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Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras 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 Arq.urb is the property of Arq.urb 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 Mirai. Estudios Japoneses is the property of Universidad Complutense de Madrid 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 Ars Longa is the property of Ars Longa 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.)

Fernando Cavestany (1922-1974) was an architect whose short but intense professional career always went hand in hand with a passion for drawing. Even as a student, and later as a practicing architect, he worked as an illustrator for the magazine Revista Nacional de Arquitectura, as did Joaquín Vaquero Turcios, José Luis Picardo, Ramón Vázquez Molezún, and more. This article aims to be a first probe into the graphic work of Fernando Cavestany. To this end, RNA has been used as guiding thread, given that it was the medium he most assiduously published his drawings in. In addition to showing the Madrid architect's drawing skills, this paper seeks to uphold the work of draftspersons, drawing attention to how their drawings, always one of a kind, added expressive quality to architecture journals. In Fernando Cavestany's case, the range of techniques and themes was broad, but there is a prevalence of the spur-of-the-moment travel sketch, which he relished doing all his life. [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 reviews the architecturally themed paintings by painter and architect Joaquín Vaquero Palacios (Oviedo, 1900-Madrid, 1998). In these paintings, architecture is not only present in the theme, but also in the way they are approached through a particular handling of lines, planes and volumes. His facet as a painter can be seen in his sense of colour, concern for the subject and his deep lyricism. The circumstance of his wandering lifestyle around Europe and America allowed him to paint a whole range of different architectures, from ancient Aztec and Mayan pyramids through to modern New York skyscrapers. Painting also enabled him to keep in touch with architecture at times in his life when travelling and changes of residence prevented him from having a working architecture studio. [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]

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]

This paper examines the actual knowledge regarding Building Performance Simulation Tools (BPSTs) of recent graduate architects in Spain. BPSTs quantify aspects of building performance that are relevant to design, construction, and operation. Recent graduate architects are those who have been awarded a first degree from a university or college and face their first professional experience. This article aims to identify the deficiencies within the current curricula of Spanish universities relating to BPSTs. The authors have surveyed 171 recent graduate architects, and the analysis of the data reveals the deficiencies in university education. Regarding the collected results, the Spanish university syllabi must undergo necessary modifications to encourage the use of simulation as a part of university training courses. The incorporation of energy simulation in such training courses can provide recent graduate architects with tools that would assist them during the design stage. The use of these tools is key in the development of innovative pedagogy-based teaching materials for the courses. In this sense, the present work aims to delve into the usage deficiencies associated with BPSTs and propose ways in which to bridge the gap between higher education and first professional experiences. [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.)

Felix Candela’s hyperbolic paraboloid reinforced concrete structures - also known as hypars - were not only masterly used in his well-known religious buildings but they were also ingeniously and profusely employed to roof a vast number of industrial buildings during the Mexican industrialisation era. Candela’s inverted hypar shells prototype for industrial buildings became a trademark for a systematic and standardised construction method which crossed the Mexican borders to reach and influence the work of other architects and engineers further afield. In the United Kingdom this is exemplified by the John Lewis Warehouse (JLW) at Stevenage in which Candela worked as co-designer and consultant of the post-War architectural firm Yorke, Rosenberg and Mardall (YRM) and the engineers Clarke Nicholls and Marcel.The JLW represents a unique structure in the repertoire of Candela’s work outside Mexico for two main reasons. Firstly, it stands as Candela’s first European project and secondly it represents a structure in which ‘automatic beauty’ was achieved through economic efficiency and the use of more sophisticated construction methods than those conventionally used in Mexico. Moreover, and beyond its structural and constructional merits the JLW yields a spatial richness which transformed the ephemeral of the working day to forge spaces of mnemonic identification. Built in 1963, the JLW is an epitome of structural art amongst the industrial buildings of Britain's post-Austerity period. Candela’s first European project is analysed not only in terms of its structural and constructional merits but also in relation to its spatial poetics. [ABSTRACT FROM PUBLISHER]

This article examines the Venice Charter's influence on the evolution of restoration in Spain in the interesting period that bridges the gap between Francoism and the dawn of democracy. Under the organizational structure that prevailed during Francoism, the restoration of monuments in the whole state was assigned to seven specialized architects who engaged in a stylistic approach. With the subsequent dawn of democracy, the field of monument restoration opened to a large range of non-specialized architects who applied ideas of critical restoration theory. This blatant dichotomy led to a diverse interpretation of the Venice Charter that this text strives to analyze from the vantage point of its actors, starting with the work of the participants in the Second International Congress of Architects and Technicians of Historic Monuments and continuing with the protagonists of the discipline of restoration in this country who followed after them. [ABSTRACT FROM AUTHOR]

Copyright of BSAA Arte is the property of Universidad de Valladolid 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 article focuses on British architects and architectural historians' gradual discovery of Spanish Romanesque and Gothic architecture in the nineteenth century. Topics covered include the important role played by Swiss artist Johann Heinrich Müntz in prompting British curiosity for Spanish Islamic and Gothic art and British writings about Iberian architecture. A parallel interest in Spain's Christian architectural heritage is also cited.