zemljevid | POT

24.4. Ljubljana -> Milano -> Madrid 25.4. Madrid 26.4. Madrid 27.4. Madrid -> Zaragoza -> Alcala de Moncayo 28.4. Alcala de Moncayo -> Pamplona -> San Sebastian 29.4. San Sebastian -> Bilbao -> Vitoria 30.4. Vitoria Burgos ->Palencia -> Valladolid -> Penafiel 1.5. Penafiel -> Avila -> Madrid -> ... Ljubljana

naslovi | HOSTLI

1.MADRID 24-27.4.2010 4.VITORIA 29.-30.04.2010

San Fermin Madrid Vitoria-Gasteiz-Carlos Abaitua Albuerge Juvenil Escultor Isaac Diez, s/n Avda de los Fueros 36 Vitoria-Gasteiz (Araba) [email protected] [email protected] +34 917 920 897 +34 945 148 100

2.ZARAGOZA 27.-28.04.2010 5.VALLADOLID 30.04.-01.05.2010

Aventura Moncayo S.C. Hotel Ribera del Duero Puerta del Lugar, S/N – Albergue Alcala de Avenida Escalona 17 Moncayo Penafiel (Valladolid) 50591 Alcala de Moncayo [email protected] CIF. J-99181430 +34 983 881 616 [email protected] +34 976 646 459

3.SAN SEBASTIJAN 28-29.04.2010

Albuerge juvenil Ulia Paseo de Ulia 297 [email protected] +34 943 483 480 informacije o letih

Sobota 24 april

Okence za prijavo leta se odpre ob Sob 24 apr 10:55 zapre ob Sob 24 apr 12:15

Milano Malpensa (Terminal 2) Do Madrid (Terminal 1) let 2705; odhod Sob 24 apr 12:55 prihod Sob 24 apr 15:10

Sobota 01 maj

Okence za prijavo leta se odpre ob Sob 01 maj 18:20 zapre ob Sob 01 maj 19:40

Madrid (Terminal 1) Do Milano Malpensa (Terminal 2) let 2708; odhod Sob 01 maj 20:20 prihod Sob 01 maj 22:25

seznam udeležencev

1 Maruša Zorec 2 Josip Konstantinovič 3 Uroš Rustja 4 Matej Delak 5 Žiga Ravnikar 6 Andrej Blatnik 7 Rok Velikonja 8 Eva Taučar 9 Amila Kadribašič 10 Jerica Polončič 11 Ivan Zuliani 12 Vid Zabel 13 Mojca Gabrič 14 Staš Mitrovič 15 Nika Zupančič 16 Manca Žugič 17 Veronika Škof 18 Andrej Žerovnik 19 Žiga Žgur 20 Nike Vogrinec 21 Tadej Pavlič 22 Martin Kruh 23 Jan Žurman 24 Lara Zukanovič 25 Klara Bohinc 26 Mateja Žagar 27 Gregor Turnšek 28 Blaž Učakar 29 Rok Hočevar kulinarični nasveti Eve Taučar

Španska kuhinja je sestavljena iz mnogih raznovrstnih jedi, Španci znajo dobro poskrbet tudi za suha grla - so tretji ki izhajajo iz razlik v geografiji, klimi in kulturi. Na kulinariko največji proizvajalec vin na svetu, poznani predvsem po je močno vplivala prisotnost morskega bogastva in mešanje pokrajinah Rioja (kateri se bomo tudi mi približali) in Prio- različnih kultur, kar se danes kaže v tisočih okusih; ne glede na rato, ki imata najvišji naslov: Denominación de Origen Califi- raznovrstnost pa vsaki jedi kraljujeta dve stalni sestavini: olivno cada. Španija je tudi dom Sherry-ja (desertno vino, ponavadi olje in česen. okrepljeno z brandijem, ima tudi do 22% alkohola) in Cava-e, penečega vina, podobnega šampanjcu. Ena najbolj poznanih španskih besed, povezanih s hrano, je Imajo tudi 4 uveljavljene znamke piva: Cruzcampo, Damm, ‘tapas’. Pod tem imenom se skriva pestra paleta predjedi in pri- Mahou, San Miguel, vendar zatrjujejo, da je največji čar grizkov, v katerih se uživa ob pijači in ki naj bi spodbujali pogo- prepustiti se lokalni produkciji, saj ta skriva veliko zanimivih in vor, saj ljudje niso tako osredotočeni na hrano kot pri velikem kvalitetnih zakladov. večernem obroku. Beseda ‘tapas’ prihaja iz glagola ‘tapar’, ki Isti nasvet je upoštevanja vreden tudi na kulinaričnem pomeni ‘pokriti/zakriti’. Zanimivih zgodb o rojstvu tapasa je področju - odkrivajte, preizkušajte, eksperimentirajte! Še mnogo, vendar nihče ne ve, katera je resnična: ena pravi, da so vseeno pa nekaj „stalnic“, ki se jih v Španiji sreča na vsakem točaji v 16. stoletju ob pijači ponujali sir močnega vonja, da bi koraku: ‘zakrili’ okus slabega vina, druga pojasnjuje, da so pivci sherry- ja v Andaluzijskih tavernah med požirki kozarece pokrivali s ‘Spanish tortilla’ je jajčna omleta s popečenim krompirjem in kosom kruha in suhim mesom, da bi preprečili mušicam, da bi čebulo. Pogosti dodatki so šunka, gobe in paprika; variacije so letele okoli sladke pijače. Še ena popularna zgodba pravi, da seveda odvisne od regije in okusa. Ta preprosta jed je najbolj se je tapas razvil, ko se je kralj Alfonso XII ustavil v taverni v pogost in popularen tapas po celotni Španiji. Cadiz-u, kjer je naročil kozarec sherry-ja. Točaj je kozarec pokril z rezino pršuta, preden ga je ponudil kralju, da je preprečil, da ‘Paella’ je riževa jed, ki prihaja iz Valencije in katere ključni dve v vino nebi zletel pesek, saj je Cadiz zelo vetrovno mesto. sestavini sta žafran in olivno olje. V starih časih je riž bogatilo Kakršenkoli je nastanek že bil, danes so tapasi ena najbolj pop- večinoma podganje meso, danes pa se uporablja free-style ularnih oblik hranjenja, tako za turiste kot za lokalne prebivalce. kombinacija mesa, morske hrane, zelenjave in stročnic. Glavni Razlog za tako priljubljenost je, da se večerja v Španiji pona- trije tipi paelle so: Valencian paella ( paella valenciana), vadi odvija med 21.00 in 11.00 uro, kar pomeni veliko časovno morska paella ( paella de marisco) in mešana paella ( paella luknjo med koncem službe in velikim večernim obrokom. Španci mixta). Tradicionalno se jed pripravlja v veliki ponvi (po tem ta čas izkosistijo za tako imenovan “bar hopping” (Ir de tapas), je jed dobila ime) na odprtem ognju, kar povzroči, da se na kjer ob pijači uživajo v prigrizkih pred večerjo. dnu naredi plast prepečenega riža, kar velja za poslastico in je bistvo vsake dobre paelle.

kulinarični nasveti Eve Taučar

‘Chorizo’ je eden najbolj znanih Španskih mesnih izdelkov. Mini slovar – da ne bomo hodili lačnih ust in žejnih grl naokrog: Svinjska klobasa, ki je lahko sveža ali posušena in prekajena, se ima za svojo rdečo barvo zahvaliti rdeči papriki, ki jo doda- cafe solo - espresso jajo v meso. Glede na vrsto dodane paprike ločimo picante vino tinto – rdeče vino (pekoč) ali dulce (sladek) Chorizo. cerveza - pivo aguardiente – ime za vse alkoholne pijače med 29 in 45% alko- ‘Jamon serrano’ (dobesedno gorska šunka) je tip pršuta, ki hola, dobesedno: „pekoča voda“ je narejen iz „Landrace“ pasme belega prašiča, in je podoben Italjanskemu ‘prosciutto crudo’. Veliko bolj cenjen in predvsem bocadillo - sendvič mnogo dražji je ‘Jamon iberico’, ki je narejen iz pasme črneg platano - banana prašiča „cerdo ibérico“, in je bil kot suho-mesni izdelek do pan - kruh nedavnega v USA celo ilegalen. ‘Bellota’ je vrsta najboljšega helado – sladoled ‘Jamon iberico’ in dosega ceno od 140eur navzgor za kilogram. meski: carne – meso ahumado – prekajen buey – govedina cerdo – svinjina pollo – piščanec pescado – riba gambas – škampi glasba Španije

Španska glasba ima dolgo in razgibano zgodovino. Ceprav jo hitro asociiramo z amencom in akusticnimi kitarami, se glasbene zvrsti neverjetno razlikujejo že od regije do regije. Flamenco, na primer je Andaluzijski žanr, kot kontrast je glasba Galicie bolj povezana z Francijo in Irsko (Kelti), kot z unikat- nim slogom sosednjih Baskov. Drugi regionalni stili “folk” glasbe izhajajo iz Aragona, Katalonije, Valencije, Castile Lliona in Asturiasa. Sodobna glasbena scena v španiji, ki ima središce v Madridu in Barceloni, veliko prispeva k sodobni glasbi v krogih pop-a, rock-a, hip hop-a in težko metalne glasbe. Španija je mocno prispevala tudi k zgodovini klasicne glasbe od Renesancnih skladateljev kot je “Tomas Luis de Victoria”, Zarzuele* Španske opere, do baletov “Manuel de Falla” in ki- tarista “Pepe Romera”

Španska popularna glasba je trenutno v razcvetu, velik vpliv na današnjo sceno je imela Ameriška in Britanska glasba, posebno Rock and Roll. V španski glasbi so, tako kot pri Italijanih, popularni festivali. Benidorm festival, ustanovljen 1959 v Benidormu je kmalu postal oder za sodobno glasbo. Po vzoru Italijanskega San Rema, so Španci zaceli z valom podobne glasbe po festivalih v Barceloni, Majorci in Kanarskih otokih. Veliko glasbe- nikov je po predstavi na tovrstnih festivalih dobilo svetovno pozornost, kot na primer, poškodovani igralec Real Madrida, ki je postal pevec - Julio Iglesias. V šestdesetih in zgod- njih sedemdesetih je turizem eksplodiral in prinesel še vec razlicnih glasbenih stilov iz sveta. Pop glasba pa je zares zacvetela v osemdesetih in glasbena industrija je v tem casu kulturne prebuditve (La Movida Madrileña) eksplodirala, kot se je zgodilo tudi v lmu in umetnosti. Danes so mediji in globalizacija prinesli plurizem stilov, kapitalizem pa izpodriva glasbo v diskoteke in bare kjer nastopajo DJ-ji. Originalne, tako imenovane “folk” glasbene zvrsti pa postajajo tržna niša za turiste in izvozni produkti.

glasba Španije

Jota, ki je popularna po celi Španiji, verjetno izvira v Južnem delu Aragona. Joto sestavljajo kastanete, kitara, bandurrio, tamburine in vcasih auto. Tudi oni imajo svoja izvirna glasbila kot je “guitarro”, unikatna majhna kitara, gaita de boto (dude) in chioa, unikatna majhna kitara, ki jo lahko opazimo tudi v Murcii. Poleg glasbe za plese s palicami ima Aragon svoje dude “gaita de boto” in pišcal chio.

Severo-Zahodna Španija je dom drugacni glasbeni tradiciji, ki ima korenine v Keltski kulturi. Tudi oni imajo svoje tradicionalne dude (gaita), ki so ponavadi v spremstvu snare-bobna, ki mu pravijo tamboril in se igra na proslavah.

Najbolj popularna “folk” glasba Baskov je poimenovana po plesu trikitixa, ki temelji na harmoniki in tamburinu. Popularna izvajalca sta Joseba Tapia in Kepa Junkera. Posebni instrumenti so “txistu” (pišcal), “alboka” (dvojni klarinet) in txalaparta (ogromen ksilofon). Popularni plesi so fandango, jota in 5/8 zortziko.

Castile, Madrid in Leon imajo Keltiberijsko in Keltsko kulturno ozadje. Jota je popularna, ampak unikatno pocasna v Castli in Leonu. Maragatos ljudstvo, neznanega izvora, imajo unikaten glasbeni stil in živijo v Leonu. V Castili je mocna tradicija plesne glasbe “dulzaine” in “rondalla” skupin. Popularni ritmi vkljucujejo 5/8 charrado in plese v krogu (kola). Tako kot na vecini Iberskega polotoka, tradicionalni plesi vkljucujejo “paloteos” (plesi s palico). Salamanca je poznana kot dom “Tune”-serenada, ki se jo igra s kitarami in tam- burini, vecinoma jo igrajo študentje, ki si nadanejo srednjeveška oblacila. Madrid je poznan po svoji “chotis” glasbi, lokalni variaciji Europske tradicije “schottische” plesa. Flamenco je popularen v nekaterih obmocjih. špansko slikarstvo Diego Rodríguez de Silva y Velázquez, Francisco Goya y Lucientes De španski slikar, * 6. junij 1599, Sevilja, Španija, † 6. avgust (b. 30. marec 1746, Fuendetodos, Španija - d. 16. april 1828, 1660, Madrid. Bordeaux, Fr.),

Velazques velja za enega največjih španskih slikarjev, ki si je Spomenik Franciscu Goyi stoji pred Muzejem del Prado v za časa življenja zaradi posebnih zaslug pridobil tudi častni Madridu. naziv viteza Santiaga (sv. Jakoba) in glavnega umetnika na dvoru kralja Filipa IV. Začel je ustvarjati v Sevilli kot realist, Je španski umetnik, katerega heterogene slike, risbe, grafike njegova dela pa so bila polna kontrastov svetlobe in senc, nato odražajo sodobne zgodovinske nemire in pomembno vpliva na pa je postal največji španski dvorni slikar oz. dvorni portre- umetnost 19. - in 20. stoletja. tist- in pri tem sledil slikarjema Ribalti v Valencii in Riberi v Tako kot Velazquez, Goya je bil španski dvorni slikar, katerega Neaplju. Kot največjega umetnika je ustvarjal v dvoru kralja delo se najbolje se najbolje odraža v uradnih dolžnostih. Znan Filipa IV. Okrasil je palačo Retiro, ki pa jo je kasneje, skupaj s je po svojih prizorih nasilja, zlasti tistih, ki spodbujajo fran- številnimi njegovimi slikami, zajel ogenj. V svojih portretih je cosko invazijo na Španijo, predvsem serija jedkanic Los desas- upodobil številne znane osebe, kot so: Juan de Pareja, Pablo tres de la guerra (“Nesreče vojne”, 1810-14), ki predstavljajo de Valladolid, Filip IV., poet Luis de Góngora y Argote, Baltasar grozote napoleonskih invazij. Njegova mojstrovine v slikarstvu Carlos. so Gola Maja in Oblečena Maja (c. 1800-05). Naslikal je tudi očarljiv portret, kot gospe Sabasa Garcia. Drzna tehnika njegovih slik, preganja satire njegove jedkanice in prepričanje, da je umetnikova vizija bolj pomembna kot tradicija, zato Goya pogosto imenujejo “prvi Moderns.” Njegova brezkompromisna prikazovanje svojega časa označuje začetek 19. Stoletja kot realizem.

špansko slikarstvo

Pablo Ruiz Picasso,

španski slikar, grafik in kipar, * 25. oktober 1881, Málaga, † 8. april 1973, Mougins, Francija.

Pablo Picasso je bil rojen 25. oktobra 1881 v Malagi, materi Mariji Picasso Lopez in očetu Joseju Ruiz Blasco. Rodil se je kot drugi otrok, poleg sester Lole in Conchite. Pablo je bil zelo zgodaj seznanjen s čopičem in platnom, saj je bil njegov oče umetnik in učitelj likovne umetnosti na slikarski akademiji. Prva raztavo je imel leta 1900 v Barceloni, star le 19 let. Njegov stil slikanja se je spreminjal skozi različne faze: modro (Blue faze), roza fazo (Rose faze) in nato s sočasnim »razvojem« Kubizma skozi analitično in sintetično fazo. Leta 1918 se je poročil z Olgo Kokhlovo, s katero je živel v Parizu. Tam se je tudi spo- prijateljil z monogimi znanimi umetniki tistega časa. Z Olgo je imel tudi sina Paula. Znano je, da je imel Picasso veliko ljubic. Poročil se je kar trikrat. Prvi zakon je bil z Olgo, drugi z Marie – Therese Walter s katero je imel hčerko Mayo, tretji zakon pa je sklenil z Fransoise Gilton s katero je imel sina Clauda in hčerko Palomo. Zadnje dni življenja pa je preživel z Jaqueline Roque v Mouginsu, kjer je umrl 8. aprila 1973.

Guernica je bila naslikana kot odgovor na uničenje baskovske- ga mesta Guernica, ki so ga zbombardirala nacistična letala. Slika je imela izrazit politični ton. V tem ogromnem platnu je Picasso zajel vse trpljenje, grozo in žalost vojne, bila je kot krik bolečine. Bombe so nevidne, njihov učinek je skrit v soju električne žarnice in plamenih nad vrati. Vidimo samo žrtve, nenadoma vržene na tla. To delo ni postalo le najbolj znan iz- raz španskega trpljenja, ampak tudi trpljenja žrtev sodobnega vojskovanja vsepovsod po svetu. španski film

Prelomno leto za špansko filmsko umetnost je 1896, saj je film v času političnih nemirov postopoma postajal vse bolj pomemben del kulture in je v desetletju ali dveh počasi prerastel začetni položaj se- jemske atrakcije. Filmska umetnost je torej stopila iz kulturne obrobnosti in v dvajsetih letih 20. stol. je začela na španskih tleh nastajati malone nepretrgana filmska produkcija za katero so bili značilni filmi, ki so se zgledovali po italijanskih. Znatnega uspeha so bil deležni film Joseja Buchsa Verbena iz Palome (La Verbena de la Paloma) in dela Benita Peroja in Floriana Reye. Desetletje kasneje je še danes pomnjeno kot zlata doba španskega filma, saj je postal priljubljeno razvedrilo prebivalstva, kar je posledično povzročilo rojstvo nacionalnih filmskih zvezdnikov in zago- tovilo stabilnost filmske industrije. Ključna oseba za tolikšen razcvet je nedvomno Luis Bunuel. Še kot študenta sta s Salvadorjem Dalijem leta 1929 posnela surrealistični nemi film Andaluzijski pes (Un chien andalou), ki spada med najzanimivejša dela avantgarde. »Lepo kot srečanje dežnika in šivalnega stroja na secirni mizi« so Lautreamontove besede, ki opisujejo Bunuelov in Dalijev prvenec, film za katerega je bilo rečeno, da je v njem »vsa surrealistična bolezen stoletja našla svoj ostri izraz«. Če sta avtorja z Andaluzijskim psom zaorala ledino, je surrealistično misel še stopnjeval Zlati vek (L’Age d’or), ki mu je sledil. Nekoliko kasneje se je Bunuel otresel zgolj formalnega iskanja in absurdnim pristopom interpre- tacije zgodbe ki to ni, in zrežiral socialni dokumentarni film Zemlja brez kruha (Terre sans Pain). Film brutalno prikazuje življenje v deželi Hurdov, najrevnejši pokrajini Španije. Danes je jasno da Zemlja brez kruha napoveduje prihajajočo špansko državljansko vojno v kateri je bil ubit tudi Bunuelov prijatelj, pesnik Federico Garcia Lorca. Dokumentarni film se je torej razvil paralelno s Cinema pur – čistim fil- mom, z abstraktno smerjo v Nemčiji in francoskim surrealizmom. Z državljansko vojno (1936-39) je bilo demokracije v Španiji konec, kulturno ustvarjanjepa je bilo podvrženo strogi cenzuri. Zavoljo ustvarjanju nehvaležnega okolja, je tako večina najboljših filmskih um- etnikov zapustila državo. Med slednjimi so bila tudi Luis Bunuel in Juan Piqueras ter zvezdnica Imperio Argentina. Bunuel je v Mehiki, Franciji in ZDA sicer nadaljeval z delom in posnel še mnogo pomembnih filmov, vendar se v Španijo ni več vrnil. Med vojno, se je filmska proizvodnje močno skrčila in se omejila na izdajo kratkih filmov. Razmere glede svobode ustvarjanja se po koncu vojne niso bistveno spremenile. Temu navkljub, je nastalo nekaj kult- nih filmov tako od ustvarjalcev naklonjenih novemu režimu (Juan de Ordune – Nora od ljubezni) kot od tistih, ki so režimu nasprotovali (L. G. Berlinga in Juan A. Bardem – Dobrodošli, gospod Marshall; Juan A. Bardem – Smrt kolesarja). V šestdesetih, se je v Španiji začela gospodarska rast, zaradi prekinitve poslov z Evropo in ZDA, pa je Španija začela načrtno ustvarjati podobe sodobne in privlačne države. S tem razlogom, so J. M. Garcijo Escuderja, pooblastili, da je sestavil strategijo, ki bo zagotovila, da bo španska nacionalna produkcija postala zanimiva za tujino. V teh letih se razvije novi španski film, katerega večinoma ustvarjajo režiserji Mario Camus, Basilio Martin Patino in Carlos Saura. Novi film je nekritičen do režima in priljubljen pri

občinstvu. Sedemdeseta je zaznamovala pot v demokracijo, pojavila pa se je naloga za režiserje – na novo izumiti popularni film. Rezultat je nastajanje politično angažiranih umetniških filmov, kakršna sta Saurova Sestrična Angelika (1947) in Kača v nedrih (1975). Fimska vsebina je predvsem travmatična kulturna in politična dediščina (Jaime Chavarri – Kolesa so za poleti; Camus – Sveti nedolžneži) ali pa promoviranje zatrte identitete Baskov in Kataloncev (Antonij Ribas – Zmaga; Imanol Uribeja – Mikenova smrt). Za Svete Nedolžneže so leta 1984 Camus, Rabal in Landa prejeli nagrado v Cannesu. Težava španskega filma je nepriljubljenost, saj domače občinstvo raje kot didaktične nove filme gleda eskapistične Hol- lywoodske blockbusterje. S koncem cenzure vzklije kulturno gibanje Movida, ki promovira hedonizem, izkušnjo tujih kultur in gibanj po 10 letih zatiranja. Z novo generacijo, ki jo predstavljajo Ivan Zuleta, Fernando trueba, Fernan- do Colomo in Pedro Almodovar, se tako razvije povsem nov pristop, ki se ne odpoveduje zabavi zavoljo tragičnih zgodb o preteklosti. Novi film je tako kolaž popularnih žanrov, v snemanje vključi zvezde iz pre- teklega španskega filma, kar pa še posebno velja za Almodovarja, estetsko in tematsko vodilo postane hollywoodska melodrama v katere ospredju ni več moški ampak ženska. Prelomni film za to obdobje so Almodovarjeve Ženske na robu živčnega zloma (1988), s katerimi španski film dobi mednarodno priznanje in postane visoko cenjen v tujini. Almodovar je avtor številnih filmov, ki so pronicljive študije nenavadnih, fantastičnih, celo degeneriranih življenj. Za do sedaj obsežen opus je prejel mnogo najprestižnejših filmskih priznanj. Pedro skupaj z bratom Agostinom Almodovarjem ustvari produkcijsko družbo El Deseo, ki omogoča filmsko neodvisnost in predstavlja odskočno desko mnogim nadarjenim mladim filmskim ustvarjalcem. Primer takšnih so Alex Dela Iglesia (Akcija mutant), Isabel Coixet (Moje življenje brez mene), Felix Sa- broso in Dunia Ayaso (Ohladi se!). Poleg Almodovarja, mlajše še neznane ustvarjalce finančno podpirajo še Bigas Luna, Colomo in Cuerda, tudi sami veliki režiserji. Pomembnejši avtorji sodobnejših filmov so še Alejandro Amenabar (Teza), Iciar Bollain (Živjo, ali si sama?), ki je poleg Isabel Coixet ena redkih uspešnih režiserk in Julio Medem (Lucija in seks). Danes je najvišnje merilo uspeha podobno kot drugje po svetu mnenje najvplivnejših filmskih kritikov, v Španiji sta to Julio Medem in Bajo Ulloa, ki je tudi pomemben baskovski režiser. Španska filmska industrija pa je nedvomnno proizvedla nekaj najimenitnejših igralcev tudi v kozmo- politanskem merilu, iz Španije prihajajo recimo Carmen Maura, Penelope Cruz, Javier Bardem, Antonio Banderas ... Naslednji izziv španskih filmskih mojstrov dandanes je zagotovo odpreti se talentom in izkušnjam neev- ropskih oz. nebelih španskih filmskih ustvarjalcev, ki bodo, če jim bo le dana možnost, še prispevali k že tako bogati filmski umetnosti. zemljevid | MADRID

osnovni podatki | MADRID

Število prebivalcev : 3. 228.359 Najpomembnejša španska galerija se nahaja Religija : katoločani v izjemni palači, zgrajeni konec 18.stoletja v Jezik: španski, katalonski, baskovski neo-klasicističnem slogu. Že leta 1814 se je kralj Fernando VII odločil, da bo v palači uredil Madrid je glavno mesto Španije in z okoli muzej in razstavil dela iz bogate kraljevske 3.200.000 prebivalcev največje mesto v državi. zbirke. Danes Prado najbolj slovi po svoji Leži na obširni ravnici sredi Iberskega poloto- zbirki del treh vrhunskih španskih umetnikov: ka ob reki Manzanares in je središče Madridske Velázquez, Goya in El Greco . Seveda pa ne skupnosti, ene od španskih avtonomnih skup- gre zanemariti tudi ostalih pomembnih del nosti. Ta vključuje širše velemestno območje z evropskih umetnikov, ki so tu našla svoj dom. okrog 7 milijoni prebivalcev in obrobna naselja. Madrid slovi po t.i. zlatem trikotniku treh Naselje izvira iz časov Emirja Mohameda najboljših španskh umetnostnih galerijah , ki I. (852-886), ki je ukazal zgraditi utrdbo na se nahajajo v oddaljenosti zgolj petnajst minut levi strani reke Manzanares, ki je bila kasneje hoda. Poleg galerije Prado sta to še Reina So- predmet spora med kristjani in arabci. Konec fia, kjer je razstavljena Picassojeva Guernica, 17. stoletja je bilo zgrajeno zaščitno obzidje od in Thyssen-Bornomisza. Segovie do Valencie. V tem vznemirljivem in živahnem mestu se poznajo vplivi arabske ar- Kraljeva palača (Palacio Real) hitekture. Od 16. stoletja dalje je prestolnica Španije. V 18. stoletju, po vladanju Carlosa Kraljeva palača je ena najbolje obiskanih III., so bile načrtovane odvodnice iz mesta. turističnih znamenitosti v Madridu. Formalno je Npr. Paseo del Prado in Paseo las Acacias. tu prebivališče španske kraljeva družine, ven- Konec 19. stoletja je bila zgrajena znana dar jo uporabljajo le za državne protokolarne trgovska ulica Gran Via. Veliko je baročnih in namene, večino časa pa je odprta za javnost. neoklasicističnih struktur iz 17. in 18. stoletja. Za ogled palače sta na voljo dve vrsti vsto- V novejšem času je postalo pomembno trgov- pnic: vstopnica z vodičem, ki vas v 45 minutah sko in industrijsko središče. Glavne madridske popelje skozi palačo in razloži števile zanimi- ceste so žarkasto speljane s Plaza del Sol, ki je vosti, povezane s samo zgradbo in življenjem v srcu starega mesta. Novejši mestni predeli v njej, ali pa vstopnica, ki vam omogoča, da ležijo na vzhodu. se po številnih dvoranh, sobah, orožarni in kraljevi lekarni sprehodite sami. osnovni podatki | MADRID

Spomenik žrtvam terorističnega Nočno življenje v Madridu : napada 11. marca 2004

Spomenik, postavljen po najhujšemu Španci pravijo, da je Madrid mesto, ki nikoli ne terorističnemu napadu, ki je se zgodil na spi. Med vikendi in tudi med prazniki ni nič ne- evropskih tleh, je pretresljivo mesto, zazna- navadnega, če vidiš več ljudi zunaj med četrto movano z mislimi stotin obiskovalcev, ki sem in šesto uro zjutraj, kakor podnevi. V Madridu prihajajo vsak dan. se najde prostor prav za vsako generacijo. V terorističnem napadu, ki se je zgodil Hrano ponoči dobiš skoraj na vsakem koraku, 11.marca 2004 na madridski podzemni imajo tudi nočni cafe bar. Španci pravijo, da se železnici, je življenje izgubilo 191 ljudi, 1800 po vsaki »prekrokani« noči prileže čokoladni je bilo ranjenih. Njihova imena so izpisana »churros«. Palčke, narejene iz enake mase kot na steklenih panelih, prav tako misli, želje in palačinke, ki jih pomakaš v vročo čokolado. poezija, ki so jo na mestu dogodka, pustili pre- treseni preživeli v številnih svetovnih jezikih.

Bolšji trg/ El Rastro Market

Vsako nedeljo se na bolšjem trgu zberejo številni prebivalci Madrida, turisti in obiskovalci in med stojnicami, na katerih je mogoče kupiti prav vse, od ročno izdelanih oblek, knjig, starinskih predmetov, do zgoščenk in pogosto neuporabne tehnične krame. Obisk bolšjega trga velja za doživetje, ki ga v španski prestol- nici ne gre zamuditi.

plaza Mayor | MADRID

Glavni trg v Madridu, je Plaza Mayor, ki leži jugozahodno od Puerta del Sol. Zgrajena je med leti 1617 in 1619 in obnovljena leta 1790 po požaru, po katerem kličejo domačini ta del mesta tudi kot Stari Madrid. To je verjetno eden najlepših trgov v Španiji, čeprav ji prvo mesto dodobra ogroža Sala- manca.

Na sredini trga je kip Philipa III, ki je bil odgovoren za njegovo gradnjo. Plaza Mayor je bila nekoč središče starega mestnega jedra, kjer so potekale bikoborbe, plemstveni shodi in celo inkvizicija.

Prva stavba, ki je bila zgrajena na trgu je bila “La Real Casa de Panadería” (Royalna pekarna), ki je zdaj dom občinskega sveta mesta in se nahaja na severni strani trga.

Čeprav je Plaza Mayor verjetno najbolj priljubljena turistična atrakcija v Madridu, je še vedno vsaj tako priljubljena tudi s strani Madrileñosov (Madridčanov). Številne ulične kavarne in restavracije zajemajo Plazo, kjer lahko kupite Paellje in opazujete mimoidoče. Tu boste našli tudi več uličnih umetnikov. Ena izmed najbolj zanimivih barov v plazi se imenuje “Torre del Oro Bar Andalu”, ki je okrašen s fotografijami in spominki bikoborb.

Ob nedeljah, trg postane osrednja točka za trgovce in kupce starih ko- vancev in znamk - tako boste znotraj trga našli veliko trgovin posvečenih žigom in zbiranjem kovancev. V božičnem času se trg pretvori v ogromno božično tržnico, kjer lahko kupite vse vrste odlikovanj in verskih dodatkov. Na trgu je veliko čvrstih portalov, ki vodijo iz njega. Ena izmed ulic, ki vodi od njega je c / Ciudad Rodrigo, kjer boste našli mali bar imenovan La Pequeñuca, kjer boste lahko uživali bocadillo de calamares (kruh in ocvrte lignje) in kozarec jabolčnika za nekaj evrov. Isti portal vas bo pripeljal do Mercado de San Miguel, trg, katerega korenine segajo v 19.stoletju, čeprav je datiran sedanji vidik leta 1915. zemljevid | ZARAGOZA

Zaragoza je s cca. 700,000 prebivalci glavno mesto province, kakor tudi enega od kraljestev, ki delijo Španijo na več delov. Mesto leži ob obeh bregovih reke Ebro v dolini z najrazličnejšimi pokrajinami katere varirajo od puščave pa do, gozdov, jasni ter gora.

Mesto leži na višini približno 200 metrov ter vklučuje več kot 50 procentov prebivalcev kraljestva Aragon, kar Zaragozo postavlja na 5 mesto po velikosti previbalcev v Španiji. Mesto leži na križišču med Madridom, bar- celono, Valencijo in Bilbaom katerih nihče ni oddaljen več kot 300km.

V letu 2014 bo Zaragoza gostila »Flowers Expo« prav tako kandidira za evropsko mesto kulture leta 2016. Prav tako bi radi bili kandidati za zimske olimpijske igre leta 2022. Projekt je podoben Torinu in Van- ceouveru. Športi na ledu in snegu so zelo popularni v bližnjih Pirenejih.

Mesto je znano po svoji folklori, priznani krajevni gastronomiji, treh mejnikih (Basilica del Pilar, La Seo Cathedral in The Aljaferia Palace ter vsej ostali kulturni dediščini, ki se je nabrala skozi dve tisočletji.

zemljevid trga pred katedralo | ZARAGOZA Basilica de Nuestra Senora del Pilarr | ZARAGOZA

The Basilica de Nuestra Senora del Pilar is no ordinary church, for the purpose that it was created is of great significance. Numerous churches and expansions have been built and destroyed on this site over the years, though all of them stood for the same meaning. It is said that circa 40 A.D., th Virgin Mary appeared to St. James in order to help him in spreading the gospel. Upon arrival, Mary requested St. James to build a church in that spot in her honor and gave him a small wooden statue of herself and a column of jasper as evidence of her appearance.

This chapel is meaningful because it is said to be the first church dedicated to her as well as the last known vision of her before her Assumption. The present Basilica de Nuestra Senora del Pilar is a Roman Catholic church in Baroque style, begun in 1681 by Charles II, King of Spain. Later in 1725, Ventura Rodriguez was commissioned to transform the church with new additions of the eleven cupolas and four towers.

The interior vaults and domes of the church were painted by the world renowned painter, Francisco Goya.

EXPOr | ZARAGOZA

Expo 2008 was an international exposition held from 14 June to 14 September 2008 in Zaragoza, Spain, with the theme of “Water and Sustainable Development”. The exposi- tion was placed in a meander of the river Ebro. It was coordinated by the Bureau of International Expositions, the organization responsible for sanctioning World’s Fairs.

Zaragoza, host city for the International Ex- position, is the administrative and financial capital of the autonomous community of Aragon and Spain’s fifth most populous city. Zaragoza was elected the host city of Expo 2008 on December 16, 2004 by the BIE, beating Thessaloniki (Greece) and Trieste (Italy).

The exhibition’s most emblematic buildings were the Water Tower, a 80-metre-high transparent building designed by Enrique de Teresa to evoke a drop of water, Zaha Hadid’s Bridge Pavilion, and the river aquarium. The exposition site also hosted several events, including a daily parade by Cirque du Soleil called The Awakening of the Serpent. zemljevid | PAMPLONA

Navarra je regija na severo- vzhodu Španije. Ima svoj parlament ter vlado. Sestavlja jo 272 občin, v kat- erih prebiva skupno 601,874 (2008) ljudi. Od tega jih je tretjina v glavnem mestu Na- varra Pamplona oz. polovico v bližini metropole. Navarra se ponaša z raznolikim površjem, ki vsebuje hkrati vi- soke Pireneje in na jugu doline reke Ebro. Najvišja točka regije je gora Hiru Erregeen Mahaja (2428 m).

Regija se prizadeva za čim večjo uporabo obnovljivih virov energije, ki jo pridobiva a pomočjo vetrnic, vodnih turbin in biomase.

Uradni jezik Navarre sta španščina in baskovščina. Slednja je v rabi predvsem v severo – zahodnih delih regije.

osnovni podatki | PAMPLONA

Pamplona je glavno mesto province Navarre, ki je bila med 9-12. st. poznana kot Kraljestvo Pamplo- na. Leži dobrih 407 kilometrov severovzhodno od Madrida. Včasih je služilo kot obrambno mesto in se je zato kar nekaj časa širilo znotraj obrambnih zidov. Zidove so kasnej porušili in mesto ni imelo več tako stroge omejitve. Razširilo se je na obeh bregovih reke Arga. Mesto Pamplona se uvršča med španska mesta z najvišjim standardom življenja. V njem sta kar dve univerzi, ena izmed njih (University of Navarre) je znana kot najboljša zasebna univerza v Španiji.

Podobno kot v mnogih Evropskih mestih, je tudi v Pamploni lahko ločiti stari del mesta od novega. V njem se nahaja kar nekaj starih cerkva, zgrajenih pred 18. stoletjem. Najpomembnejša izmed njih je gotska katedrala iz 14. stoletja. Prav tako ima Pamplona kar nekaj zelenih oaz oz. parkov. najstarejši je Taconera park, katerega korenine segajo v 17. stoletje.

Zahvala za svetovno prepoznavnost mesta pa gre pisateju Ernestu Hemingwayu, ki v enem izmed svojih del omenja t.i. pamplonski festival San Fer- min, ki se začne vsako leto 7. julija in traja teden dni. Najpomembnejši del festivala je tek z biki ali encierro, kot ga imenujejo domačini. Sam izvor in namen festivala, se je izgubil v prahu zgodovine, kar pa množice turistov, katere festival privablja vsako leto, prav nič ne moti. osnovni podatki | BASKIJA

Báskija je avtonomna skupnost v okviru španske države. Njeno uradno ime je Baskovska avtonomna skupnost. Njena prestolnica je Vitoria/Gasteiz. Uradna jezika sta baskovščina in španščina. Baskija je kot politična enota prvič nastala leta 1936, ko so se tri izmed štirih tradicionalnih baskovskih pokrajin v Španiji (Biskaja, Araba in Gipuz- koa) združile pod enotno upravo z začasnim sedežem v Bilbau. Po porazu republikanskih sil v španski državljanski vojni so Baski izgubili svojo krat- kotrajno avtonomijo. Sledilo je obdobje silovitega zatiranja baskovskega jezika in kulture pod diktaturo generala Franca. Po diktatorjevi smrti leta 1975 so se začela pogajanja za obnovitev avtonomije. Baskovski nacionalisti so zahtevali, da se vse štiri baskovske pokrajine združijo v enotno avtonom- no skupnost s sedežem v Pamploni, vendar se to ni zgodilo. Leta 1979 je Baskija (brez Navare) dobila široko avtonomijo. Baskija je ob Madridu in Kataloniji gospodarsko najrazvitejša regija v Španiji.

V španski državljanski vojni (1036 – 1039) so bili Baski na strani republi- kanske vlade, ki je so jo podpirali komunisti, predvsem Stalin. Kot vemo, so v Španijo tudi iz Slovenije odhajali tkm. španski borci, ki so bili vključeni v tamkajšnje komunistične mednarodne brigade. Nasproti so jim stale sile, ki jih je vodil generalissimo Franco, podpirala pa sta ga tudi Mussolini in Hitler. Po dogovoru s Francom so nemška letala bombandirala in porušila malo baskovsko mesto Guernica, zato ki je bilo s svojim starim hrastom, kjer se je sestajal zbor Baskov, zgodovinsko politični simbol baskovskega naroda. Toda hrast je bombandiranje mesta kakor po čudežu preživel. Še danes zeleni in je simbol življenja in preživetja Baskov. Slavni slikar Pablo Pica- sso je takrat naslikal znamenito delo Guernica, kot protest proti fašizmu in nacizmu. Delo je predvsem zaradi političnega naboja in povoljne kritike socialistično usmerjenih umetniških krogov doživelo svetovno slavo. Z njim pa je postal in ostal do svoje smrti svetovno slaven tudi Pablo Picasso, njegov avtor.

osnovni podatki | SAN SEBASTIAN

San Sebastian leži v Baskiji, na severu Španije, ob Atlantskem oceanu. Mesto je približno tako veliko kot Ljubljana. V 19. stol. je zaradi bitk mesto pogorelo, ostala je samo 1 ulica. Takoj za tem je bilo ponovno zg- rajeno, vendar arhitektura je v večji meri ostala v istem stilu. Mesto je kulturno zelo dobro razvito, saj v njem organizirajo širok program festivalov, športnih in kulturnih dogodkov. Najbolj znani festivali so: filmski festival, jazzovski festival , Mu- sical Fortnight , Tamborrada in regata na obali La Concha.Mesto bo kandidiralo za evropsko mesto kulture 2016.

Znamenitosti San Sebastiana so baročna cerkev Santa Maria, gotska cerkev San Vicente, muzej San Telemo, ki je bivši samostan iz 16.stol., ter Miramar palace, ki je bila zgrajena 1894). Univerza Baskovske dežele se deli na 3 dele, ki imajo imena po provincah kjer se nahajajo : Araba(predstavništvo v Vitoria- Gasteiz), Bizkaia (predstavništvo v Bilbao), Gipuzkoa(predstavništvo San Sebas- tianu). Univerzo v San Sbastianu poleg fakultete za arhitekturo sestavlja še 11 fakultet. Uradni naziv fakultete za arhitekturo je Higher Technical School of Arhtitecture. osnovni podatki | BILBAO

ilbao je največje mesto v Baskiji. Njegov simol sta cerkev in most sv. Antona. Mesto je bilo ustanovljeno leta 1300. Prvotno so bile samo 3 ulice – »zgornja«, »srednja« in »trgovska« ulica ter cerkev. Zgradba mesta je torej sledila trem vzporednim ulicam, tako zgradbo najdemo tudi v drugih baskijskih krajih. Leta 1983 so poplave uničile večino mes- ta, predvsem stari del. Od takrat naprej potekajo prenovitvena dela. Njegov razvoj so osredotočili na novi metro sistem ( Sir Norman Foster) in na Guggenheimov muzej ( Frank Gehry). Poleg Guggenheimovega muzeja ima mesto Bilbao tudi enega najboljših španskih muzejev umetnosti (Fine arts museum)

osnovni podatki | VITORIA

Je glavno mesto Baskije na severnem delu Španije in je po velikosti takoj za Bilbaom, z 235,661 prebivalstva. Po neki anketi je Vitoria mesto, v katerem bi Španci najraje živeli. Vitoria je bila ustanovljena na mestu majhnega zaselka imenovanega Gasteiz leta 1181. Kralj Navare in ustanovitelj mesta je ta kraj izbral zaradi njegove lege na vrhu hribu, s katerega je lahko nadzoroval Kastilj. Mesto se je tako skozi čas razvijalo znotraj obzidja. Imelo je tri glavne ulice, ki so prečkale hrib s severa proti jugu in okoli katerih je zraslo mesto v mandl- jasti obliki. Ta srednjeveška oblika je vidna še danes. Vitoria je bila v srednjem veku znana pred- vsem po obrtnikih in trgovcih, po katerih so poimenovane tudi mestne ulice. Konec 18. stol. se je mesto začelo širiti izven obzidja. V tem času je bila zgrajena Plaza de España, ki je določila širitev proti jugu in je danes glavni mestni trg. Večina ulic in trgov v središču mesta je zaprtih za promet. Te ulice spominjajo na umetniško galerijo na prostem saj jih krasi veliko število kipov z Baskije. Tu se nahajajo tudi razkošni dvorci in hiše iz 19. stol. ter nova katedrala. Calle paz je glavna na- kupovalna ulica, ki se nahaja na vzhodni strani mestnega središča. Celotni stari del mesta z ozkimi ulicami in edinstveno arhitekturo je bil proglašen za nacionalni spomenik. osnovni podatki | BURGOS

Prvi ljudje so se nastalili v okolici Burgosa že pred bribližno 800.000 leti. Pred prihodom starih riml- janov so tu živeli Kelti. V času rimljanov je to ozemlje pripadalo provinci Hispania Citerior, kasneje Hispania Tarraconensis. V 5 st. n.š. so Vizigoti od tu pregnali germansko pleme Suebi, nakar so v 8.st. prevzeli na- dzor Arabci. Sredi 9.st. je Alfonso III ponovno zavzel mesto in zgradil številne gradove za obrambo. Od tu tudi ime regije Kastilija (lat. Castella) kar pomeni dežela gradov. Samo mesto je bilo ustanovljeno 884 kot oporišče širjenja krščanske meje. V 11. stoletju je Burgos postalo glavno mesto Kas- tiljskega kraljestva. Bilo je glavno postajališče romar- jem, namenjenih v Santiago del Compostela ter center trgovanja med Biskajskim zalivom in jugom zato je privabljal nenavadno mnogo tujih trgovcev.---- Ti so postali del mestne oligarhije in so izključevali druge tujce. Kraj je bil pri kraljih zelo priljubljen, saj so tu skozi 13. in 14. st. imeli sedež kraljestvater so se tudi tu dali pokopati.. Burgos je bil pogosto v rokah oligarhov caballeros vil- lanos – prijaznih vitezov, kateri so dobavljali monarhu konje. Med špansko državljansko vojno je bil v palači La Isla sedež nacionalistov.

katedrala | BURGOS

This grand gothic cathedral was begun during the rein of King Fernando III in the 13th century. The Burgos cathedral has undergone centuries of alterations. It is believed that one of the first architects to work on Burgos was the Maestro Ricardo (1203-1226) fol- lowed by the French Maesto Enrique (1243-1260) who were in charge of building the apse and the nave respectively. The main body of the cathedral was ac- complished within the 13th century. In 1442 the Bishop Alonso de Cartagena was in charge of the project. Bishop Alfonso elected Juan de Colonia to erect the architectural and sculptural works of the chapel.

Succeeding Juan was his son Simon and Grandson Francisco. The west towers that opened up into the bell chambers along with the spires were completed between 1442 and 1458 .Simon completed the cha- pels of St. Anna and the Constable of Castile while his son, Francisco, worked in the final major reconstruc- tion of the collapsed central lantern in 1539.

Though the exterior is a relatively pure example of French-influenced Gothic, the interior, modified through the centuries, contains elements of the Ba- roque and Renaissance. osnovni podatki | VALLADOLID

Je mesto in provinca v osrednji Španiji ob reki Pisu- erga. Prav tako je metropola avtonomne skupnosti Kastilja-Leon. Ocena populacije 2004 je 321,713. zgodovinsko ozadje Valladolid so Španci odvzeli Mavrom v 10. stoletju. Do 15. stoletja je bil nato prestolnica kraljev Kas- tilje ter prestolnica Španije do 1561, ko je kralj Filip II. za glavno mesto razglasil Madrid, za kratek čas med letoma 1600 in 1606 pa je zopet prevzela vlogo metropole. Mesto je danes industrijsko središče ter pomemben gospodarski steber Španije, zlasti zaradi avtomobil- ske industrije (IVECO, FASA-Renault, Michelin). Ima pa tudi letališče s povezavami do Londona, Pariza, Milana, Lizbone, Brusla, Barcelone in Viga. Valladolid je danes znan po svojih arhitekturnih spomenikih, kot je nedokončana valladolidška katedrala, ki jo je načrtoval avtor dvorca Escorial, cerkev svete Marije poleg katere stoji tudi samostan v katerem so slike Francisca de Goya, glavni trg, po katerem se zgleduje množica pomembnih mest v špansko govorečem svetu, narodni kiparski muzej z nekaterimi najpomembnejšimi lesenimi skulpturami Španije, pravna fakulteta z znano fasado avtorja Narcisa Tomeia, ki je poslikal tudi katedralo v Toledu, muzej znanosti, edina še obstoječa hiša Miguela de Cervantesa ter druge znamenitosti. V Valladolidu je leta 1506 umrl pomorščak in razisk- ovalec Krištof Kolumb ekskurzija | Madrid+severna Španija | seminar Zorec | april 2010

pot

24.4. Ljubljana -> Benetke -> Madrid 25.4. Madrid 26.4. Madrid 27.4. Madrid -> Zaragoza -> Alcala de Moncayo 28.4. Alcala de Moncayo -> Pamplona -> San Sebastian 29.4. San sebastian -> Bilbao -> Vitoria Gasteiz 30.4. Vitoria Gasteiz -> Burgos -> Palencia -> Valladolid -> Oliveras de Duero 1.5. Oliveras de Duero -> Penafiel -> Avila -> Madrid -Ljubljana caixa forum | herzog de meuron | madrid

Caixa Forum Madrid is a cultural centre, offering two floors of exhibition space, a restaurant, an auditorium and an excellent bookshop. The structure is a conversion of a former power station and is located in the cultural heart of Madrid, near some Paseo del Prado 36 of Spain’s most important museums. The 28014 Madrid visual image of the Forum is determined Spain by the two façades facing the Paseo del Prado. One of these is covered by green plants, creating a vertical garden. The other façade consists of a Cor-ten steel addition, built on top of the existing brick complex.

a. de la sota | maravillas | madrid

Španski arhitekt A. de la Sota, katerega ime nosi marsikatero znano arhitekturno delo dvajsetega stoletja, se je rodil oktobra leta 1913. Šolal se je v Madridu, kjer je kasneje deloval kot predavatelj 16 let, občasno pa predaval po vseh večjih arhitekturnih šolah; Londonu, Munichu, Harvardu... Sota je bil del generacije arhitektov začetnega modernizma, katera se je razvila po koncu druge svetovne vojne. Industrializacija, vprašanje individualnosti, neosebnosti ter pomembnost monumentalnosti v pro- +34 915 646 598 jektu so v Sotinem ustvarjanju prednost dajale pojmu empiričnosti in uporabnosti, kot pa ideološki Calle de Joaquín ravni projektov. Costa 21 Maravillas telovadnica je morda ena najbolj znanih del Sote. Ideja zasnove je rojena iz funkciona- lne rešitve, omejene z majhno denarno podlago in izbiro materiala. Poleg telovadnice, tudi ostala arhitektura Sote izvira iz najbolj racionalnih rešitev konstrukcije, katera je pogojena z zmogljivostjo in karakteristiko materiala. Tako arhitekt teži k novim tehničnim, konstrukcijskim rešitvam, ka- tere ponujajo inventivno rešitev. Arhitektura in struktura sta tesno povezani, konstruirata druga drugo. Arhitekt je dobil težko nalogo umestitve nove telovadnice v trapezno lokazijo ob gimnaziji, ki je bila zasidrana med dve ulici z višinsko razliko 12 metrov. Značilna je po idealnih pogojih, ki jih ustvarjata naravna ventilacija in svetloba, podstrešni konstrukciji iz obrnjenih nosilcev, kateri nosijo več predavalnic in galerij nad igralno površino ter zunanje igrišče na strehi. a. de la sota |

'I don't know why I made it as I did, but what I do know is that I am not displeased with the outcome.I believe that one way of making Architecture is not to make it, and that, by not making Architecture, we do it a greater service than those who continually apply their knowledge to it. A problem was solved then, and the solution still works today, and it seems to me that nobody misses the architecture that is not there.' Alejandro de la Sota Alejandro de la Sota (1913-1996) is regarded as one of the great masters of Spanish 20th century architecture. He was appointed as architect at the National Colonization Insti- tute, Directorate-General of the Postal Service, Aviaco and Iberia. He was a Senior Lecturer for 16 years at the Madrid School of Architecture, and gave addresses and classes at many architecture schools in Spain and abroad, most notably in Architectural Association London, Technische Univer- sität München and Harvard University.

Alejandro de la Sota's intense vocation in the field of architectural education and his concern that his archives -spanning his many years of work and ideas- should be accessible to students, researchers and architects, in- spired his heirs to set up a Foundation in 1997 that bears his name and is devoted to the preservation and dissemi- nation of his work.

de oiza

Francisco Javier Sáenz de Oiza was one of Spain´s most contro- versial and daring architects. He was born in Navarre (Spain) and studied in Madrid, where he earned a degree in architecture in 1946. He died in 2000.

Considered the master of modern architecture, he was professor emeritus of the Madrid School of Architecture. Sáenz received a number of important awards over the course of his career, such as the Prince of Asturias Award for the Arts in 1994.

Many of works were controversial, but his professionalism was never in doubt. Noteworthy among his projects are the Torres Blancas (White Towers) and the Bank of Bilbao Tower, in Madrid; and Triana Tower, built on the occasion of the World´s Fair held in Seville en 1992. de oiza | torres blancas | madrid

Torres Blancas je 71m visok stolpnica, zgrajena med leti 1964 in 1969. Ime Torres Blancas, v prevodu beli stolpnici, se nanaša na prvotni projekt Juana Huarte za izgradnjo dveh stoplnic oblečenih v fasado iz marmorja. V 23 nadstropjih se prepletajo stanovanjske in poslovne vsebine. Povezuje jih okroglo stopnišče, hrbtenica stavbe. Na etažo so navadno štiri stanovanja, nekatera tudi dupleks. Objekt se zaključi z Avenida de restavracijo in bazeni v zgornji etaži. America 37, Smernice najdemo pri Le Corbusierjevi ideji hiše z vrtovi po etažah, Madrid eksperimentiranjem v stanovanjski arhitekturi in Wrightovi stolpnici, Price z načeli organske arhitekure, racionalizma. Objekt sestavljajo značilna zunanja ovojnica iz armiranega betona, zaporedje krožnih teles in poudarjeni zaključki na vrhu stavbe. Stolpnica, brez notranjih stebrov, je podprta z nosilnimi stenami in notranjim, krožnim jedrom. Siv beton daje, skupaj z lesenimi polnili valjastih oblik, močan, brutalističen arhitekturni izraz.

de oiza | banco de bilbao | madrid

The Banco de Bilbao tower (Also known as BBVA Tower) is a 107m skyscraper in Madrid, Spain, built between 1979 and 1981. . It was designed by the Span- ish architect Francisco Javier Sáenz de Oiza, It is one of the most important architectural landmarks of Madrid, with its striking ocher color, more intense as the time passes due to the oxidation of its facade steel. It has a rectangular floor (1,200 m2 per floor) with round cor- ners, and the facade is made of continuous glass and steel, allowing exterior Plaza de la Castel- views from every point. The South, East and West facades also havev steel lana 81, Madrid sunshades in every floor, contributing to its characteristic look. The building is supported on two concrete cores which also hold the utilities and lift shafts. Around them, the office area is a clear working space without divisions. The building has three staircases connecting every floor plus 14 elevators (divided by vertical zones as well as by uses: public, service, board-of-directors exclu- sive). The foundation had to be designed having in mind that the underground commuter rail passes right throug the lowest basement, having the building “ride” the tunnel. The inner core supports, at regular intervals, six prestressed concrete floor platforms, which in turn support the five steel structure floors above each of them. rafel moneo |razširitev prado muzeja | madrid Muzej se ponaša z eno največjih zbirk Evropske umetnosti od 12. do 19. stoletja. Stara stavba je bila zgrajena v času Karla III., kasneje pa se je večkrat širil. Med leti 1900 in 1960 so za stavbo zgradili številne paviljone. Leta 2007 je razširitev izvedel Rafael Moneo zaradi želje po večanju števila obiskovalcev. Prizidek ohranja Calle Ruiz de Alarcón vzdolžno smer starega muzeja, hkrati pa deluje 23 Madrid 28014 Tel. +34 91 330 2800 zelo anonimno in nevsiljivo. Edini dekora- tivni element na opečnati fasadi so masivna bronasta brata umetnika Cristina Iglesiasa. Prizidek prevzame od starega objekta tudi spremljevalne vsebine (knjigarno, kavarno in avditorij) in tako omogoči, da je stara stavba v celoti namenjena razstavnim prostorom – um- etnosti.

rafel moneo |atocha želzniška postaja | madrid Zmagovalni projekt vabljenega natečaja leta 1984, ki ga je zahtevalo ministrstvo za promet, končan pa je bil leta 1992. Na- men je bil obnoviti in početveriti kapacitete obstoječe postaje. Glavni elementi so stari nadstreški, trg pred postajo ter postaji za lokalni in regionalni promet. Streha z veli- Plaza del Emperador kim razponom je karakterizirana z vitkimi Carlos V stebri, ki jo podpirajo in z idejo horizontalne Madrid konstrukcije plošč in tramov. Med temi se pojavljajo žarki dnevne svetlobe, ki prostor osvetljujejo. rafel moneo |thyssen bornemisza muzej | madrid Staro stavbo je projektiral Anotonio Lo- pez Aguado, učenec Juana de Lillanueva (Prado muzej). Po vzoru svojega učitelja in bližnjega Prado muzeja, je Aguado harmonično kombiniral kamen in opeko na fasadi objekta. Strogo ritmično dis- pozicijo razbije samo z vhodom. Prenova Plaza del Emperador in preoblikovanje muzeja je projekt iz Carlos V Palacio de 1989, končan 1992. Koncept je bil obe Villahermosa, Paseo obstoječi stavbi združiti v enoten pros- del Prado 8 tor. Moneo spoštljivo ohrani zunanjost, Madrid(+34) 91 369 notranjost pa prilagodi novim funkcijam 01 51 De martes a in potrebam. Ustvari vzdušje, ki je mod- domingo de 10.00 a 19.00 horas. erno in hkrati primerno za stari objekt.

arturo franco diaz |matadero | madrid

Matadero Madrid is an ongoing project of new spaces for artistic creation that doesn’t fit into traditional spaces; comparable to ‘Palais de Tokyo’ in Paris and ‘PS 16’ in New York. Started in 2006, the expected Paseo de la Chopera, completion of the renovation of this former 14 slaughterhouse Arganzuela is 2011. The 28045 Madrid, Spain project serves as an opportunity to ex- 91 517 73 09 plore renovation possibilities, reducing the intervention to a necessary minimum but Spain with maximum expressivity. No clean cuts, Matadero Madrid but raw joints and as simple as possible. is free and open to Materials come straight from the industrial- the public mainly in ization, unchanged and in standard mea- the evenings and at week-ends. surements; eventually ready for reuse. Form Tuesday to Friday: from 16 to 22 h Saturday, Sunday and bankholidays: from 11 to 22 h Monday: closed miguel fisac |santa ana church | madrid

In Moratalaz, a suburb of Madrid, stands a church designed by Miguel Fisac in 1965. The struc- ture is full of plastic vigour and renewed functional intentions. In Fisac’s own words: “This is the first church which I designed with liturgical directives from the Vatican Council II. The spatial approach was totally different”. The first proposal was a new way of arranging the people that come to the church, making the participation more directly by seating them around the altar in an oval form. The second one is the consecration and communion area, where two cavities were Calle de la Cañada made in the vertical wall of the apse. The third cavity is dedicated to the Saint and vertically illu- 35 minated. The building is topped by an expressionist roof as a result of Fisac’s interest in concrete 28030 Madrid and beam-bone structures. Spain Sundays and Holidays: during services.

MVRDV |

MVRDV je arhitekturni biro iz Rotterdama, Nizozemska, ustanovljen leta 1991. Ime MVRDV izhaja iz kratic ustanovnih članov biroja; Winy Maas (1959), Jacob van Rijs (1964) in Nathalie de Vries (1965). Pred ustanovitvijo lastnega biroja sta Maas in van Rijs Delovala pod okriljem arhitekturne- ga biroja OMA, De Vries pa pod Mecanom.

MVRDV je dobro poznan po zgostitvah in večjih izkoriščenosti prostora. Ukvarjajo se z "mestom" ki ni postavljeno le v eno ravnino, temveč je le to "mesto" en objekt, katerega sestavljajo značilnosti naselja. Medtem ko so naselja in njihove funkcije delovanja povečini postavljena v eno horizon- talno ravnino, poizkuša biro MVRDV to prenesti v tridimenzionalno celoto. MVRDV |el mirador de sanchinarro | madrid

Mirador je stanovanjski objekt z 22 nadstropji, ki se nahaja v Sanchinarr-u, stanovan- jskem predmestju na severovzhodu Madrida. Najbolj impresiven del stavbe je nejena oblika ki z veliko vrzelijo deluje kot okvir oddaljenim pokrajinam. Velika ploščad na 40-tih metrih višine je namenjena kot prostor za srečevanje in druženje med uporabniki, ter tudi kot otroško igrišče. Objekt združuje 156 stanovanj, katera so poradeljena v 9 "blok- ov", ki so med seboj povezani z hodniki. Medtem ko so komunikacije obarvane oranžno, Address pa ima vsak blok drugačno artikulacijo zunanje podobe. Čeprav veliko arhitektov meni Calle Princesa de da je objekt mojstrovina, se uporabniki ne strinjajo z njim, temveč menijo da so snovalci Éboli 21 razmišljali le o zunanji podobi in premalo o uporabnosti objekta. 28050 Madrid Spain

MVRDV | celosia | madrid

Edificio Celosia v predovu pomeni rešetkana stavba. Gre se za projekt socialnih stanovanj kateri obrovnava alternativno rešitev zaprtega bloka. Predlog si prizadeva za izgradnjo sistema, Address ne pa edinstvene zgradbe. Objekt Calle Princesa de Éboli 21 je kot prostorska mreža v katero 28050 Madrid je vstavljenih 30 polnih blokov, Spain medtem ko pa je 30 blokov v bližini praznih in tvorijo skupne prostore za uporabnike. 146 eno-, dvo- in trosobnih apartmajev so dostopni prek teh skupnih prostorov. Ve- liko stanovanj ima tudi možnost zasebnega zunanjega prostora. Posebnost take gradnje je tudi v naravni cirkulaciji zraka skozi odprte bloke, katera pride še posebej do izraza poleti. juan de villanueva | plaza major | madrid | v

The Plaza Mayor was built during the Habsburg period and is a central plaza in the city of Madrid, Spain. It is located only a few blocks away from another famous plaza, the Puerta del Sol. The Plaza Mayor is rectangular in shape, measuring 129 by 94 meters, and is surrounded by three-sto- ry residential buildings having 237 balconies facing the Plaza. It has a total of nine entranceways. The Casa de la Panadería, serving municipal and cultural functions, dominates the Plaza Mayor. Juan de Herrera was the architect who designed the first project in 1581 to remodel the old Plaza Address del Arrabal but construction didn’t start until 1617, during Philip III’s reign. The king asked Juan Calle Princesa de Gomez de Mora to continue with the project, and he finished the porticoes in 1619. Nevertheless, Éboli 21 the Plaza Mayor as we know it today is the work of the architect Juan de Villanueva who was en- 28050 Madrid trusted with its reconstruction in 1790 after a spate of big fires. Giambologna’s equestrian statue Spain of Philip III dates to 1616, but it was not placed in the center of the square until 1848. If you look around today you can still see the blood on the walls from some of the bull fights held in earlier years.

molezun corrales |španski paviljon expo bruselj ‘58 | madrid This project used to be the Spanish pavilion for the Brussels World Exposition of 1958, built by architects Ramón Vázquez Molezún and José Antonio Corrales. Their work won first prize, after which the pavilion was dis- mantled and relocated to Madrid. The aban- Calle Hexágonos 6 doned site still exists and the international 28011 Madrid allure of the ruin can still be experienced. Spain It is considered by experts to be one of the most important pieces of Spanish architec- ture of the twentieth century. de oiza | el ruedo | madrid

Februarja 1986 je občina Madrid povabila skupino šestih arhitektov k študiji velikega območja ob mestni obvoznici M-30, predvidenega za gradnjo socialnih stanovanj. Zasnova arhitekta Francisca Javiera Sáenz de Oíze je bila zmagovalna. El ruedo, v prevodu obroč, priča o tlorisni zasnovi objekta. Trak, stanovanjskih enot ustvari zanko, ki zaobjame notranje dvorišče. Dopolnjujeta ga še dva stanovanjska bloka, ki sledita linijam osred- Calle de Felix Rodri- nje enote. Glavni objekt obrača hrbet hrupni okolici in se zapira v guez de la Fuente intimo zazelenjenega dvorišča. Tudi sama fasada je zasnovana tako. 3 a 73, Madrid Zunanji ovoj je bolj tog, s strogim ritmom, nedostopen, medtem, ko ima notranji mehkejšo strukturo in se odpira proti skupnemu pros- toru. Vsa svetloba za stanovanje je tako zagotovljena iz dvoriščne strani, na ven se minimalno odpirajo le prostori kuhinj in kopalnic.

juan navarro baldeweg |

Cea Bermúdez 1 28002 Madrid juan navarro baldeweg |madrid region centre of arts | madrid

On the one hand, the intrinsic nature of the brief makes reference to the creation of a space of illusion, a world of fantasy, i. e., the realm of the imaginary as the substance of the project. Secondly, the unusual main function of a building that appeals to this imaginary world and is set in a somewhat blurred and neglected urban area, calls for a strong, formally rich response with an in- trinsic vitality that will liven up the intersection of Calle Bravo Murillo and Calle Cea Bermúdez. Thirdly, the theatrical activity needs integration and segregation at the same time. Citizens should feel attracted to it but at the same time, a discontinuity to defend the essence of the virtual that is set apart by its very nature from the surrounding urban reality.

The latter demand, which is double and divergent, is translated into an integration and continuity of the street at the same level as the lowest floors, and also in the segregation through the elevation of the rest of the stacked programme, setting the actual the- atres and dance classrooms above the first floor vestibules. The lower floors with the main vestibules, shop and café are transpar- ent and visible from the street, incorporating their activity into the city and inviting its participation. The green zones near the Canal also make their mark on the project at the street level, with lawn areas that penetrate the site up to the free, sunken perimeter of the glass that encloses the vestibules or the café. A lively exchange between volumes is created above the ground floor, a threshold between building and street, perceived as a zig- zag unfolding of shapes in the air that encourages contrasting experiences of concavity and convexity, somewhat like flags moved by the wind. The complex is experienced through complementary perceptions: emptying or inflating and displaying or hiding the interior from the street.

The skin that wraps around these floating volumes is like paper. It captures the light and reflects it with an attenuated sheen. All of this corresponds to a deliberated tectonic idea that is intelligible as a ‘mask’, ideal for the nature of the theatre and dance, and it becomes the prevailing value of pure appearance and a lively play of forms. The skin that spreads out in the space consists of a glass surface, part opaque and part translucent and transparent. The opaque glass is black, red and silver, with a matte, velvet appearance on account of its surface treatment that nuances the colour and the surface sheen. The colour is treated as a basic construction substance, something that seems to be cut with scissors or carved directly from raw mass. The treatment of this chro- matic substance is reminiscent of Matisse’s cutouts in which the painting takes on a sculptural nature.

The entrance of the theatre service zones and the loading bay is on Calle Bravo Murillo and Calle Cea Bermudez, next to the party walls. All the communications between stages and fly towers are set at the southern rear end and along the whole allotment. A slit of light along the southern walls illuminate these communication spaces that interconnect the stages and dressing rooms. This top- down infiltration of natural light prevents the creation of the sordid spaces often found in these areas set away from the public. A large ramp connects the different floors, integrating them with a vestibule which on one side closes the great slit of the main street entrance to the theatres. brut deluxe architects | plaza de la luna| madrid This is a renovated square in the historical centre. A large central space, a perfect setting for urban life; a multi functional, indeterminate and free. Steps accom- modate and apply geometrical order to the trees and architectural elements such as ramps, stairs and ventila- tion towers, made out of naturally rusted corten steel, either punched or stamped with a floral motif. In the- low Plaza Santa Ma- est point of the square a water fountain that doubles ria Soledad Torres as a game for children provides a refreshing counter point Acosta) and at the other end in the highest point of the square, 28004 Madrid a child’s play area was placed close to an area where se- Spain niors can exercise in the shade. The vegetation was doubled, large chestnut trees greatly changed the overall appear- ance. New lighting was installed that provided a higher level of illumination under the arcades making them saf- er at night and more adequate for all kinds of activities. Granite paving with different contrasted colours al- lows for a clear lecture of the topography.

brut deluxe architects | plaza de la luna kioski| madrid

In December 2006, 100 kiosks produced by kiosk-maker Primur were installed by the city of Madrid throughout three different handicraft markets. They are used during several types of temporary festivities and the open markets through the city. These kiosks are made of naturally rusted steel plates. The archetypical shape and uniform materialisation makes it look like a very minimalist ‘house’. The combination of several ‘houses’ in one square resembles a small village. When the kiosk is opened, it transforms into a ‘house with a chimney’: the front side Avenida Felipe II 1 28009 Madrid is elevated above the roof. Different houses are lighted in different colours. The light- Spain ing gives it another feature: an illuminated publication sign advertising its content, full of surprises.vvv nieto sobejano| barcelo market| madrid This temporary market located in Madrid Spain has recently been completed by Nieto Sobejano Arquitectos. The temporary mar- ket is just one of the new additions to the surrounding areas development, which in- cludes a new shopping centre, sports centre, public library, car parks, and public outdoor Centro Comercial area. During the construction work of neigh- Barcelo‎ bouring buildings and facilities the market is Calle de Barceló, 6, intended to act as an urban facility which can 28004 Madrid be removed and recycled once it is no longer needed. The temporary market is divided up in to six pentagonal shaped floor areas, each housing a differing number of stalls and out- lets. Each polygonal market area has been designed with differing heights, dimensions, and floor layouts in a response to the pro- portions of the surrounding buildings. The exterior facade of the building is glazed in an opaque polycarbonate allowing natural light to filter in to the markets polygonal cylinders during the day, and at night transforms the market in to huge lanterns lighting up the square.Once construction work of the mar- ket’s surrounding development has reached completion the cylinders have been designed so as they can be taken down and relocated to an alternative location in Madrid.

abalos herreros | usera public library| madrid

A competition won with the proposal of a public library in the shape of a tower. Without doubt this is a little orthodox arrangement and a signal of the cultural identity of the neighbourhood. The halls, the great heights and the atmosphere in semi- darkness control the vibrations of the light thanks to a dark Avenida Rafaela floor, Ybarra 43 satinated ceilings and wallpaper designed by Peter Halley. 28041 Madrid The furniture provides artificial light and some Spain “cracks” in the facade fragmentize the relation with a dull Mondays to Fridays environment into small views which recompose an 08.30 to 21.00 interesting world. The essence learned in these urban peri- Saturdays, Sundays ferries, culturally diverse where radical transformations & holidays 11.00 to throb, helps us to define the architecture of new projects in 19.00 need of a high impact in its environment. abalos herreros | gymnastics pavillion el retiro| madrid Plošèad s teniškim igrišèem, obkrožena z drevesi in zašèitena z visokimi transparentnimi stena- mi, pod katero se v dveh nadstropjih nahajajo pisarne, preoblaèilnica, prostor za shranjevanje stvari je opazna po svoji transparentnosti in skeletni konstrukciji. Kovinska mreža ne predstavlja le Avenida Rafaela zašèite, ampak Ybarra 43 tudi omogoèa vegetaciji, da oblikuje objekt po 28041 Madrid Spain svoje ter mu nudi svežino in senco. S tem se ust- Mondays to Fridays vari povezava med objektom in zeleno tradicijo 08.30 to 21.00 parka 'El Retiro'. Saturdays, Sundays & holidays 11.00 to 19.00

lopez sallaberry gonzales| abc building| madrid

Originally the office and printing premises for the ABC daily newspaper, it was begun by Lopez Sallaberry in Spanish Neo-Plater- esque style (I 899, facade on the Serrano street Serrano 61 and side), and continued by Anibal Gonzalez in Paseo de la Castel- his own personal Historicist style, based on lana 34 the Sevillian Regionalism of the early 20th c. (facade on the Castellana side), Anasagasti then updated it "American-style" (office building parallel to the Castellana)r'Later, in 1995, when the newspaper moved to the outskirts of Madrid, Bayon converted the entire complex in a refined Modern style. After bringing order to the labyrinthian set of buildings, he created a shopping mall that is articulated around a central courtyard covered by double-vaulted roofing. gutierrez soto |barcelo cinema| madrid The Barcelo is probably the most successful cinema building of the many that Gutierrez Soto designed during a career that spanned nearly forty years, from the twenties to the sixties. Most are located in Madrid, although several can also be found in provincial towns. Built on a corner site, its oblong Pza. de Barcelo I I plan was oriented along the diagonal axis of the corner as appreciated by Neufert, who included it as an example in his well- known book on functional layouts. The external volume codifies the Rationalist Expressionist language to define the urban space that it occupies, a traditional closed city street. For several years now, the building has ceased to be used as a cinema and instead houses the well-known Madrid discotheque, Pacha.

martinez feduchi| capitol bulding| madrid The winning design of a competition, the Capitol building - also known as the Carrion buiiding - is probably one of the best examples of the architecture that lines the Gran Via. It stands out for the intense Modernity of its bearing, the clever urban effect of its elaborate volumetrics and the Gran Via 4I c/v complexity of uses that its design had to be Jacometrezzo 5 open to: as a large metropolitan building, it was a king of hold-all, containing a hotel, apartments, a cinema and several shops and offices. Its language and the details both ' on its exterior and in its interior spaces are especially fine, as was the magnificent collection of furnishings and fittings made specially for it, now mostly disappeared. An architecture in the style of Mendelsohn, it fits in harmoniously with the volumes of its unique and difficult terrain. Only the large cinema still conserves the original interior well, a spectacular theatre, carefully restored to its old grandiosity, perhaps the best in the city. miguel fisac| hydrographical studies centre and hydraulic laboratories| madrid

Group of building destined to services and laboratories for the hydraulic inves- tigation. In the principal building of 7 floors is where are situated the offices, meeting room and a well-lit warehouse. Group built with concrete and aluminium Paseo bajo de la frames. Virgen del Puerto 3

chipperfield| housing villaverde| madrid

Commissioned by the Empresa Mu- nicipal de la Vivienda(EMV), the social housing scheme is located on plot 203 of a new development in Verona, in the Villaverde district of southern Madrid. Comprised of 176 one-, two-, Calle del Berrocal and three-bedroom apartments, the 28021 Madrid scheme responds to an overall mas- terplan for the site which requested a single U-shaped block, 15m deep, and with a footprint of just over 2,000m2. Like other buildings within the same development, it also required that the block be eight stories high and have the appearance of a pitched roof. Within the confines of this brief, the design attempted to manipulate these architecturl restrictions so as to abstract the common idea of an apart- ment block. So whereas other neigh- bouring buildings adopt a symmetrical, double-pitched silhouette, here the traditional relationships of wall and roof are abstracted into a low, single pitch for the bulk of the block, and a small secondary pitch bevelling the building’s front edge. garcia de paredes| parish church| madrid This is an attractive example of a modest par- ish church concived for an interesting neighbor- hood. Without the usual church nave and the normal requirements of an enormous span for the roof, it instead tried out of space featuring a set of columns: thin supports like those found in mosques. The moorish inspiration had something Plaza Angelica Senora to do with the architects Andalusian heritage and his fascination with the Cordoba mosque. The influence of the spanish expo pavilion '59 is also noticable.

coderch | edificio girasol| madrid

Calle de Lagasca & Calle de Jose Ortega y Gasset jean nouvel| reina sophia muzej| madrid

One of the three major mu- seum extensions taking place in Madrid the last couple of years. For sure this one is the most expressive one. Very spacious set up with a inter- Calle Santa Isabel 52 esting inner courtyard. The 28012 madrid roof combines all the different Spain mo.- sat. 10.00 - parts to one building which 21.00. sun. 10.00 - cleverly connects it to the 14.30. tue. closed. existing building structure

cruz ortiz| štadion| madrid The majority of the Estadio Olympico - the track and field area - sits in a sunken bowl in the ground with the first tier of seating wrapped around its sides. Towering over this is a huge plate-like tier of seating that sits, tectonic like, on an array of massive Avenida Arcentales curved walls. In between the walls Madrid are the staircases scooping the spec- tators up to their seats in the heav- ens. Freed of the pressure to provide all the commercial opportunities for money making which blight many stadia around the world, the archi- tects have seized the opportunity to produce a raw, powerful, expressive, elegant and un-compromised archi- tecture representative, in many ways, of the sporting ideal vinces ramos | parish church of santa monica| madrid This church and parish centre ap- pears to have materialized out of a science-fiction movie. It is clad en- tirely in Corten steel panels - even the windows are covered with a Corten mesh. In a residential sub- urb, in an area filled with nothing Avenida de la Inte- but low-rise houses and apartment gración / Calle de blocks, it seems initially an unusual Los Nibelungos choice of material - especially for a 28523 Vaciamadrid religious building. The structure is Spain linear in composition. The south- western end curves to a sharp point to follow the site boundary. But it is at the opposite end where things become really dramatic. The north- eastward facing windows, behind the altar of the church, are pushed to the ends of truncated prisms that seem to be dragging the light from different parts of the sky into indi- vidual parts of the interior. The ar- chitects describe it as an explosion, frozen an instant after detonation. Other observers cite the influence of some of Picasso's work such as 'Guernica'. Perhaps it is an architec- tural representation of anguish or suffering?

mangado|

born in Navarre in 1957, Francisco Mangado earned his architecture degree from the University of Navarre School of Architecture in 1982, and has since made this institution the center of his teaching career. He has been a guest pro- fessor at Harvard’s Graduate School of Design, as well as Eero Saarinen Visiting Professor at Yale’s School of Archi- tecture and Studio Professor in the Navarre school’s Mas- ter of Architectural Design program. In June 2008 he set up the Fundación Arquitectura y Sociedad, which aims to help increase architecture’s interaction with other fields of knowledge and action. Combined with his academic activ- ity and foundation work is his architectural practice, which he runs from his studio in Pamplona. Notable among Man- gado’s works are the Cultural Center and Church in Thiene (Italy), the Auditorium and Congress Center of Pamplona, the Place Pey Berland in Bordeaux, the Municipal Ex- hibition and Congress Center of Ávila, the Archaeology Museum of Vitoria, and the Football Stadium of Palencia. More recent projects include the Congress Center of Palma de Mallorca, the Spanish Pavilion at the 2008 International Exposition in Zaragoza, the Fine Arts Museum of Asturias in Oviedo, and an office tower in Buenos Aires.

The Baluarte Auditorium and Congress Center in Pamplona and the Lienzo Norte Exhibition and Congress Center in Ávila were included in the exhibition on Spanish architec- ture that was held at the MoMA in New York City, as well as in Madrid, in 2006. mangado| plaza de dali | madrid Rather than a square, the Plaza de Dalí or Avenida de Felipe II is a complex space of great urban value in the center of Madrid. In spite of this, the area’s poor paving had turned it into an inhospitable space for pedestrians. Aside from this, there was another aspect that determined the proposal to a large extent: the adjacent department stores took up the whole underground space with a parking area whose limits went beyond those of the project itself, and their being so close to the surface above made it unfeasible to plant trees there. The new project follows two objectives: through the improvement, repaving and restructuring of the complex, to endow it with a formal significance in tune with its importance as a central avenida de fillipe 2 public space of the city, but also to attain a certain degree of comfort to allow neighbors, who up to now contemplated this area with some distance, to make it their own. The new paving represents the unit as a whole. A “dense” paving, built in granite and bronze, highlighted by the sculptures of Francesc Torres, as well as the LED strips that give the square a new geometric order and visual appeal. The paving, in this case the only element with potential to trigger an urban transformation, is an essential factor in most of the project decisions, going beyond a strictly materialsecondary role and acquiring a conceptual and strategic value that is essential, even more so in this case in which the other dimensions of the urban space are histori- cally defined (and their being altered impossible), and in which the subsoil has been excavated at different levels (a situation beyond repair). The consideration of light as a primary ‘material’ that helps to give shape to the new configura- tion is another priority. Aside from its use as a physical part of the pavement, light also acts as an element that helps to transform the underground parking accesses (for both pedestrians and cars), whose location could not be changed. So though these accesses initiallybe changed. So though these accesses initially seemed to be encumbering elements, in the end they have be- come illuminated pieces that earn a special significance, thanks to their size and location, within the new square. They emerge from the ground, especially at night, like fiction “minerals” that, once again, bring the attention to the nonexistent subsoil.

mansilla tunon | regionalni arhiv in knjižnjica | madrid

El Aguila Brewery has been converted and expanded into a regional library and archives of the city Ma- drid. It is a center for the preservation, custody and dissemination of the documentary heritage of the region aimed at ensuring the transparency of admin- istrative processes and the rights of the citizen.The Calle Ramírez de Regional Archives has 30,000 square meters which Prado 3 are organized into three modules: contributions, 28045 Madrid storage and public attention. The storage building Spain can hold slightly less than 100 km of shelves, divided Monday - Friday: into six apartments, surrounded by a thermal blanket 09:00 - 21:00. for a double translucent facade that is a response to the challenge of the architectural design within the limits imposed by legislation fire prevention. The Regional Library covers 10,000 square meters. Con- tains a varied program of multimedia libraries in the renovated industrial spaces. The brewery silos that were used for storage now store books. dominique perrault| tennis stadium | madrid

This Olympic Tennis Centre, La Caja Mágica, or the Magic Box, is a big, clear luminous box that seems to have no walls at night, revealing its interiors, its colours and the geometry of its forms. The complex features three main courts with retractable roofs, all in the same arena. Calle Camino de Perrault's proposal won an international Perales competition held in 2002 by Ayuntamiento Madrid of Madrid. Construction work began in Spain 2003 and is expected to last 32 months, completing the structure in 2007. Its outstanding feature is its simple, linear forms. The big box, called "magic" for its light and colour effects and for its "con- tent" of spectacular events and initiatives, is prevalently made of glass, steel and wood. This skin is reflective in daylight, while improving the stadium's visibility at night by lighting up the entire structure so that it can be seen from far away.

zaragoza lepena | hotel hiberus expo | zaragoza

It is a question of a horizontal build- ing, of five heights, of very wide spaces, with an atypical construc- tion for an urban hotel. Their 176 rooms offer a vision in the first line of the city and the river Ebro. Your stays have been decorated by Paseo de los furniture of design of Arne Jacob- Puentes 2 sen, of Nordic style years 50. The 50009 Zaragoza building is a large block with a Spain location that increases the feeling of well-being offered by its interior design. The rooms face south in a long, narrow structure. This layout gives them a view of the river and the city through a frame created by the Third Millenium Bridge and the Bridge Pavilion. The balconies are located on the other side of the rooms. They face north and over- look the function rooms, which are lit through patios landscaped with palm trees. These exterior spaces are protected from the wind and noise by a large, terraced noise barrier made of concrete panels and glass eyes

mangado | španski pavilijon | zaragoza Evoking the space of a forest, or of a group of bamboos on a surface of water, has been the main aim of the project. On the one hand there is a desire to create a building mechanism able to generate incredible possibilities from the point of view of energy logic and environmental awareness, an essential and symbolic aspect for the future Spanish Pavilion at the International Exposition of Zaragoza. But on the other hand, one of the most attractive spaces one may have deal with, both in terms of matter and light, is transferred to the field of architecture. Changing spaces, spaces full of hints and nuances where concepts such as verticality and depth play an es- expo zaragoza sential role. Is the artificial reproduction of a natural process possible? This is an old, unattainable aspiration of architecture. However, in this case this approximation is possible because the geometric strength of the metaphor performs in our favor, and the image suggested gives the proposal a symbolic charge that is necessary in the case of a pavilion, that of Spain to be more precise, for an international expo. The metaphorical allusion, in which water is present through the landscape of reference, is strong and evident. Construction. Pieces.The process is clear and simple. The vertical elements may be manufactured in a workshop. They have a metallic core clad in pieces made of clay that, in contact with water, absorbs it generating air currents that act as microcli- mates (see corresponding project descriptions and schemes).Its bracing, to ensure structural unity, is very simple and based on the same method used in many nurser- ies to maintain trunks vertical. Roof.A huge roof, supported off by all these profiles, covers the pavilion. It is a useful roof because its width (three meters) allows to accommodate energy saving systems (see project description) and, at the same time, adjust light with the help depth, which makes the sunrays, very controlled, draw their trace and reflection on the columns and the water surface at the base. The roof is clad in panels of recycled wood shavings. Exhibition Spaces. They are carved out voids. Their slabs hang from the large roof, braced only to the columns. They are built with beams of recycled wood shavings and resin. The exte- rior enclosure is also of glass. A system of mobile partition walls will be anchored to the structure, with the visual and acoustic insulation needed for the development of certain exhibitions and for the future cinema center. nieto sobejano | aragon expo | zaragoza The new Auditorium and Convention Centre in the Expo 2008 ground portrays a fractional and varied profile – ascend- ing and descending – in dialogue with the different spaces housed in its interior and manifesting expressively the pres- ence of natural light and the meeting Avenida de Ranil- point of the building with the ground. las 101 Like a white shining cover, a great roof 50018 Zaragoza gently envelopes the different structures Spain sheltering a large interior space –fluid and continuous– which demonstrates the public and institutional character of its purpose. Geometry, structure and construction are part of this proposal for a single combined concept. The bril- liance and clarity of the image of the building which will dominate during the day will have its counterpoint at night when the Convention Centre will appear as a landscape of solid light emerging from the ground: the metaphor of an intangible condition which – perhaps unconsciously – the architects imagined from the beginning for this building.

aldayjover arqitectos | the mill cultural centre | zaragoza Starting from an ancient ruin of a grain mill that worked with hydraulic energy of an important ditch in the centre of town we designed a cultural centre that at approaches the didactic explanation of the grain mills history: the Centro Cultural “El Molino”. To Calle Molino maintain the identity of the ruins we 50408 Zaragoza decided to built a union between the Spain ancient and the modern. The build- ing is small but it has a great impor- tance in the historic memory of Utebo people, for this reason and for being surrounded by housing we shaped an abstract volume without references to human scale and located quite far from the entrances to give it a kind of symbolic presence. We designed a square in front of the building, a teat cine that goes down towards the scenery made of stone vaults. This exterior hall is surrounded by walls, protected from wind and shaded by lindens. The ochre painted ferrocon- crete, natural evolution of stabilized earth unify the whole building as if it's shaped in one material. mangado | baluarte | pamplona Located in the centre of the city, next to the old Citadel, the Palacio de Congresos y Auditorio de Navarra, or short: Baluarte, is one of Spain’s larg- est cultural and commercial congress center. It was elected winner out of a design competition organized by the Baluarte 1 regional government of the Spanish 31002 Pamplona province Navarra, with the purpose Spain to enhance the local economy and provide space for larger cultural activities. The name ‘Baluarte’ means fortress or bastion, and is directly related to the nearby 16th century fortification of Pamplona. The build- ing is situated in between the old medieval town and the fortress, - now park. The architect derived inspira- tion from the stronghold brick walls and its pointed shapes. Especially the pronounced ‘corner’ resembles these forms. ,

moneo | centralni arhiv pokrajine navarra | pamplona With origins in the twelfth century, the build- ing known as El Archivo General de Navarra has seen many different uses. With its most recent 2003 renovation designed by Rafael Moneo, it is currently, as the name implies, being used as a place to store government documents and as a consultation and public Calle Dosde Mayo, information outlet. Moneo's renovation s/n includes a restoration of the original, medi- eval building as well as a new, modern, and technological building perfectly suited for storing government documents. The new build- ing has a capacity for 44,000 meters of shelving and includes areas for things such as a restoration workshop, photography laborato- ries, assembly hall, and a specialized library. garces soria | muzej navarre | pamplona

The Museum of Navarre, founded in 1956, is a regional institution dependent on the Government of Navarre. It is housed in the old Our Lady of Mercy Hospital located on the edge of the old part of Pam- plona next to the city walls. The only elements of the original building still intact are the faáde and the church, both dating back to the XVIth century. The santo domingo 47 building was reconditioned recently by the archi- tects, Garcés and Soria, and inaugurated in 1990. pamplona SCHEDULE: Week days: from 10 to 14 hours and from 17 to 19 hours. Holidays: from 11 to 14 hours. Mondays: closed. Open all year.

moneo | plaza torres | pamplona The original ring was designed in 1922 as a replacement of old bull ring on Carlos III Avenue. The extension of the Bull- ring was undertaken because of the increasing number of visitors Plaza de Toros de who come to see the San Fermin Pamplona Festival. The original bullring could Rafael Moneo contain 14,000 spectators and the 1967 extension added capacity for 6000 more. The architect, Rafael Moneo approached this project in two main terms, a concrete struc- ture and a continued reference to the original building, which itself referred to Renaissance architec- ture in Spain. For the project, it was also important to harmonize the original giant ring into the city's image and the environment inside during the San Fermin Festi- val. Moneo extended the top tiers so the interior space would be continued within the limits, while minimizing any changes of the building's exterior. The roof is a light metal, finished with glazed ceramic pieces. mangado | san juan health center | pamplona This project for the Navarrese capital's most important health center fundamentally focuses on the functional reply that architecture can give to the question of addressing very specific requirements in very limited conditions and a deteriorated urban environment. It also reflects on the form that must arise if the result is San Juan neigh- to take on a presence and significance of its own in this borhood, Pamplo- particular environment, and thereby contribute to re- na, Navarra, Spain. storing the areas urban context. This is a building that explores the use of materials and deliberately takes on a degree of hermetism in its formal configuration.

de oiza | museo oteiza | alzuza

The project is a response to the simplicity pursued by the architect, who was concerned to harmonise the balance between content and container. An aim that was stated by the architect himself when he made it clear that, “the Foundation cannot lapse into the contradiction of producing a sculpture to contain sculptures. The more elementary and simple it is; the more monumental the sculptures will be that are displayed inside it”. C/ de la Cuesta, 7 · 31486 Alzuza, The project is a response to the generic idea of structuring an inter- Navarra related series of spaces with a wide variety of sizes, dominated by a central prominent area, whose size recalls the tunnel that the artist passed through in Arantzazu when he carved the statues that mark the Shrine. This highly mysterious central area structures how the other rooms are laid out, as they have been conceived to house all of Jorge Oteiza’s experimental work and to function in accordance with the spiritual and metaphysical eaning of his research on emptiness and the vacating of geometric shapes.

The building rises up on the southern slope of Alzuza like a concrete cube tinged with red, crowned by three enormous prismatic skylights. On the inside there is a remarkable series of different spaces that are revealed by the various places where light enters the Museum. moneo | kursaal | san sebastian Where Rio Urumea meets the Bay of Bis- cay two glass cubes house one of Spain's most enigmatic congress centre, theatre hall, exposition space and cinema. Every year in September it houses the 'Festival Internacional de Cine de Donosti', and it has grown to be the city's main décor for Avenida Zurriola 1 cultural public activities. A large under- 20002 San Sebastián ground parking offers a cool but expensive Spain park for those flocking the next door sun- and-surf beach of Gross. The building is surrounded by large outdoor terraces with a bar, restaurant, shops and showers. At night the building changes into a immense cubic lighthouse, enhancing the city's vibrant night-life

chillida |

EDUARDO CHILLIDA "From space with her brother time under insistent gravity with a light to see that I can't see. Between no longer and not yet I was placed. Amazement at what I don't know. Listening to its immensity. I've tried to look, but don't know if I've seen." BIOGRAFIJA The Spanish sculptor Eduardo Chillida was born on January 10, 1924 in San Sebastian in the Basque country. In 1943 Chillida began to study architecture, but soon dropped out. In 1947 he registered at the private art academy 'Circulo de Bellas Artes' in Madrid, where he initially focused on working with gypsum and clay. His first sculptures were received well by the critics. In 1949 Eduardo Chillida began working on iron sculptures during a sojourn to Paris. Upon his return from Paris Eduardo Chillida settled in the Spanish town of Hernani, where he produced his abstract sculpture 'Llarik' in 1950. This sculpture reflected his views on sculptural art, with the space being the focus of attention. During the following years this idea of the limitations of space permeated his sculptural oeuvre more and more. His graphic art also reflects parallels. Over the following years Eduardo Chillida became a renowned sculptor and graphic artist. Alongside numer- ous international exhibitions, his works were presented at several documenta exhibitions and Biennales. In 1958 he was awarded the Grand Prize for Sculpture at the Venice Biennale. Two years later he received the Kandinsky-Prize. Further international awards followed. In 1980 the New York Guggenheim Museum showed a retrospective of his oeuvre. Eduardo Chillida spent the last few years of his artistic career in San Sebastián. With his oeuvre Chillida became one of the most important sculptors, who produced their objects in a concrete style. The homogeneous material and the division into figure shapes is characteristic of his sculptural work. Eduardo Chillida died in San Sebastián on August 19, 2002. chillida |

EDUARDO CHILLIDA O SVOJEM DELU "There is one problem common to most of my pieces, that of 'inner space', both the consequence and the ori- gin of the positive exterior volumes. In order to define these inner spaces they have to be wrapped, and thus they become inaccessible to the observer situated outside. Inner spaces had hithero always been a problem for architects... I aspire to a definition of hollow three-dimensionality, establishing at the same time a kind of dialogue between both... In my works, in my ouvre as a whole, there is a series of fundamental laws which form the basis of my freedom when I work. The dialogue between forms, whatever it may be, is far more important than the forms themselves... The limit is the true protagonist of space, just as the present, a further limit, is a true protagonist of time. The spaces with which I work are virtual and inaccessible... Does any space Which does not communicate with what Novalis called the 'innumerable spaces' form a spatial unity or part of the great unity? Is it possible to situate any space outside this great unity? Would that which isolates not also be a space with another time? The desire to experiment, to know, often forces me to lead my work along an interrupted itinerary, since experimentation interests me more then wxperience. I also prefer knowing to knowledge. We never know enough, since what we know also contains the unknown ant its call." V njegovih delih lahko opazujemo sledeče teme, ki se različno odražajo od skulpture do skultpure. UMETNOST NAMENJENA VSEM Njegova umetnost ne poskuša biti nek umetniški manifest, odziv na neko trenutno politično ali družbeno stan- je, ampak umetnost, ki je zmožna prenašati moralne resnice z jezikom, ki z abstrakcijo doseže svoj maksimalni učinek. Tako je dodelil umetnosti vso svobodo, da postavlja vsa vprašanja relevantna za javni, socialni spekter, brez implikacije mentalnih omejitev.

chillida |

Eduardo Chillida je verjel, da umetnost pripada vsem v trenuku ko se soočimo z njo. Objame nas, pripravi da se zagledamo sami vase in v svoj odnos do okolja v katerega je skulptura postavljena. (npr. peine del vento, San Sebastian) Izpostavi nam določene dvome in vprašanja, ter nas tako usmerja po poti neznanega. Njegove javne skulpture so predvsem prostori zbiranja, dialoga in sobivanja. SKULPTURA - PROSTOR Predvsem pri njegovih javnih skulpturah lahko opazujemo odnos do okolja v katerega so umeščene. Zdi se, kot da skulptura prevzame del prostora in prostor del skulpture. Kot da prvo brez drugega ne bi moglo obstajati. Skulptura se nam riše kot vedno prisotna, a vidna šele z posegom umetnika. POLNO - PRAZNO Chillida v svojem procesu ustvarjanja uporablja princip polno/prazno - izrezovanje lukenj, izmikanje volumnov, zareze in torzije, ..., ter s tem ustvarja napetost, ki opazovalcu nudi igranje z iskanjem manjkajočega dela ali z sestavljanjem trans- formirane forme. Princip polno/prazno je ravno tako opazen pri tvorjenju notranjega prostora v skulpturi, nasproti upora- bljenemu materialu. MATERIAL In the work of Chillida , materials are not used to reproduce images. They are not even used with the purpose of suggest- ing abstractions or minimalisms. As space and matter are the only visible components, density becomes a fundamental factor in the description of Chillida's sculpture, and as important as its mass. It is hard to imagine a more definitive aesthetic proposal, demanding less of a visual effort to identify its components and, consequently, unrelated to abstract art. The work itself is the matter that determines the space, and all its significance is reduced to these elements, whose limits Chillida will try to define. There is nothing to imagine. What it is, is what it represents. Space is the stage; time and matter, the actors. (J.M.Tasende; Chillida, Matter Space Time, str.32) MATERIAL IN PROSTOR Ko razmišljam o njegovih večjih skulpturah (npr. hommage to horizon, ali pa monument of tolerance v Sevilli, ...) lahko opa- zujem tvorjenje notranjega in zunanjega prostora skulpture. Prostor, ki je konveksen in prostor, ki je konkaven. Pri manjših skulpturah ustvarja Chillida prostore znotraj materije same z raznimi vdolbinami, luknjami, linijami, torzijami, ... . Ponovno ustvarja napetost med zunanjim in notranjim, le da je v tem primeru zunanji prostor materija sama. zdi se, kot da bi Chillida poleg oprijemljivih materialov (kamen, beton, les, železo, ...) uporabljal še eno snov - praznino, ki jo dolbe do te mere, da na koncu ostane le še željena skulptura. "An interior space must always be accessible. The clean-cut, direct dialogue set up between matter and the space, the wonder of this dialogue at the limit is due, I belive, mostly to the fact that space is very fast matter, or that matter is a very slow space." E.Chillida chillida | INTERVJU

Sandra Wagner: Your career is long and eventful-what influenced your evolution as a sculptor?

Eduardo Chillida: I started with works in clay, in the early years in France. I associated clay with the white light of Greek sculptures, but I soon realized it was not my way. I returned to the Basque country from France unhappy and depressed. In the studio every day, I was looking back to the things I had been doing for the last year, and then I stopped to ask myself, "Why?" This was a crucial moment for me. At that moment, I decided never to look back. I started to work in steel, a natural element of the Basque region. The light I as- sociate with steel is black and this was better in discovering my way. Now, I work to know, because I want to learn and to solve problems in art. I don't look back. For me, there are many questions, perhaps impossible to understand. This is my motivation, my driving force. The questions, the things I don't know, are the basis of my work and my life.

Wagner: How do you see and understand public space and the role of art in public space?

Chillida: In my case it is very clear; public works are open to the horizon and are in a public scale, the scale of man. Horizon is very important to me, it always has been. All men are equal and at the horizon we are all brothers, the horizon is a common homeland. I wanted to do an homage to the horizon and it had been an idea for some time. However, elements of the horizon cannot be measured, so Pili (my wife) and I trav- eled the Atlantic coast from Brittany to Compostela. We discovered that we always encountered the military, because the coast is an access point that always needed protection. The coast is a place where one can see great distances and the horizon is great. My work, "The Eulogy of the Horizon" (1990), is along this coast, in Gijon, and needed that specific great horizon. The monuments all have a special history. The city of Barcelona commissioned "Eulogy to Water" (1987) for the Parque de la Creuta del Coll. I consulted with architects in Barcelona for the proper site in the park, but I couldn't find anything. Suddenly I saw the quarry filled with water, and in the quarry it was possible to suspend the sculpture above the water. The reflection on the water suggests the myth of Narcissus.

chillida |

Wagner: Do you see a definite relationship between nature and your work?

Chillida: Yes, Eulogy is oriented to the sky, it looks up, and "Wind Combs" is also in a fantastic place, but as- sociated with the sea. The sea has been my master and I have learned much from it. When I was young, I would go there instead of going to school. I watched the waves and thought, "Where do they come from?" I did not know I would be a sculptor, but I think that I was already thinking about "Wind Combs". The place is the origin of the work.

Wagner: Issues surrounding your work involve interior and exterior, solid and void, time and space, weight and weightlessness. Do you think you are continually solving these problems?

Chillida: The sculptures are very large and my work is a rebellion against gravity. A dialectic exists between the empty and full space and it is almost impossible for this dialogue to exist if the positive and material space is not filled, because I have the feeling that the relation between the full and empty space is produced by the communication between these two spaces. You can't simulate volume.

Wagner: You have reconstructed a medieval settlement in Zabalaga for the location of the Chillida Foundation. What is the role of your foundation?

Chillida: It is a place for my sculptures. I wanted them to be in a natural setting. It is in good shape, both the landscape and the house, although the solution for the house is not finished totally. The people from the Guggenheim visited recently when they came for a visit to their new museum in Bilbao.

http://www.sculpture.org/documents/scmag97/childa/sm-chlda.shtml Chillida-Leku is the culmination of one of the artist's lifelong dreams: to create a space for his work where it could be on permanent display. This monographic museum is a faithful representation of the sculptor's fifty year long artistic career. Chillida-Leku is the perfect setting to enjoy the full mag- nitude of this internationally-known artist. The museum is divided into three areas: A 12-hectare hillside (nearly 30 acres) with beech trees, oaks and magnolias studded with over 40 sculptures. A service area featuring an auditorium, with images of the artist at work projected continuously, a rest area, and a gift shop. And finally, the centrepiece of the museum is the Zabalaga farmhouse, which houses the smaller format pieces in corten steel, alabaster, granite, terracotta, plaster, wood and paper. Chillida-Leku is a sculpture in itself - another work of art in which the sculptor perfectly captures and renders his vision of shape, space and the passing of time. Chillida’s questions become an- swers as visitors make their way through the museum grounds. history Eduardo Chillida and his wife, Pilar Belzunce, visit the Zabalaga estate for the first time in 1983 and are immediately impressed by the size and presence of the farmhouse built in 1543. In 1984 the Chillida Belzunce family purchase a piece of the estate which includes the farmhouse, essen- tially in ruins. Chillida finds the farmhouse ideal for storing his sculptures while they are in the final oxidation stage. When the sculptures are ready, the idea is to send them to exhibitions and gal- leries around the world. With support from architect Joaquín Montero, Chillida goes about restor- ing the farmhouse and slowly turning Chillida-Leku into a sculpture garden. All the while, Chillida loses interest in selling off his work. Thus, the idea of creating a museum takes shape. The family continuee to purchase adjacent pieces of property, until the estate comprises a total of 12 hectares (neary 30 acres). Since the project was funded exclusively by family assets, Chillida has free rein to work as he en- visaged the project. Visitors are invited to touch all of the sculptures in the garden; however, we ask you not to touch the artwork on display inside the farmhouse. chillida | plaza del tennis | san sebastian Located at the western end of the boulevard that runs along 'La Con- cha', the bay in San Sebastian, the sculptures of Basque artist Chillida are placed next to the Plaza del Tenis. The place is the beginning and the end of the city, it is a symbol of the Avenida Zurriola 1 union of the city with nature. In a city 20002 San Sebastián Spain that ends in a way, that is the sea. The square is situated next to a Tenis Club, hence the name. The public space is designed by local architect Luis Peña Ganchegui: "I looked for a similar treatment of both ends of the horseshoe de la Concha, at least in concept engineering of the city, an ar- chitectural engineering that is. Where the stone is treated by the beds of architectural form, as blocks of a Re- naissance palace. As for the material, I choose the pink granite walls in Por- riño. A unique element, the cobbles of fixed and variable length section, it provides the unity of material and guarantees that the number of shares within the scale of sculptures ...

chillida | hommage a fleming | san sebastian

The sculpture by San Sebastian artist Eduardo Chillida ‘Hom- mage to Fleming’ was first installed on the Paseo de Ategorrieta, later Paseo de la Concha in the area of Zorroaga, and fi- 20009 San Sebastián nally placed on the Paseo de la Concha. The first version was made in iron, the second in granite. oteiza | construccion vaci | san sebastian Awarded in Pao Sao Paulo Bienniale in 1957 and installed in the new Paseo de San Sebastian in 2002, replacing the chapel and memorial to victims of Crucero Baleares.

Enbil Jorge Oteiza (Orio, 1908-San Sebastian, 2003) has been one of the most revolutionary sculptors of his time, highlighting their contribu- tions in the field of sculpture, mainly focusing on the 1950s. Among his works are statues to the sanctuary of Aranzazu.

sobejano | razširitev san telmo muzeja gradbišče | san sebastian How to approach a contemporary extension of San Telmo in response to new requirements for space and stringent landscaping conditions, while expressing its connection to the location with the passing of time?

The direct and radical gesture which defines out proposal Paseo de la Concha implies paradoxically its practical dissolution in the land- 20009 San Sebastián scape of Monte Urgull. We will limit ourselves to building a new green wall, deep and light, which is defined by the existing topography, and which hides in its interior two pavilions which will house the new programme. This decision heighten the appreciation both of the historical buildings as well as the new entrance to the museum, which offers access to the old building – which will incor- porate the permanent exhibitions – as well as to the new pavilion for temporary exhibitions. The main vestibule will therefore constitute a natural link with the new areas for cloakrooms, shop, auditorium, mediatheque, didactic hall and cafeteria which complete the necessary areas in a museum with these characteristics. chillida | chillida muzej |herani

Chillida-Leku is the culmination of one of the artist's lifelong dreams: to create a space for his work where it could be on permanent display. This monographic museum is a faithful representation of the sculptor's fifty year long artistic career. Paseo de la Concha Chillida-Leku is the perfect setting to enjoy 20009 San Sebastián the full magnitude of this internationally- known artist. The museum is divided into three areas: A 12-hectare hillside (nearly 30 acres) with beech trees, oaks and mag- nolias studded with over 40 sculptures. A service area featuring an auditorium, with images of the artist at work projected continuously, a rest area, and a gift shop. And finally, the centrepiece of the museum is the Zabalaga farmhouse, which houses the smaller format pieces in corten steel, alabaster, granite, terracotta, plaster, wood and paper. Chillida-Leku is a sculpture in itself - an- other work of art in which the sculptor perfectly captures and renders his vision of shape, space and the passing of time. Chillida’s questions become answers as visitors make their way through the mu- seum grounds.

frank o gehry |

Frank Owen Gehry se je rodil v židovski družini v Torontu kot Ephraim Owen Goldberg. Po selitvi v Kalifornijo pri svojih 18 letih je dokončal Šolo za Arhitekturo na Južno-kalifornijski univerzi v Los Angelesu. Kasneje je vpisal še urbanistično načrtovanje na Harvardu, vendar ga ni dokončal. Gehry je postal znan z eksperimentalno predelavo svoje lastne hiše v Santa Monici. Rožnato kolonialno hišo iz leta 1920 je obdal z no- vim plaščem iz rebraste kovine, vezane plošče, kovinskih mrež in lesenih okvirov. Kljub temu, da se Gehry s takšno opredelitvijo ne strinja, številni arhitekturni kritiki njegovo hišo omenjajo kot eno najzgodnejših del dekonstruktivizma. Njegovo najbolj reprezentativno in ikonografsko delo je seveda Muzej Guggenheim v Bilbau. Ocenjujejo ga kot vrh Gehrijeve usmeritve in eksperimentov s površinami ter oblikami, ki jih je razvil na svoji hiši v Santa Monici. V arhitekturnem poslu, kjer so zamude in presežki proračuna pogost pojav, pa je Gehry z Guggenheimom postal znan predvsem kot arhitekt, ki delo dokonča v času in okviru predvidenega proračuna. Zato so Guggenheimu sledila številna naročila. Večina Gehryevega dela spada v Dekonstruktivizem, ki je poznan tudi pod DeCon arhitektura, ki izhaja iz post-strukturalizma, ki ima po svoji naravi zmožnost, ki presega sedanje načine strukturne opredelitve. V arhitekturi, se njegova uporaba nagiba k odstopanju od modernizma in z njim povezano kritiko o podedovani kulturi. Prevzema pa danos- tmi, kot so družbene cilje in funkcionalne potrebe. Zaradi tega, za razliko od zgodnjega modernizma struktur, DeCon strukture, ni treba, da odražajo posebne družbene ali splošne ideje, kot sta hitrost in uni- verzalnost obliki, in ne odražajo prepričanje, da oblika sledi funkciji. frank o gehry | guggenheim |bilbao Izvor te arhitekture lahko iščemo v operi v Sidneyu, Berlinu - National Bibliothek, Stuttgartu - Galeriji moderne umetnosti, v N.Y., Tokiu, L.A., Las Vegasu, ... Organska rast stavbe je poudarjena s posameznimi deli celote, ki jo sestavljajo. Ti elementi so podrejeni uporabi, glede na uporabo prostora je prilagojena oblika in stil določenega dela stavbe. Izbira stila - stavba je nekakšen konglomerat različnih stilov, vendar nobeden od njih ni toliko enoznačen, da bi s tem motil celoto - je pogojena estetsko, oblikovno in funkcionalno, realistično - racionalistično. Ghery je gotovo velik poznavalec umetnostne zgodovine, kar mu po eni strani omogoča natančno uporabo različnih rešitev, po drugi pa potrebno distanco, do nekega stila. Neobremenjeno sprejemanje in uporaba različnih stilnih značilnosti: renesansa kot estetski temelj, racionalistična uporaba oblike in funkcije, modernizem, postmodernizem, 19. stoletje, neogotika, klasicizem, ... Od tu ni več daleč do disneylanda in estetike stripov (Batman) do ameriškega modernizma. Na zunanjščini je slutiti značilno ameriško estetiko gibanja (cf. "Razvoj steklenice v prostoru" Umberta Buccionia). Stavba deluje zelo organsko, kot nekakšno tkivo raste in se izgublja v prostoru. Arhitektura muzeja v Bilbau se ne podreja samo obstoječi starejši arhitekturi hiš temveč in predvsem arhitekturi transportnih komunikacij: ceste, železnice in kanala. Prvemu se podreja predvsem na ta način, da izpostavlja le določen stilni element, kot celota pa tako, da predstavlja popoln kontrast hišam okoli muzeja. Tudi od znotraj je arhitektura izjemna. Uspešna je tako oblikovno kot funkcionalno. Obiskovalcu nudi poleg izjemnih doživetij tudi vse kar si lahko zaželi v muzeju: od knjigarne, kavarne, drugih trgovin, skritih kotičkov do centralnega prostora, kjer se zbira večina obiskovalcev. Ko smo govorili o zunanjščini smo se lahko igrali z besedami in enkrat govorili o stavbi, kot o arhitekturi, drugič kot o skulpturi. Zunaj takšna igra menjavanja vlog poteka koherentno in v ničemer ne moti funkcije stavbe. Notranjščina je v tem pogledu bolj delikatna. Notranjščino sestavljajo štiri velike dvorane, ki so organsko povezane z zanimivim sistemom stopnic, hodnikov, dvigal, prehodov. Vendar očitna pomanjkljivost notranjščine se kaže v močni pripadnosti Gherrya ameriškemu modernizmu, tipični umetnosti velikih ameriških mest. Notranjščina poleg omenjenih štirih dokaj indiferentnih dvoran ponuja obilo prostorov, prostorčkov, kotičkov kamor lahko umetniki postavljajo svoja dela. Tako imenovana site specific umetnost najde tu svoje zatočišče. Notranjščina tako po organizaciji notranjega prostora v mnogo čem spominja na srednjeveško graščino, kjer si prostori sledijo vedno na drugačen način, povezani so med seboj neposredno - brez hodnikov - komunikacije med etažami so organ- sko vgrajene v stavbo in prostori so v orbiti centralnega prostora - sprejemne dvorane. Da je v ozadju tega ravno srednji vek ni niti malo nenavadno, saj je ravno evropski srednji vek nekakšno herojsko obdobje ameriške kulture, katere zgodovina je časovni vakuum. Pomislimo tukaj le na Alana Edgarja Poea in Walta Disneya, ki sta oba v svojem predstavnem svetu črpala iz poenostavljene zgodovine tega obdobja. Pri iskanju izhodišč te nove ameriške arhitekture ne moremo mimo bogate estetike stripa in Hollywooda - oba sta gotovo temelj ameriške kulture 20. stoletja. Kajti posamezni elementi stavbe močno spominjajo na Batmana ina na Gotham city - predvsem v večernih urah, ko svetloba bistveno dopolni izgled zunanjščine. Svetloba je pogosto zelo ekspresionistična. Tudi bruhanje ognja iz štirih kvadratov v vodi, med kanalom in stavbo.

frank o gehry | guggenheim |bilbao anish kapoor | v guggenheimu |bilbao Anish Kapoor (rojen 12. marec 1954) je indijski kipar. Rojen v Bombaju (Mumbai),Kapoor je živel in delal v Lon- donu, od leta 1970, kjer se je preselil v študij umetnosti, najprej na Hornsey College of Art in kasneje na Chelsea School of Art and Design. Mednarodno je zaslovel s solo razstavami na prizoriščih, kot so Tate Gallery in Hayward Gallery v Londonu, Kunsthalle Basel, Haus der Kunst München, Deutsche Guggenheim v Berlinu, Reina Sofia v Madridu, MAK na Dunaju, in ICA Boston. Predstavljal je V.Britanijo na beneškem bienalu leta 1990, ko je prejel na- grado Premio Duemila. Leta 1991 je prejel nagrado Turner. Pomembnejši javni kipi so Cloud Gate, Millennium Park, Chicago, in Sky Mirror na Rockefeller Center, New York. An- ish Kapoor je Royal akademik in je bil poveljnik britanskega imperija leta 2003. Razstava raziskuje kariero Kapoorja do danes, prikazuje število novih in prej nevidenih del, vključno z izbrano skupino zgodnjih pigment skulptur, zapeljive odsevno- polirano jeklene skulpture in kipe iz cementa . Razstava tudi izpostavlja kot monumentalno delo Svayambh, naslov, ki izhaja iz pomena besede Sanskrit - self-generated. Sim- bol Kapoorjevega interesa v delu kiparstva se Svayambh počasi premika skozi galerije celotni širino . Med pomembnejša dela na razstavi spada Streljanje v Kot, delo izredne kompleksnosti in drame, ki vključuje stene in tla galerije, Visoko drevo in Oko, pomembna nova skulptura. Neskončno ponavljanje in odsevanje okolice, kot veliko Kapoorjevih del, ta predmet spreminja in izkrivlja našo tradicionalno predstavo o obliki in prostoru.

Joaquin Labayen | El real club Nautico 1929 |san sebastian

One of the most representative buildings of rationalism is the Real Club Náutico which is lo- cated in the vicinity of the port, Calle de Ijentea 9 rounds off the Paseo de la Con- 20003 San Sebastián cha attached to the wall of the coastline. It is clearly inspired by the naval architecture, resembling in form a stranded boat. It was built by integrating the existing building, which today is, in part, its ground floor. The roof of the building was first used as a terrace on which stood a small wooden building of ma- hogany plywood ( "La Bombon- era") which was also integrated into the first floor. Its current state presents some extensions in relation to the original draft. foster | metro stations |bilbao

The curved glassy structures - or Fos- teritos - that announce the inner-city Line 1 stations at street level are as unique to Bilbao as the Art Nouveau Metro entrances are to Paris, their shape Plaza Circular 2 evocative of inclined movement and 48008 Bilbao generated by the profile of the tunnels themselves. The canopies admit natu- ral light by day, and are illuminated at night, forming welcoming beacons in the streetscape. On Line 2, where deep-cut stations made it impossible to use esca- lators, banks of large-capacity lifts are grouped in threes to create iconic and easily recognisable entrance points.

roberto ercilla | sancho el sabio fundantion |vitoria The Sancho el Sabio Foundation, dating from 1964, is the main docu- mentation and investigation centre of Basque culture and history. The proposal involves the recovery of a former cemetery and based on that, Plaza Circular 2 the development of the remaining 48008 Bilbao building. Because the programme involves important storage spaces, it was decided that all of the stor- age areas and adjoining work areas would be on basement level and the former cemetery would hold a lobby, meeting rooms, administra- tion, and circulation. The main idea is to preserve the old building in a glass structure that would also pro- vide natural light to the basement level. To achieve this, a perimetrical ring around the cemetery is emp- tied and the glass façade of the new building is built up from this fissure. The basement is developed as an external ring around the cemetery and in it are located dif- ferent storage and work rooms. The proposal realizes the coexistence of the two buildings. Roberto Ercilla | Electric Ramps at the Old Centre 2007 | san sebastian This project came about from an idea competition organized by the City of Vito- ria-Gasteiz. The programme contemplates the creation of covered mechanical ramps, four sections in Cantón de la Soledad and three sections in Cantón de San Francisco Javier. The decision to cover the ramps Paseo de la Concha allows a better guaranteed use, given 20009 San Sebastián the extreme winter conditions in the city. The covering will be both complex and simple. It is complex in its apparent three- dimensional perception and simple as it is conceived from equal pieces, uniquely displaced among themselves. The ba- sic stainless steel and glass portico acts similarly to the shots of a film, by means of rotary movements around a virtual axis in sequences of one metre distances. The sensation of rotational movement that the user perceives uses the movement of the ramp itself to create a connected sequence that holds one's interest all the way up, creating different views in differ- ent places along the way.

chillida | plaza de los fueros | vitoria

Paseo de la Concha 20009 San Sebastián mangado| museum of archaeology | vitoria

The basic form of the building is determined by its context and the continuity, both in terms of concept and program, which it establishes with the adjoin- ing Palace of Bendańa, currently the Naipes Fournier Museum. center In the permanent exhibition halls, all horizontal sur- faces, floors and ceilings, are very dark. The wood floor (almost black) and the continuous ceiling (also black) form a closed and dark box or chest delimited by the facade walls clad externally in a folded skin of bronze sheet, with pieces that are superposed or stepped depending on the lighting needs. But these dark spaces are traversed by white glazed prisms round which the exhibition of pieces is organized that shall draw light in from the roof at daytime, coming from an internal illumination in the dark- ness. These prisms shall be inlaid with graphics and information to describe the items, but beyond this pedagogical task, their light will speak of the ad- venture of interpretation, the metaphor that makes reference to light in a dark space, to the hope of being able to interpret aspects from our past. Towards the interior of the plot, the access court- yard is configured by more transparent boundaries: it is the bronzed skin that opens up with constant rhythm allowing space to signal visitors into the exhibition areas.

paredes pedrosa| olmeda roman villa | palencia mangado | nogometni štadion | palencia football field has a fundamental and obvious function: to play football. But it also has two more functions that are not so evident but no less important. The first has to do with representation. A football field has become a work with certain iconic potential for the city. It can be a land- mark, a building that is important not only for its quan- titative characteristics, but also for its qualitative ones, a container for the dreams of the people. The second aspect stems from an obvious question: An area with the dimen- sions of a football field takes up a great expanse, which is used only on occasion. Doesnt this result in a waste of space? This basis of this proposal rests on the belief that a football stadium is more of a building than an element of infrastructure. It is a building that can be taken advantage of to house other uses, but that above all, can and should recuperate a civil role. The project proposes perimeter offices and other public uses on the ground floor, all designed as a great urban showcase with direct and im- mediate access from the street. Internally the stadium is a large surprise void where in addition to football games, a variety of public spectacles can be enjoyed. The towers, necessary to illuminate the field, have the most symbolic roles. Lit, like large minerals with sculp- tural qualities, these towers can be seen from several kilometers away, establishing a dialogue in the landscape with Palencia´s Cathedral. Committed to the concept of stadium as urban building, the stadium maintains a festive character.

nieto sobejano | muzej colegio san gregorio | valladolid The San Gregorio College is one of the most outstanding buildings in Valladolid, a representative of the characteristic late Gothic in late 15th century Spain. The trac- es left by each of the operations over the years are a reflection of the real life of the building which, Calle de las Cadenas far from being frozen at a certain de San Gregorio 1 point in time, has adapted for 47011 Valladolid better or worse to a wide diversity Spain of use as a college, a prison, an administration centre and now as a museum. The fundamental issue of how to approach the renovations and extensions to the museum was not approached ge- nerically, but instead in a specific, particular way for each area and circumstance. The project pro- poses an integral operation with differing degrees of intensity. Like components of an architectural altarpiece built over the centuries, the new work will become part of the never-ending process of additions and modifications that accompany the life of the building. j carlos arnuncio pastor | museo patio herreriano | valladolid The Patio Herreriano, Museum of Spanish Contemporary Art, takes its name from the rehabilitation and expansion of the former Monastery of San Benito, founded in the 14th century and located in the historic centre of Valladolid. The Patio Herreriano is one of three cloisters and the one of Calle de Jorge Guillén 6 greatest interest. It was designed by Juan 47003 Valladolid de Ribero Rada between 1582 and 1584, Spain according to the model of the Evange- lists Patio of the Monastery of El Escorial. The chapel of the Counts of Fuensaldaña (1453), which was in ruins, is intervened too. The project combined circulations and spatial values of the cloister. The criteria for intervention are the fidelity to the architec- tural logic of the courtyard, a scrupulously neutral space that meets the museum. The project extends to the space prior to entry, and the composition generates a square that turns its back on an ugly apartment block practically attached to the monastery

roberto valle gonzales | penafiel castle wine museum | penafiel Penafiel Castle stands sentinel like on an isolated outcrop of rock in the middle of the Duero Valley floor, dominating the little town beneath it from which it takes its name. They take winemaking seriously here, so what better place to locate the mu- Calle de Subida al seum of wine. The museum has been Castillo 47300 Penafiel inserted into one of the finger like Spain courtyards of the castle over three floors. The intermediate floor, where one enters, and the first floor contain the actual museum, while the lower floor contains meeting and confer- ence facilities, together with some competition wine tasting booths. The materials palette. A basic white painted steel structure sits on the concrete lower level - non of which interferes with the original structure. The intermediate and upper levels reveal the original cold limestone castle walls, while the floors and ceiling are finished in a rich, warm lapacho timber. On the lower level, honed and polished limestones are used, with white ceiling. rogers stirk harbour | bodegas protos | penafiel Nestling in the shadow of the Castle, in the town of Penafiel, lies the headquarters of winemaker Bodegas Protos. Part of the exist- ing winery occupies tunnels under the castle, but a new tunnel links the old to the striking new facil- Calle de Rondas ity by RSH. Like an iceberg, most 24-28 of the new building seems to be, E-47300 Penafiel and in fact is, underground. This volume - the lower of the two floors - occupies all of the trian- gular site. The west end is curved to follow the line of the boundary road. It is used for offices - il- luminated naturally by an ovoid lightwell - along with fermentation and storage vats. The first floor accommodation, entered at grade, comprises five graceful parabolic arches, each topped with a terra- cotta clad curved roof. These roofs float above the arches and each is a different length from its adjacent neighbour to accommodate the tapering site. Four of the roofs are walled with glass - with overhangs offering shade - whilst the space beneath the fifth roof is left open.

mangado | exhibition and congress center of avila | avila The Municipal Congress and Exhibition Center is aimed at becoming a meeting place to celebrate different kinds of events, a levelled area or plaza at the edge of the walls. The main level of this area is matched up with the highest point of the plot, so that its extension generates a large interior void that shall house, without excavation, the required uses. izven obzidja severo The building basically takes up the northern side of the new public vzhod space, delimiting along with the walls the new square. In keeping with the contours of the site, the project combines two different geometries: the most orthogonal and elongated space contains the auditoria and main halls, while the most precipitous and uneven one contains the exhibition spaces.Entry to the complex is clear and easy: the main auditoria are reached from the square and from the higher part of the seating area, which allows to get a quick grasp of the interior space; and the exhibition areas have an independent entrance from the inci- sions on the platform in the eastern boundary and, since all the differ- ent areas are connected under the square, they can also be reached from the interior of the building. From a formal and constructional point of view, the project draws inspiration from the evocative strength of the landscape, from the granitic mass that pervades everything. The volumes are meant to be seen from afar, high up from the walls like a sculpture carved out of the terrain. It is a juxtaposition of granite vol- umes, summed up in one piece, a more orthogonal one, cut and carved in a precise manner, and another more abrupt and topographical piece that covers the exhibition volume. For this reason the roofs shall be designed to smoothly extend the vertical surfaces. These folds generate the incisions through which natural light floods the interior, also allow- ing independent access to this area. rimski akvedukt| segovia The aqueduct transports waters from Fuente Fría riv- er, situated in the nearby mountains some 17 kilome- ters (10.6 miles) from the city in a region known as La Acebeda. It runs another 15 kilometers (9.3 miles) before arriving in the city. The water is first gathered in a tank known as El Caserón (or Big House), and is then led through a channel to a second tower known as the Casa de Aguas (or Waterhouse). There it is naturally decanted and sand settles out before the water continues its route. Next the water travels 728 meters (0.45 miles) on a one-percent grade until it is high upon the Postigo, a rocky outcropping on which the old city center, the Segovia Alcázar, was built. Then, at Plaza de Díaz Sanz (Díaz Sanz Square), the structure makes an abrupt turn and heads toward Plaza Azoguejo (Azoguejo Square). It is there the monument begins to display its full splendor. At its tallest, the aqueduct reaches a height of 28.5 me- ters (93.5 ft), including nearly 6 meters (19.7 ft) of foundation. There are both single and double arches supported by pillars. From the point the aqueduct enters the city until it reaches Plaza de Díaz Sanz, it boasts 75 single arches and 44 double arches (or 88 arches when counted individually), followed by four single arches, totalling 167 arches in all. The construction of the aqueduct follows the prin- ciples laid out by Vitruvius as he describes in his De Architectura published in the mid-first century.