new style. Within three years, Art Nouveau would become the only design style used in construction, adopted in the main by the new generation of architects who graduated from the Riga Polytechnic Institute. Buildings built at the beginning of the century in the city's medieval centre and on Alberta iela, most of which were designed by the Russian architect Eisenstein and the German architects Scheffel and Scheel. The floral, geometric and sculptural motifs decorating these buildings create rhythms that are typical of eclectic architecture. Refer: Latvian Museum of Architecture located in one of the Three Brothers, Old Town. Mikhail Eisenstein, architect In the decorative Jugendstil style, father of director Sergei Eisenstein. Elizabetes 10a and 10b, and Alberta 2, 2a, 4 and 8. Alberta 13 From 1904, now the Riga Graduate School of Law, fully restored and publicly accessible. -
Untitled, 1962 207
ABSTRACT This dissertation interrogates how the Caracas-based collective El Techo de la Ballena (active 1961−69) vacillated between the sociopolitical concerns that provided the basis for its proposals and the wide array of mainstream tendencies that informed its anti- aesthetic stances. El Techo dialogued with a variety of global currents in a multifaceted practice that encroached upon the realms of the aesthetic, the political, and the literary. In spite of evident convergences with au courant tendencies in these spheres, a fundamental retrograde stance anchored the proposals of these radicalized writers, artists, poets, and art critics. As I argue, their compulsion to return to the past reflected an aversion towards a critical Cold War moment marred in Venezuela by several key factors: a far from peaceful transition to democracy during the government of Rómulo Betancourt, a rapid physical transformation fueled by increasing oil revenue, persistent underdevelopment, and a less than equitable distribution of wealth. In Part I, I establish the socioeconomic and cultural conditions upon which El Techo based its multidisciplinary interventions. Two chapters investigate the critical issue of the Venezuelan petro-state at midcentury: the unbalance between a rapid officially- sanctioned socioeconomic development and the slower agricultural temporalities that continued to determine the rhythms of vast sectors of the population. I contend that the collective responded to the problems unleashed by a national economy built on petroleum and the parallel development of a fad aesthetic, Informalism, which emerged from the cultural excesses of that unstable developmentalist model. I organize Part II around three case studies that closely examine El Techo’s deliberate inversion of an internationally aligned modernity that hinged on the need for constant evolution and progress in the visual arts. -
Bibliography
296 Bibliography Introduction Patricio del Real deep colonial heritage. In these views, developments in Mexico, exemplified by the Ciudad Universitaria, fell too easily into folkloric nationalism and offered no The written history of modern architecture in Latin America remains under con- positive counterbalance to Brazilian formalism. struction, being a fairly recent enterprise intimately connected to the consoli- In the 1950s ongoing developments were compiled in many surveys dation of a particular global imaginary after World War II and the hegemonic rise that captured the tremendous output of the region’s architects. Two of the of North Atlantic cultural centers. The following essays discuss the publications most singular were produced in 1955: Yuichi Ino and Shinji Koike’s Latin America in which the issues, terms, and ideas of modernism have appeared in individual volume of the World’s Contemporary Architecture series, published in Japan, countries, and the way the region’s architecture was incorporated into general and Henry-Russell Hitchcock’s Latin American Architecture since 1945, accom- histories of modernism produced both locally and abroad. The bibliography panying the exhibition of the same name at The Museum of Modern Art. These itself has been placed online, at www.moma.org/laic_bibliography, where it will surveys were enthusiastic about the work but had a limited impact on histories continue to grow. that attempted to explain the emergence and development of modern architec- Histories of modernism that incorporate the architecture of Latin ture. Three works of 1958—Hitchcock’s Architecture: Nineteenth and Twentieth America are conditioned by the changing strategies of assembling the region as a Centuries, Michel Ragon’s Livre de l’architecture moderne, and Jürgen whole. -
I N T R O D U C T I
INTRODUCTION RETHINKING THE POLITICS AND AESTHETICS OF MODERNITY The deeds spoke for themselves; there was no need for political speech. As a spectator, el pueblo was invited to applaud them silently. • FERNANDO CORONIL We were going up like a rocket . today everything in Cara- cas is tiny, minimalist and modest. The tragedy of this city is that it has lost its pretensions. • JOSÉ IGNACIO CABRUJAS • Midway through the twentieth century Caracas earned the nick- name sucursal del cielo—an outpost of heaven on earth that boasted all the possible comforts of a modern metropolis. Dubbed a city of the future and the storefront for a land of opportunity, Venezuela’s capital underwent a dramatic makeover as it was stocked with em- blems of progress contrived to dazzle locals and lure foreign investors (figs. I.1–I.4). While bulldozers carved a highway linking the capital to the coast, a cable car scaled the Ávila Mountain, taking passengers above the clouds to the five-star Hotel Humboldt where they could enjoy panoramic views out over the Caribbean Sea. In the city Carlos Raúl Villanueva spearheaded an embrace of modernist architecture, adapting it to the tropical climate and promoting a “Synthesis of the Arts” through which he commissioned pioneering modern artists to paint façades of fifteen-story superbloques (superblocks) and to fill the new Ciudad Universitaria with sculptures and murals.1 While Venezuelans left rural provinces for expanding regional cities like Valencia, Maracaibo, and Maturín, Caracas’s urban population tre- bled. By the end of 1953 a headline on the front page of La Esfera newspaper declared the birth of “La nueva capital venezolana”—the 3 Figure I.1. -
Fundamentos Y Cristalización Del Urbanismo En Venezuela: De Gómez a Medina (1908-1945)
Fundamentos y cristalización del urbanismo en Venezuela: de Gómez a Medina (1908-1945) Trabajo de Incorporación Académica (TIA) presentado ante la Ilustre Academia Nacional de la Ingeniería y el Hábitat (ANIH), por el urbanista Arturo ALMANDOZ MARTE como requisito parcial para optar a su incorporación como Miembro Correspondiente por el estado Guárico Caracas, julio 2019 1 Índice preliminar Índice de figuras 3 Agradecimiento 4 Resumen/Summary 5 I Consideraciones historiográficas e introductorias 7 Desde el “pre-urbanismo” francés 8 En torno a la planning history británica 11 Tras las ideas viajeras 15 Aproximaciones latinoamericanas 18 Antecedentes venezolanos 23 Delimitación, orientaciones y aportes de esta revisión 27 II Fundamentos pre-urbanísticos en la era gomecista 31 Pax gomecista y loas doctorales 31 De ferrocarriles a carreteras 35 Entre higiene y saneamiento 44 Petróleo e infraestructura en regiones 55 Agenda caraqueña del gomecismo: de las obras centenarias al Banco Obrero 59 Carros, tráfico y transporte 62 Expansión urbana 64 Vivienda masiva, reformas profesionales y legales 68 III Urbanismo local en el decenio de López y Medina 75 Transición política y geografía económica 75 Del Programa de febrero al Plan trienal 79 En la Caracas lopecista 85 Debate capitalino: renovación, extensión y tráfico 89 La Dirección de Urbanismo 101 La misión francesa 110 El Plan Monumental de Caracas 114 Crítica a las propuestas 120 Entre el Consejo Nacional de Obras Públicas y El Silencio 127 IV Consideraciones finales 134 V Bibliografía 139 Fuentes primarias 139 Bibliografía de apoyo 146 Obras de referencia y sitios web 162 VI Índice de personajes históricos y profesionales 165 2 Índice de figuras FIG. -
The Travel Path of the Neighborhood Unit: from the US and Europe to Latin America
The travel path of the Neighborhood Unit: From the US and Europe to Latin America. The transfer of the model to Venezuela planning Nelliana Villoria Siegert Universidad Simon Bolivar, Caracas, Venezuela The transfer of the Neighborhood Unit (NU) model to the Caracas of the 1950s offers a useful opportunity to trace the adoption of modern planning concepts in Latin America, and it sheds useful light on the little known but important history of Caracas’s urban development. It could be easily assumed that the NU model was transferred to Venezuela directly from the US, where it was created in the 1920s. But this research shows that in fact, it reached Venezuela through European and American cultural channels. By the time the American NU concept appeared in Caracas, it had already been informed by European planning ideas discussed in the CIAM meetings (Villoria, 1998; Mumford, 2000). Walter Gropius, Richard Neutra, and Le Corbusier were among the notable and influential practitioners who espoused and supported the NU model at that meeting (Mumford, 2000). This flow of information from Europe and the U.S. provided young and older Venezuelan professionals with an opportunity to absorb the state-of- the-art planning concepts of the time. The growing influence of North American theories and European modernism in Caracas were evident –at least rhetorically— in the Regulatory Plan of Caracas (Plano Regulador de la Ciudad de Caracas 1951). In practice, NUs built by private developers were for the most part, loyal to the original elements of the model, characterized by low-density suburban neighborhood filled with single-family houses.