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In the 1960s, the architect Fernando Higueras (1930-2008) carried out a series of unbuilt projects in which he combined art, aesthetics and function through the geometric order of the circumference. The continuity in the development of his obstinate and evocative ideas, and his great control of the plastic mastery, allow for a trajectory across drawings and models that feed the creative process, from the formal generation to the spatial definition. The vigorous traces and sculptural volumetries suggest universal and flexible spaces, of formal unity and timeless pretension, responding to the needs of man and the conditions of the place, based on central order and creative expansion. [ABSTRACT FROM AUTHOR]

The application of the concept of phenomenal transparency to collage as defined by C. Rowe and R. Slutzky from its origin in cubism to the work of Mies van der Rohe triggers a reflection on how he conceived space. The Resor house project is taken as a basis to analyse how he expresses in the collages, because of their inherent nature to the organization of the figures, and it becomes apparent how it would have been made sensible in its space by the combination of the elements that comprise it. [ABSTRACT FROM AUTHOR]

In this paper, we analyse the Fernando García Mercadal's drawings, with which he studied Mediterranean architecture during his stay in Rome, in the early twenties of the 20th century 1, comprehending them as a manifesto. The traveller nature of this architect, who acted as a link between the Spanish and European avantgarde, strongly influenced the development of his drawing and the character of his work, to the point of turning them into transmitters of the new ideas. The use of the image of popular architecture as a code, which acts rather by convention than by analogy, allows us to interpret it as a manifesto, and to relate it with his later work. [ABSTRACT FROM AUTHOR]

A change took place in stained glass window design in the late thirteenth century. The role of stained glass windows evolved between the twelfth century and late thirteenth century, from one of retaining light, as an integral part of a wall, to one of transmitting light, in the form of an architectural opening. However, this shift was relatively unappreciated in the context of cathedral spaces, given that it was overshadowed by the other architectural transformations that were taking place at the time. The aim of this work is to study this change in concept, taking the cathedral of León, Spain, as an example. [ABSTRACT FROM AUTHOR]

A finales del siglo xiii se produjo un cambio en la concepción de los vitrales. De las vidrieras del siglo xii entendidas como retenedoras de luz, es decir cómo superficie mural, se evolucionó a las vidrieras de finales del XIII, entendidas como trasmisoras de luz, es decir como huecos arquitectónicos. Pero este cambio apenas sí se aprecia en el espacio de las catedrales, ya que es atenuado por otras transformaciones de índole arquitectónico. En este artículo vamos a estudiarlo tomando como ejemplo la Catedral de León. [ABSTRACT FROM AUTHOR]