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  • Donald Judd, ilusionista con causa

     Rovira Gimeno, Jose Maria
    Date of publication: 2013-12-31
    Book chapter

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  • The architecture of the fall: Metamorphosis of structure in the work of Enric Miralles (1988-1997)

     Rovira Gimeno, Jose Maria; Garcia Estevez, Carolina Beatriz
    International Conference on Structures and Architecture
    Presentation's date: 2013-07
    Presentation of work at congresses

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    The fall of the roof of the Huesca sports centre marks out a new course for the work of the architect Enric Miralles, concerned for the future and understanding that projects are never finished. After the collapse, a sequential voyage in time that comprised the final destiny of his work: the coverings of the Avinguda d'Icària (1991) -the project that followed Huesca (1988)- represented a new rising from the remains; Alicante (1993), the precarious assembly of these towards a possible redemption in the use and programme of a building that the constant movement of its users demands; and finally, Santa Caterina (1997), the inevitable collapse, reflection of both the programme and history of the place and the meaning of its name.

  • Arquitectura palimpsest (Versalles l'any 1701)  Open access

     Faura Coll, Ramon Cugat
    Defense's date: 2013-07-25
    Universitat Politècnica de Catalunya
    Theses

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    The thesis investigates the ideological and historical sense of an architecture based on change. Louis XIVs Palace of Versailles provides the thematic framework and serves as the object of investigation. The time frame is centred on the summer of 1701 , which is when the King's Bedchamber is last moved. The Chateau is placed on an east-west axis, giving order to the castle as well as the city and the gardens. The East-West axis is also the solar axis, marking the order of the days. The centrality of the chamber symbolizes the process of centralization characteristic of the advent of the modern state, which Versailles marks the beginning of. The king begins refurbishment on his father's (Louis XIII) castle in 1661 . This means that for 40 years the suceessive king's bedchambers (six in total), have been moved around in search of the proper location. In a way, the new centrality and the interpretations of order and rationality that arise from it form a kind of palimpsest over the original sense of a Versailles as pure transformation. Based on the study of the ancient descriptions of the castle and floor plans of the period, the thesis seeks to make sense of the true ideological and cultural context of a palace initiated in full baroque period France, with a still itinerant king and court (Louvre, Saint-Germain-en-Laye, Fontainebleau, Vincennes, etc.) and which culminates in the emplacement of the king's bedchamber as the centre of the world and symbol of a new rational and centralised state. Much has been said about the order of Versailles , but very little has been said about the disorder. In order to do so one must determine the twists of chance surrounding the displacements of the king's bedchamber, study the official discourse lhrough the descriptions of Versailles by the Ancien Régime and from the administrative documents of the period (the États de la France) which enable us to understand how the royal household worked and was organised. We shall focus above all on Jean-François Félibien's description from 1703: Description sommaire de Versailles, ancien et nouvelle. Apart from being the first book to describe the new king's bedchamber, Jean-Françoisis Félibien composes a strange text consisting of new text blended together with fragments from the description which his father. Thus, that which is intended as a guide becomes a time labyrinth with the reader/visitor wandering through an impossible palace, arising from the blending of two very different Versailles . The thesis is organised in three parts . We begin with the Duke of La Rochefoucauld. As the neighbour below the king's bedchamber he is one of the people most affected by the construction of the final bedchamber. Through his rise within the court, we analyse the meaning of the court and the way it works in relation to the distinct forms that the palace takes on. The second and most descriptive part shows the context of change. The Félibien books, the meaning of the solar axis, the elements used in construction, and also the problem of lodging in Versailles (15,000 people). We discover two great movements: the axis of penetration and transparency and an enormous avenue over half a kilometre long at the first level, veritable public place open to all. The third section proposes a reading of the disorde through an analysis of the official texts describing Versailles in three registers (castle (the place); the États de la France (the users); the feasts (the activities). The discursive disorders the three registers have in common are arranged in parallel to the spatial order of the Versailles of representation (excess, abundance, and chaos). The thesis opens up a long reflection on the disposition of the enfilade; understood here as antiperspective and the definitive crisis of the space of humanism.

  • Casa Bloc

     Garcia Estevez, Carolina Beatriz; Rovira Gimeno, Jose Maria
    Visions de l'Escola Tècnica Superior d'Arquitectura de Barcelona
    Date of publication: 2012-01-01
    Journal article

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  • Modernització tècnica i arquitectura a Catalunya 1903-1929  Open access

     Graus Rovira, Ramon
    Defense's date: 2012-07-11
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
    Theses

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    La tècnica (el seu poder transformador, però també la fascinació que produeix) és al centre dels debats culturals de principis de segle XX, també als de l'arquitectura. Així, en el cas català, dins del programa cultural noucentista la tècnica jugarà un paper nuclear en la seva tasca modernitzadora i "civilitzadora". Per a copsar l'impacte d'aquestes idees, la tesi desenvolupa tres eixos de recerca paral·lela: a/ sobre l'utillatge mental de l’arquitecte (la seva formació, la recepció del debat forà en revistes i congressos internacionals o l'excursionisme); b/ sobre l’imaginari col·lectiu del catalanisme (el fet vernacle en la transformació del camp català, les propostes per a una "casa" per a la classe mitja i el darrer resplendor d'una arrelada "construcció catalana") i la seva acció política (els conflictes entre noves i velles institucions); c/ sobre la transformació del sector de la construcció (el taylorisme, la introducció del formigó armat i l'assimilació de les estructures d'entramat). En resum, entre 1903 i 1929 es produeix una profunda modernització tècnica de l’arquitectura, malgrat la seva empremta hagi estat mig esborrada pels fets polítics posteriors (dues dictadures i una guerra) i el llarg cicle econòmic depressiu 1929-1952.

    La técnica (su poder transformador, y aún más la fascinación que genera) está en el centro de los debates culturales de principios de siglo XX, también en los de la arquitectura. En el caso catalán, en el marco del programa cultural "noucentista" la técnica jugará un papel nuclear en su misión de modernización y de "civilización". Para medir el impacto de estas ideas, la tesis desarrolla tres ejes de investigación paralela: a/ sobre el utillaje mental del arquitecto (su formación, la recepción del debate exterior en revistas y congresos internacionales o el excursionismo); b/ sobre el imaginario colectivo del catalanismo (el hecho vernáculo en la transformación del campo catalán, las propuestas sobre una "casa" para las clases medias y los últimos destellos de una enraizada "construcción catalana") y su acción política (los conflictos entre nuevas y viejas instituciones); c/ sobre la transformación del sector de la construcción (el taylorismo, la introducción del hormigón armado y la asimilación de las estructuras de entramado). En resumen, entre 1903 y 1929 se produce una profunda modernización técnica de la arquitectura, aunque su huella haya sido medio borrada por los hechos políticos posteriores (dos dictaduras y una guerra) y el largo ciclo económico depresivo 1929-1952.

    Technique (with its power to transform and the fascination it produced) was at the centre of cultural debates and those concerning architecture at the beginning of the twentieth century. Within the framework of the cultural programme of "Noucentisme" in Catalonia, technique was to play a fundamental role towards modernization and social and cultural development. For a better understanding of the impact these ideas yielded, the thesis develops three lines of parallel research: a/ on the mentality of the architect (his formative years, the acknowledgment of the debate taking place abroad through magazines and international conferences or through scientific outings); b/ on the collective representations of the Catalan identity (the vernacular facet in the transformation of the Catalan countryside, the proposals for a "house" for the middle class and the final rays of a deep rooted "Catalan construction") and its political action (the conflicts between the new and the old institutions); c/ on the transformation of the construction sector (Taylorism, the introduction of reinforced concrete and the assimilation of the steel skeleton). To sum up, between 1903 and 1929 a profound modernization in architectural technique took place despite the fact that many of its signs have been partially erased by the political events that followed (two dictatorships and a war) and a long period of economic depression between 1929-1952.

  • EL PRIMER ARQUITECTE A SANT PERE DE RODES: PROJECTAR UNA ESGLÉSIA FA DEU SEGLES  Open access

     Giner Olcina, Josep
    Defense's date: 2012-07-05
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
    Theses

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    L’objectiu és determinar què era l’església del monestir de Sant Pere de Rodes en el seu primer estatacabat per a qui la vagi concebre i dirigir. N’hem manejat la historiografia i les dificultats de veure’n la forma, aixecat plànols, trobat la unitat de mesura, estudiat les dimensions en relació amb els coneixements de proporció del moment i les descripcions dels edificis bíblics, seguit les variacions durant la construcció, contextualitzat el vocabulari, descrit l’estructura espacial i el programa iconològic. En resulta que per haver concebut, elaborat i construït l’església calien el quadrivi, la Bíblia, la idea dels sentits múltiples establerta per l’exegesi i un coneixement poc o molt analític d’arquitectura romana i d’arrel romana; i la capacitat de treure’n criteris de decisió de rang equivalent; les columnes superposades de la nau són el moment fort de la constitució de l’edifici en lloc.

    The aim is to establish what the nature was of the church of the monastery of Sant Pere de Rodes for those in charge of its conception and actual construction when the building was first considered complete. We have examined the historiography and the difficulties encountered in describing the form of the church, measured the building, drawn new plans, found the unit used, related the dimensions to contemporary knowledge on proportion and biblical descriptions, followed changes during the building process, put the vocabulary in context and described both the spatial structure and the iconological program. The church could neither have been conceived, developed nor built without the quadrivium, the Bible, the exegetical idea of multiplicity of senses and an analytical knowledge of Roman or Romanbased architecture; nor without the ability to get equivalent decision criteria from all of them. The superimposed columns make the building into a place.

  • La ciutat de repòs i vacances del Gatcpac (1931-1938). Un paisatge pel descans.  Open access

     Sauquet Llonch, Roger Joan
    Defense's date: 2012-01-12
    Department of Architectural Design, Universitat Politècnica de Catalunya
    Theses

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    L'annex contenia a l'epígraf 1 els números 7 i 13 de la revista A .C. que podeu consultar a l'enllaç http://www.numerossueltos.com/revistas/ac.html (consultat el dia 13/11/13)

    The research object of this dissertation is the City of Rest and Holiday (CRV) of the GATCPAC. A project that was born in 1931, presented at CIAM IV, published in various journals, but never executed because of the Spanish Civil War. The GATCPAC placed the holiday resort on the beach of the Llobregat delta, between the towns of Castelldefels, Gava and Viladecans. The place was categorized as rural, an extremely flat landscape defined by strips of dunes, a pine forest and wetlands. The project was inspired by the need to provide a space for the rest of the Barcelona working class, which thanks to the progressive government policies of the Spanish Second Republic had, by law, and for the first time, a weekend. In order to convince the society about the need of the project the GATCPAC created a cooperative for its promotion and organization. The search of this specific place was lead by the idea of combining nature and resting: the GATCPAC was convinced that for urban life stress recovering, it was indispensable to have contact with nature. This connection was clear during the weekend when thousands of people leave the city leading both to the sea and mountainous natural landscapes. The challenge of the project was to combine the order, civility and culture inherent in the "city", with the amplitude, the relationship with the land and freedom inherent of "rural areas". The resources used by the architects to reconcile "city" and "rural areas" interpreted the landscape as an organizing pattern, minimized building by concentrating activity, avoided urbanization, conceptualized the "gap" as another dimension of the project, used agriculture to isolate the resort and "activate" the landscape. Thus, the project preserved the virgin nature appearance, and was only ordered by a minimum mesh of roads and canals. The buildings, keeping large distances one from another, were erected above the pines, occasionally, as landmarks in the landscape. The GATCPAC reached these conclusions about landscape after reviewing several urban past projects, which were reinterpreted under the perspective of the rest. Among them, which stood as relevant were the Russian ¿deurbanizing¿cities, the siedlung and the Soviets settlements devised by Ernst May, as well as the conceptual framework laid down by Le Corbusier. The project also incorporated "organic" mechanisms to settle in the area, which could be related to the Catalan urban culture, a culture that had been evolving between 1910 and 1920, and was influenced by Howard's garden cities theory. This dissertation explains and contextualizes the project, but also demonstrates the validity of the parameters with which the GATCPAC ordered the CRV. This work also shows that the interest of the GATCPAC model, unlike most modern urban theories, lies in avoiding to consider a radical restructuring of the existing city, at least in the short term, but to "turn on to the suburbs", with a clear landscape intention. The existing city, which is dense and stressful, is complemented by an antithetic area located at a close distance. This is a "revealing" mechanism, facing the contemporary suburban landscape, where open spaces are mixed with housing, factories and infrastructures, facing the urban agglomerations caused by weekend escapes, and facing the territorial problem of second residences. Despite the current landscape situation is radically different than from the thirties, the GATCPAC proposal of the activation of the suburbs is still inspiring because it poses a challenge to a very present situation: the territorial sustainable balance between urban life and the desire for nature contact of its inhabitants.

  • La construcció del Montserrat modern  Open access

     Garcia Fuentes, Josep Maria
    Defense's date: 2012-01-09
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
    Theses

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    L’antic monestir de Montserrat, fundat al segle IX, va ser saquejat i destruït completament durant la Guerra del Francès; quan els seus edificis van ser dinamitats entre l’estiu de 1811 i el de 1812. Malgrat els primers intents per reconstruir-lo, la desamortització de Mendizábal de 1836 va fer desaparèixer la vida monàstica, i amb ella, tota esperança d’una possible reconstrucció. Fins que l’any 1844 es va aconseguir reobrir precàriament el santuari i es va iniciar la tasca de reconstruir Montserrat en tots els sentits. D’aquesta manera, i malgrat els problemes arquitectònics i les circumstàncies polítiques i socials adverses -de les que ens ocuparem en profunditat al llarg de la tesi- es va aconseguir iniciar el procés de construcció que ha acabat definint el Montserrat modern que avui coneixem. Un procés dilatat en temps, de més d’un segle de durada, en el que Montserrat –tant el santuari-monestir com la muntanya- s’ha anat definint progressivament i de manera canviant, com un dels principals referents simbòlics de Catalunya –i també d’Espanya, encara que en menor grau. Aquesta tesi, doncs, estudia el procés de construcció arquitectònica moderna del santuarimonestir posterior a la destrucció napoleònica; i ho fa en paral·lel a l’anàlisi de la definició del simbolisme modern de Montserrat -tant del santuari-monestir com de la muntanya. Abordant així el procés de construcció del Montserrat modern en tota la seva complexitat i fent èmfasi especialment en l’estreta relació existent entre la construcció simbòlica i cultural del monestir i de la muntanya, i la seva construcció arquitectònica al llarg dels segles XIX i XX. Entenent així que Montserrat, com a cas d’estudi, no és un objecte finit, aïllat, retallat, singular, tal i com es pot presentar a la mirada convencional; sinó un exemple paradigmàtic del patrimoni entès com a procés obert, sempre canviant, sempre inacabat. I, d’aquesta manera, la tesi no només demostra que tant l’arquitectura com la història de l’arquitectura són un registre del passat, sinó que el passat també pot ser construït d’una manera literal a través de l’arquitectura. Perquè, en efecte, el passat, de la mateixa manera que la identitat –nacional, política o religiosa; o fins i tot, de la mateixa manera que la identitat individual és quelcom construït en, i també a través de l’entorn construït. (Van Eck, 2009:51) Una afirmació especialment reveladora de l’essència del procés de construcció del Montserrat modern, que té un dels seus moments culminants en la identificació entre Catalunya i Montserrat, en el “Miracle de Catalunya”, tal i com el va anomenar Joan Maragall. De manera que, en aquest moment, construir Montserrat era equivalent a construir Catalunya; i, alhora, també a construir la seva història

    The old monastery of Montserrat, founded in the 9th century, was completely sacked and destroyed during the Peninsular War, when the complex of buildings was dynamited between the summers of 1811 and 1812. Despite early attempts to rebuild it, Mendizábal’s disendowment or seizure of church property in 1836 put an end to monastic life and with it any hope of a possible reconstruction. Eventually, in 1844, the sanctuary was precariously reopened and the task of reconstructing Montserrat in every sense was initiated upon. In this way, despite all the architectural problems and adverse political and social circumstances —which I will go further into in the course of this thesis—, it was possible to initiate the process of construction that in the end defines the modern Montserrat that we know today. A process stretching over time, lasting more than a century, where Montserrat —both the sanctuary-monastery and the mountain— became defined, in a gradual and ever changing manner, as one of the main symbolic landmarks of Catalonia and, to a lesser extent, Spain. This thesis, therefore, studies the modern process of the architectural construction of the sanctuary-monastery subsequent to its Napoleonic destruction; and does so in parallel to analysing the definition of Montserrat’s modern symbolism —both with regards to the sanctuary-monastery and the mountain itself. Thereby considering the construction process of the modern Montserrat in all its complexity and particularly concentrating on the narrow ever-present relationship between the symbolic and cultural construction of the monastery and of the mountain, and its architectural construction over the 19th and 20th centuries. Here we understand that Montserrat, as a case study, is not a finite, isolated, removed, unique object as it may appear to the casual eye; but rather a paradigmatic example of heritage understood as an open, ever-changing, ever-unfinished process. So the thesis does not only demonstrate that both architecture and the history of architecture are records of the past, but that the past can also be constructed in a literal way through architecture. Because, in fact, the past, as with identity —whether national, political or religious, or, if it comes to it, individual identity—, is something constructed amongst, as well as by, the built architectural environment. (Van Eck, 2009:51) A particularly revelatory statement on the essence of modern Montserrat’s construction process is to be found in Joan Maragall’s “Miracle de Catalunya”, which in one of its culminating moments clearly identifies Montserrat with Catalonia. In those days the construction of Montserrat was comparable to the construction of Catalonia, as well its history.

  • Un mito moderno: Casa Bloc, Barcellona 1932-1939-2009

     Garcia Estevez, Carolina Beatriz; Rovira Gimeno, Jose Maria
    Casabella (1965)
    Date of publication: 2011-07-01
    Journal article

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  • Centro cívico La Pista, Hostalets de Balenyà (Barcelona), 1986-1992

     Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Mercado de Santa Caterina, Barcelona, 1997-2003

     Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Cubiertas en la Plaza Mayor, Parets del Vallés (Barcelona), 1985

     Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Etapas en la ETSAB: 1972-1987

     Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Parque dels Colors. Mollet del Vallés (Barcelona), 1992-2001

     Garcia Estevez, Carolina Beatriz; Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Prefacio

     Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Biblioteca pública de Palafolls (Barcelona), 1997-2005

     Rovira Gimeno, Jose Maria
    Date of publication: 2011-11
    Book chapter

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  • Donald Judd Ilusionista  Open access

     Peñaranda Quintero, Lourdes
    Defense's date: 2011-03-23
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
    Theses

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    Esta investigación tiene sus bases en el análisis de la obra de Donald Judd como resultado de un desarrollo plástico inducido por una argumentación en contra de la representación del espacio ilusionista propio del arte occidental. Se utiliza la obra de Donald Judd para comprender cómo el rechazo a la perfección ilusionista de la visión centralizada de la representación, llega a traducirse en la presentación de la realidad como tal, paradójicamente estableciendo un retorno hacia el espacio de la ilusión. Se pretende en este estudio determinar las raíces previas en la historia del arte en relación con la problemática de la ilusión hasta llegar a la primera vanguardia del siglo XX, representada ésta por las propuestas de Malévich y Duchamp, para lograr así entretejer un escenario que nos lleve a reconocer a Judd desde una perspectiva poco usual en la comprensión de su obra. Finalmente se presenta una lectura entrecruzada de sus escritos, obras y contexto que nos permite puntualizar sobre los aspectos más relevantes acerca de sus ideales y creencias con respecto al oficio y el resultado de la obra final, que se manifiesta a través de su propia presentación física como una realidad inclusiva de ilusiones. Esto es, para ilusionarnos a través de la satisfacción del ojo en la experiencia multiplicada al presentarnos algo interesante que mirar.

    This research has its bases in the analysis of Donald Judd’s work as a result of the development of a work caused by an statement against the representation of the illusionist space proper of western art development. The intent of this study is to locate in the history of art the previous roots and their relationship with the issue of illusions until the first vanguard of the 20th century, represented by the proposals of Malévich and Duchamp, to thus manage to weave the scene that will takes us to recognize the work of Donald Judd from an unusual perspective in its understanding. The work of Donald Judd is used to understand how the rejection to the illusionistic perfection of the centralized vision of the representation goes so far as to be translated in the presentation of the reality itself to paradoxically establish a return towards the space of the illusion. Finally there is an intercrossed reading of his writings, works and context that will allow us to emphasize on the most important aspects of his ideals and beliefs with respect to the discipline and the result of his final work, that is pronounced through its own physical presentation as an inclusive reality of illusions. This is, to excite us across the satisfaction of the eye in a multiplied experience on having presented before ourselves something interesting to look at.

  • Enric Miralles 1972-2000

    Date of publication: 2011-11
    Book

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  • Arquitecturas de Riesgo

     Rovira Gimeno, Jose Maria; Pizza De Nanno, Antonio
    Participation in a competitive project

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  • Casa Bloc: Barcelona, 1932-1939-2009

     Garcia Estevez, Carolina Beatriz; Rovira Gimeno, Jose Maria
    Date of publication: 2011-01-11
    Book

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  • Construcciones narradas - Arquitectura viva

     Garcia Estevez, Carolina Beatriz; Rovira Gimeno, Jose Maria; Pizza De Nanno, Antonio; Granell Trias, Enrique
    Others' publications about work

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  • Una buona idea non basta per produrre un buon libro

     Rovira Gimeno, Jose Maria
    Casabella (1965)
    Date of publication: 2010-05-01
    Journal article

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  • Le Cobursier en El Escorial: hacia el palacio

     Rovira Gimeno, Jose Maria
    Date of publication: 2010
    Book chapter

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  • Arquitectura de la Posguerra en Barcelona (1939-1952)

     Colón Rodríguez, Yara Maite
    Defense's date: 2010-06-01
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
    Theses

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  • La ciudad de la presencia: memorias, deseos y narrativas  Open access

     Páez Barrera, Rafael Oswaldo
    Defense's date: 2010-06-02
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
    Theses

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    La ciudad de la presencia: memorias, deseos y narrativas, tiene cuatro facetas:1. Afirmo que la ciudad globalizada se diferencia de la ciudad moderna porque las formas del mando y la acumulación se han modificado, por tanto, analizo algunas de dichas modificaciones para explicar la ciudad del presente como concepto y forma. Las teorías críticas usadas en tiempos de la ciudad moderna que incidieron en su configuración han dejado de ser operativas porque ya no corresponden a la ciudad del presente. Ciudad caótica no solo por la falta de nuevas teorías, sino por la aceleración de las relaciones capitalistas, el incremento de la población urbana y las prioridades del neoliberalismo. Las nuevas condiciones productivas han traído nuevos sujetos productivos, quienes asimilando las experiencias pasadas serán los encargados de transformar la ciudad globalizada en otra: solidaria, igualitaria y libertaria.2. Sostengo que las maneras de historiar la ciudad moderna no son adecuadas para la globalizada. A ésta ya no le interesa la historia por considerar que la misma habría llegado a su fin, en ella.Pensar e historiar la ciudad es tarea de los sectores sociales opuestos a los globalizadores, en una práctica intelectual que se apoya en el saber narrativo crítico de los nuevos sujetos históricos, quienes se mueven al margen del discurso cristalizado del poder. De esta forma, dichos sujetos religarían el espacio y el tiempo tanto en su crítica (análisis), en su comprensión (teoría), y en su transformación (práctica), no desde arriba (relación de poder), sino desde abajo y desde sus cuerpos, que es desde donde se construye todo.3. Retiro de la hermenéutica urbana el paradigma tempo-cultural vigente, esto es, ensayo la sustitución del modelo pasado-presente-futuro por el de la experiencia-presencia-deseo, más operativo y experimental para el desarrollo de la contemporaneidad y la expresión auténtica de los sujetos o agentes del cambio, y por tanto, necesario para entretejer la comunicación y la poesía de una nueva ciudad. En todas estas entradas el cuerpo está en el centro de las reflexiones, en él se concentran todos los tiempos y todas las desgracias, pero también todas las posibilidades liberatorias.4. Presento algunos textos míos estructurados sobre la base de las reflexiones señaladas, a fin de probar la operatividad y productividad de los modelos teóricos aquí aludidos. Se trata de una antología de textos cortos que corresponden a un caso concreto: la defensa de la memoria, en la crítica al manejo globalizador de una ciudad histórica patrimonial. Con esta opción verifico el modelo teórico en consecuencia con el tono y el conjunto de la tesis, puesto que, al criticar en la misma las acciones formales de la ciudad del presente como destructoras de todos los testigos de otros tiempos, las relecturas de los patrimonios culturales tangible e intangibles, adquieren súbita importancia."

    The proposed thesis has four dimensions:The globalized city differenciates itself from the modern city in a number of ways.These changes are characterised by changes in the patterns of employment, organization and accumulation. This work analyzes the conceptual and structural dimensions of the modern city. The critical theories that have previously been applied to the study the modern city have become obselete, and are no longer applicable to the configuration of today's cities. Such theories are misfitted to the contemporary city. While there is no shortage of theories which could be applied, the proliferation of capitalist relations, the growth of the urban population and the characteristic neoliberal values demand theories that can encompass the fluid pace of fast-changing societies. New productive relationships have also brought about new productive subjects. These subjects, who have assimilated past experiences, become the new actors in the transition of globalized cities into solidary, equal and liberal spaces I argue here that the ways of conceptualizing the modern city are no longer adequate for the study of the globalized cities. The globalized city believes that history has ended.Conceptualising the history of the city is the task of social sectors opposed to the globalization process. This process should consist of an intellectual task that is grounded in the collective narrative of the new historic subjects, who exist on the fringes of the discourse of power. From this perspective, the subjects in question, would realign the relationship between space and time through their criticism (analysis), comprehension (theory) and transformation (praxis/practice). This process, however, will be constructed, not from above (relationship with power), but from below, from their bodies.I abandon the contemporary urban hermeneitics of culture-time, chosing to replace the past-present-future model for experience-presence-desire, which is more applicable to the development of the contemporary and the authentic expression of subjects as agentes of change and thus necessary to the interlinking of the communication and poetry of the new city. En all these scenarios, the body is at the centre of the reflexions. In the body, all the times and humilations are condensed; but so too are all the emancipatory possibilities.The texts presented here are grounded in the reflections above reflections, with the objective of proving the applicability and productivity of the theoretical models discussed. This work is an anthology of short texts, all of which are based in a concrete case study. The unifying theme is the defense of the memory: a critique of the pro-globalizing administration of the historic city of Cuenca (Ecuador).Through the application of the model to the chosen texts, I hope to consolidate the four theses stated here. Through a critique of the formal management of the contemporary city as destroyers of witnesses from other eras, the revision of tangible and intangible cultural patrimony acquire great importance.

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    Date of publication: 2008-10-31
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     Rovira Gimeno, Jose Maria
    Date of publication: 2008-10-31
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     Rovira Gimeno, Jose Maria
    Date of publication: 2008-10-31
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    Date of publication: 2008-10-31
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    Date of publication: 2008-10-31
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     VIDAL PACHECO, ENRIQUE
    Defense's date: 2008-05-15
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
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     Rovira Gimeno, Jose Maria; Granell Trias, Enrique; Pizza De Nanno, Antonio; Sanz Esquide, Jose Angel; Marin Vega, Celia
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     Pizza De Nanno, Antonio; Rovira Gimeno, Jose Maria; Granell Trias, Enrique; Sanz Esquide, Jose Angel
    Date of publication: 2008-10-31
    Collaboration in exhibition catalogues

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    Casabella (1965)
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     Rovira Gimeno, Jose Maria
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     MUÑOZ BRAVO, MERIDALBA
    Defense's date: 2007-06-25
    Department of History and Theory of Architecture, Universitat Politècnica de Catalunya
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    Casabella (1965)
    Date of publication: 2007-05
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    Casabella (1965)
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