Bnclient.dll Cant Update

Event at EBP - Rio

As “loucuras” do contemporâneo

Encontro Marcado com Francisco Bosco (doutor em teoria literária e colunista do jornal O Globo).

Interlocução com Manoel Motta, Angela Batista and Gisèle Gonin.

Day: January 31, 2011, ace 21 hours

Location: Rio EBP-

Thornberry Game Wild Life Rescue Online

ArchitectureforHumanity.org

We are all more or less agree on the Palau Güell considered as one of the best buildings in the world. Architecture in case, go. The Güell Palace is a palace, in fact. It is a pavilion for concerts, masses, a cigar lounge, a barely living space open to the street (premium, thanks to do so, the oblique views because they were at the time of its construction to a whorehouse in the attic of whom were living Pablo Picasso, which made it twice damned), a room reception and a few blocks. The Palau Güell was truly at hand, at the corner of Nou de la Rambla and Rambla, and before there was an annex where the owner's mother lived. This was Eusebi Güell, who, along with Antonio López, Marqués de Comillas, and the Count of Romanones, were the richest people in Spain. While the three (unrelated between them, sharing a pleasure government posts, as prime minister last) put the country in the War of Morocco to protect their property, among other nonsense. Güell instructed its architect, Antoni Gaudí such, spending more money on building better. It is said that the question that made her accountant to start the day was "when it spent yesterday Gaudí?." Access ramps and paving blocks are an expensive Cuban mahogany, lest the horse slipped and above, hiciesen too much noise. The following is a gallery of African wood (and then rarely) even more expensive, totally unchanged, though, and today it is perfectly preserved. And trencadís? No. It was never a resource for ceramic leftovers: Jujol will need to wait for that. Were broken ceramic tiles of the best houses, broken and placed carefully on the basis of hundreds of hours of skilled labor. Some of them came from the best factories of Murano.

... and the Palau Güell is still an extraordinary architectural work of the best in the world. Because, until four days ago, most of the architecture did not business ethics. Many of the examples we have made throughout history are promoted and posh houses inhabited by the global economic elite, obsessed with representing his taste in expensive buildings, sometimes with a point obscene, but invariably still underperforming as examples of good architecture.

cc: barcelona dpr

An English beer drinker of 37 years, with some pint hooligan that enables him to do, quietly, as an extra in some of the novels of Irvine Welsh, has been one of the architects the paradigm shift of world architecture. His name is Cameron Sinclair. Raised in a poor suburb of south London in the heart of Thatcherism, he graduated as an architect make a year old and started working on important studies of those who make modern versions of that face enterprise architecture, which serves four long they've been able to pay. Over the weekend, with a charge of consciousness, decided to meet with a few friends to fix the world through their own profession. The difference with other drinking games that do the same thing is that he finally is doing it for real. On January 19 came to explain the COAC, in a conference held in the tank, until now an exhibition hall, with pedestrians stopping to look at him, illuminated, possibly in the headlights of a car that the Autonomous Police spent there ("Did I Said Something wrong?").

cc: barcelona dpr

brewers in those afternoons Saturday, Sinclair founded an NGO called Architecture for Humanity (AFH). Quite simply, AFH works for those who can not afford an architect. Exactly 95% of the population. Until now, architects have been part of a triangle whose other two vertices to the builder and developer. Relations between them cost money. Eventually generate. In any case, the final product is related to inbreeding and who can afford it: the remaining 5%, which we get money from ATMs made at night, in dorms who have no other shelter. That when you do not close before locked. One billion people (one trillion U.S.: Sinclair moved to Sausalito) nestled in the world live in poverty. Four billion more describe themselves as "emerging classes." That is, they do not want to be poor. Or do not want to call it themselves. Their locations and their caseloads are as varied as humanity itself: from Indian reservations in the USA (the rates of alcoholism and suicide highest in the world) to the victims of Katrina throughout the Gulf of Mexico , USA included. Victims of the tsunami in Indonesia for victims of the snipers in Kabul. Earthquake in Chile, Pakistan, Haiti. Hunger as a first side effect. Cholera. Drug trafficking, organized crime, selling "protection" the pormayor. Lack of schools, housing, running water, electricity, any kind of service. Drained land to play football. Civic center. Of anything that we find around the corner so much that neither you think about it. AFH

architects sent to these places. Living in tents in refugee camps. Live in dilapidated buildings. Often they do not have running water, internet, change of clothes, decent beds to sleep at night. Like their customers. Some have three master, leaving behind well-paid jobs. The rise at three in the morning when a canvas tent flood. Build shelters for pregnant women in one week with two thousand dollar budget. Because that's the point: we all have ideas. Some even have good. But do not live in an idea. Do not eat it, do not sleep in it, nor will shelter you from the cold and prevent heat stroke. AFH built. First of all constructs. Constructed above. Performed. Runs, manages, educates and let education.

Cameron Sinclair is the ideologist of this, and a fast learner, is influenced by the environment, proposes, reacts, fixes on the fly and, especially, does not stand still. After a fabulous project that had everything in mind (program, gravity, sustainability, prevailing winds, beauty, blah, blah, blah) but was not accepted the community had the courage to ask why and find the answer: distance. At end-users such technification both classroom effort, study, architect-builder relationship seemed excessive, foreign. Since then, working together. Selling cultural distances. Involve the community, local artists, to the fathers, children. Use the final judging in the competitions, designers, laborers. Learn to accept their verdict and teaching. Breaking barriers with the people, up to flirt with demagoguery, and why? The issue is coming, no matter what. Communicate, propose.

cc: barcelona dpr

The weapon: the project. Genesis of the project as whole. Capture needs, seek funding, involve stakeholders and move forward. The project as an intermediary between an organized mafia and an architect who tries to help his neighborhood. The project as an integral element of the previous conditions that they will answer a building well-structured, well thought out, well executed. The project as an open process that goes far beyond the building itself, which involves ways of using it, live it, to keep it. The project as sensitivity. Before we left

(another) beer drinker with three master and less than twenty pounds of luggage going to live for four years to a devastated area of \u200b\u200bthe Earth. This man is young, ambitious. Sensitive. Wants to conquer the world, to express themselves, so make good architecture as a Foster either. And that's exactly what he does. AFH sell this: dignity. The beer drinker with three master charge for their work. Because we are technical architects charge for work. Because these things are done on a Monday morning first thing and not at eight pm on a typical day, when you get tired from work, and there will Buea, yields only 20% of what you pay. Because this is not to be a hobby not a sacrifice. In exchange work from sunrise to sunset seven days a week. A change materialize their wildest architectural dreams at 20 € / m2, hopefully, without compromise, or strange architectural forms, or sustainable epic episodes. A change to catch on their customers. Learn that a photovoltaic solar panel is not used to heat water on an electric burner for free, but to assemble a top-up business demand. Learn that a green roof is to be calculated with quadruple the overweight than would apply in the first world because it will be used as a platform for a party with DJ when the building is inaugurated. Learn to listen, a tattoo left the building with paintings that same feel awful but are important to users. Learn to integrate, prioritize work. Learn to be serious.

cc: barcelona dpr

The moment that struck me the conference was precisely when he began to explain all this. The event began with a video rompesensibilidades, those who systematically ignore youtube unless accompanied by an unreleased song of any group gafapastero worth, which in this context, it made sense even fooling around again, or boot with demagogy. Afterward, Sinclair went on to explain the genesis and operation of NGOs: A brilliant orator, indeed. After a quarter of an hour or minute chat vente looked around the stalls and, with that face of hunger that I know a thousand other conferences, said, "... but you are probably bored. We talk about projects? "I, who did not understand anything, I sighed, preparing for the usual ration of a gable roof with Arabic tiles and structure Bamboo, accompanied by a number of justifications that often begin with some of the billions of variations on the phrase "per the circumstances, you know ..." so far have burdened this type of architecture. No. What I saw then decontextualise perfectly and could have lead to any other conference in any other architect of the first world hunger: projects to sack. Projects uncompromising, well-drawn, rendered and mock-ups (sometimes with a single plane of execution), with formal will, aesthetics, with the same desire to express that to have any starchitect who has dropped the project of his life in Times Square , Catalunya Square or Piccadilly Circus. Because is not to be professionalized. These are architects. It is they think, they feel, that act as architects, led to a different audience, unpublished. An audience that knows no crisis. An audience that does not stop to get funding to start. An audience with constant demand for labor and brains, inexhaustible, demanding, calling for all our talent with more force than any rich man with a blank check. That demands organizational skills, facts, foreign ideas, to the drawings, the previous work, publications and noise. An audience, but, thankfully, demanding, you want to repeat, that needs repeating. A public demand incessantly what you need. A public that fulfills our wildest dreams, can be educated through the architecture. Through a building well done, satisfied demand, a truly listen. If you require a pergola this store and purge water. A home is security. A hospital, a pavement. A cover, a park. And do it well is to restore their dignity, increase our own brothers and, ultimately, grow as a society.

cc: barcelona dpr

collapsed in Haiti an entire refugee camp after a tremendous storm. The canvas tents blew away. Everyone got wet, were cold, were desperate as they lost utensils and children lost in the shuffle. Among the people started running the slogan to go back again to hospital because it was "the only building around the golf course was designed by an architect" was the pregnant women's hospital built in a week that I mentioned earlier. That is credibility: the building held, with the wind, the rain, pregnant and with a whole floor collapsed stilts of people who wanted shelter from the weather. Will aesthetics, professionalism, ethics, commitment and always fun and keep dreaming: this is the real architecture of the XXI century. When you are among friends drinking a beer (or five, equivalent to one dinner) at a bar somewhere thinking of leaving the amount on the table and send then to AFH. Probably see him become the school a month later.

cc: barcelona dpr

(thanks to Ethel Baraona for photos)

What Type Of Game Is Tech Deck Live

HEALTH FOR ALL, NOT WITHOUT THE MADNESS OF EACH

In June is here in the Rio 5th Meeting American and XVII National Meeting of the Freudian Field - HEALTH FOR ALL, NOT WITHOUT THE MADNESS OF EACH (prospects of psychoanalysis)

Duo Vip 222k Usb Hack

Where is the mime? Reviewing some Fisac \u200b\u200b

(On the Square apse of the Cathedral of Tortosa. A draft Arquitecturia, Olga i Camps Josep Felip)

from the above article posted on the Civic Center Ferreries this have spent a few things, cas all good: the study has been awarded Leaf Award for best European team of young architects, precisely because the Civic Center. They have won some others, such as AJAC. The day I visited the Center Josep showed me, also, the square, which I will now. The articles are, therefore, sets, and contemplate the two works. This project was also nominated for the awards Leaf. And, curiously, I kept it in second place because I liked more than the first: it is simultaneously more discreet, more daring, more radical, more mature. And I like better, no offense, therefore, the Civic Center's architecture is not exclusive.

The plaza has a timeless character. Their way of integrating into the place is evil: everything we see is new. Not only new, invented. The trick is that there was no square. There was never a place, indeed. In fact, not only was the place. Therefore, the applications are new. The situation created here so it fits in place that always seems to have existed. Leave indeed completely false everything that had previously been the backbone of the space so everything looks decent plan based on the square. Besides the architecture does not renounce nor the will to define a positive space, avoiding the negative way to organize the rest, work on already hard enough, or the formal autonomy of the intervention.

mechanism project: see the place. Know from having lived (Josep Camps is Tortosa of birth), for having done the right questions, and have extensively investigated.

Tortosa: Roman villa. After Muslim. Christian reconquest. In the early twentieth century (especially after the First World War) began its decline after the Civil War becomes a debacle, to the extreme of being, in all likelihood, the city of its size and importance over gradient Catalonia. Maybe even today. Until a few hundred years was navigable Ebro Zaragoza. Tortosa controlled river traffic brutal economic importance, coal shipments Baix Cinca included. It was the river gate.

The city had spread, always, on the left bank of the Ebro Dato important given that the first fixed bridge that crossed the river data permanently from shortly before the Civil War. Until then had only been, and also recently, floating (pontoon bridge). The old city stretches as a wedge to be parallel to the river with the old, of Muslim descent, climbing to the Suda (the castle), in a state, even today, extreme degradation. On the river we find the Bishop's Palace, a Gothic building more of the Palace of the Generalitat, a third smaller than that. The building exceeds the street, architectural quality, as important as episcopal sees Vic and Solsona. Across a narrow street parallel to the river, and it stuck on the hillside, is the Cathedral, also Gothic, with three naves.

Like much of the Mediterranean Gothic it is located attached to other buildings, surrounded, always, with narrow streets that open the doors too large for the voltage generated by a box so small urban: beautiful architectural paradigms.

is impossible to go around without leaving much of it by its south, as it has been incorporated into a block of houses. Inside the cathedral presents an almost unique characteristic: the apse has two deambulatorios, the second as result of not building the side chapels, which should serve as the first, places of worship are lost and won in spatial quality. This resource has already been used for the same Arquitecturia at the Civic Center Ferreries market, when knocked down existing stores (Josep Camps himself called the 'cliques' I do not know whether consciously or not) to create a walkway that is easily equated This second ambulatory: everything is connected.

In section the cathedral was stuck in the middle slope, Snorkel on the access road and accessible by a stairway that now was pretty mediocre demolished to make worse, which is part of a development plan that aims to fool the cathedral open to the river, knocking a chunk of a block of houses that front the street, creating a pseudo-urban paradigm to further confuse the alleged Cultural tourists coming to visit the site (which, on the other hand, is well worth a visit).

In the back there was a sea of \u200b\u200burban senior mark, the city was still rising and the topographic difference between the inside, at level of entry, and the exterior of the apse, to level the hill, it was resolved using the curtain wall of apse (a powerful stone wall that can easily have more than one meter thick) as a retaining wall. It continued to gain height producing a set of ramps to connect with the final slope to connect the bottom of the city to the neighborhood of the Suda. It was never intended that this system produjese spatiality and, until the intervention of the Arquitecturia the place was simply a vehicle lumpenaparcamiento where cars and pedestrians negotiating an unsafe area without the slightest trace of identity.

des drawing that I went to as a guide to analyze Arquitecturia previous state: to analyze the design of cars (coinciding with reality) is revealing ...

Analyzing the (fun) drawing prices Arquitecturia state: a series of cars drawn haphazardly, ignoring drawn up a few stairs there. Some of them would have difficulty getting out and most have good parking lot to maneuver. The drawing is accurate. I remember the place because I know the city from long ago.

own way of drawing the vehicle motion also suggests a step incessant turning vehicles outside of the apse, pedestrian circulation between them.

Two ramps considerable climbing toward a series of streets located many feet above our heads, six, seven, ten. Terraces, steps. The city is looking over herself. The roof of the cathedral as one of its most important fronts. Some of the planks match the walls of the Medina, it would not be known until later.

The project is exactly what we always must have been there. As Tortosa: Collage of references polished with an approach that gives them a full formal independence. No side by side, not twinned, melt, knotted together, cooked, allowed to stand. Probably good architecture is this. The origin: a street loaded. What it does if it can be replaced with a ladder? Suddenly the west facade and north retaining wall alone form an integrated space. Fill saves and organizes a topographical differences between the square and the back walls.

Digging: Find the limit of the foundation of the cathedral. The apse finally ceases to be a retaining wall. Displayed its foundation-stone of good solid base.

photomontage: Arquitecturia

The result: a slightly inclined plane with a cup-shaped boundary that surrounds, which underlines the apse exterior. This plan serves as a concrete platform that carries its own light, a business plan where to look and be seen: a theater. A scenario that eventually negotiated his surrender with the pre-existing site, the street to the north, the south portal. The limits you fill and wrap. Fabulous: do not touch the apse. Doing so reminded of the character retaining wall that was old. Explanation: Before things worked. No more. A thick wall. Stone holds the field. Max slips a little water technicians to drain the cathedral. The test operation is very simple: no one has fallen. Now we have to justify everything. The details of construction, calculations, samples. The bureaucracy refuses life sentence to a meaningless legal vacuum. The solution is very elegant. Perhaps because he played. Perhaps mature, constructive solutions of the past does not make sense here, and the team of architects has revealed. But they do have?

Let the embankment, saving many meters. In the top one is a pure street stairs and houses arranged on-the-wall-of-contention-that-might-be-a-wall ahead. And, simply, are reached by ladder. But it can not be any stairs. How's the Laurentian Library? Look at the pictures.

Michellangello Buonarotti: Laurentian Library

The rest: no theater without steps. The Greeks knew it. Well, the Greeks and Shakespeare, the famous Chinese dramatist. The Globe (as the Comedy Corral de Almagro) is, above all, a square, an urban situation that allows a group of people watch a drama. Or a tragedy or a comedy, the only possible forms of popular theater (more details, Aristotle's Poetics). Thus, Greece by geographic theater, Lope de Vega, Shakespeare, Marlowe, Calderon de la Barca (all great playwrights Chinese) and rebirth as popular theater, street. The decision is made.

southern access to the square of the city gate, mouth stage, theater.

The stands will remain open. There are concentric to the apse, but spun the space and leading to the city, to the River. South (contact the site) are transformed, by folding, Laurentian scale. Retaining wall on the north, a series of formal exercises of concrete can create something similar to a staircase, very comfortable to climb, ending at the top with a more conventional topographical bridges the gap could not be resolved the stands. Additionally, this step can have a key to space control: a stump of concrete, abstract mix between short staff and control tower, where they have lights to illuminate the space, single point of light designed as such in space.

photo: Pedro Pegenaute

The square has been designed with only two materials: concrete and steel. Virtually all steel is visible in the form of 10mm thick plates that form the drains (obviously vandalism) and locksmiths, including concrete staff. Also embedded in the concrete to perform together. Construct a concrete pavement by the cracks. Here, this is solved by giving the floor the same module as a stone slab, about 40 cm, a width slightly higher. To do this was restated mesh sheets 10 cm tilted edge that spot has reopened the surveyor to form the slope of the pavement. Each module has an LED embedded iGuzzini, so that the illumination of the space is produced by the same pavement. There is no furniture in the whole square. Anything you need is built into the architecture. I use this word because, in fact any other well-resolved urban space with furniture catalog will be integrated. It must be said that there are few opportunities for these well-resolved, in Catalonia. But there are.

plant construction

The pavement design is used to enhance the dynamic nature of space: rethinking the longitudinal lines are curved, concentric to the ambulatory. Transverse lines have strange deformed module, which coincides with the width of the LED lamp, a perfect square.

This system drains into the apse of the cathedral, where the fence that protects it delivers along with its bare foundation. Thus, the concrete is not delivered against the square but against metal, and appears a cushion between two very similar materials.

The concrete retaining walls and the bleachers have worked, in parts, in bulk, unassembled. Is fully dyed a beige off, earthy, matte, which equates with the stone of the cathedral. Its texture is smooth, but in some places, such as the risers of the stairs, has formwork river rods arranged vertically, giving it a rough texture, dark, as if abujardado. The little locksmith's in the square is an impeccably elegant: it pays to dwell on the details of construction, beautiful, giving a fragile look about as robust plates many projects would fall into coarseness.

whole square breathe a cult classicism, nothing impostada: References are dimmed, faded, the project integrates and sends them all over.

This reinforces the role that this place has been given a very subtle way: the social condenser. Square (a new place where there was none) aims to contribute to the transformation of the old district of Tortosa, which, combined with urban degradation has a major exchange of marginality. It became really insecure walk there, and remember do not make many years, walking the streets at a few yards of this place populated by buildings completely enrunados even partially demolished, where people still lived. A few years ago came second in the competition for the rehabilitation of the house Grego, one of the major works of Pau Mongie, located about fifty meters from the plaza. The winner has not built anything, and maintain the same differential settlement. You can put your fingers in the bullet holes opened during the Civil War. The forum, charming, modest, wood, corner, has lost all the windows. I'm worried.

Against this, Arquitecturia has opposed a well-built theater. The best example to understand the creation of places is a question that Joseph told me that he did in the study: "And where we put the mime?" And yes, there have been theatrical. The square you want to integrate. Wants to treat everyone the same, and is built with the same determination if you were at the center of Venice.

Arquitecturia iGuzzini negotiated a contract for maintenance and replacement of broken pavement LED lights: you can not give them to your location. Without demagoguery or stridency, this is a good example of educational architecture.

photo: Pedro Pegenaute

photo: Pedro Pegenaute

With

Josep Camps, staff and Peter Arquitecturia Pegenaute by giving the photos. The plans are Arquitecturia and photos are unsigned Jaume Prat

web

arquitecturia: www.arquitecturia.net

web

Pedro Pegenaute: www.pedropegenaute.es

Difference Between Wisconsin And New York Cheddar

(Photos of the three buildings Fisac \u200b\u200bin color and B / N: Jaume Prat. The rest of the pictures are taken from the Internet)

On 14 December I went to Madrid. For days he had to do more or less by issues related to architecture and possible thesis that fails to boot, and not postponed further because Madrid is always a pleasure and because architects José María Sánchez and Iñaqui Butcher, teachers ETSAM, saw fit to invite me in class to correct their students before delivering the final draft of the semester. The class put me in a good mood.

I'm always on the sites with time. More if the site is Madrid. More if I have the opportunity to eat a good breakfast, and before or after visiting any building that interests me. In this case I decided to lose by Viso, this colony of houses that a Madrid, Rafael Bergamin, and a Catalan, Eduardo Ferrer i Puig, gave birth together, shortly before the Civil War, northern district of Salamanca, relatively close where today stands the Santiago Bernabéu, east of the Castellana. Madrid never had modernism, but, definitely, your novecentismo (here associated with the generation of 27) Excel More than ours and marked part of the fabric of the city. In this case: delicious single-family houses where they live now the Infanta Elena and Co. (no comment) and have their studio where architects Moneo Navarro Baldeweg. Casitas coquettish between too much traffic. Incipient rationalism that today continues to impress. Facilities living with them, such as government buildings in its limits, some military residence, a posh and cole, especially in its southern boundary, formed by the Poplar Hill, Residence of Students and the CSIC, the crown jewels . The Residencia de Estudiantes is always put under good humor and I hear the footsteps of Buñuel, Dali, de Unamuno, Falla or Ortega, and many others who lived there. I realize that I have seen like the students staying there, and my ipod gives me the same air away that to them, seems to know where to go.

I went there looking for the corner (Oblique like many others in the capital) between Costa and Joaquín Velázquez: the headquarters of the Institute of Microbiology, CSIC, built in the decade of 50 by Miguel Fisac, who knew recently restored. The name says it all: real estate. There was, optimally maintained and ready for my photographs. Until the security officer let me enter the courtyard to make my own. Sorry for the time: the building has been to photograph afternoon and I wanted to go to ETSAM to devour another horrible early mixed: luck that those who serve in the bars of the streets are far better, stick to the subsidized services. When I was taking pictures lifted his head appeared behind me, as if by magic, the chapel of the CSIC, the same architect who knew that were in visual contact with the building to study. Previously I had come, too casually, with the Board Documentation Centre Juan de la Cierva, also Fisac. After him, another institute of CSIC, Chemistry. In view of the church, the tower built by the architect for the promoters, among other buildings the architect of those who speak another day. He had, before me, a series of buildings constructed by the architect at various times, all interesting: his debut, one of his major works, a classical building, the tower, the two institutes. What to draw? Carefully photographed them (sorry: I had to quit for reasons of weight, the SLR at home, and it shows) and tried to relate. This is the result.

1. Calle Velázquez / Institute of Microbiology

2. Calle Serrano / CSIC Església

3. Calle Joaquin Costa / Documentation Centre

4. CSIC Institute of Chemistry

5. Torre del CSIC

6. La Residencia de Estudiantes

(highlighted in black and white buildings of the architect)

constructive Precision:

Fisac \u200b\u200bbuilt well. Okay. In previous articles I have visited his buildings looted by a landslide, or left hand of God forgotten in a city with very modern architectural heritage, as Vitoria, a city still does not believe his mind and insists on living in town centers and Eneas between Gancheguis Ajuria Peñas, Fisacs, Moneo, Coderchs, Bayonne, AbalosHerreros, mangos. Buildings invariably hold up well. Or better. This faith in the project, this professionalism, the mastery of any technique that uses cuts across all ages and in all his work. Fisac \u200b\u200bdominated brick, mass concrete, precast concrete. Load-bearing walls and pillars. Dominated, in short, anything constructive about it some thought: reflections radical ability to transform and create a strain thing-no-is-what-the-top-without-you-leave-of-being-what self. And he did so virtuous.

The church CSIC, his first built project, in full self-sufficiency, cultural deprivation, lack of basic materials like steel, owned by the army (like the rest of metals), a depressed country, political commissars ... The commission was no pearl means that part of Viso is called the Poplar Hill, and is limited by the Serrano street, where you see the church, and has a more diffuse boundary more natural, to the west, where it meets the back of huge buildings, almost giving the Castellana. The plot has several acres, previously contained the Residencia de Estudiantes and after the war, was assigned, almost entirely, the CSIC. Fisac \u200b\u200bbuilt there since 1942 (the year of the hood) until 1959, and closing six buildings, of which I will discuss only two. The style of them all, except the last, is the classical Italianate, fascist, populist, easily understood by the spirit of sub-chief who ran their cultural aspirations writing the screenplay for Raza. However, the buildings, a second glance, excellent for the accuracy of its proposals, the quality of its construction, for his radical approach. The church obviously a boycott. Arniches architects and Dominguez had projected that the CSIC auditorium needed before anything else. The project was stopped, after they had managed to raise ten feet of solid brick wall, two poles (60 cm), probably. Portant. Fisac \u200b\u200bpicks them up and up, as is, turning the auditorium into a church. The leaves seen outside and inside plaster. Built on the floor, probably without suspended floor. No need. Well-designed furnishings. Horrific paintings on the walls, all well preserved (which means no moisture). Great lights, saved, yet, within the meaning of the passage short: flat brick arches without a gram of iron. Throughout the building there will be none for the structure. From the Dominican Fathers Theologate the rotate 90 degrees and there remain until the end of his life. As will later Miralles.

The Institute of Microbiology : the paradigm shift. One of his major works, for which design a specific type of brick used other distinguished architects of his time. Concerned about the closing of the structures bearing no arcades, Fisac \u200b\u200bcriticize the brick walls of half-staff (six inches), monolithic, tubeless, solid brick plastered inside, with a terrible thermal response, and propose Instead, a brick machining, vacuum, which weighs half a brick cladding inner five-level inch blade made of cork or fiberglass intermediate. And we're talking about the 50's. Brick outer leaf had a specific design, asymmetrical, with a flash that covered the mortar and was immune to time and weather. So, you see only pottery. Nothing more than pottery. And that held forjaditos: we are in the era of the short edge and the absence of compression plates of soft iron and experiments. The tower and stairwells, probably semiportantes are solid brick.

The institute Chemistry. As the tower, exposed concrete exterior sheet very thin, about ten or twelve inches, arming one side as it was to his liking, folded upon itself to forging and asymmetric intermediate position between the upper and lower fold. The reason is simple: Under the shutter box (aluminum roll), above, space for the radiator, much of his work is going to solve the case. The structure can be in many places. In this case, between vain and futile, outer pilasters with downspouts extrados, added a posteriori, completely outside, easy to maintain, strong vertical rhythm, strong shadow lines. What could have finished yesterday.

The Board Documentation Centre Juan de la Cierva : completely flat facade, poured concrete, formwork modeling seemingly random parapet to parapet. Gargoyle top and overflow emergency feature of the building that has been entrusted his whole appearance. Inserted structure with all of the law, sunscreens, interior, as well preserved as all previous.

woodworking Position:

gain weight and lose weight Fisac \u200b\u200bthe facades of convenience, always fighting the same assumptions: thermal comfort, sun protection, and that I do not know how to identify each building, each user, premium interior views, sensual, mysterious, poetic inspiration. Only with this feature, change any of its facilities, but is identical to the previous build. Excuse: I do not remember how it is the church. Solid brick walls. Youth. Serlian inside.

The Institute Microbiology to, the carpenters come out of the plane of the facade. It consists of special bricks designed, and is discontinuous. In front, the architect has a galvanized aluminum frames (which might not be yours and be the result of restoration: what is certain is that he respected the position of the woodwork, therefore, what to say about them is analogous to what could be said of the originally designed, regardless of their material). This framework is probably false, or rhetorical, or false, depending on how you say, in any case is hardly airtight. So, obligatorily, should appear some artifice that obviously works. The framework should be thick, very thick inside, the two partitions grout and protect effectively the two sheets.

The Institute of Chemistry to form the flat interior woodwork of the facade. Outside, a line of shadow. Outside, the shutter, solar protection. The front has shifted like a sock and has been (with the help of the ceiling and the virtual plane of the radiator) on the inside.

In Board Documentation Centre Juan de la Cierva (that awful facade) the facade is flat. If flat is flat. Flat on the inside, flat out, the woodwork, flush at the outer solar protection are embedded. The interior insulation cladding attached to the front, and all will be the first band of the building.

runs Windows

:

All buildings are studied, except the church. I understand long window continuous light plane, horizontal, open all along a wall or a facade. Is the way it is. Whether the system is constructive. I noticed this thanks to Karl Johan school in Gothenburg, the work of Erik Gunnar Asplund, who appeared in a book he stole from an architect who did not deserve it and keep as a jewel after having broken the forum during the flight . This school is a building bearing walls, characterized by a succession of square windows completely flush externally between vain and solid brick vain, vain of length shorter than the windows that frame, so that the end result is an empty domain on the full band in the window: the others are solid, nothing more. This contrasts with the dire windows-run-that-doesn't-it-is that too many architects place today, consisting of solid cloth trim and unify differentiated by a painting or a material change of solid strips horizontal: false. Asplund produces a continuous window precisely because it hides what is on the wall. The disguises. And with this gesture, someone else could produce the long window of five points. In short: a system.

EGAsplund, school, Karl Johann, Göteborg: sliding windows in structural walls with piers narrower than the gaps

EGAsplund, warehouses Bredenberg, Stockholm: sliding windows open plan

Rafael Moneo, homes in Avila :-based continuous window close together small windows cut into a wall.

The dome of the church presents a series of small windows that illuminate from above: yes, Santa Sofia is a precursor to the long window.

The Institute of Microbiology : Karl Johann school again, to the Fisac.

The Institute of Chemistry: the windows are interrupted by the field structure, between module and module, with a short corridor that minimizes the slides and go lights well for long. Shadow lines. Oblong windows and a stranglehold on the full vacuum in the horizontal tray, for 25 to 1. However, little boxes. Pace. Downspouts, added a posteriori. Shadow lines. Guidelines.

The Board Documentation Centre Juan de la Cierva, a long window Fisac \u200b\u200bworks perfect: the structure is within the bands are continuous concrete and carpentry level with them. Bands Hollow smooth, perfect.

Textures:

All material is textured. So ash concrete by Tadao Ando, \u200b\u200bpolished, with that touch ased. Even the ceramic mounted dry, or large stainless steel panels terse as mirrors have it. Fisac \u200b\u200bconsciously plays with them throughout their lives, to the extent that their periods are characterized by their use. Start with brick. Of as little as possible. Find the concrete, formwork wood first and then with a polyvinyl sheet attached in various ways: with a separate wooden slats, wire, rope. These molds, always the same, each time producing a different and unique piece, characterized the last phase of his work. All this always coexist with other materials that you like: the panels of glass brick, masonry cloths, worked more or less mortar, or armed, they come to equate with concrete wood a unique curtain wall ... in the Viso are not concrete panels with polyvinyl enmoldados, or know, but the catalog of textures that is runs throughout his work and allows a global view of the work of this architect.

Fisac, ed. Dollar, 1976. Precast concrete formwork polyvinyl based on a single mold that also does woodworking.

The Institute of Microbiology to: Brick. Brick, two different types: when it is working bearing bulky in walls antler or horn and a half. Mortar joints are nearly a third of the width of the individual brick, solid and tight. The perception of the walls is therefore very sensitive to the distance, near, when we play, is coarse, aggressive, with a wild point. Midway vibrating wall, the corners are realized, the small oblong and deep holes give it a rough but controlled. Seen from a distance is homogeneous, dirty, complex and perfectly mark the building volume. His special brick mortars change the board a line of shadow. His lead is not vertical but is inclined inward (for better and overlap so that the water slide), the brick is cleaner, orange, brighter, and the board is almost black. Vertical joints disappear, and only makes a series of horizontal lines every few inches. About displayed an intense vibration. Of further bands are marked a very powerful way. By far the wall vibrate uniformly, and the scale of the brick is very well marked in relation to solid strips and slabs.

The church working with a small solid brick, with strong board, producing the effect I described above.

The Institute of Chemistry available in front pieces of poured concrete or prefabricated on site, curves, so that their boundaries are blurred. The mortar color is gray, the timber formwork, horizontal boards more or less well off, with a board that is never perfect. This gives some randomness to the blend.

The Board Documentation Centre Juan de la Cierva the concrete works similarly to the above, but perfectly horizontal bands, uninterrupted: roughness against the smoothness of glass punctuated by the horizontal woodwork.

The relationship with the city:

Fisac \u200b\u200bnot seem to feel too comfortable in Madrid, nor in the city in particular. Many buildings are hidden behind fences more or less worked. Others, like IBM's Paseo de la Castellana, are directly shielded: they deny the street. His urban plans will be based in the cottage and the little garden, in the family isolated from the neighbors. Even many of the speculative housing buildings are arranged perpendicular to the street open to traffic spaces respect without the cost of hurting yet plus some neighborhoods without social cohesion, nothing that had not already invented the modern movement. In the Poplar Hill church began lining the streets, gestures inherited from the audience. Anyway, the rest of the program and the other six buildings will stay with this lineup, and the entire development plan will be the guideline of Serrano Street (north-south), have an orderly and playing with pre-existing as one's Residencia de Estudiantes ( alignment). Outside of the Hill, scattered throughout the Viso, there are other plots: the site of the Institute of Microbiology is very complex, with powerful lineups dictated by Joaquín Costa and Velazquez streets. There, the building will be a trench: an apple shape, and within, creates a microcosm, a secluded garden and separated from the street by the building itself and the section, which leaves a few feet above. The institutes catch the direction of the Calle Joaquin Costa, and exploit whatever their position, being oblique on the streets that are delivered. The fences are essential. The hits are produced by small squares, and only these plug the buildings with their surroundings, so timely. As if they were quantum leaps. The Juan de la Cierva is aligned again with the street, but without making the city: the fence who is entrusted with this feature.

IBM, la Castellana: the building barricaded

Some

single-family homes, like yours, have private patios. Gardens. Garden means, etymologically, a paradise in Persian: it seems as if the windows would serve more to illuminate than to watch.

Each of these buildings deserves a separate analysis. I left in the pipeline some relevant features that relate to other works of the architect, or characterize them alone, or even those who are, even more families including: features like staircases, which teach that a building had Fisac \u200b\u200bhead incessantly repeating . Features such as the dome of the church, modeled on the Hagia Sophia in Istanbul, if the ship is swung about herself will be other churches the architect, such as the Dominican Convent. If the vessel is deformed fan asimetrizando the two walls will Canfranc, Vitoria. Features such as the squares of access, which I have just suggested. No need. The idea is to realize that, as an architect, was transformed, using the number of orders I had to reflect on the passage of time, construction techniques, debugging, test, test: to have some success, to fail sometimes. To be a nonconformist. To be an architect.

similarities

placita access to the Institute of Chemistry, good morning.

... and that do not know what . That I do not know what's always talking. I know not what that, unexpectedly, was related from building to building. Increasingly loose. More and more domestic, more economical, more automatic and, simultaneously, as inspired as the first did not know what more courageous, more mechanical. Increasingly doing more with less. To the extent that users notice and the last buildings (more armor, more distrustful, more schematic) will have a domesticity that are missed the first, be released and finally yourself.