EGA. Revista de Expresión Gráfica Arquitectónica

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https://riunet7pre.upv.es/handle/10251/14704

EGA es una publicación periódica de la Asociación Española de Departamentos de Expresión Gráfica Arquitectónica.

Sus contenidos se organizan en dos grandes bloques:

El primero sobre cuestiones docentes y de investigación, y en general todas las líneas de investigación definidas en el I Congreso.
El segundo bloque tiene un carácter más informativo, para conocimiento del colectivo, y recoge las tesis doctorales de nuestra área, noticias sobre publicaciones, seminarios, cursos, exposiciones, trabajos de investigación, etc.

EGA tiene un periodo de embargo de un año durante el que no se puede acceder al texto completo. Si desea acceder a los contenidos embargados debe suscribirsea la revista en papel.

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Now showing 1 - 16 of 16

Conversando con... Balkrishna Doshi
(Universitat Politècnica de València, 2021-11-19) Durán Fernández, José; Lozano Portillo, Ana; Lozano Velasco, José María; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea
[ES] El arquitecto indio Balkrishna Doshi, Premio Pritzker 2018, ha cumplido recientemente noventa y dos años en plena y entusiasta dedicación a su vocación arquitectónica y a su familia. El catedrático de proyectos arquitectónicos de la UPV, José María Lozano Velasco, ha tenido la oportunidad de encontrarse con él en Sangath -su estudio en Ahmedabad- el pasado mes de agosto, para compartir preocupaciones comunes y aprender de este maestro de la arquitectura que no desea ser llamado así.Cuando apenas acaba de clausurarse la segunda oportunidad –esta vez en el Architekmuseum der TUM de la Pinacoteca Moderna de Munich- para conocer de manera cuidadosa su obra, a través de la espléndida exposición denominada Architecture for the people que produjera el VITRA museum de Weil an Rhein, las reflexiones de primera mano y de viva -muy viva- voz de su autor resultan esclarecedoras para su mejor compresión.Es conocida la inestimable colaboración que Doshi prestó al gran maestro Le Corbusier en la concepción y ejecución de Chandigarh. También la imprescindible participación de nuestro arquitecto en el Campus del Indian Institute of Management de Ahmedabad de Louis Khan. E interesante estudiar la influencia de uno y otro en su obra primera. Como observar su evolución hacia la magia de Amdavad ni Gufa o su profunda atención por el Low cost housing, que en el distrito construido de Aranya, Indore, cobra realidad.No han faltado los estudios de colegas y amigos como William Curtis o Kenneth Frampton que, con más autoridad que nosotros, se han pronunciado al respecto.Este artículo es el resultado del conocimiento de todo ello y de las visitas realizadas a gran parte de la obra, más la enriquecedora conversación sostenida con su autor. Y su enfoque es otro. Hemos querido indagar en aquellas razones que hicieron denominar la primera época de Doshi como “Tradition and modernity”, en las más mágicas (o míticas, como él mismo las denomina) y en la principal herramienta para transmitirlas: el dibujo (y el dibujo de color).El artículo incluye transcripciones literales o adaptadas de algunos pasajes del encuentro, contextualizadas oportunamente.
Conversando con...Momoyo Kaijima
(Universitat Politècnica de València, 2017-11-21) Gómez Alonso, Carlos; Alvarez Isidro, Eva María; Torres Barchino, Ana María; Dpto. de Expresión Gráfica Arquitectónica; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio; Grupo de Investigación en Arte y Arquitectura Contemporánea
[ES] Momoyo Kaijima es profesora en la Facultad de Arte y Diseño de la Universidad de Tsukuba en la Prefectura de Ibaraki y profesora visitante en la ETH de Zürich, en Royal Academy of Fine Arts, en Rice School of Architecture y en Harvard GSD. A lo largo de los años, Atelier Bow Wow ha colaborado con Krešimir Rogina, arquitecto de Zagreb y socio de la firma internacional Penezic&Rogina, en la realización del Grožnjan International Summer School of Architecture, siendo Rogina el nexo indispensable para propiciar la visita de Kaijima a Valencia.
La dimensión precisa. Teoria y práctica en el Canon 60 de Aulis Blomstedt
(Universitat Politècnica de València, 2022-11-22) Fernández-Vivancos González, Enrique; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
[EN] In 1942, the Finnish architect Aulis Blomstedt started a research on measure and proportion in architecture, which culminated in 1961 with the proposal of a dimensional system called Canon 60. This exploration, which initially focused on the problem of standardized housing, was approached simultaneously through theoretical reflection and professional practice, a dual approach that was not always fairly appreciated at the time. The present article recaptures this experience following its capacity to reveal the transfer mechanisms that occur between theory and practice in the field of architecture. With this objective in mind, it analyzes the crossed relationships that intertwine Blomstedt s built work with Canon 60, through a comparative study of the residential projects carried out by the author in Tapiola between 1953 and 1965, crucial years in which this dimensional proposal reaches its final expression.
Dos revistas y un proyecto de Le Corbusier. Cahiers d'Art, L'Architecture d'aujourd'hui y el Palacio de los Soviets
(Universitat Politècnica de València, 2022-11-22) Ponce Gregorio, Pedro; Peris Blat, Ignacio; Sanchis Gisbert, Salvador Jose; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
[EN] December 1931. Le Corbusier, together with Pierre Jeanneret and his assistants, concludes the project for the Palace of the Soviets in Moscow; one of the grands travaux he never managed to build. Hence, perhaps, the publications became for the master a valid vehicle for its reconstruction; as if the role of magazines and books had the possibility of building some of the most significant ideas of this architectural project. From then on, there were two magazines in which the palais occupied a few but important pages as soon as it was completed: issues 1-2 of Cahiers d Art in 1932 and issue 10 of L Architecture d aujourd hui in 1933. Significant publications in which the architect undoubtedly condenses the most relevant aspects of his unfortunate palace. Hence the interest in these two editions.
Eric Mendelsohn: lugar, exigencias y expresión en el Centro Médico Universitario Hadassah en Monte Scopus (Jerusalén)
(Universitat Politècnica de València, 2017-07-14) Azulay Tapiero, Marilda; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] Between 1934 and 1941, Eric Mendelsohn (b., Allestein, 1887; d., San Francisco, 1953) designed and built the Hadassah University Hospital on Mount Scopus in Jerusalem; a project that is embedded in the latter city’s cultural, political, economic, social and geographic context and whose social significance is wide-reaching. The article tackles some of the relationships that Mendelsohn put into play and would turn out to be decisive: relationships between expression and organicity, dynamics and function (expression and demand), architecture and place, between intellect, inspiration and temperament, and image and architectural reality.
Exposición de arquitectura de Ludwig Miës van der Rohe. Art Institute of Chicago, 1938-1939
(Universitat Politècnica de València, 2023-07-24) Lizondo Sevilla, Laura; García-Requejo, Zaida; Santatecla Fayos, José; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] The first monograph on Mies van der Rohe was published in 1947 to coincide with the exhibition curated by Philip Johnson at MoMA in New York. Although this exhibition has been considered by critics as the first to present Mies' work exclusively, new documents reveal that in December 1938 the "Exhibition of Architecture by Miës van der Rohe" opened at the Art Institute of Chicago (AIC), which included drawings, photographs and models from his European period. This article aims to present this monographic exhibition by graphically analysing the material that has remained unpublished until now: seven photographs in the archives of the University of Michigan and a press release in the AIC Archives Research Center. The three-dimensional survey provided details the architecture on display, and compares it with the exhibitions that preceded and followed it (1932 and 1947), both organised by MoMA.
Geometría de la transformación. La propuesta urbana de Leonardo da Vinci para Milán
(Universitat Politècnica de València, 2016-05-09) Fernández-Vivancos González, Enrique; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
[EN] In 1493, Leonardo da Vinci proposed an ambitious plan for the transformation of Milan, consisting of the construction of ten new cities in order to solve overcrowding and insalubrity problems at the Lombard capital. With this project, which links urban growth dynamics with interior reorganization processes, Leonardo achieved a synthesis of a long search between the utopian of the new planned ideal city and the pragmatism of the renovation of the medieval cores within the values from the humanistic culture of the Renaissance.This article relates the singular strategy of the urban transformation proposed by Leonardo for Milan with his studies about formal structures and formation processes in territory. These investigations, about the permanency and change, finally led to the development of a transformation geometry currently known as topology
Le Corbusier. Alemania, 1910. Dibujar ciudades, construir dibujos
(Universitat Politècnica de València, 2023-11-30) Torres Cueco, Jorge; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
[EN] In 1910 Le Corbusier travelled to Germany, staying in Munich from April to September. In his libraries, he began to prepare a report on German cities, which was to give rise to a book project, La Contruction des villes. In addition to bibliographical consultations, he spent long hours copying a large number of drawings that he took from the manuals and treatises of Sitte, Brinckmann, Stübben, Henrici or Schultze-Naumburg, but also from Matthäus Merian's engravings for the Topographia Germaniae. These quick or extremely detailed sketches were a source of knowledge and reflection on the city in a picturesque and romantic conception. Sitte had a decisive influence through his volumetric vision of urban space, from which arose the notion of "corporality" that Le Corbusier transferred to his designed architecture as a "play of volumes brought together under the light". This question, and the making and meaning of these drawings, is the subject of this article.
Le Corbusier. París, 1915. Construir dibujos, construir ciudades
(Universitat Politècnica de València, 2024-03-27) Torres Cueco, Jorge; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
[EN] After writing the draft of La Construction des villes in 1910, this project was put on hold until 1915, when he moved to Paris for seven weeks. At the Bibliothéque Nationale he prepared a series of files with texts and sketches and, above all, devoted himself to copying new drawings. Now the workmanship is fast, and rather than faithfully reproducing, he interprets what he sees through a new prism: classicism. There are other references: Blondel and Laugier as sources of authority, but also books and plates by Piranesi, Perelle, Riat, Patte, oriental architecture, historical maps of Paris and prints and engravings from the Cabinet des Estampes. That book was definitively abandoned, but a new conception of the city began to take shape in those days and was reflected in his urban proposals and in Urbanisme, where he published some of these drawings.
MIES VAN DER ROHE. De los CONCURSOS a las EXPOSICIONES; del FOTOMONTAJE a la técnica del PAPEL PINTADO
(Editorial Universitat Politècnica de València, 2013) Martínez García, Santiago José; Lizondo Sevilla, Laura; Santatecla Fayos, José; Bosch Reig, Ignacio; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] One of the most important cultural scenes of the last century has been the media, becoming the laboratory of ideas for a large number of architects and artists. Many of the most famous projects had no customer or specific site; their existence came with the excuse of being displayed and their only tangible survival lies in the graphic and photographic documentation of the time. This paper focuses on the specific case of Mies van der Rohe and it analyses two of his methods of graphic expression used in his German architecture: the photomontages peculiar of his "paper architecture" presented in competitions and the technique of wallpaper, used in some of his exhibitions. These drawn architectures, created for theoretical or temporary contexts, were the ones that gave Mies the necessary impetus to make him one of the most important architects of the twentieth century.
POCHÉ O LA REPRESENTACIÓN DEL RESIDUO
(Editorial Universitat Politècnica de València, 2010) Castellanos Gómez, Raúl; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
[EN] Poché was a habitual term in École des Beaux-Arts ateliers in Paris for the depiction technique of inking in sections of walls in a building. This method, not used explicitly until the 19th century, had already been developing gradually since the Italian Renaissance and Baroque periods. Poché was a texture architects used on drawings to abstract residual or service areas and relegate them to the background of the drawing against which the normal figures stood out. This technique was developed considerably in eighteenth-century France being in keeping with the type of plans used for the homes of the aristocracy in the Ancien Régime. Hence poché was the expression of residual space: a way of omitting the incidental and providing a visible portrayal of a work of architecture’s desire for perfection.
Proyecto y representación. El Palacio de los Soviets y la Œuvre complète 1929-1934
(Universitat Politècnica de València, 2021-03-24) Ponce Gregorio, Pedro; Peris Blat, Ignacio; Sanchis Gisbert, Salvador Jose; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
[EN] Like for many other architects, the depiction of projects was key for Le Corbusier. Far from being considered a mere strategy of ostentation, for the master it held the possibility of “building” some of the more elusive ideas for his projects. Especially for all the unfinished ones, such as the Palace of the Soviets in Moscow (1931), edited and published by the architect up until his very last breath. And although there were to be many pages written on this particular project, none of them even came close to the significance of the OEuvre complète, where the palais occupies a total of fifteen pages –written and laid out completely by Le Corbusier–with which we will try to access some of the more intimate and unknown secrets of this important architectural project.
Reseñas
(Universitat Politècnica de València, 2017-11-21) Campo Baeza, Alberto; Rubio Garrido, Alberto Jose; Ruiz de la Rosa, José Antonio; Salgado de la Rosa, María Asunción; Pernas, Inés; Serra Lluch, Juan de Ribera; Trillo de Leyva, Juan Luis; Raposo Grau, Javier Francisco; Echeverría Valiente, Ernesto; Dpto. de Expresión Gráfica Arquitectónica; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio
Restauración de la iglesia de San Pietro in Montorio de Roma
(Universitat Politècnica de València, 2018-07-13) Bosch Reig, Ignacio; Bosch Roig, Luis; Marcenac, Valeria; Salvador Luján, Nuria; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Instituto Universitario de Restauración del Patrimonio; Grupo de Investigación en Arte y Arquitectura Contemporánea
[EN] The Church of San Pietro in Montorio (1473-1500), is located on Mount Gianicolo, on the property of the Spanish State, where is the Royal Academy of Spain. In its 517 years of existence, it has experienced extensions (chapels Piedad and Raimondi, seventeenth century), partial landslides (French bombing of 1849 and earthquake of Avezzano in 1915), which together with its geo-hydrological situation, supposedly the realization of inadequate structural reinforcement actions during the twentieth century, producing a significant current state of deterioration. The article gathers the historical-constructive evolution, the inquiries to know the current state of conservation and the causes of the damages, exposing the projected actions to give an adequate response to the problems posed, concreted in: geodetic control of the deformations; thermo-hygrometric and strain-gauge control; new floating and flexible roof structure; desiccation of walls with restoration of stuccos and ornamentation; access solution to the bell tower; pedestrian accessibility to the Church.
Sun and ShadowHADOW: la expresión gráfica al servicio de una idea
(Universitat Politècnica de València, 2019-04-08) Sanchis Gisbert, Salvador; Peris Blat, Ignacio; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
[EN] Marcel Breuer belongs to the first class of Bauhaus architects. The special training he receives in that School allows him to explore the concept of design in its broadest sense. In the year 1955, in the process of becoming more and more international, a monograph was published with his work entitled ‘Marcel Breuer: Sun and Shadow, the Philosophy of an Architect’. This book, which is the most important one of his whole career, is seen as an exercise of global design. To fully develop it, it counts on the collaboration of photographers, painters, designers and architects. It manifests itself as a multidisciplinary creative process. In order to facilitate a simple and clarifying reading of his ideas about Architecture, in this article we examine the contents of the book, organised in a pioneering and singular way. We also revise the resources of graphic expression, based on photography, drawing and colour.
El valor y el propósito de un dibujo de Louis I. Kahn
(Universitat Politècnica de València, 2013-11-06) Castellanos Gómez, Raúl; Domingo Calabuig, Débora; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura; Grupo de Proyecto Arquitectura
[EN] Louis I. Kahn’s ‘form drawing’ for the First Unitarian Church of Ro-chester is a simple diagram and yet it sums up everything involved in the starting point of architectural design. Accustomed as we are nowadays to more sophisticated images, it is worth taking a closer look at the value and aim of this type of diagram characterised by an enlightening balance of re-straint and intensity. Kahn’s form drawing is a synthesis of his think-ing that beckons us to take another look at the genesis of the design process

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