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Journal articles on the topic 'Architecture, Spanish'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Flores-García, Laura Gemma, and Elena Zhizhko. "NOVOHISPANIC CONVENT ARCHITECTURE FROM THE 16th CENTURY." Current problems of architecture and urban planning, no. 58 (November 30, 2020): 95–104. http://dx.doi.org/10.32347/2077-3455.2020.58.95-104.

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The article presents the results of a historical and architectural research, which aimed to reveal the main features of the architecture of Spanish monasteries in the sixteenth century, in particular to highlight elements of the ideology of the Spanish crown and the Catholic Church, promoted through architectural structures. The authors established the components of the architectural program and styles of the New Spanish monasteries of the 16th century, highlighted how the process of creative thinking of the future building and its construction took place, what materials were used.

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2

Fernández-Galiano, Luis. "Spanish Architecture: A Family Portrait." Journal of Architectural Education 45, no. 4 (July 1992): 235–40. http://dx.doi.org/10.1080/10464883.1992.10734521.

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Fernandez-Galiano, Luis. "Spanish Architecture: A Family Portrait." Journal of Architectural Education (1984-) 45, no. 4 (July 1992): 235. http://dx.doi.org/10.2307/1425191.

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4

Fu, Albert S. "Materializing Spanish-Colonial Revival Architecture." Home Cultures 9, no. 2 (July 2012): 149–71. http://dx.doi.org/10.2752/175174212x13325123562223.

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5

Lawrance. "Architecture in Spanish Baroque Literature." Modern Language Review 116, no. 2 (2021): 316. http://dx.doi.org/10.5699/modelangrevi.116.2.0316.

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Pérez-Moreno, Lucía C., and Emma López-Bahut. "Jorge Oteiza’s ‘de-occupation’: towards an ascetic space in Spanish modern architecture (1948–60)." Architectural Research Quarterly 24, no. 4 (December 2020): 343–52. http://dx.doi.org/10.1017/s1359135521000038.

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The work and thought of the Basque sculptor Jorge Oteiza (b. Orio, 1908 – d. San Sebastian, 2003) is an omnipresent reference point in the historiography of modern Spanish architecture. Since the Jorge Oteiza Museum Foundation was opened shortly after his death, a great number of studies have been published about him, mainly in Spanish and Basque. Oteiza’s artistic career was closely connected to the postwar Spanish architectural scene. During the 1950s, he participated in numerous projects and architecture competitions and published his work in specialised journals and magazines in the field. Spain was at that time under the regime of General Franco and, as a consequence of the Civil War (1936–9), the country was suffering an economic crisis that affected culture, art, and architecture.

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Muxí, Zaida, and Daniela Arias Laurino. "Filling History, Consolidating the Origins. The First Female Architects of the Barcelona School of Architecture (1964–1975)." Arts 9, no. 1 (February 25, 2020): 29. http://dx.doi.org/10.3390/arts9010029.

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After Francisco Franco’s death, the process of democratisation of public institutions was a key factor in the evolution of the architectural profession in Spain. The approval of the creation of neighbourhood associations, the first municipal governments, and the modernisation of Spanish universities are some examples of this. Moreover, feminist and environmental activism from some parts of Spanish society was relevant for socio-political change that affected women in particular. The last decade of Franco’s Regime coincided with the first generation of women that graduated from the Barcelona School of Architecture (ETSAB). From 1964 to 1975, 73 female students graduated as architects—the first one was Margarita Brender Rubira (1919–2000) who validated her degree obtained in Romania in 1962. Some of these women became pioneers in different fields of the architectural profession, such as Roser Amador in architectural design, Alrun Jimeno in building technologies, Anna Bofill in urban design and planning, Rosa Barba in landscape architecture or Pascuala Campos in architectural design, and teaching with gender perspective. This article presents the contributions of these women to the architecture profession in relation to these socio-political advances. It also seeks—through the life stories, personal experiences, and personal visions on professional practice—to highlight those ‘other stories’ that have been left out of the hegemonic historiography of Spanish architecture.

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Sánchez de Madariaga, Inés. "Women in architecture: the Spanish case." Urban Research & Practice 3, no. 2 (June 2, 2010): 203–18. http://dx.doi.org/10.1080/17535069.2010.481377.

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Esteban-Maluenda, Ana, Laura Sánchez Carrasco, and Luis San Pablo Moreno. "ArchiText Mining: Applying Text Analytics to Research on Modern Architecture." Život umjetnosti, no. 105 (December 31, 2019): 158–79. http://dx.doi.org/10.31664/zu.2019.105.07.

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ArchiteXt Mining: Spanish Modern Architecture through Its Texts (1939–1975) is a research project funded by the Government of Spain through the 2015 Call for “Excellence Projects” of the Ministry of Economy and Competitiveness. This project aims to explore a new viewpoint and look into the special features of Spanish modern architecture. Despite the increasing success of using data analysis as a tool in a variety of disciplines, research on architectural theory has never made the most efficient use of these technologies. The Spanish and international circumstances of modern architecture development have been scrutinized through qualitative research, which has established a shared theoretical ground. It is now time to start a new in-depth research based on objective data. To address this challenge, we propose the application of text mining techniques to take advantage of the best data source in the field: architectural periodicals. The purpose is to create a powerful database hosted on a public website for the scientific community. Thus, this project fulfils several e-Research objectives: to facilitate the computerization of data research, to support every stageof data collection, and to manage big data analyses with thehelp of specific tools.

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Tippey, Brett. "‘Genuine Invariants’: The Origins of Regional Modernity in Twentieth-Century Spain." Architectural History 56 (2013): 299–342. http://dx.doi.org/10.1017/s0066622x00002525.

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During the decades that followed the loss in 1898 of Spain's last colony, Spanish architecture languished in a turbulent search for identity. In this search, some architects argued for a return to the historic architecture of the Spanish colonial empire, while others followed the progressive ideas of the Congrès Internationaux d'Architecture Moderne (CIAM). Finally, in the mid-1940s, Spain's architects began to progress towards a successful reconciliation of these two seemingly opposed camps. A critical moment occurred in 1947 with the publication of Fernando Chueca Goitia's watershed textInvariantes Castizos de la Arquitectura Española (Genuine Invariants of Spanish Architecture).In this text, which Chueca conceived as a pocket reference for Spain's Modern architects, he described Spain as a unique place where the diverse architecture of Christian Europe and Islamic North Africa coalesced into a new — and essentially Spanish — whole. In it, he called on Spain's architects to move beyond superficial considerations of both history and modernity, and to arrive at a genuine, self-critical identity for Spanish architecture.

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Arza Garaloces, Pablo. "‘Spain: Poetics of Modernism’, 1986: la arquitectura española en Architectural Review a través de la mirada de Peter Buchanan." Cuaderno de Notas, no. 20 (July 31, 2019): 119. http://dx.doi.org/10.20868/cn.2019.4265.

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ResumenEn mayo de 1986, la revista inglesa Architectural Review, decidía dedicar un número monográfico a la arquitectura moderna española. El número, constituía la primera mención de estas características que aparecía en la publicación inglesa y sin duda era un signo de la relevancia e interés que la arquitectura española estaba alcanzado en el panorama internacional. El artífice de este número fue el arquitecto y crítico Peter Buchanan, que desempeñaba en ese momento el cargo de ‘deputy editor’ de la prestigiosa revista. Además de este fascículo monográfico, Buchanan publicó en Architectural Review, a lo largo de la década, varios artículos de interés sobre la arquitectura española, que contribuyeron a situarla en la palestra arquitectónica internacional. El presente texto se propone indagar en el origen del interés de Buchanan por España y en las claves que permiten comprender el relato que el crítico hace de la arquitectura moderna española.AbstractIn May 1986 the British journal Architectural Review devoted a special issue to modern Spanish architecture, the first ever on that topic in the journal’s history, constituting a clear sign of its relevance and of the international interest that it was awakening. Responsible for that issue was the architect and critic Peter Buchanan, then deputy director of the prestigious journal. In addition to it, throughout the 1980s Buchanan published several other articles about Spanish architecture in Architectural Review, thereby contributing to position it in the international scene. This paper traces the origins of Buchanan’s interest in Spain and identifies the keys for understanding his critical reading of modern Spanish architecture.

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Pérez-Moreno, Lucía C., and Patrícia Santos Pedrosa. "Women Architects on the Road to an Egalitarian Profession—The Portuguese and Spanish Cases." Arts 9, no. 1 (March 23, 2020): 40. http://dx.doi.org/10.3390/arts9010040.

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The 1970s was a key decade in the path towards democracy in the Iberian Peninsula. Portugal and Spain suffered deep social, cultural and political changes, with Salazar’s and Franco’s Totalitarian Regimes ending in 1974 and 1975 respectively. In both countries, located side-by-side in the Western end of Southern Europe, democracy was finally established, marking a turning point in the liberties of all Iberian citizens, but especially in regard to women’s life and work. As the Editorial of the Special Issue ‘Becoming a Gender Equity Democracy: Women and Architecture Practice in Spain and Portugal’, this text aims to briefly present this panorama to appreciate the particularities of Portugal and Spain in relation with the delay incorporation of women to the architecture profession. It explains the gender stereotypes of Salazar’s and Franco’s Regime in order to understand the discrimination against women that they produced and how it maintained women far from the architecture profession. Therefore, it provides useful data on the incorporation of women into architectural studies in order to understand the feminization of this gendered profession in both countries. This Special Issue aims to create an opportunity for researchers and scholars to present discussions and ongoing research on how democracy affected women that wanted to practice architecture as well as architectural analysis of women architects.

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Escobar, Jesús. "Architecture in the Age of the Spanish Habsburgs." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 258–62. http://dx.doi.org/10.1525/jsah.2016.75.3.258.

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14

Fraser, Valerie. "ARCHITECTURE AND IMPERIALISM IN SIXTEENTH-CENTURY SPANISH AMERICA." Art History 9, no. 3 (September 1986): 325–35. http://dx.doi.org/10.1111/j.1467-8365.1986.tb00204.x.

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Izquierdo, Sara. "Open Al-Andalus: Hispanic-Muslim Heritage Impact on Spanish Contemporary Architecture." Arts 7, no. 4 (October 16, 2018): 66. http://dx.doi.org/10.3390/arts7040066.

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Spanish architecture, towards the end of the 19th century and the beginning of the 20th, was characterized by the development of a variety of styles, including Neo-Muslim. The Alhambra of Granada, the Mosque of Cordoba, and the Giralda Tower of Seville, served as inspiration to the design of works that would follow these models, some to a greater extent than others, and would eventually give rise to an architectural trend that would make its way all across Spain. As such, this article attempts to provide some examples of said architecture found in different autonomous communities in Spain, examining them through four typologies, as well as to discuss the consideration and use of the Neo-Muslim style after the second half of the 20th century. The methodology behind this research involved extensive reading and analysis of both general and specific works on the subject, the study of archival materials relative to some of the selected buildings, about which preserved evidence was scarce, as well as taking photographs of the properties included in the text.

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Ruiz Colmenar, Alberto. "“Tendencias y guerrillas en la arquitectura española”. Arquitectura y Prensa." VLC arquitectura. Research Journal 4, no. 2 (October 24, 2017): 149. http://dx.doi.org/10.4995/vlc.2017.7708.

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<p>Architecture critique has historically used specialised publications as a dissemination channel. These publications, written by and for architects, have been of seminal importance in the creation of architectural culture in Spain. Nevertheless, this type of publication leaves out the non-specialised public, mistakenly considering them alien to these matters. In this case, the mass media has filled this space, carrying out a very important educational role. Its task has not been that of a mere dissemination of contents, but it has also provided a platform for criticism and analysis of some of the main events in Spanish architecture over the course of the 20th Century. In this study we analyse the years preceding and following the Spanish Civil War. A review of the issues that the main papers addressed—ABC and La Vanguardia—allows us to grasp what the general reader perceived during a key period in our history of architecture.</p>

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Sheren, Ila Nicole. "Transcultured Architecture: Mudéjar’s Epic Journey Reinterpreted." Contemporaneity: Historical Presence in Visual Culture 1 (June 1, 2011): 137–51. http://dx.doi.org/10.5195/contemp.2011.5.

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The Mudéjar phenomenon is unparalleled in the history of architecture. This style of architecture and ornamentation originated with Arab craftsmen living in reconquered medieval Spain. Embraced by Spanish Christians, Mudéjar traveled over the course of the next four centuries, becoming part of the architectural history of Latin America, especially present-day Mexico and Peru. The style’s transmission across different religions and cultures attests to its ability to unify disparate groups of people under a common visual language. How, then, did mudejar managto gain popularity across reconquered Spain, so much so that it spread to the New World colonies? In this article, I argue that art and architecture move more fluidly than ideologies across boundaries, physical and political. The theory of transculturation makes it possible to understand how an architectural style such as Mudéjar can be generated from a cultural clash and move to an entirely different context. Developed in 1947 by Cuban scholar and theorist Fernando Ortíz, transculturation posited means by which cultures mix to create something entirely new. This process is often violent, the result of intense conflict and persecution, and one culture is almost always defeated in the process. The contributions of both societies, however, coexist in the final product, whether technological, artistic, or even agricultural. I argue that mudejar in Latin America is a product of two separate transculturations: the adoption of Arab design and ornamentation by Spanish Christians, and the subsequent transference of these forms to the New World through the work of indigenous laborers.

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18

Fernández, Trinidad, María Aurora Flórez de la Colina, and Pam Peters. "Terminology and terminography for architecture and building construction." Terminology 15, no. 1 (June 10, 2009): 10–36. http://dx.doi.org/10.1075/term.15.1.02fer.

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Teaching terminology is a strategic response to the European Educational Convergence guidelines, taken by the Polytechnic University of Madrid. It is vested in a new course “English Terminology for Architecture and Building Construction” offered in the “Master of Techniques and Systems of Construction”. The course is interdisciplinary, integrating material from the various sciences involved in architectural practice and exploring it through the discipline of applied linguistics, as recommended by Cabré (2003). The approach is bilingualized, working with Spanish architecture professionals in the medium of English. Students are made aware of the dynamic nature of terminology through corpus-building, and given first-hand experience of terminography through compiling their own bilingualized1 termbanks of English architectural terms. A model online termbank system (TermFinder), which is being co-developed for architecture and building construction after successful testing in other professional fields, is also discussed

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Curós Vilà, Joan, and M. Pilar Curós Vilà. "Contemporaneity of Spanish Rural Architecture Intervention and Economic Sustainability." Art and Design Review 05, no. 01 (2017): 52–72. http://dx.doi.org/10.4236/adr.2017.51005.

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Niell, Paul. "“Neoclassical Architecture in Spanish Colonial America: A Negotiated Modernity”." History Compass 12, no. 3 (March 2014): 252–62. http://dx.doi.org/10.1111/hic3.12146.

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Martínez Calzón, Julio, and Carlos Castañón Jiménez. "Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai." Architectural Design 80, no. 4 (July 8, 2010): 52–59. http://dx.doi.org/10.1002/ad.1106.

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Montaner, Josep Maria. "Selected Spanish Projects." Architectural Design 77, no. 5 (2007): 102–9. http://dx.doi.org/10.1002/ad.524.

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23

Wilkinson, Catherine. "Planning a Style for the Escorial: An Architectural Treatise for Philip of Spain." Journal of the Society of Architectural Historians 44, no. 1 (March 1, 1985): 37–47. http://dx.doi.org/10.2307/990059.

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This article analyzes and interprets an unpublished Spanish architectural treatise that was written for Philip II while he was Prince Regent (c. 1550). The manuscript did not previously attract attention because it was mistakenly described as written for the king's son Philip (later Philip III) in the 1590s. The treatise, which is by no means a masterpiece of architectural literature, derives mainly from L. B. Alberti's De re aedificatoria, but the anonymous Spanish author used his sources selectively to make an explicit connection between morality and a restrained and orderly classical style. He was not concerned so much with buildings as such but rather with their moral dimension and their relevance to the contemporary Spanish state. His concern to articulate the principles of a Catholic, as opposed to pagan, classical style is matched by his eagerness to reform Spanish architectural practice along the lines suggested by Alberti. Simply as an expression of Counter-Reformation aesthetics the treatise is precocious and exceptionally explicit. The treatise was prepared for Philip who, the author states, requested it, which makes it the only known piece of architectural writing prepared especially for him. It brings crucial evidence about Philip's concerns with architecture in the 1550s, before the beginning of the Escorial in 1563, a subject for which historians were reduced to conjecture. The treatise adumbrates a program for reform that is virtually identical to the one Philip actually adopted in 1559. The evidence of the treatise suggests that the strong ideological implications of the style of the Escorial are not simply a post facto gloss but were a deliberate factor in the inception of the design.

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Sangenís, Conxita. "ABBA: the Spanish Association of Architectural Librarians and Libraries." Art Libraries Journal 26, no. 2 (2001): 23–24. http://dx.doi.org/10.1017/s0307472200012153.

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The ABBA (Asociación de Bibliotecarios y Bibliotecas de Arquitectura, Construcción y Urbanismo) brings together about 50 librarians and 40 libraries of quite different types. There are university libraries, government libraries, and the libraries of associations of architects; there are large libraries with extensive resources, and small libraries with very small budgets. The only thing they have in common is their speciality (architecture, building and town and country planning) and the kind of user they serve (architects and architecture students.

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Peñate Domínguez, Fede. "Spanish colonial architecture as selective authenticity in historical digital games." Culture & History Digital Journal 9, no. 1 (September 11, 2020): 005. http://dx.doi.org/10.3989/chdj.2020.005.

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Buildings play a major role in computer games set in the past, both as gameplay components and as elements of historical realism. Varying on the genre of the game they perform different functions, from the transition and movement possibilities they allow the player in action-adventure games like Assassin’s Creed (Dow, 2013) to sedentary headquarters in strategy and management titles such as Age of Empires and Civilization (Bonner, 2014). My goal with this paper is to analyse the purposes of Spain’s colonial architecture in computer games set in the period of the Spanish Monarchy’s rule overseas. In order to achieve it, I will use Adam Chapman’s theoretical and methodological framework to understand the games’ historical epistemologies and ludonarratives, and Salvati and Bullinger’s concept of selective authenticity to analyse the role of these buildings in evoking the past and giving meaning to it. Aided by these lenses, I will try to unravel the master narratives behind these titles and how they give meaning to the history of Spain and its former colonies.

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Webster, A. "Rapid Spanish." ITNOW 49, no. 5 (September 1, 2007): 17. http://dx.doi.org/10.1093/itnow/bwm027.

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de la Fuente Castillo, Víctor, Alberto Díaz-Álvarez, Miguel-Ángel Manso-Callejo, and Francisco Serradilla García. "Grammar Guided Genetic Programming for Network Architecture Search and Road Detection on Aerial Orthophotography." Applied Sciences 10, no. 11 (June 6, 2020): 3953. http://dx.doi.org/10.3390/app10113953.

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Photogrammetry involves aerial photography of the Earth’s surface and subsequently processing the images to provide a more accurate depiction of the area (Orthophotography). It is used by the Spanish Instituto Geográfico Nacional to update road cartography but requires a significant amount of manual labor due to the need to perform visual inspection of all tiled images. Deep learning techniques (artificial neural networks with more than one hidden layer) can perform road detection but it is still unclear how to find the optimal network architecture. Our main goal is the automatic design of deep neural network architectures with grammar-guided genetic programming. In this kind of evolutive algorithm, all the population individuals (here candidate network architectures) are constrained to rules specified by a grammar that defines valid and useful structural patterns to guide the search process. Grammar used includes well-known complex structures (e.g., Inception-like modules) combined with a custom designed mutation operator (dynamically links the mutation probability to structural diversity). Pilot results show that the system is able to design models for road detection that obtain test accuracies similar to that reached by state-of-the-art models when evaluated over a dataset from the Spanish National Aerial Orthophotography Plan.

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Maldonado, L., and F. Vela-Cossío. "El patrimonio arquitectónico construido con tierra. Las aportaciones historiográficas y el reconocimiento de sus valores en el contexto de la arquitectura popular española." Informes de la Construcción 63, no. 523 (July 29, 2011): 71–80. http://dx.doi.org/10.3989/ic.10.062.

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ITO, Yoshihiko. "ARCHITECTURE AND CONSTRUCTION IN THE TEXTS OF SPANISH EARLY RECONQUISTA PERIOD." Journal of Architecture and Planning (Transactions of AIJ) 72, no. 619 (2007): 187–92. http://dx.doi.org/10.3130/aija.72.187_2.

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González de Canales, Francisco, and Nuria Álvarez Lombardero. "Aldo Rossi and the architecture of Spanish democratic transition in Seville." Journal of Architecture 24, no. 1 (January 2, 2019): 73–90. http://dx.doi.org/10.1080/13602365.2018.1527386.

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San-Segundo, R., J. M. Montero, J. Macías-Guarasa, R. Córdoba, J. Ferreiros, and J. M. Pardo. "Proposing a speech to gesture translation architecture for Spanish deaf people." Journal of Visual Languages & Computing 19, no. 5 (October 2008): 523–38. http://dx.doi.org/10.1016/j.jvlc.2007.06.002.

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Scott, John F., and Mary Grizzard. "Spanish Colonial Art and Architecture of Mexico and the U.S. Southwest." Hispanic American Historical Review 68, no. 1 (February 1988): 120. http://dx.doi.org/10.2307/2516236.

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Scott, John F. "Spanish Colonial Art and Architecture of Mexico and the U.S. Southwest." Hispanic American Historical Review 68, no. 1 (February 1, 1988): 120–21. http://dx.doi.org/10.1215/00182168-68.1.120.

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Caven, Valerie, and Elena Navarro Astor. "The potential for gender equality in architecture: an Anglo-Spanish comparison." Construction Management and Economics 31, no. 8 (August 2013): 874–82. http://dx.doi.org/10.1080/01446193.2013.766358.

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Fu, Albert S. "Contradictions in California’s orientalist landscape: Architecture, history and Spanish-Colonial Revival." Cities 28, no. 4 (August 2011): 340–46. http://dx.doi.org/10.1016/j.cities.2010.09.003.

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Cañas, Ignacio, and Silvia Martı́n. "Recovery of Spanish vernacular construction as a model of bioclimatic architecture." Building and Environment 39, no. 12 (December 2004): 1477–95. http://dx.doi.org/10.1016/j.buildenv.2004.04.007.

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Benavides, Carlos. "The historical present in Spanish and semantic/pragmatic structure." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 29, no. 1 (March 7, 2019): 7–31. http://dx.doi.org/10.1075/prag.18017.ben.

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Abstract The historical present (HP) is the use of the present tense to refer to past events, usually as part of a narrative. Most work on this topic has dealt with the functions of English HP, mainly within the context of tense switching in conversational narrative. Relatively little work focuses exclusively on HP in Spanish, and most of it deals with the function of HP in conversational narratives. There is a gap in the literature regarding the specific interaction between the semantics and pragmatics involved in the use of HP, especially with respect to the formal representation of this interaction. In order to fill this gap, this paper analyzes the use of HP within the Parallel Architecture framework (Jackendoff 2002) and examines the implications for the semantic/pragmatic structure. Language samples produced by native speakers of Spanish and data from a large Spanish corpus are used as part of the basis for analysis. The present study also explores how the use of the preterite and imperfect in narrative in the past parallels the use of the simple present and the present progressive in narrative within the present timeframe, and shows how this can also be fruitfully analyzed employing the Parallel Architecture. The result is an original model that extends the formal apparatus of the Parallel Architecture to an area where it has not been applied before, the interface between semantics and narrative structure.

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Pöll, Bernhard. "Some remarks on subject positions and the architecture of the left periphery in Spanish." Canadian Journal of Linguistics/Revue canadienne de linguistique 55, no. 3 (November 2010): 359–85. http://dx.doi.org/10.1017/s0008413100001602.

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AbstractThis article reexamines the puzzling issue of where subjects, lexical and null, are located in Spanish and offers a novel explanation for the incompatibility of preverbal lexical subjects with fronted focussed constituents. Both SpecIP and the left periphery appear to be potential landing sites for subjects, according to discourse-pragmatic factors. Assuming that pro is a clitic, it is argued that the aforementioned incompatibility can be captured by a simple rule: SpecIP must be empty for focus fronting to occur. This is the case with pro, which adjoins to Infl, or with postverbal subjects since they remain in SpecVP. From this analysis it follows that: 1) the subject field in Spanish is less articulated than is generally assumed, 2) the differences between Spanish and other null subject languages with respect to the availability of preverbal subjets can be reduced to this rule and a different ordering of focus and topic phrases, and 3) it is unnecessary to posit two different topic positions.

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Cambra-Rufino, Laura, Andrea Brambilla, José León Paniagua-Caparrós, and Stefano Capolongo. "Hospital Architecture in Spain and Italy: Gaps Between Education and Practice." HERD: Health Environments Research & Design Journal 14, no. 3 (February 15, 2021): 169–81. http://dx.doi.org/10.1177/1937586721991520.

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Aim: The research sheds light on the challenges and limitations of Spanish and Italian hospital design by looking at the gaps between education and practice. Background: Hospital design plays an important role in providing high-quality and cost-effective facilities for any healthcare system. Spain and Italy face contemporary challenges (i.e., elderly population, staff retention, and obsolete healthcare facilities) and have similar issues of life expectancy, health expenditure, hospital beds provision, and decentralized tax-financed healthcare systems. Method: A cross-sectional, mixed-method study was used. This involved two different data collection strategies and analysis for each area of investigation: (i) education and (ii) practice. For the former, educational programs were reviewed via a web search; for the latter, an online survey of 53 architectural/engineering offices involved in hospital design was conducted. Results: Hospital design education is limited to 0/58 in Spanish and 2/60 courses in Italian universities, although each country offers three postgraduate courses. The practitioners’ survey shows that even though their offices have a long history of healthcare design, only 48% in Spain and 60% in Italy have received specific university training. Office staff lack employees with medical backgrounds, which hinders any partnership between health and design fields either for design practice or the education fields. Laws, national regulations, technical guidelines, and previous experience are the most useful information sources, while international scientific publications appear underused by practitioners. Conclusions: Italian and Spanish healthcare architecture could be improved by promoting multidisciplinary teams (in practice and education) and improving the education offer by tailoring it to national needs.

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Vega, Macarena de la. "A historical legacy: Henry-Russell Hitchcock and early Modernism." Cuaderno de Notas, no. 16 (July 1, 2015): 73. http://dx.doi.org/10.20868/cn.2015.3119.

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On the occasion of the publication of Modern Architecture: Romanticism and Reintegration’s first Spanish edition. This essay aims to discuss the impact of Henry- Russell Hitchcock’s book –published in 1929– on the history of architecture. In spite of being the first history of modern architecture written in English, Modern Architecture fell into oblivion due to the success of Hitchcock’s subsequent book, coauthored with Philip Johnson: The International Style: Architecture since 1922. Discussing the critical approaches to the text –from the first book reviews to the latest historiographical studies– brings to light Hitchcock’s contribution to the historiography of modern architecture.

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Sequeira, Marta. "NOTHING IS TRANSMISSIBLE BUT THOUGHT / SPANISH EDITION OF LE CORBUSIER'S MISE AU POINT." Journal of Architecture and Urbanism 39, no. 2 (June 30, 2015): 161–64. http://dx.doi.org/10.3846/20297955.2015.1056453.

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García-Diego Villarías, Héctor, and María Villanueva Fernández. "Paradigma, ensayo y conclusión: La Casa de Bernard Rudofsky en tres actos." VLC arquitectura. Research Journal 5, no. 1 (April 19, 2018): 153. http://dx.doi.org/10.4995/vlc.2018.8945.

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<p>La Casa <em>–or in English, the house– that Bernard Rudofsky built on the Spanish Mediterranean coast in 1971 is a valuable case study on the operational possibilities of popular architecture in the practice of this contemporary discipline. It is a repository of theoretical references typical of the vernacular world; its author, known for the exhibition </em>Architecture without Architects<em>, is emblematic of this type of architecture to which he dedicated much of his efforts as a theorist and polemicist throughout the course of his life. Additionally, </em>La Casa <em>is a unique architectural feat as it involves the practical materialization of its implicated theoretical position. It is possible that a concrete conclusion can be drawn from this case, which may shed light on the possible operability of a type of architecture that presents more than a few difficulties for the current context of the discipline, despite being habitually admired and praised. Additionally, the text presented here brings to light unpublished information found in the personal diaries of the architect that allows for the recreation of the circumstances surrounding the ideation and construction of this piece of architecture.</em></p>

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Jones, S. J., L. E. Frostick, and T. R. Astin. "Braided stream and flood plain architecture: the Rio Vero Formation, Spanish Pyrenees." Sedimentary Geology 139, no. 3-4 (March 2001): 229–60. http://dx.doi.org/10.1016/s0037-0738(00)00165-2.

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LOW, SETHA M. "Indigenous Architecture and the Spanish American Plaza in Mesoamerica and the Caribbean." American Anthropologist 97, no. 4 (October 28, 2009): 748–62. http://dx.doi.org/10.1525/aa.1995.97.4.02a00160.

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Monroy, Douglas. "Presidio, Mission, and Pueblo: Spanish Architecture and Urbanism in the United States." Hispanic American Historical Review 85, no. 2 (May 1, 2005): 319–20. http://dx.doi.org/10.1215/00182168-85-2-319.

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Cifuentes-Aldunate, Claudio E. "The religious-sublime in music, literature and architecture." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 54, no. 2 (February 21, 2018): 300–314. http://dx.doi.org/10.1075/rro.16010.cif.

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Abstract The present article is an attempt to propose the semiotic aspect that produces the ”religious- sublime”. Most of the semiotic characteristics that we use to represent (and produce) the signifiers of the religious-sublime, nevertheless, share their mechanisms with other modalities of ”sublimeness”. The sublime will be regarded as the representation (in the sense of staging) of a perception. I will propose how the subjective perception – in this case of the divinity – is (re)constructed by the subject in a piece of Spanish Gothic literature, in sacred music and in architecture – the room which houses the subjective perception of divinity.

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Paredes, Ángela García de. "Spanish Pantheon in Rome. A Permanent Abode." Cure and Care, no. 62 (2020): 94–99. http://dx.doi.org/10.52200/62.a.0990j5pi.

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The Spanish Pantheon in the Campo di Verano was entrusted to three resident artists at the Academy of Spain in Rome in 1957: architects José María García de Paredes (1924-1990) and Javier Carvajal (1926-2013) and sculptor Joaquín García Donaire (1926-2003). They proposed an open space devoid of religious symbols apart from the chapels around it. This work explores a new direction that moves away from the usual funerary monument: a symbolic space composed of two planes in equilibrium laid out on a smooth platform where there is no distinction between sculpture and architecture. This place is for those who take time to pause here, a permanent abode, to spend time with the absent and the present.

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Fortuny Agramunt, Jaume. "Ideen zum räumlichen Zeichnen durch ein Farbkonzept. Gestaltungskriterien und Beispiele." Barcelona Investigación Arte Creación 7, no. 1 (February 6, 2019): 69. http://dx.doi.org/10.17583/brac.2019.3981.

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This paper is the transcript of the conference read on May 9, 2017 during the workshop The Power of Colors - The Spatial Experience with the Help of Art, at the Peter Behrens School of Arts, University of Applied Sciences, Hochschule Düsseldorf. It shows the ideas that art is capable of transmitting to architecture to design space through color planning. The reading describes in detail the creative process of the artist and professor at the University of Barcelona, Jaume Fortuny Agramunt, during the rehabilitation of architectural spaces through spatial experience with the help of art. Dr. Fortuny explains seven of his projects carried out in three Spanish cities (Badalona, Sant Quirze Del Vallès and Barcelona) within his line of research that he calls Analysis of the Relational Process Form-Space. These projects show how positive can be the transfer of knowledge to architecture from the area of Fine Arts to architecture from the field of Fine Arts, both from sculpture and painting, and the strong use of art for the everyday life of the society where it is generated.

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Kirakofe, James B. "Architectural Fusion and Indigenous Ideology in Early Colonial Teposcolula. The Casa de la Cacica: A Building at the Edge of Oblivion." Anales del Instituto de Investigaciones Estéticas 17, no. 66 (August 6, 1995): 45. http://dx.doi.org/10.22201/iie.18703062e.1995.66.1730.

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The building known as the Casa de la Cacica, seat of the Mixtec leaders of San Juan Teposcolula, Oaxaca, around the middle of the 16th century, exhibits the complexity of architectural and ideological interplay during the first period of colonization. The use of European techniques of construction did not prevent the native leaders of Teposcolula from conceiving of space and its political meaning in pre-conquest terms. Indeed, the new technology and architecture were probably adopted in order to legitimize and reaffirm the power of the ruling class in Teposcolula within the new context of Spanish domination.

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Mileto, C., F. Vegas, V. Cristini, and L. García-Soriano. "PREFACE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLIV-M-1-2020 (July 20, 2020): 1–2. http://dx.doi.org/10.5194/isprs-archives-xliv-m-1-2020-1-2020.

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Abstract. Without a doubt 2020 will be remembered worldwide as the year of risk and emergency, in this case a health emergency, and of new communication technologies. When work began in 2018 on the organisation of “HERITAGE2020 (3DPast | RISK-Terra), International Conference on Vernacular Architecture in World Heritage Sites. Risks and New Technologies”, the new technologies applied to vernacular heritage and risk were on the rise, although nobody could have foreseen how central they would become to everyday life in 2020. “HERITAGE2020 (3DPast | RISK-Terra), International Conference on Vernacular Architecture in World Heritage Sites. Risks and New Technologies” is organised within the framework of two research projects. The first, “3D Past – Living and visiting European World Heritage” (2017–2020), was co-funded by the European Union as part of the Creative Europe Programme, led by Escola Superior Gallaecia (Portugal) in partnership with Universitat Politécnica de València (Spain) and Università degli Studi di Firenze (Italy). The main aim of this project has been to promote the inhabited vernacular heritage declared as World Heritage Sites in Europe by trying to promote its valorization through new technologies, both for local residents and potential visitors. Vernacular heritage, new communication technologies and heritage management for valorization and sustainable tourism are the central themes of this European project. In 2020, these issues have become even more important for the survival, understanding and valorization of heritage, particularly vernacular heritage, which today provides a solid opportunity for cultural and sustainable tourism, where these new technologies make it possible to reach a wider public in search of locations better suited to social distancing. The second project involved in this conference is “RISK-Terra. Earthen architecture in the Iberian Peninsula: study of natural, social and anthropic risks and strategies to improve resilience” (RTI2018-095302-B-I00) (2019–2021), funded by the Spanish Ministry of Science, Innovation and Universities. This project is geared towards the conservation of earthen architecture in the Iberian Peninsula, both monumental and vernacular, which continues to be undervalued and barely recognized. The RISK-Terra project aims to provide scientific coverage of the study of natural threats (floods, earthquakes, climate change), social threats (abandonment, social discredit, demographic pressure, tourist development), and anthropic threats (neglect, lack of protection and maintenance), as well as the mechanisms for deterioration and dynamics and transformation (replacement, use of incompatible techniques and materials, etc.) to which architecture is exposed. The objective of the project is to establish strategies for conservation, intervention and rehabilitation which make it possible to prevent and mitigate possible damage through compatible actions and/or actions to increase resilience.As these two projects have major points of contact with potential for common reflection, their main themes have been combined in this Heritage2020 conference. The topics established for the conference are: vernacular architecture (study and cataloguing of vernacular architecture; conservation and restoration of vernacular architecture; urban studies on vernacular architecture; sustainability in vernacular architecture); new technologies applied to architectural and archaeological heritage (digital documentation and state-of-the-art developments; digital analysis in heritage; digital heritage related to social context; digital heritage solutions and best practices for dissemination); architectural heritage management (management and protection of UNESCO World Heritage Sites; social participation in heritage management; regulations and policies in heritage management; intangible heritage: the management of know-how and local building culture); risks in architectural heritage (studies of natural risks in architectural heritage; studies of social and anthropic risks in architectural heritage, preventive actions in order to improve resilience in architectural heritage; actions and strategies in post-disaster situations); earthen architectural heritage (study and cataloguing of earthen architectures; construction techniques that employ earth; sustainability mechanisms in vernacular earthen architectures; restoration and conservation of earthen architecture).The scientific committee was made up of 98 outstanding researchers from 29 countries from the five continents, specialists in the subjects proposed. All the contributions to the conference, both the abstracts and the final texts, were subjected to a strict peer-review evaluation system by the members of the scientific committee.Out of the over 300 proposals submitted, over 150 papers by 325 authors from 27 countries from the five continents were chosen for publication.

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