10º Congreso Internacional de Arquitectura Blanca - CIAB 10

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La Cátedra Blanca Valencia ha programado la celebración del 10º Congreso Internacional de Arquitectura Blanca [CIAB10] durante los días 23, 24 y 25 de marzo de 2022 en la Escuela de Arquitectura de la Universitat Politècnica de València.

El Congreso se celebrará con un formato híbrido, es decir, habrá presencialidad de los conferenciantes y de tod@s aquell@s que quieran asistir, pero al mismo tiempo se posibilitará el seguimiento del Congreso en formato online.

Cada edición de los CIABs, incluye: por un lado, conferencias en las que se muestran una selección de los mejores estudios de arquitectura a nivel internacional, estudios que están trabajando con el hormigón visto como materia principal de sus proyectos; por otro lado, comunicaciones no sólo de carácter autobiográfico de proyecto construido, sino también carácter histórico, crítico, teórico o tecnológico, mostrando las últimas novedades desarrolladas por las empresas del ámbito del hormigón visto.

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La Cátedra Blanca of Valencia has scheduled the celebration of the 10th International Congress on White Architecture (10º Congreso Internacional de Arquitectura Blanca, CIAB 10) on the 23rd, 24th and 25th of March 2022 at the School of Architecture of the Universitat Politècnica of València.

The Congress will be held in a hybrid format, i.e. the speakers and all those who wish to attend will be present, but at the same time it will be possible to follow the Congress online.

Each edition of the CIABs includes conferences presenting a selection of the best international architecture studios that are working with concrete as the main subject of their projects; and communications that not only have an autobiographical character of a built project, but also a historical, critical, theoretical or technological nature, showing the latest developments by companies in the field of concrete.

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Now showing 1 - 20 of 24

Atrapar el tiempo. Casa en Villalba de Julio Cano Lasso
(Editorial Universitat Politècnica de València, 2022-03-23) Marina Pemán, Rocío
[EN] The House in Villalba (1963), could be defi ned as humanized stone, concrete that is born, ages and dies. Unaltered by the passing of time, not even when its time comes, when its owner decides to demolish it. In its plans and photographs, dusted off on the occasion of the centenary of its architect’s birth, we discover what is probably Julio Cano Lasso’s most expressive work. (1920-1996). “The house should be a grotto”, writes the architect at the bottom of a sketch, “a rock, an interior landscape with overhead light”. In this simple sentence, all the poetic potential of the house is condensed. The image of the grotto takes us back to the gloom, silence and mystery of the earthly world, but also to the image of the fi rst grotto: the mother’s womb, symbol of the warmth and security of home. The stark concrete walls, permeable to the passage of time, and the vegetation colonising the architecture, represent an existence that resists abstraction and emptiness to become concrete and fi nite. The house, imagined as a grotto, invites us to think about the human condition, the need we all have for refuge and resistance to the disintegrating forces that surround us.
Blancos de paisajes formativos. Escuela en La Font D’en Carròs. Valencia
(Editorial Universitat Politècnica de València, 2022-03-23) Peñín Llobell, Alberto
[EN] In a privileged location, between landscape and city, the purpose of any intervention is to enhance its value. If it is also a school, the privilege is twofold. The formal, climatic and urban qualities of the site encourage the creation of a unique learning and training environment, the fi rst activity of the child, and the obligatory task of the adult. The program (4S+12P+6I) is deployed in plan on a plot with topography and views and is articulated through a projected and progressive route, off ering unique scenarios, building personal, diaphanous and luminous spaces that contribute to elaborate the memory of childhood. The public teaching model is pushed to the limit beyond the concept of “cells&bells”, off ering unused spaces, latent places, unexpected connections, visual escapes, memory corners, both indoors and outdoors. The school is treated as the child’s home. It is built from the constructive honesty where the white cement appears in diff erent confi gurations, with the rigor of the measure, the shelter of the environmental concern (external thermal insulation, ventilation) and the contrasts of the experiences, simultaneously rough and warm, as the materials used that are accompanied of a white waiting for its personalization, of a future to be written.
Bolera cántabra: zócalo y dosel. Los Corrales de Buelna, Cantabria, Spain
(Editorial Universitat Politècnica de València, 2022-03-23) Zaparaín, Fernando
[EN] In the town of Los Corrales de Buelna, the project has consisted of designing an enclosure to house a traditional Cantabrian skittle alley, including stands and changing rooms. It was to be located at the north end of a plot where there were other sport facilities, with which it had to be connected. Taking into account this preliminary approach, the fi rst decision was to separate the project into two clearly defi ned levels: a dense concrete plinth and a light wooden canopy fl oating above it. This dichotomy between two materials and their structural typologies has made it possible to distribute circulations and the layout, as well as to establish marked relationships between the interior and exterior. The concrete fulfi lls its characteristic function as a base, paradoxically incorporating the typical feature of digital screens.
Brutal Tropical: La huella de Sergio Antelo Gutiérrez en Santa Cruz de la Sierra – Bolivia
(Editorial Universitat Politècnica de València, 2022-03-23) Ruiz Garvia, Ricardo; Giménez Arce, Cinthia; Universidad Privada de Santa Cruz de la Sierra
[EN] Sergio Antelo Gutiérrez was one of the pioneers of the modern movement in Santa Cruz de la Sierra and also one of the founders of the local ideological trend known as “Nación Camba”. His architectural work is characterized by the combination of these two aspects; On the one hand, through the modern international infl uence that he managed to forge during his academic experience in Brazil and France and for his uninterrupted theoretical production on the cultural identity of eastern Bolivia. Antelo’s contribution, in the technological, functional, aesthetic and cultural fi elds in the local context, has an important historical value, which deserves to be documented and disseminated. In this spirit, this communication presents two case studies: fi rstly, the works that were conceived in “el Parque el Arenal” and later the “Julio Prado Montaño” Bus Station. Both examples represents fundamental works of the author, which gave rise to the formation of what can be called at present as “Brutalismo Tropical Cruceño.” The conclusions will highlight the importance of developing initiatives that avoid repeating past mistakes and be aimed at a recovery and enhancement of their material work from diff erent governmental and citizen spheres.
Casa Alicante. Campolivar, Valencia, Spain
(Editorial Universitat Politècnica de València, 2022-03-23) Altarriba Comes, Antonio
[EN] Location, material, funtion and shape are the four elements that determine the fi nal result of each of the projects we carry out. The location tells us about the site, about the most favorable orientation, about the climate, it makes us value the pre-existing construction: the material leads us towards the most suitable construction in the immediate environment, about which textures and tones are the most suitable; the function imposes on us the uses and spaces that each user for whom the projects are intended needs; and the shape is the fi nal result of all the condition of the plot and the program that has been stablished The following article aims to highlight the entire architetural and construction process of Casa Alicante (2020-2022), a single-family home located in the urbanization of Campolivar, Valencia.
Casa con tres patios, Paiporta
(Editorial Universitat Politècnica de València, 2022-03-23) Floquet, Frederic John; García Martínez, Mónica; Dpto. de Proyectos Arquitectónicos; Escuela Técnica Superior de Arquitectura
[EN] In the house with three courtyards, located in the town of Paiporta, the possibilities of generating new living spaces in a dense urban fabric are investigated. A sequence of courtyards permeates and organizes the domestic program in the depth of the plot. A relationship of immediacy is established with the courtyards, which act as authentic atmospheric regulators and extend the domestic spaces to the exterior according to the needs of the users and the climatic conditions. The fragmentation of the volumes and the use of sloping roofs recall the imaginary of vernacular living and production spaces. The material unity structures the narrative diversity generated by the diff erent patios and volumes. The truthful appearance of exposed white concrete becomes the expressive focus of the project.
Casa de la Ermita. Villareal, Castellón, España
(Editorial Universitat Politècnica de València, 2022-03-23) Altarriba Comes, Antonio
[EN] Site, material, funtion and shape are the four elements that determine the fi nal result of each of the projects we carry out. The location tells us about the site, about the most favorable orientation, about the climate, and it makes us value the pre-existing construction: the material leads us towards the most suitable construction in the immediate environment, and the decision regarding which textures and tones are the most suitable; the function imposes on us the uses and spaces intended for each potential user; and the shape is the fi nal result of all the conditioning factors of the plot and the programme that has been stablished The following article aims to highlight the entire architectural and construction process of Casa de la Ermita (2019-2022), a single-family home in Villareal, Castellón.
Casa ‘Mandorla’: hacia una arquitectura con aura
(Editorial Universitat Politècnica de València, 2022-03-23) Yáñez Molina, Javier
[EN] The word mandorla is Italian and means ‘almond’. Historically it has been used to designate an oval-shaped frame or halo where sacred characters were inserted, alluding to the creation of a new world, a new vision or a higher level of knowledge. Martí Guixé recovers this concept. For him, the fi nal result of any design process “is always the mandorla, an aura of satisfaction that envelops each user as a sacred sign of a higher state of knowledge”. To achieve this, Guixé has a magic formula that has given him excellent results. Is it possible to use Guixé’s recipe to achieve the aura in Architecture? The Mandorla House project represents an initiatory iteration in the implementation of Guixé’s formula as a project mechanism in search of an architecture with an aura.
Concavidad, convexidad y materialidad. El patio, la plataforma y el hormigón: Casa sobre el acantilado. La Móra, Tarragona. Spain
(Editorial Universitat Politècnica de València, 2022-03-23) Fernández González, Mario
[EN] The development of this projects juxtaposes concepts that far from being contradictory, become complementary thanks to it confrontation. Aspiring to reintegrate this primeval connection between the sensitive and physical, between nature and technique, between architecture, man, and their place in the intimate relationship with the landscape as a way of inhabiting the world. The conception of the house aims to form a point of view, a horizontal plane from which to contemplate the Mediterranean sea and it celestial vault in its most extroverted vision while facing a more introverted vision in the form of a patio; inserted as if it was a prism of light to mould and organise the interior space, generating intimacy and a space for retreat. Therefore, convexity and concavity juxtapose in this privileged corner of the Tarragon coast from where contemplation and retreat aim to be ideas-concepts that are intertwined in a language capable of generating an architecture in permanent dialogue with the qualities of the place. To some degree, the project is presented in the pursuit of these dualities. Turning your gaze towards the horizon in its most convex vision, overlapping the idea of concavity, excavating the void and bringing together spaces around the patio in a more intimate vision of a retreat, without renouncing this tension but at the same time this “confrontation” that S. Fehn understood as “a signifi cant opposition”1 with nature itself to shape and characterise the place.
La Construcción de la Sombra. Variaciones del elemento prefabricado de fachada en hormigón armado en las obras de Marcel Breuer
(Editorial Universitat Politècnica de València, 2022-03-23) Calvo Salve, Miguel
[EN] Marcel Breuer is well known for his furniture design and his domestic architecture, being the designer of one of the fi rst tubular chairs in the 1920s, and one of the European architects that emigrated to the United States during the 1930s and 40s. As such, he took part in the introduction of the Modern Movement in America. What is not widely known is that, between the ‘60s and ‘70s, Breuer designed numerous buildings with an innovative façade system, consisting in exposed pre-cast, reinforced concrete elements. The interest of this system used by Breuer almost as an obssesion from 1960 until his retirement, was based on its extraordinary sculptural quality due to the depth of the section of its elements. Another important innovation was that the pre-cast elements of the façade are part of the structural system of the building, housing the mechanical systems, and performing multiple functions. This article explores the visual contrasts that these elements, in all their diff erent versions, recreate on the façades as a play between solid and void, as well as the movement of the shadows on them along the day. This visual contrast gives an extraordinary aesthetic quality to Breuer’s designs.
Early Days of Brutalist Architecture in São Paulo: Vila Madalena Church
(Editorial Universitat Politècnica de València, 2022-03-23) Perrone, Rafael; Pisani, Maria; Schimidt, Rafael
[EN] This paper explores the path of Saint Maria Madalena Church, in Vila Madalena, a district in the city of São Paulo, Brazil. The church was one of the city’s first reinforced concrete brutalist buildings and the paper analyses the preliminary drawings, the way it was materialized, some aspects of the interventions it underwent during its lifetime, and its current situation. The methodological procedures were implemented either simultaneously or successively. They included bibliographic and field surveys, iconographic listings, and researches in two collections – the church’s and architect Joaquim Guedes’s, designer of the church. The stages that culminated in the building of this church – innovative in terms of shape and distribution of spaces and entirely built-in reinforced concrete – are presented, and the main changes the building underwent are pointed out. The results can help preserve the memory of modern architecture in São Paulo and enhance future studies about the design and construction of this unique and precious example of exposed reinforced concrete construction.
Edificio residencial Habitat TorreMalilla. Valencia, España
(Editorial Universitat Politècnica de València, 2022-03-23) Bargues Reinoso, Francisco; Celda Molla, Maria-Inmaculada; Tornos Marzal, Francisco
[EN] The project consists of a 20-storey residential building that resolves the high buildability assigned to the plot in a 12 m deep block, achieving passive houses with great spatial quality and excellent energy performance due to the use of passive measures such as orientation and the technology of the construction systems. The building stands out for its materiality, with an exposed reinforced concrete structure and highly industrialised enclosures, which give it a clear and strong image, in keeping with its scale and its location within the urban setting.
Hacia una arquitectura en retirada. Altea, Alicante
(Editorial Universitat Politècnica de València, 2022-03-23) Yáñez Molina, Javier
[EN] Since the 1960s, diff erent plans and commercial interests have colonised almost the entire Mediterranean coastline below the 200 metre level. Nowadays, any eff ort to restore this uncontrolled situation seems completely futile, but is it possible to propose another way of occupying and living this place? This article proposes, through the experience of a concrete built project, that another respectful and empathetic way of anthropising the territory is possible: withdrawal architecture. An architecture that moves away from mere environmental restoration and proposes a symbiotic and integrating coexistence based on the implementation of Ecosophy, understood as the interweaving of environmental, social and mental aspects in the project, thereby raising awareness through mediation between the natural and the artifi cial. The project is therefore proposed not only as an isolated exercise in architectural design, but as a possible alternative to the predatory model of territory that has colonised the Mediterranean coastline. Its construction and design exemplify this architecture in withdrawal, through which to build sustainable landscapes and begin to reconcile Architecture with the environment in which it is implanted.
Hormigón doméstico: propuesta en una vivienda urbana
(Editorial Universitat Politècnica de València, 2022-03-23) Moreno Hernández, Álvaro
[EN] Concrete is the key to the work of the urban house that is shown, both constructively and spatially. The structural qualities of concrete make it possible to resolve the needs of this building. Its material qualities, texture, and colour, allow the spaces of the house to be defi ned in a continuous way. The proper combination of these aspects helps to communicate the memory of the house to its inhabitants, the way it was created, and how it is organized.
Liberar la forma. El hormigón blanco en la obra de Álvaro Siza
(Editorial Universitat Politècnica de València, 2022-03-23) De Marco, Paolo
[EN] The study of the extensive work of Álvaro Siza Vieira allows us to relate the progressive linguistic innovation and spatial experimentation of his architecture with the use of diff erent construction techniques and technologies. Assuming the colour white as the guiding thread of the discourse, it traces Siza’s professional career from his initial link with the Portuguese architectural tradition of the early 20th century to his current adoption of the constructive principles of fair-faced concrete. The contribution puts some of the Portuguese master’s recent works into perspective, ordering and analysing the projects with the aim of elucidating the architectural principles underlying the use of exposed white concrete. A progressive quest to liberate form, in which concrete acts as an ideal material, increasing the creative and expressive possibilities of architecture.
Luz, gravedad, umbral y materia. Cuatro factores para la revisión de un tipo
(Editorial Universitat Politècnica de València, 2022-03-23) García Martínez, Pedro
[EN] By the end of the 17th centu ry, many of Europe’s major cities had been ravaged by sanitary plagues. As a result, Enlightenment thinking prompted the reformulation of certain urban elements. A new urban type appeared, the cemetery, which was to be located outside the city walls. These circumstances encouraged the architects of the time to try out solutions to resolve both this type of complex and the buildings, used for burials, that were to integrate it. This text aims to set out the main features of a project that has recently been confronted with this type of space. In its resolution, white concrete plays a fundamental role, both in the exterior and in the interior.
Un material para la memoria
(Editorial Universitat Politècnica de València, 2022-03-23) Margagliotta, Antonino
[EN] Every piece of architecture always aspires to become a monument, if only for the intentionality of meaning, witness and duration that becomes suggestive and evident through the etymological interpretation of the Latin verbs memini, moneo, maneo: every construction, in fact, it recalls the sense of its necessity and essence; it admonishes by arousing respect with the force of the image and the meaning it conveys; it remains durable and, ideally, eternal. There are, then, the architectures specially built to remember in which the utilitas transcends the usual considerations of functional type and sublimates itself in the manifestation of the memory, while the fi rmitas conserves and maintains them over time, venustas consecrates its memory through the power of form. The architecture of the monument thus becomes an image of itself, which in the past developed an aesthetic intentionality through contemplation, while today it pursues emotional narratives generated by spatial involvement. In these architectures the exposed concrete has replaced the most traditional and classic materials (natural stone or marble) and has been privileged to determine the structural and expressive value, to give the building a signifi cant iconicity and express the sense of time that lasts. The reading of a selection of realizations and the interpretation of the material choice intend to delineate a poetic of the concrete as a material for memory.
Ordenanzas sin dibujar. Vivienda en la Colonia de Casas Baratas Juan Canalejo. A Coruña, España
(Editorial Universitat Politècnica de València, 2022-03-23) Pedrós Fernández, Oscar
[EN] The experience described is situated in the Juan Canalejo Aff ordable Housing Colony in A Coruña, one of the many colonies of this kind that appeared in the post-war period (1948) on the basis of the Aff ordable Housing Law of 1911 and shortly before the fi rst Land Law in Spanish territory. The interest of the project lies in the resolution of an untried Ordinance, justifying an action that does not alter the environmental conditions of a subzone in relation to the appearance of extemporaneous pieces, to the legality and expectations of the Town Planning that defi nes them. The most recognisable elements of the type are maintained: arched access that generates a hallway (even inserting a staircase that did not previously exist), composition of openings and rhythm of the existing fl oor plan and conservation of the original shape of the roof, a cornice that remains in its original place - instead of being moved to the upper fl oor - and which acts as a support for the passive behaviour of the new piece. It is precisely these elements that articulate a contemporary story about an existing aff ordable house to which the General Town Planning grants expectations of buildability that did not exist before, while protecting but not cataloguing. When a Plan does not check its text against the reality of pencil on paper; when there is no jurisprudence or criterion on an ordinance in text form only, owners and architects turn to the real solution of the exercise and the faith and defence of the values that underlie its approach, through the use of exposed reinforced concrete as an ally.
Proyectar la necesidad: El hormigón como herramienta de adaptación al medio
(Editorial Universitat Politècnica de València, 2022-03-23) Ruipérez Bastida, Emilia; Latorre Luna, Raúl
[EN] Understanding the current situation of professionals starting out in architecture and their contribution to society will be the subject of this text. Necessity takes centre stage and concrete will be the medium used to move within it. Designing Necessity presents the trajectory of a young architectural studio during its fi rst decade, describing its adaptation to the environment and its capacity to design projects in an environment dominated by scarcity. Rethinking the multiple services that a professional architectural studio can off er society is its daily work and tackling them without complexes is its immediate consequence. In this way, over the years, an inevitable transformation of the team has taken place and it has been able to face challenges that are not common in the group.
El proyecto de Dipoli. Respuestas al paisaje desde la forma y la materialidad
(Editorial Universitat Politècnica de València, 2022-03-23) Cortés Sánchez, Luis
[EN] Understanding and highlighting the materiality and form of buildings as a key aspect in the way they relate to the landscape is the aim of the article presented here. To this end, we will examine the Dipoli project at the Helsinki Polytechnic University by Reima and Raili Pietilä, built between 1961-1966. The research carried out is based on the interpretation of plans, photographs, and technical reports, as well as a visit to the building itself, to demonstrate the relationships established between the building and the landscape. This reading of the landscape, which the pair of architects encountered in the area of action, became the driving force behind the project, confi guring a building which in itself is landscape. Within the complexity of the elements that make it up, this article focuses on the roof, a hollow shell of cast-in-place concrete. This element acquires protagonism in the project as it has the capacity both to organise the programme and to create a sequence of continuous and fl uid spaces underneath it of great spatial quality in connection with the surrounding landscape.

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