EGA. Vol 16, No 17 (2011): Conversando con... BENEDETTA TAGLIABUE

Permanent URI for this collection

https://riunet7pre.upv.es/handle/10251/14705

Tabla de contenidos

Reseñas de libros

Artículos

Conversando con... BENEDETTA TAGLIABUE
MAQUETA O MODELO DIGITAL. LA PERVIVENCIA DE UN SISTEMA.
APLICACIONES DE LA TECNOLOGÍA DE DIGITALIZACIÓN TRIDIMENSIONAL POR LA COORDINACIÓN DE MONUMENTOS HISTÓRICOS DEL INSTITUTO NACIONAL DE ARQUEOLOGÍA E HISTORIA (INAH) EN MÉXICO DF. (2009 Y 2010)
SOBRE PERSPECTIVA, FOTOGRAFÍA E INFOGRAFÍA Apuntes para una fenomenología de la representación
ARQUITECTURA Y ‘BLANDOGRAFÍAS’. Notas para un debate obligado
EL INTERIOR DE RONCHAMP EN UN DIBUJO DE LOUIS I. KAHN
VISTA DESDE MI ALOJAMIENTO
LA RÉPLICA EN EL CONTEXTO DE LA GESTION DEL PATRIMONIO INMUEBLE. TRES CAPILLAS SIXTINAS
ARQUITECTURA PLEGABLE PARA UNA DÉCADA PRODIGIOSA La obra de Emilio Pérez Piñero y la arquitectura de los años sesenta
ARQUITECTURA SIN PLANOS. PLAZA DE TOROS LA PETATERA
EL PAISAJE DE MADRID A TRAVÉS DE SU CORNISA. DE LA FACHADA A LA SECCIÓN CINÉTICA
LOS ANÁLISIS GRÁFICOS DE LA IGLESIA DE SAN MIGUEL DE FOCES DE IBIECA (HUESCA)
REPRESENTACIONES VIRTUALES Y OTROS RECURSOS TÉCNICOS EN LA ACCESIBILIDAD AL PATRIMONIO CULTURAL
EL CLASICISMO ACADEMICISTA EN LA VALENCIA DE LA SEGUNDA MITAD DEL SIGLO XVIII: UNA MIRADA A TRAVÉS DE 3 FACHADAS DE ANTONIO GILABERT
LA DISTANCIA QUE ACERCA: RECTIFICACIÓN DEL CRISTO YACENTE DE ANDREA MANTEGNA
PLANIMETRÍA SONORA, de Kahn a Miralles
TIPO, TAMAÑO Y MEDIDA EN LA ARQUITECTURA GÓTICA. EL FOCO BURGALÉS (SS. XIII-XIV)
LA IDEALIZACIÓN DEL ESPACIO LISO
EL PALACIO DEL MARQUÉS DEL ARCO: LA MADUREZ DEL PLATERESCO SEGOVIANO
DOS DIBUJOS Y TRESCIENTOS AÑOS
LA DISCUSIÓN NO ESTÁ ACABADA. Otro punto de vista sobre el Dibujo en la formación del arquitecto

Browse

Now showing 1 - 20 of 22

LA RÉPLICA EN EL CONTEXTO DE LA GESTION DEL PATRIMONIO INMUEBLE. TRES CAPILLAS SIXTINAS
(Editorial Universitat Politècnica de València, 2011) San José, Jesús
[EN] The current technology is the key resource to get physical replicas and virtual recreations of buildings, historical and archaeological sites, and different types of cultural assets. This recreation has now become necessary in order to release and to spread these sites that are often subject to preservation conditions, which make it difficult for widespread visiting, and which can’t be enjoyed, exhibited or exploited as it would be likely to. The use and comparison of the 3D laser scanner results in the documentation of the Panteón de los Reyes allows both to elaborate metric documentations of an extremely accuracy and liability, and the possibility of creating 3D virtual models that get to simulate the real object and, at the same time, asses the economic costs of the process.
PLANIMETRÍA SONORA, de Kahn a Miralles
(Editorial Universitat Politècnica de València, 2011) Bravo de Laguna Socorro, Alberto
[EN] The current professional architectural mapping is sometimes determined by default options provided by the traditional drawing software. We must set references for the students, such as notable cases in which the asepsis, usually associated with the planimetric representation, is replaced by a deliberate way of developing architectural blueprints. Two architectural productions distant in time and methods, Miralles and Kahn, share that quality: to generate a suggestive reading of their plans. Their projects there represented differ, but both of them have the capacity of containing sounds that are perceived when viewing the graphic document. The sound planimetry in some plants and sections is a common quality.
ARQUITECTURA SIN PLANOS. PLAZA DE TOROS LA PETATERA
(Editorial Universitat Politècnica de València, 2011) Calduch Cervera, Juan; Elizondo Mata, Miguel F.; Mendoza Pérez, Luis Alberto; González de Loza, Juan Ramón; Huerta Sanmiguel, Roberto
[EN] La Petatera is a bullring which is installed each January and dismantled at the end of February. Its name comes from the petates - strips of material - which cover a structure of otates - poles - made of guadua and different types of wood from the area. There is no known original grand plan for the Petatera. The oldest remaining drawing is a sketch of the outline drawn into the earth. If the ‘project’ is superfluous, then the scrupulous repetition of the construction process is essential because this is the only way to guarantee the success of the final product. In the Petatera the architectural value goes from the object to the ritual, and from the building to the method of construction.
MAQUETA O MODELO DIGITAL. LA PERVIVENCIA DE UN SISTEMA
(Editorial Universitat Politècnica de València, 2011) Carazo Lefort, Eduardo
[EN] Amongst the traditional mechanisms of representation of architecture, what certainly stands out is the scale model, which has survived throughout history despite the different ordeals and fashions of the systems of representation. As a matter of fact, scale models are nowadays most frequently used methods by the most prestigious architectural offices worldwide. However, since the digital revolution, a new method of representing three dimensions of architecture coexists with the first, the digital model. Here we shall analyze the interactions between the two methods, and a hybrid approach as a possible future solution will be proposed.
EL PALACIO DEL MARQUÉS DEL ARCO: LA MADUREZ DEL PLATERESCO SEGOVIANO
(Editorial Universitat Politècnica de València, 2011) Rodríguez de Antonio, Francisco de Paula
[EN] In the late XV century and during the first third of the XVI century occurs in Segovia a socioeconomic transformation process that culminates in a new social model, more complex, that adopts a new architectural language. The Marqués del Arco palace illustrates in a peculiar way the use of such new language. The analysis of the palace insist in the urban characteristics, the typological modifications regarding other models, the stereotomic study of the courtyard and, without any doubt, the main contribution is the discovery of the domestic stays. In short, the comprehensive focus of the study
SOBRE PERSPECTIVA, FOTOGRAFÍA E INFOGRAFÍA Apuntes para una fenomenología de la representación
(Editorial Universitat Politècnica de València, 2011) Franco Taboada, Jose Antonio
[EN] A comparative analysis is made between photography and infographics, proceeding from the basis of Renaissance and camera obscura perspectives. Other less successful forms of perspective are analysed, such as curvilinear perspectives and their computing and optical counterparts. The feature of photography whereby it permits remembrance of the past is examined here, as is its nature, according to Barthes, as a “noesis without noema”. This is linked to Hegel’s analysis of knowledge, where he indicates that “mere knowledge does not demonstrate that one is actually present”. Finally we consider and discuss the scope of computer graphics as the descendant of the viewpoint of the Renaissance perspective.
Conversando con... BENEDETTA TAGLIABUE
(Editorial Universitat Politècnica de València, 2011) Torres, Ana; Cabanes, Miguel
[EN] This interview was held as part of the 13th International Congress of Architectural Graphic Expression organised by the Valencia School of Architecture between 27 and 30 May 2010. Benedetta Tagliabue has become one of the most renowned architects on the international sphere. The Spanish Pavilion for Expo Shanghai 2010 is one of her latest and more representative works. In this work, Benedetta Tagliaube highlights and develops a group of architectonic features which endorse the creativity of her work, present from the conception of the project and emphasised through t he combination of traditional craftwork and innovative construction alternatives. Benedetta Tagliabue is a friendly lady, full of life and eager to keep working. Having travelled around the world countless times, she admits that coming back to this oriental country always does her good and it has, once again, filled her with enthusiasm, revitalised her and given her energy to do “things”, many “things”… One of the greatest qualities of Benedetta’s personality is her “creative intelligence”, which is reflected in her relentless search for new ideas. In this interview, Benedetta states that one should always experiment and be open to create. All her works reflect this approach, as well as a sort of “amusement”, which is the essence of ideas.
ARQUITECTURA PLEGABLE PARA UNA DÉCADA PRODIGIOSA La obra de Emilio Pérez Piñero y la arquitectura de los años sesenta
(Editorial Universitat Politècnica de València, 2011) Calvo Lopez, Jose; Sanz Alarcón, Juan Pedro
[EN] The article reviews the work of Emilio Pérez Piñero, a designer of unfolding structures and geodesic domes, who leaped directly from isolated, impoverished Spain to the international forefront of technological development and died tragically a few years after. The paper describes the main aspects aspects of Piñero’s work and explains how his foldable, movable structures embody some key issues of the architecture of the nineteen-sixties, anticipating a number of roposals by Rayner Banham, Ron Herron or Peter Cook
DOS DIBUJOS Y TRESCIENTOS AÑOS
(Editorial Universitat Politècnica de València, 2011) Laborda Yneva, Jose
[EN] This article reveals the first two drawings of the New Tower of Zaragoza, Mudejar building more important of the city, that was demolished in 1892 and that only we can know their images. The first is the view of Wyngaerde 1563, and the second is the engraving of John-Frederick Lewis, 1834. During that period of time, the New Tower suffered severe structural damage that resulted in different alterations in the body from its base and its spire. Only the comparison of the drawings and research papers can afford to know the original state of the building.
EL INTERIOR DE RONCHAMP EN UN DIBUJO DE LOUIS I. KAHN
(Editorial Universitat Politècnica de València, 2011) Amado Lorenzo, Antonio
[EN] The main objective is to analyse Louis I. Kahn’s reaction on visiting Ronchamp in 1959, studying his sketch of the interior and comparing it with others by the architect and a similar sketch by Le Corbusier. The system to support the roof is explained through photographs and plans selected from the 514 relating to this project. The evident conclusion is that Le Corbusier adopted a structural system of a certain complexity to achieve an internal light in keeping with the religious nature of the building, something that, as can be seen from his sketch, did not pass unnoticed by Kahn.
LA DISTANCIA QUE ACERCA: RECTIFICACIÓN DEL CRISTO YACENTE DE ANDREA MANTEGNA
(Editorial Universitat Politècnica de València, 2011) Álvaro Tordesillas, Antonio; Linares García, Fernando
[EN] The Death Christ of Andrea Mantegna was a leap forward in the evolution of art and painting of the Renaissance because of its innovative and transgressive perspective. This paper presents a new enhancement of the work based on geometric analysis and culminating with a perspective correction; attending primarily on the change of the observation distance between the artist and his model.
EL CLASICISMO ACADEMICISTA EN LA VALENCIA DE LA SEGUNDA MITAD DEL SIGLO XVIII: UNA MIRADA A TRAVÉS DE 3 FACHADAS DE ANTONIO GILABERT
(Editorial Universitat Politècnica de València, 2011) Vidal García, Consuelo
[EN] The second half of the 18th century, and more exactly the last third of century is a time of changes for the Valencian architecture. The creation of the “Real Academia de San Carlos de Valencia” in 1.768 will be a real landmark. The systematizing of the architectural project and its control promoted by the Academy, as well as the education of the architect will provide the exercise of the architecture with a rigorous professional and scientific character, and will originate certain conflicts with the guilds, because they will see their control on the architectural work limited . The Academy will get completely involved in the evolution of an architecture bathed in baroque dyes towards a more classicist character, and Antonio Gilabert, director of the Section of Architecture, can be considered, as paradigm of the evolution of a peculiar and typical style of the Valencian architecture in the second half of the 18th century: The Academic Classicism
ARQUITECTURA Y "BLANDOGRAFÍAS". Notas para un debate obligado
(Editorial Universitat Politècnica de València, 2011) Otxotorena, Juan M.
[EN] The discussion posed in this text alludes to the flourishing world of images in different types of architecture now making possible what was once impossible through ever present computer technology. This amazing visual universe evokes a galaxy of surfaces of curved forms and designs soft traced which computers can readily process. The new technology available in this virtual world facilitates the ability to access all of the forms and configurations conceivable in tri-dimensional space. Thus, the historical challenge posed signals a ‘before’ and an ‘after’, establishing perspectives which serve as reference points too important to be overlooked. A starting point would be to focus on its continual presence in order to deal with its implications and consequences.
LA DISCUSIÓN NO ESTÁ ACABADA. Otro punto de vista sobre el Dibujo en la formación del arquitecto
(Editorial Universitat Politècnica de València, 2011) Alcayde Egea, Rafael
[EN] Alongside the tradition that, since Vitruvius, has proclaimed the fundamental role of Drawing in architectural education, runs another no-less influential current which has considered it counterproductive. Assuming, supported by widely known authors, that Modern Architecture has been developed without Drawing, this current, converted at the present time into the dominant school of thought, has virtually eliminated it from teaching programs. Contrary to this trend, this article demonstrates not only that Drawing has continued being “essential” in Modern Architecture, but that the attack against Drawing hides, in fact, purposes that are completely opposite to the principles which generated it
TIPO, TAMAÑO Y MEDIDA EN LA ARQUITECTURA GÓTICA. EL FOCO BURGALÉS (SS. XIII-XIV)
(Editorial Universitat Politècnica de València, 2011) García Ortega, Antonio Jesús
[EN] The stonemason groups originated in the construction of the Burgos cathedral and Las Huelgas built numerous churches, spread over many locations. Their great similarities are an invaluable opportunity to study some aspects of the architectural project: typology, size and measurement, design, geometry, proportions, etc. The analysis of the buildings’ ground-plan reveals three architectural scales. These are obtained using a versatile typology and simple metric and formal rules. These characteristics should have facilitated the large geographical and temporal distribution of this architecture in the Spanish Gothic.
APLICACIONES DE LA TECNOLOGÍA DE DIGITALIZACIÓN TRIDIMENSIONAL POR LA COORDINACIÓN DE MONUMENTOS HISTÓRICOS DEL INSTITUTO NACIONAL DE ARQUEOLOGÍA E HISTORIA (INAH) EN MÉXICO DF. (2009 Y 2010)
(Editorial Universitat Politècnica de València, 2011) Navarro Esteve, Pablo; Herráez Boquera, José; Mora Flores, Ángel; Barros e Costa, Hugo; Denia Ríos, José Luis
[EN] The National Institute of Archaeology and History manages the documentation and preservation of the patrimony of Mexico, a country with an area of ??1.959.000 square kilometers, which is almost four times the size of Spain. To attend on all this patrimony, INAH has several departments. The National Coordination of Historical Monuments manages the monuments and architecture built from the colonial era. Inside the Coordination, the Technical Support Division manages the teams and the tools necessary for the survey
VISTA DESDE MI ALOJAMIENTO
(Editorial Universitat Politècnica de València, 2011) Martínez Minguedía, Francisco
[EN] In three drawings that he made during his first trip to Italy, Schinkel shows the city of Rome, with its spectacularity and the references to its monumental past, its architecture, its culture and its history, like the scenographic frame of a casual or apparently unimportant action. These drawings show how Schinkel sees the city, how he incorporates the experiences and the way to see it of other artists previous to him, and how he himself is projected in the representation of the city, leaving traces that signal that he was there.
REPRESENTACIONES VIRTUALES Y OTROS RECURSOS TÉCNICOS EN LA ACCESIBILIDAD AL PATRIMONIO CULTURAL
(Editorial Universitat Politècnica de València, 2011) Puyuelo Cazorla, Marina; Val Fiel, Mónica; Merino Sanjuan, Lola; Felip Miralles, Francisco; Dpto. de Expresión Gráfica Arquitectónica; Escuela Técnica Superior de Ingeniería del Diseño
[EN] This paper presents a synoptic study on the use of some graphic technologies such as VR Virtual Reality, AR Augmented Reality and VE Virtual Environment that can be used to increase the appreciation and full experience of heritage sites as resources for accessibility. This analysis familiarises us with these technologies and their suitability for each heritage asset in relation to users with disabilities. Their use on heritage sites seeks to bring these places to people in a new way, changing their role from a passive to a fully active one.
LA IDEALIZACIÓN DEL ESPACIO LISO
(Editorial Universitat Politècnica de València, 2011) Vallespín Muniesa, Aurelio
[EN] In A Thousand Plateaus, Capitalism and Schizophrenia by Gilles Deleuze and Felix Guattari, there is a chapter devoted to the concept of the smooth and the striated. The example par excellence of a smooth space is the labyrinth. This is a space with no reference, no scale, no centre, infinite, a shynesthetic space. Mies van der Rohe achieved a particular subtlety in the construction of the labyrinthine space with the design of the German Pavilion for the 1929 International Exposition in Barcelona. But, prior to building this pavilion, he developed a series of exposition projects in Berlin and Stuttgart that were the origin of this research line.
EL PAISAJE DE MADRID A TRAVÉS DE SU CORNISA. DE LA FACHADA A LA SECCIÓN CINÉTICA
(Editorial Universitat Politècnica de València, 2011) García-Hípola, Mayka; Jiménez Alcalá, Benito; Rodríguez Romero, Eva; Antón Barco, María
[EN] The article aims the analysis of the urban transformations in the so-called Madrid Cornice from its naming as a capital onwards. The strong symbolism communicated through the time as iconic façade of the city has recently vanished with the last interventions in its surroundings. Nevertheless, the section of the river valley underneath has been somehow revitalised. Whether the traditional representations of the Cornice were flat and static; movement and a three-dimension dynamic reading outstand in the new understanding of the space.