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Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

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 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]

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

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]

Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)