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After ten years, drawing indiscriminately the neighborhoods of Valencia, for no other reason than to observe and represent every corner of the city, we finally decided to use the communicative capacity of drawing as a tool to reclaim El Cabanyal’s negletic state of abandonment, that has been going through for many years, regardless its political burden. After setting this goal and analysing the morphological and social history of this neighborhood, we decided to travel the streets and rooftops of El Cabanyal, talk to its people, and draw, in situ, those different spaces, shapes, colors, atmospheres ... giving rise to dozens of drawings that immortalize the (still alive) remains of this urban ecosystem. Paper-shaped witnesses sketched with latent architectures, persecuted and threatened by oblivion that will accompany us during the course of this paper. [ABSTRACT FROM AUTHOR]

Learning is nothing but remembering. The ruin is the veiled memory of the past reality, its essence. Buildings tend to lose their shape due to ongoing wear as textures finishes lead to a new plastic expression, in an uncontrolled and random process that introduces new esthetic vision and interpretation. All the unfinished or incomplete stimulates our imagination mentally insinuating the presence of the fragmented object in its origin. This paper takes the form of a dissertation on the concept of "ruin" and its evolution in the Western thinking, being a reflection on the representation of the architectural remains of the past and their changes from an esthetic point of view: from their representation as a symbolic object, to their transformation as an element of scientific research; from the actual ruin to the invented one; from the harmony-creating ruin in nature to the one generating unease and distress.; from the ruin that shows us the capacity for analysis and study, to the current one, which faces us to our own capacity for destruction. [ABSTRACT FROM AUTHOR]

La Ilustración Española y Americana (1869-1921) was the main illustrated weekly newspaper of the last quarter of the nineteenth century in Spain. Its pages, as well as those of its equals in Europe, were filled with engravings and, later, with photomechanical prints of pictures of contemporary events, discoveries, and national and foreign works of art and architecture. Compositions of various images in a plate were one of the main strategies adopted by this newspaper to inform graphically and were also used in the representation of architecture and cities. The aim of this paper is to demonstrate, through the visual analysis of some of these compositions, that they were a relevant tool in the presentation of architecture to the great public, incorporating some of the characteristics of the 'sequential image', allowing the reader to embark on an architectural journey and globally understand complex spaces just by browsing the page. [ABSTRACT FROM AUTHOR]

To build the Baptism Portal it was necessary to make a series of drawings on the surface of the ashlar stones. Known as monteas, these drawings survived for over five hundred years but during the latest restoration most of them were lost or become practically illegible due to the cleansing of the stone and the use of a device to keep birds away. This paper discusses the data obtained from studies carried out prior to the restoration and reconstructs the monteas. It therefore documents and sheds light on these drawings, while simultaneously expanding the catalogue of these forms of graphic expression that have been identified at Seville Cathedral since the 1980s. [ABSTRACT FROM AUTHOR]

The importance of the use of geometry in architecture design, and more specifically the use of geometric surfaces that shape the architectural space is this paper focus. The paper sets the value of the use of these geometric shapes defined as formal control element during the building designing stage helping at the same time to keep coherence within the structural behaviour, and a greater ease both in the execution as during its material construction A case-study of geometric formal analysis has been developed, the Valencian "Ciutat de les Arts i les Ciències", as a clear example of geometric shapes application in the current architecture. Analysis is mainly about shapes generation, but structural and constructive áreas have been studied from the geometric standpoint. [ABSTRACT FROM AUTHOR]

During the first half of the twentieth century, Greater Buenos Aires underwent a process of extensive urban land production and expansion. Accompanying the above there was the work of a group of surveyors of suburban land in a scenario of a booming real estate market. This paper introduces the cartographies of Maximo Randrup (1880-1954).Those draw our attention to a growing market of commercial urban cartographies while triggering some questions about which and how urban growth is shown in contrast with official maps. First approaches to the subject account for images which represent a continuum of urbanized territory, incorporating street network patterns from subdivisions and developments which had not yet crystallized in those years, and which could not be corroborated even decades later, from the newer cartographies. What is observed is that some of those developments drawn on paper never really unfolded in the territory. [ABSTRACT FROM AUTHOR]

This paper compares some of the first websites launched by architectural offices in the second half of the 1990s. The study reveals, firstly, the main constraints posed by the World Wide Web to the public dissemination of architects' production and, secondly, the two strategies that would rule the online communication of architecture ever since. On the one hand, corporate offices like SOM or Foster and Partners understood the new medium as a tool that would facilitate the dissemination of the office's identity. To harvest this potential, their work had to be published online in a succinct, interactive, and stable fashion by means of photographs and renderings. On the other hand, emergent offices such as MVRDV and Snøhetta decided to use the new medium to push the boundaries of their work and to test new techniques of representation and graphic expression. [ABSTRACT FROM AUTHOR]

The increase of the population age drives to a new focus of study, the elder people. Specifically, the impact of architectural environments on physical, sensory, and cognitive capacities of the elderly is a study subject of growing interest. And so, it becomes necessary to research about the interaction between the elderly and the constructed environment. Accordingly, architectural simulation through VR goggles provides an environmental perception introducing the "immersion" concept and allows for the research tasks using innovative techniques. Aiming to fill the gap in the research field regarding the senior people and their visual perception of architectural space, this paper develops a virtual simulation system of architectural environments to conduct the colour research within the framework of a broader research project (MODIFICA). Thus, an online interactive tool is created, considering the user visual ergonomics, to be used to assess architectural environments from anywhere with an internet connection. Finally, this tool has been validated through its application in a concrete practical case, with senior participants. [ABSTRACT FROM AUTHOR]

In 1927, Edward Weston, one of the most innovative and influential photographers of the 20th century, created a personal series of six pictures of Rudolph M. Schindler's Lovell House in Newport Beach. Drawing upon archival evidence, this essay aims to complete the first studies that have contributed to establishing his authorship after decades of editorial oversight and historiographic disregard. Likewise, with the purpose of interpreting Weston's intentions regarding this iconic California home, which was his only foray into the field of architectural photography, this paper provides a comparative analysis of the elements, techniques and environmental conditions common to all six pictures. [ABSTRACT FROM AUTHOR]

The Andalusian caliphate forms continue to fascinate us to this day. We marvel at the complexity of certain forms and wonder about the sources that inspired them. The need to interpret the late drawing of a mosque converted into a church in Córdoba has prompted us to examine this subject in greater detail. The building would appear to belong to the rare "nine vault" typology, although it has yet to be dated. In this paper we analyse the origin, use and chronology of significant architectural organisations drawn on the plan. Some of them have obvious analogies with the ones used in the enlargement of the great mosque in Córdoba undertaken by the Umayyad caliph al-Hakam II, while others evidence the arrival and creative adaptation of forms used in ancient Ifr qiya. [ABSTRACT FROM AUTHOR]

The architectural space, compared to the space in painting, in addition to working with the rules of perspective, has to respond to technical and executive requirements linked to the process of implementation. There are many examples that we can point out from the study of the main sacred works of the south of the peninsula in the 16th century; although, within the contributions of Vandelvira, due to its experimental nature, it is worth mentioning the proposal for the church of Huelma, modifying the course of the works that had been started by Francisco del Castillo "el viejo". For this reason, in this paper, we will review the geometric, spatial, technical and constructive concepts that, from an abstract point of view, could be found in this work for a better understanding of the thinking of these great masters, where Vandelvira has a prominent place. [ABSTRACT FROM AUTHOR]

The work presented below is part of the results of a research project developed at Polytechnic University of Madrid. The Architecture Competitions reveal the aspirations of the participants to present the most attractive proposal that will gain the attention of the jury, in addition to responding to the problems and motivations that originate the call. The graphic communication becomes the link between the viewer and the foreshadowing of something that could become a constructed project. By analysing the graphic instruments used in several calls for architectural competitions supervised by the COAM, the aim of this paper is to show the role of visual communication in reading and evaluating a proposal. The tool of the diagram allows to visualize and find the graphic variables most used by the competitors, as well as to specify which of them are drawn on the awarded projects. [ABSTRACT FROM AUTHOR]

The teaching of colour in the basic course of the Hochschule für Gestaltung Ulm is an evidence of the revolutionary renewal of the teachings of the German school in the second half of the 20th century. The basic training of the future designers and architects of the new industrial society undergoes an innovative change of direction in which colour overcomes its exclusive condition as a plastic element. The paper develops the pedagogical itinerary from the colour applied as a hue to the colour used as a code. The review and comparison of teaching experiences reveals the influence of the courses given by the former members of the Bauhaus on the transformative work carried out by Tomás Maldonado. The initial teaching fluctuates between an analytical and an experimental perspective to culminate in problem solving in which color is one more parameter of a programmed process. [ABSTRACT FROM AUTHOR]

The problem of the Working-class houses in Spain was taking shape during decades due to different socio-economical causes. The promulgation of the 1st 'Casas Baratas' Act in 1911 was the first response of the State as an awareness of this serious social problem, but in the meanwhile, different solutions for the Workingclass dwelling were proposed by a variety of agents (private companies, building societies, public administration, etc.). This paper collects some significant projects in the area of Cartagena and contrasts their graphic proposals, from the simplest works to the outstanding solution provided by the project of the first Spanish competition of social housing in the twentieth century, approaching the construction of two Working-class quarters in Cartagena. Finally, some most common aspects and features of this kind of representation for housing production are shown. [ABSTRACT FROM AUTHOR]

In a certain sense, to know is to represent. There is a "landscape" when a sensitive, subjective and poetic understanding emerges, a sort of state of mind necessary for contemplating a place. Whether nature becomes something pleasant depends more upon how it is seen than on observation in itself. This article summarizes the progression of views of scenery and their representation in the aesthetic search for autonomous landscapes. This occurs principally during the transition in the Renaissance from allegorical to perceived visions and to mastery of perspective and depth. The paper concentrates on the descriptive and functional evolution of pictorial backgrounds from being a mere ornamental accompaniment of secondary importance to full participation in the scene, paying special attention to their meaning. In under two hundred years, between the fourteenth and the sixteenth century, artists went from painting ideas to painting things. In other words, they moved from narrative symbolism to naturalistic iconicity, accepting landscapes as a genre in their own right. [ABSTRACT FROM AUTHOR]

Nowadays, the name of Antonio Flórez has a significant value for us. In both aspects of his work as an architect –school buildings and intervention in remarkable monuments– drawing played a predominant role. In this paper, we shall discuss the far-reaching import of this fact. To the interest of his professional drawings, in line with the idea of architecture that he proposed, it is necessary to add the esthetic value of his manner of wielding his pencil. In Flórez, we always find the architect drawing –thought and action–; but, at the same time, there is also the act of the artist (a figure he always felt close to, and whose training he held was rooted in that of the architect). Even given his uniqueness and his skill in drawing and water colour, Flórez is nevertheless a clear testimony of what the practice of drawing represented for the architects trained at the Madrid School of Architecture, in the first decades of the 20th century. [ABSTRACT FROM AUTHOR]

The idea of a transportable architecture has been present throughout history. Different architects have experimented with this concept, managing to materialize it in typologies such as the pavilion at international exhibitions. Along the same lines, the museum, as a typology that seeks to get closer to the masses, has found a useful variant in the portable building. If temporary exhibitions acquire their value in their constant contact with the public, the idea of bringing the exhibition together with the architecture becomes relevant. Thus, this paper analyses the paradigmatic experience of the Guggenheim Foundation, a leading museum institution in the competition for a temporary museum in Tokyo. Through the analysis of the proposals of Ban, Nouvel, and Hadid, it will be observed how architects use the full force of their representational styles whilst facing a typological innovation, aiming to appeal and to communicate the original architectural content that will be the main object of the exhibition. [ABSTRACT FROM AUTHOR]

The aim of this paper is to show the method of the perspective restitution in the photography of the long lost Valencian palace of Jura Real, in order to digitally rebuild its façade. This work has been carried out through a search for old graphic and photographic material, in public and private archives. Fortunately, some elements have been found that belonged to the demolished palace, which provide a metric reference. As a result of the graphic procedure, details of which can be found in this text, the missing façade has been redrawn by introducing the information into a vector-drawing program (Autocad). [ABSTRACT FROM AUTHOR]

The Barrocco Mestizo features formal wealth and knowledge of various origins. Its European origin is clear; however, its influences and evolution are not. This paper studies the medieval and classic influences in the Barroco Mestizo architecture. Specifically, it surveys the facades of the Churches of the Merced, San Francisco, the Company, Santo Domingo, San Augustine, and the Third Order. The facades of these churches are featured by its elaborate iconography. [ABSTRACT FROM AUTHOR]

The paper describes methods and techniques covering both surveying procedures and computer applications aiming to convert widespread tools as smartphones into reliable ranging devices in the field of Cultural Heritage (CH) museums small object. Two different issues are faced: a) how different features affect the documentation of micro-/ meso-scale objects displayed in exhibitions; b) development of a multipurpose solution for a lowcost and easy-to-use acquisition to digitize and visualize these objects. A procedure based on a surveying kit aimed at achieving reliable models and textures, as well as accurate color renderings is presented. Several objects have been selected to test the consistency and flexibility of the proposed methods and techniques and results are compared with those from standard acquisition techniques. [ABSTRACT FROM AUTHOR]

The work presented below is part of the results of a research project at "Universidad Politécnica de Madrid". In this paper we analyze the project of the sport facilities at Brown University, which was done by Felix Candela after forming a partnership with Cutting- Praeger, during the years 1965-1972. The original plans made by Félix Candela are included in the research paper. They are stored at Avery Architectural and Fine Arts Library. We have also added computer generated images and drawings, which allowed us to analyze the geometry of the spherical dome. It is subdivided into hyperbolic paraboloid vaults in order to generate the enclosure. The reconstruction of the project allow us to visualize a project which was never built. [ABSTRACT FROM AUTHOR]

This paper aims to explore the use of geometric structures to arrange the designs by Spanish artist Pablo Palazuelo. Since drawing and architecture covered parallel paths in his work, this article intends to trace the different methodological phases applied on a regulatory basis; mainly in the drawings for Signos (1949-1952) and the design of the gateway for Colegio de los Basilios in Alcalá de Henares (1991), where he implemented a tessellation as structure. For this purpose, unpublished sketches belonging to the Fundación Pablo Palazuelo are analysed as operating systems and organizers of his graphic proposals. [ABSTRACT FROM AUTHOR]

This paper presents five Le Corbusier's drawings -two of them never published-belonging to the speech he gave to the London Architectural Association s students in December 1947 to celebrate the centenary of its foundation, together with some original fragments of the speech that was pronounced in French language, life recorded and later wrote. An adapted version of it was published on Architect & Building News January 2nd, 1948 and on Irena Murrey and Julian Osley Le Corbusier in Britain. An Antology 2009, together with two of these drawings, the original speech following the life registration end the two drawings lasting have never been published before. [ABSTRACT FROM AUTHOR]

A study of the history of representation of architecture in Spain has yet to be written. This paper provides an initial approach to the drawing of architecture in the 1940s, using architectural journals as a source for the research. [ABSTRACT FROM AUTHOR]

In 1957, the governments of Spain and USA, through the Metropolitan Museum of Art and Museo del Prado, produced the exchange between a group of paintings from San Baudelio de Berlanga and the apse of San Martín de Fuentidueña. The apse was carefully drawn, all stones were numbered before dismounting and transfered them to its new location in The Cloisters museum. That work, demonstrated the high degree of professionalism and knowledge by Alejandro Ferrant Vázquez. As the dismantling workers were not the same than in the rebuilding, the architect shaped with sharpness many drawings, complemented by an extensive photo album, from the constructive disposal to the irregular bed rows of each stone. This methodology, used in other transfers, provides a useful technical paper on such controversial matters as the transfer of monuments. [ABSTRACT FROM AUTHOR]

With the development of the avant-garde in the early twentieth century, the debate, long before started, about the relation of art with architecture and furniture, was revived. The paper explains how those new artistic forms permeate through the development of those disciplines, and represent an image of modernity to some architects who take on that formal language and integrate it into their works. This research explores the case of the Studio of the Spanish architects Joaquin Labayen and Jose Manuel Aizpurua, who not only used Neoplasticism in their early works, following architects such as J.J.P. Oud or P. Mondrian, but also proposed a new interpretation of the modern vanguard through their personal perspective. Beyond a particular aesthetic, the artwork is used as a spatial solution. [ABSTRACT FROM AUTHOR]