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ArchPAPERS Digital books and magazines on Architecture - Revistas y Libros Digitales de Arquitectura
ArchPAPERS Digital books and magazines on Architecture - Revistas y Libros Digitales de Arquitectura
ArchPAPERS Digital books and magazines on Architecture - Revistas y Libros Digitales de Arquitectura


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Arquitectura Viva 188 Change of Climate
Dialogues on the Future of Architecture
Dossier: Tall Buildings
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Read this magazine on iPhone, iPad, Android tablets and desktop computers / Lee esta revista en dispositivos iOS, Android y ordenadores de sobremesa
ArchPAPERS Digital books and magazines for Architecture – Revistas y Libros Digitales de Arquitectura
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What's Up Paris?
via ArchPAPERS

El lugar propuesto invita a repensar en qué es lo necesario para generar una atmósfera donde la tecnología no deba tener ningún papel, donde las charlas “face to face” sean el elemento predominante, donde podamos relajarnos escuchando a un músico tocando la guitarra, tomando un café o haciendo un picnic improvisado.

Imagina un espacio sin móviles. SE LIBRE, PROYECTA CON LIBERTAD.

1. No es necesario pensar en aseos, más bien hay que pensar en zona/s de relax, de disfrute y entretenimiento
2. Se debe generar espacio/s donde se interactúe con la ciudad, con el paisaje que hay alrededor, tenemos una gran ciudad a nuestro alrededor, grandes zonas verdes, hay que aprovecharlas. No todos los días se tiene la posibilidad de proyectar a los pies de un icono de la arquitectura, de un emblema de la ciudad, como es la torre Eiffel.
3. Las miradas ocultas, las miradas cruzadas, las vistas al paisaje, las experiencias sensoriales mediante luz, olores, atmósferas espaciales pueden ser una base de proyecto.

El jurado estará compuesto por profesionales del mundo de la arquitectura u otras disciplinas relacionadas con el objeto del concurso.
Isabel Suraña y José Suraña (Suraña arquitectos)
Eduardo Mayoral González (EDDEA)
Sigifredo Gómez Lemos (Guerin et Pedroza Architectes)
Francisco González de Canales (GSD Harvard University & ETSAS)

12 de octubre: inicio inscripción temprana
22 de diciembre: límite de entrega

Se otorgará un premio en de 3000 € repartido de la siguiente manera:
Primer premio 1.500 €
Tres Accésits 3 x 500 €
+ 10 Menciones de Honor -

Publicación en revistas
Publicación en blogs/ webs de arquitectura
Publicación oficial de reTHINKING
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MVRDV’s work takes us to the other side of the looking glass. As is known, much of recent Dutch architecture is effervescently experimental. Tirelessly inventive and imaginatively innovative, we like to think that its roots can be found in the manufactured landscapes of an artificial country that has created itself as a tabula rasa open to any experience, and as an urban lab available for any social or material experiment. However, the work of the Rotterdam trio goes beyond propositive pragmatism to cross the mirror on which daily life is reflected and venture into an oneiric world that confuses reality and narrative, where dreams mix figures and phantoms, and where fantasy fabricates true fictions. In this visionary verisimilitude lies the appeal of the architects, who have crossed the looking glass without falling for a mirage.
No project illustrates this intelligent illusionism better than their Glass Farm in Schijndel, a group of restaurants and shops housed in a facsimile of vernacular architecture configured by silkscreen-printing the brick walls, white frames and tile roofs of a traditional farm on the glass envelope of the volume; an operation both surreal and pop that gently inserts a new building in a historic environment, and at the same time provokes us with its hypnotic magic, removing blurred fragments of the printed image to show the interior. Glass thus becomes transparent to the gaze, and also permits stepping through, allowing to pass to the other side and offering a stage for the Alice who asks her white kitten: “How would you like to live in Looking-glass House, Kitty?” Just like Alice, the architects of MVRDV cross mirrors to build dreams.
Twenty years ago I visited in Rotterdam the then young studio of Winy Maas, Jacob van Rijs and Nathalie de Vries – when they still had not completed the two works that would bring them instant popularity, Villa VPRO in Hilversum and the WoZoCo apartments in Amsterdam –, and they impressed me both with their imaginative resources and the practical talent with which they made their dreams come true – that would allow them to materialize the ‘free section’ even before their mentor Rem Koolhaas. Two decades have gone by, the small studio is now a big office, its leaders have matured, but the ambitious determination to turn imagination into reality is still intact, and Winy, Jacob and Nathalie continue travelling through the looking glass to offer us the story of their oneiric adventures and the fruits of their architectural discoveries.
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The mythical Pillars of Hercules marked the limit of the known world – non terrae plus ultra – and their hypothetical identification with the Rock of Gibraltar and Mount Hacho in Ceuta established the oceanic threshold of the Mediterranean, leading the Spanish monarchy to choose the Plus Ultra motto for its American expansion. In this singular territory, Ángela García de Paredes and Ignacio García Pedrosa have built, after 25 years of independent career, a unique work that takes them beyond their own Pillars of Hercules, marking a turning point in their path and opening up new horizons that will take them beyond – plus ultra – familiar grounds, perhaps in search of the Atlantis dreamt by Ángela’s great-uncle, Manuel de Falla: a composer who wanted to find the Temple of Hercules in Cádiz, where his descendants would build their summer home almost a century later.
In Ceuta, on the other side of a Strait that they have crossed over a hundred times, Paredes and Pedrosa have managed to interpret with intelligence and syncretic intention the nature of a place characterized by the valuable Muslim remains and the demanding topography of the site. Combining the severe folds of the coastal forts and the traditional screens that protect from glare, they have raised a public library that is also an archaeological site and a civic center. This veiled fortress has become a social condenser brimming with life, a meeting space for people of different origin, religion and age, and a source of pride for a city where it is set on its oblique plinth as a jewel of aluminum and light, resting on wall-like supports that delicately avoid the remains of the fourteenth-century urban settlement, where the historic stratigraphy of this palimpsest of mixed cultures once started.
The architects have met in this work the many functional and contextual demands, effortlessly mixing study and visit, modern construction and Islamic tradition. But they have also managed to merge a host of architectural influences in a coherent whole, orchestrating the lessons of José María García de Paredes or Antonio Fernández Alba with the integration of the ruins by Moneo in Mérida or the monumental fenestration of Sota in Tarragona, and reconciling the splayed windows of Utzon in Mallorca with the interiors of Navarro Baldeweg in Altamira, or even with the Seattle touch of the faceted glass roof: a pale palette of references that reaches its peak moment of beauty in the air held still over the abrupt earth of the archaeological remains, oversailed by a swarm of weightless lamps, slender like heron feet and light like fireflies, that spill unused light to create a space of rough serenity.
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AV Monografias 186-187 ALVARO SIZA

Luis Fernández-Galiano
La mano que sabe The Knowing Hand

Jean-Louis Cohen
Una arquitectura sin mayúsculas Architecture without Capital Letters

Un trazo continuo An Unbroken Line

Pabellón de Portugal en la Expo 98, 1995-1998, Lisboa (Portugal)
Portuguese Pavilion at Expo 98, 1995-1998, Lisbon (Portugal)

Rectorado de la Universidad de Alicante, 1995-1998, Alicante (España)
University Rectory Building, 1995-1998, Alicante (Spain)

Casa Van Middelem-Dupont, 1997-2003, Oudenburg (Bélgica)
Van Middelem-Dupont House, 1997-2003, Oudenburg (Belgium)

Complejo Manzana del Revellín, 1998-2012, Ceuta (España)
Manzana del Revellín Complex, 1998-2012, Ceuta (Spain)

Edificio Zaida y Casa Patio, 1998-2006, Granada (España)
Zaida Building and Patio House, 1998-2006, Granada (Spain)

Museo Fundación Iberê Camargo, 1998-2008, Porto Alegre (Brasil)
Iberê Camargo Foundation Museum, 1998-2008, Porto Alegre (Brazil)

Museo de Arquitectura Hombroich, 2000-2008, Neuss (Alemania)
Hombroich Architecture Museum, 2000-2008, Neuss (Germany)

Viviendas sociales en Bouça, 2000-2006 Oporto (Portugal)
Bouça Social Housing, 2000-2006, Porto (Portugal)

Complejo deportivo Ribera Serrallo, 2000-2006, Cornellà de Llobregat (España)
Ribera Serrallo Sports Center, 2000-2006, Cornellà de Llobregat (Spain)

Biblioteca municipal, 2001-2007, Viana do Castelo (Portugal)
Municipal Library, 2001-2007, Viana do Castelo (Portugal)

Bodega Quinta do Portal, 2001-2010, Celeirós do Douro (Portugal)
Quinta do Portal Winery, 2001-2010, Celeirós do Douro (Portugal)

Casa Armanda Passos, 2002-2005, Oporto (Portugal)
Armanda Passos House, 2002-2005, Porto (Portugal)

Casa do Pego, 2002-2007, Sintra (Portugal)
Pego House, 2002-2007, Sintra (Portugal)

Facultad de Ciencias de la Educación, 2002-2008, Lérida (España)
Faculty of Education Sciences, 2002-2008, Lleida (Spain)

Casa en Mallorca, 2002-2008, Mallorca (España)
House in Mallorca, 2002-2008, Mallorca (Spain)

Renovación del balneario Pedras Salgadas, 2002-2009, Bornes de Aguiar (Portugal)
Pedras Salgadas Spa Renovation, 2002-2009, Bornes de Aguiar (Portugal)

Ampliación del Hotel Vidago Palace, 2002-2010, Vidago (Portugal)
Hotel Vidago Palace Expansion, 2002-2010, Vidago (Portugal)

Bodega Adega Mayor, 2003-2006, Campo Maior (Portugal)
Adega Mayor Winery, 2003-2006, Campo Maior (Portugal)

Pabellón multiusos, 2003-2007, Gondomar (Portugal)
Multifunctional Hall, 2003-2007, Gondomar (Portugal)

Fundación Nadir Afonso, 2003-2015, Chaves (Portugal)
Nadir Afonso Foundation, 2003-2015, Chaves (Portugal)

Estación de bomberos voluntarios, 2004-2012, Santo Tirso (Portugal)
Fire Station, 2004-2012, Santo Tirso (Portugal)

Viviendas en la Avenida da Boavista, 2004-2013, Oporto (Portugal)
Homes on Avenida da Boavista, 2004-2013, Porto (Portugal)

Pabellón Anyang Álvaro Siza, 2005-2006, Anyang (Corea del Sur)
Anyang Álvaro Siza Pavilion, 2005-2006, Anyang (South Korea)

Paraninfo de la Universidad del País Vasco, 2005-2010, Bilbao (España)
Assembly Hall of the University of the Basque Country, 2005-2010, Bilbao (Spain)

Edificio Virchow 6 en el Campus Novartis, 2005-2011, Basilea (Suiza)
Virchow 6 Building at the Novartis Campus, 2005-2011, Basel (Switzerland)

Museo Mimesis, 2006-2010, Paju (Corea del Sur)
Mimesis Museum, 2006-2010, Paju (South Korea)

Centro de investigación Amore Pacific, 2007-2011, Yongin-si (Corea del Sur)
Amore Pacific Research Center, 2007-2011, Yongin-si (South Korea)

Conexión entre el Chiado y Terraços do Carmo, 2008-2015, Lisboa (Portugal)
Connection between Chiado and Terraços do Carmo, 2008-2015, Lisbon (Portugal)

Oficinas de Shihlien Group, 2011-2014, Huaiyin City (China)
Office Building for Shihlien Group, 2011-2014, Huaiyin City (China)

Teatro Auditorio, 2011-2016, Llinars del Vallès (España)
Auditorium Theater, 2011-2016, Llinars del Vallès (Spain)
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Like Vicente Huidobro’s Altazor, Alejandro Aravena was born at 33. After his training in Santiago and Venice, at the turn of the century he went to Harvard to teach, founded Elemental, and started his Quinta Monroy project, an exemplary experience in social housing that spurred a fast-paced career, backed by his leadership skills, charismatic character, and strategic ambition. Though we had published his Faculty of Mathematics in Arquitectura Viva 85, in my own radar his presence showed up in 2003, when I took part – with Jorge Silvetti, Paulo Mendes da Rocha, and Rafael Moneo – in the jury of the Elemental competition, an initiative of the Catholic University to build low-cost housing, directed by the young architects and engineers grouped in the office of that name, and who had found at Harvard a laboratory for their endeavor, brashly described as the third great housing experiment, after the Weissenhofsiedlung of Stuttgart in 1927 and the PREVI of Lima in 1969.
Since that competition I have followed Aravena’s career, visited his works in later trips to Chile, and heard him lecture in congresses like that of Pamplona in 2010, just a few months after the earthquake and tsunami that devastated Chile and gave rise to the formidable effort of Elemental to rebuild the city of Constitución and protect the coastal territory from future catastrophes, an experience Aravena described in Arquitectura Viva 129. By then the architect had already received a commission from Rolf Fehlbaum to build a workshop at the Vitra Campus – company for which he had also designed Chairless, a strap inspired in indigenous solutions that replaces a conventional chair –, had been made a member of the Pritzker jury and Fellow of the Royal Institute of British Architects, and had finished prominent works like the Siamese Towers of the Catholic University, which gave a very different dimension to his long-standing commitment to Chile’s social housing.
Later milestones in his career are the completion in 2014 of the Innovation Center, cover of Arquitectura Viva 168; his appointment as curator of the 15th Architecture Biennale of Venice; and his selection as the laureate of the 2016 Pritzker Prize, a distinction that marks a change of course in an award up to now motivated by artistic merits rather than by social purpose. The ‘half houses’ of Elemental pay as much attention to popular participation and financial strategies as to aesthetics and the language of the discipline, but they are not ‘half architectures’: on the contrary, they are emblems of a new attitude towards housing and the city, a way of facing the dilemmas of the present that has its roots in the best experiences of the 1960s, origin of the voyage in a parachute of Alejandro Aravena, who, leaving the comfort zone of exclusively architectural language, proves to have learned the essential lesson of Altazor: “one should write in a language that is not the mother tongue.”

Como el Altazor de Vicente Huidobro, Alejandro Aravena nació a los 33 años. Tras su formación en Santiago de Chile y Venecia, con el cambio de siglo fue a enseñar a Harvard, fundó Elemental e inició el proyecto de Quinta Monroy, una experiencia ejemplar de vivienda social que alumbró una carrera vertiginosa, fundamentada en sus dotes de liderazgo, su carácter carismático y su ambición estratégica. Aunque ya habíamos publicado su Facultad de Matemáticas en Arquitectura Viva 85, en mi propio radar apareció con fuerza en 2003, cuando tuve ocasión de participar, —junto a Jorge Silvetti, Paulo Mendes da Rocha y Rafael Moneo— en el jurado del concurso Elemental, una iniciativa de la Universidad Católica para construir vivienda de bajo coste, dirigida por los jóvenes arquitectos e ingenieros agrupados en la oficina del mismo nombre, y que habían encontrado en Harvard un laboratorio para su empeño, descrito con aplomo como el tercer gran experimento moderno de vivienda, tras la Weissenhofsiedlung de Stuttgart en 1927 y el PREVI de Lima en 1969.
Desde aquel concurso he seguido con admirada atención las vicisitudes de la trayectoria de Aravena, visitado sus obras en algún viaje posterior a Chile, y escuchado la presentación de su trabajo en congresos como el de Pamplona de 2010, realizado sólo unos meses después del terremoto y tsunami que asolaron Chile y dieron lugar al formidable esfuerzo de Elemental para reconstruir la ciudad de Constitución y proteger el territorio costero de futuras catástrofes, una experiencia que Aravena había relatado en Arquitectura Viva 129. Por entonces el arquitecto había ya recibido un encargo de Rolf Fehlbaum para construir un taller en el campus de Vitra —compañía para la que también diseñó Chairless, una cinta inspirada en prácticas indígenas que sustituye a un asiento convencional—, había sido nombrado miembro del jurado del premio Pritzker y Fellow del Royal Institute of British Architects, y completado obras singulares como las Torres Siamesas de la Universidad Católica, que daban una dimensión diferente a su compromiso continuado con la vivienda social.
Las etapas posteriores de su itinerario estarían jalonadas por hitos como la terminación en 2014 del Centro de Innovación, que fue portada de Arquitectura Viva 168; su designación en 2015 como comisario de la xv Bienal de Arquitectura de Venecia; y su obtención en 2016 del premio Pritzker, una distinción que marca un cambio de rumbo en un galardón hasta ahora más motivado por los méritos artísticos que por la intención social. Las ‘medias casas’ de Elemental prestan tanta atención a la participación popular y a los mecanismos financieros como a los factores estéticos y al idioma propio de la disciplina, pero no son por ello ‘medias arquitecturas’, sino emblemas de una nueva actitud ante la vivienda y la ciudad: una forma de hacer frente a los dilemas del presente que tiene raíces en las mejores experiencias de los años 1960, lugar de origen del viaje en paracaídas de un Alejandro Aravena que, dejando la zona de confort del lenguaje sólo arquitectónico, muestra haber aprendido la lección esencial de Altazor: «se debe escribir en una lengua que no sea materna».
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In Short. Pamplona hosts the ‘Change of Climate’ congress; Junya Ishigami lands the BSI Swiss Architectural Award; UNESCO puts seventeen Le Corbusier works and the Niemeyer buildings in Pampulha on its World Heritage list; Burgos & Garrido wins the bid to extend the Art Museum of Lima; Estudio 01 revamps the Mario Santiago Stadium in Luanda (Angola); thirty years have passed since the National Essay Award went to the historian Juan Antonio Ramírez; and TE’d A arquitectes finishes the Can Jordi i n’Àfrica in Mallorca.

The Crisis Generation. In Spain, the last ten years have seen the profession become a desolate and difficult ecosystem which architects have been forced to adapt to in order to stay afloat, turning small commissions into manifestos, working in universities, publishing, or curatorial activities, or simply looking for greener pastures in other countries. Eduardo Prieto presents this panorama in all its rawness, but points out the capacity for ‘creative destruction’ that the crisis has had in certain aspects. For his part, Richard Ingersoll takes stock of the different work methods of the generation of the crisis, exemplifying them with six works then featured in detail: the house prefabricated in Madrid and transported to Massachusetts, by Ensamble Studio; the ICTA-ICP sustainable building in Cerdanyola del Vallès (Barcelona), by H Arquitectes; the unique addition to the Giner de los Ríos Foundation in Madrid, by Amid.cero9; the contextual Lideta Mercato by Vilalta Arquitectura in Addis Ababa (Ethiopia); the restrained enlargement of the Art Museum of Chur (Switzerland), by Barozzi Veiga; and the electrical assembly plant by José María Sánchez García in Don Benito (Badajoz).

Geometries and Cells. A major retrospective at the Telefónica Foundation in Madrid presents the work of the Uruguayan painter Joaquín Torres- García, one of the masters of Latin American modernity; and the Guggenheim Museum of Bilbao brings together many of the Cells of Louise Bourgeois, the unclassfiable artist whose creations gave new meaning to the installation genre.

Literary Spaces. Luis Fernández-Galiano reviews two incursions into architecture and art of two men of letters: Peter Handke and Enrique Vila-Matas. Also: the catalog of the exhibition that the MAXXI in Rome has devoted to Superstudio; the research project of Winy Maas and ‘The Why Factory’; and the most complete monograph of Yona Friedman published to date.

Dossier: 3D Printing. Evolving at an astounding pace, the technology of three-dimensional printing is by now a reality that begins to seep into everyday life and also reaches its tentacles out toward architecture. This leap to the field of architecture means unprecedented new prospects for construction, but also great challenges for design, as explained by the specialists Óscar Liébana and Adolfo Nadal in an extensive article structured in six thematic blocs: current methods of large-scale fabrication; use of materials like metal; prefabrication of buildings or pieces thereof; applications of robotics; methods of digital design and fabrication; and impact on the environment.

To close, the writer and essayist Sergio del Molino presents the atavistic reality of that unpopulated and rural inland he calls ‘empty Spain.’
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In Short. The doors of an expanded Tate Modern open on the eve of the Brexit referendum; Vicente Patón, defender of Madrid’s built heritage, passes away; BIG inaugurates its summer pavilion for the Serpentine Gallery; the winners of the FAD Awards are announced; the 30th anniversary of the reconstructed Barcelona Pavilion happens to fall 50 years after the publication of Complexity and Contradition in Architecture and 100 after the birth of Jane Jacobs; Andrés Jaque reinvents the Powers of Ten of Charles and Ray Eames; and KWK and Lukasz Marciniak complete a house in Poland called Konieczny’Ark.
Colmar, Madrid, London. Continuity and invention are two nouns that define the recent work of Herzog & de Meuron: continuity with the respective contexts, with their types and their materials, but invention in forms, with no concessions to the supposed essences of the genius loci, nor to what is politically or patrimonially correct. This is the approach of the Swiss partners in three projects where, for different reasons, context and preexistences are important: the extension of the Musée Unterlinden in Colmar (France), an old convent which since 1853 has been home to the famous Isenheim Altarpiece of Mathias Grünewald; the new headquarters of Banco Bilbao Vizcaya Argentaria in Madrid, located in a non-place; and the enlargement of Tate Modern in London, with a contorted tower of brick becoming part of the potent profile of the old thermal plant that contains the museum. The three works are presented in detail by a trio specially invited for the purpose: Philip Ursprung, Rafael Moneo, and Deyan Sudjic.
Aravena’s Biennale. The architect and critic Richard Ingersoll examines the latest cycle of the Venice Architecture Biennale, marked by social and political sensitivity, while Iñaqui Carnicero and Carlos Quintáns, curators of the Spanish Pavilion, engage in a conversation about the approach that has earned them the Golden Lion.
Transgressive Palladio. Luis Fernández-Galiano writes on Peter Eisenman’s view of Palladian villas. Also: an exhibition on the Paco Gómez Archive comes with a carefully produced catalog; the history of modern architecture that Henry-Russell Hitchcock published in 1929 is translated to Spanish for the first time; and Kenneth Frampton revises modernity through a case study.
Dossier: Metal Skins. With their almost unlimited capacity to adopt multiple formats, construction solutions, and finishes, metallic materials are indispensable in the cladding of contemporary envelopes. The range of possibilities is illustrated by three works of different size and function; the Canopée that Patrick Berger and Jacques Anziutti have raised at Les Halles in Paris, with its large structure of beams in golden tones; the cultural and sports Fórum in Saint-Louis (France) by Manuelle Gautrand, with its expressive skin of panels of perforated steel; and the Mechanics Hall at the EPFL campus in Lausanne (Switzerland), by Dominique Perrault, with its dynamic but elegant lattice.
To close, an analysis of the confusing and complex economic, political, and social panorama that faces Europe in the wake of the unexpected Brexit.
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In Short. The fifteenth Venice Architecture Biennale begins, curated by Alejandro Aravena: the Spanish Pavilion wins the Golden Lion for best national exhibition, and Paulo Mendes da Rocha the Golden Lion for an entire professional career; Pamplona hosts ‘Change of Climate,’ the fourth international congress organized by the Fundación Arquitectura y Sociedad; OMA inaugurates the Timmerhuis in Rotterdam; Snøhetta completes the San Francisco Museum of Modern Art; and Pezo von Ellrichshausen the Guna House in Chile.
Exemplary Schools. Though modest, children’s schools can be ideal laboratories for rethinking design strategies as well as catalysts for the enrichment of community life, especially in impoverished contexts. Giancarlo Mazzanti and Juan Salcedo comment on the potentials of educational architecture in an article followed by nine works located on three continents. In Africa, Unmaterial Studio and Selgascano have built an education center in Konokono (Kenya); Rodríguez, Lupo, and Lott, the Chipakata Academy in Lusaka (Zambia); and Orkidstudio, the Swawou School in Kenewa (Sierra Leone). In Asia, ARCò Studio and MC Architects have carried out a children’s center in the Gaza Strip (Palestine); Vin Varavarn, the Baan Huay Sarn Yaw School in Ching Rai (Thailand); and Toyo Ito with Klein Dytham, the ‘Home for All’ in Soma City (Japan). Finally, in America, Maya, Serna, Valencia, and Herrera have completed an educational park in Antioquia (Colombia); Visconti di Modrone, an earthquake-resistant orphanage in Haiti; and Maccaglia and Afonso, the Mazaronquiari classroom in Perú.
Sculptures and Toys. The art historian Kosme de Barañano takes stock of the figure of Jorge Oteiza on the pretext of three books that revise the career of the multifaceted and controversial artist; and the academic Antonio Bonet Correa writes on ‘Construction Toys: School of Modern Architecture,’ an exhi- bition curated by Juan Bordes now on view at Madrid’s Círculo de Bellas Artes.
Biographies on Masters. Luis Fernández-Galiano reviews two biographies on two contemporary masters: Gehry and Moneo. Also: a history of the relationship between art, architecture, and nature in the light of the concept of Einfühlung; a monograph on Luis Moya’s religious architecture; and one on the Italian Paolo Zernani’s oeuvre anchored in context.
Dossier: Stadiums. The recent evolution of sports arenas shows a transi- tion from the modern model based on restrained expression of structures to mechanical hypertrophy and iconic emphasis on enclosures, a process described with historical and technical detail by Jesús San Vicente. The diversity of contemporary approaches is illustrated through three cases: the Matmut Atlantique Stadium in Bordeaux by Herzog & de Meuron, abounding in typological innovation; San Mamés Stadium in Bilbao by IDOM/César Azcárate, notable for its expressive modular skin; and the football stadium in Borisov (Belarus) by OFIS, with its organic envelope.
To close, the Harvard historian Antoine Picon explains how smart cities produce data and how they can be controlled.
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