Tuesday, February 22, 2011

Black And White Party Invitations Wording

Malaise

"Psychoanalysis is a practice delusional, but that's what it does best today in order to have patience with this uncomfortable situation of being a man. It is in any case that Freud found the best . Lacan

Monday, February 21, 2011

Andi Sue Irwin Hardcore

Marcos Catalan: Lexington Bar, Muntaner 108, Barcelona


Lexington Bar: Marcos Catalán, back to the photo. (Photo: Jaume Prat)

99% of the content of this blog is written in bars. Project in bars. I contests in bars. Every morning I can go to Catalunya in Sant Cugat bar (next to the station), very little refurbished des of the 30 that until the past two Januarys, seemed to hold back because of tough stains, marble tables, Thonet chairs umpteenth imitation , horizontal paneled woodwork. Always make cold tapas are nothing special and some summers they serve you beer is not cold at all. I feel comfortable there. The noise of the bars helps me think. I concentrated. The talks, the sound of coffee or bottles crashing into the boxes of beer, shots that open the refrigerator under the bar, entry and exit of customers, observe how the customers behave, their body language, gestures, looks. It is a world. Is almost the world. So when, late last year, I had the opportunity to meet with Marcos Catalán and ask to tell me one of his works for publication here, I offered the Lexington bar, I was delighted.
Photo: Eugeni Pons
Having found out where he was, one afternoon, before dinner at the Out of China, restaurant is a few yards down on the sidewalk, went for a Dry Martini earlier. I instantly felt comfortable, and this feeling before analysis, this opportunity to explain (before explaining it to others, including Mark himself) why I feel good about a place, and to investigate what role does architecture in all this, is one of the most interesting questions I've ever done in this blog.
Photo: Jaume Prat
Days later, making a beer with Mark in the bar, I asked him to tell me. Interestingly, the architect who has done a tell it when you have opinion about it. The first concept (and almost the only) that was used was the order. For him, the Lexington is (even now) a local ground, complicated, which had in order to use. I looked at the walls and noticed that, almost as if he had X-ray eyes, he saw what was happening after all: here a dividing, the goal here, there a home. There was a partition. Then, empty the room, wrapping continuously with a wooden base to 2.06 in height, paint the upper walls of gold and renovate the façade. There.
parallel question: what architects do not speak when they talk about architecture? I imagine that Mark spoke of his concerns. Also what he took. But this work is not so, or remotely. The Lexington speech, above all, inspiration. It has been designed with the nose, based on seeking sensations. I do not know if, when he took his own life, it is these that the author sought. I know he is surprised at some points, disagree with others and, I imagine, pleased with the outcome. It is to be, as it has achieved the most difficult: to create an environment.

Photo: Jaume Prat
It's fun walking through there, move and look at the various users, couples, groups of friends. Almost everything is served are alcoholic beverages, beer, gin and tonics, wine, cocktails some other clueless: do not do bad Margaritas, and Dry Martini can drink a good meeting point. At night the lighting is dim, low. The dark color of the linings around you. The bar is at the right distance from the tables. It's nice.
Why it starts precisely with this notion of order. We get a huge glass. We found some lamps attached, they get whoever is behind it look like a shadow. This light separates inside from outside in a subtle, warm. Want to enter the place but who is not so promiscuously in contact with the outside world as one can possibly be in a more conventional bar closed with glass, where you seem constantly on the verge of hitting the pedestrians, who never know whether to greet or not . The first table is low and is served by four seats. It is round and it creates its own space irrespective of the crystal.
plant. Drawing: Marcos Catalán

You go, immediately covering dark stained pine, to 2.06, involving all local. Marcos I defined it as a U, but not really this: is more complex. It is impossible to perceive all the work together, but anyone who has not seen the interior environment intuit that also has the same type of coating. The perception of the true magnitude is replaced by the notion of continuity. On the base is a wall painted gold. This I also was described as a U, but in reality, is discontinuous because the local has a tremendous variation in height, meters. The entrance and the rear area are almost double height, while the connection is little more than 2.06 meters high this socket. As you enter the left hand side, a continuous wood bank serves a few square tables. At the end there is no bank. On the right the bar, separated from the sideboard for the area which provides the first panel. Then a staircase leads to the toilets and a store. Next to a hallway to another room condice. The corridor will be expanded to include another table with two more seats. The back room is lit (and amplified virtually) through a courtyard, surrounded by pine wooden benches that serve the tables, which follows the perimeter. The center is empty. And is (again): we have local ordered. From here, the sensations.
section. Drawing: Marcos Catalán
Marcos Catalán, from work to work has revealed two key skills here, simply explode and characterize the project: furniture and lights it better. Socket, banks, few fixed members. Tables: Simple, right color, the more square, dotted with round tables where you want to create a singular point. Expands and compresses the space to enjoy. What makes it riveting or continuous when it suits him. Chairs: Eiffel Chairs Eames designed by marriage (we can not agree more, my own studio is moble with wire-chairs of the same architects, the version with all metal legs of these chairs). The Eiffel Chair with wooden legs, and relate well to the pine floor. To highlight the pavement walking Mark showed me, and proudly remarked sound. For it is essential the creaking of floorboards, the muffled footsteps, the feeling at once domestic and poaching, good architecture is perceived by ear.
Photo: Eugeni Pons
The seats: Copenhagen. Second-hand markets. Specifically, the master Wenger, Hans Wenger. We buy four of their seats and placed in the entrance, like a manifesto, as a garnish. And how comfortable they are, by God. Two more seats second hand, these designer unknown, woven straw, serving the small aisle space.
photo: Eugeni Pons
... and lighting. Lighting is the key feature of the bar. Subtle, concentrated on the tables, creating islands of light that make you focus only on who got ahead. Surrounding this, barely a little more than a dim light illuminates the bar rotates and gives the general environment. It is possible to move easily around the room until you reach one of the places to be, which is des where you can enjoy the place. Each individual wants to be different, intimate. The diffuse light caused by a recessed downlights in the ceiling to give a highly concentrated light directly on the table, but away from them, is gold tinted walls, and nuanced, even by the various bottles that are placed in Shelves in this wall. On this, the exceptions. Apart from the general system that works, Marcos Catalán introduced anecdotes, isolated episodes, accumulation, guidelines and qualifies this general environment. In the front of the bar there are two lamps Bracket by Achille Castiglioni. I can not hide that this is one of my favorite lamps, which have placed if I could. I have four, actually: two at home, two in my studio. The lamp lights up my side of the bed is a parenthesis which I replaced the bulb causes, 150W, 60W one, I have directed against the wall and creates a soft light, pleasant, perfect for reading. Catalan the focus from des ground of half comfortable height, leaving the original bulb 150W, as part of the light is lost from the outside, making, also, local claim. On the east are also some tube lights of Eileen Gray, a light pipe (not killed with the name), a vertical fluorescent color with a very cold temperature (ie, which gives a warm light: the color temperature works in reverse of perception when it is warmer cooler is light) with a black and chrome housing. On one side of the first environment, Mark has arranged a round table Eiffel served by four chairs and lighted by a lamp Coderch, one of their favorites. These sets, these environments-within-a-room, as if they were Russian dolls are what makes the place work. And more: in some cases this may contradict the standard without problems. This is the case of the connecting corridor between the two environments, that at some point, it expands enough to fit a table with two chairs above. The black coating as a light well. Hovering over them, a standing lamp Tolomeo (there is one thing that does not serve these lamps?). And beneath our feet, a mirror under, as a kind of base, which rises just over two feet and extends out of the way the virtual space. With portrait of Le Corbusier included. Asked For this, Catalan said something like that was difficult for users of this table would feel comfortable and that was the way to go. No more.
Photo: Jaume Prat

Photo: Jaume Prat

When
Photo: Jaume Prat
Marcos asked him information item, it happened to me, a part of the plans that I asked (drawn with the clean graphics that I like), a series of photos that had been used as reference. There was mixed, photos Four Seasons Restaurant (located at the base of Builging Seagren, Mies van der Rohe, designed by Philip Johnson), the American Bar of Adolf Loos (perhaps a top reference for any architect who likes the interior design) and a whole being and premises anonymous Parisian bars, bistros with a long history, full of Vivendi, place where, apparently, has not involved an architect or where, if he did, he has been forgotten and buried under layers and layers of use, varnish, patinas from the smoke and grease and paint on this for decades. Places where you can relax, where you feel comfortable, where the union of domesticity customers, owners who have taken up the place, experience, fun waiters or edges. If tables utterance.
For some strange reason it costs more in many places designed that in the magazines. Places where it seems that these experiences are out of place. Locals do not seem to be able to adapt and evolve, all sequins, chrome and geometry imposed even people who are out of place, as dedicated vandals messing chairs. Locals seem to have to colonize, break a little, send down furniture and dirty with some good tomato juice thrown against a wall to begin to make sense. Places where I do not know why it never used to happen until the third change of masters, it destroys almost everything except what matters to begin work. That's when they end up as revolving bar niguiris salmon run by an immigrant from the inside of Canton.
Bar Marsella

London Bar

The Four Seasons: architect Philip Johnson.
The Lexington is not imposed. All this design effort, the rule with its exceptions, the episodes, which makes the building is alive, is complemented, is imposed, can be read in multiple layers, the first of which, indolent, playful, is made of pure sensation without intellectualizing, and allows space to live without thinking about it. Congratulations: the architecture creates environments that already do for themselves, the place has a life that allows you to collect stories, pictures golden patina on the smokers they are not needed to begin to have sill.
Photo: Jaume Prat
PS: I've always hated (personal hobby) when you have a list of references allegedly have been used to project a local. And not because there is no harm in it, but because 90% of the time is completely false. When not simply be transformed into a kitchen, a way of tackling the project. Mark gave me a reference to those that immediately makes me tense: a beautiful picture of Rothko with the dark bottom and top shooting gold. This time reference seduced me, and I found very interesting the passage of this pasta perimeter matérica imprecise mechanics cladding coating for parts and recurrent painted. I said so in an email, and the answer made me laugh. After the laughter I had to applaud: the painting of Rothko was not so, it was a sketch of work that had been developed as part project material. In the return mail was indeed a Rothko painting that he found later with the same colors. It was not a reference, but the same result by two different paths. And besides, you can take a gin and tonic at the end of the process.
Mark Rothko
Box

Sketch of work for the Lexington Bar Marcos Catalán .

Catalan Thanks to Mark for his interest and Eugeni Pons for the photos.

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Activities

The study activities for 2011 are already with the dates set!
Check!



Day 9 April 2011: Anorexia and Bulimia
The seminar aims to discuss the anorexia and bulimia , which stand out as symptoms of contemporary and we see so often in our clinical practice.


Day May 21, 2011: The femininity in Freud's work
this seminar aims to redo the route of Freud in his theorizing about femininity, from the famous case histories of hysterical that opened his practice, through the texts at the end of his work on femininity

Tuesday, February 15, 2011

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2011 interview with Lacan

In video 1972, Lacan speaks of psychoanalysis.
Watch!

Lacan (1901-1981)
.

Monday, February 14, 2011

The Powerless The Glory Papapapapa

Course on Psychosis in SP

The Center for Research in Psychopathology and Psychoanalysis (NEPPS) Psychotherapy Service's Division of Medical Institute of Psychiatry, Hospital das Clinicas (IPQ-HC-FMUSP) and the Institute of Lacanian Psychoanalysis (IPLA), promote the course Psychoanalysis of psychoses.

See programming.

Period Due,symptoms Gone, No Cm

Course with Antonio Quinet in POP

widespread hysteria in psychoanalysis from Freud to Lacan

Psychoanalysis began with hysterics, Freud knew that the service Charcot in Paris and then on his couch. They taught him that the symptom body has a traumatic scene, which every body part can function as an erogenous zone because the unconscious is inscribed in the body. Next, Freud describes the hysterical neurosis and unsatisfied desire in both sexes. In Lacan hysteria is seen as a form of social bonding. From this we also think the hysteria as a work of art in theater and opera.

May 3
body hysterical symptom and chatty. The hysterical patients of Freud showed that the body is a stage - each part contains in itself a scene, an encounter, a rape, a transgression, a kiss, a caress that map the anatomy converted into bodily symptoms that tell the story of the hysterical subject of the unconscious.

May 10
The unsatisfied desire and enjoyment of dissatisfaction. The ballet hysterical: the pas deux from (Two No!), The pas-de-trois (sex three starts) and pas-de- quatre .

May 17
The male hysteric. Who says only women are hysterical? The question unconscious of hysteria "I am a man or a woman?" seized by Freud with the concept of bisexuality manifests itself differently in men and women? In addition to the symptoms, which the peculiarities of male hysteria? The case of Don Juan.

May 24
Theatre operistérico . Lacan hysteria raised to the dignity of a social bond (in addition to the symptom and neurosis.) Showing there a bond that is established from the desire and the position of object - the object active. This link has affections and strategies to provoke the desire and the production wonder in the viewer. Under the spotlight: hysteria as a work of art. The theater and opera.



Antonio Quinet is psychoanalyst, psychiatrist, doctor of philosophy ( Université Paris VIII - Vincennes ) and playwright. Author of several books on psychoanalysis as The strangeness of Psychoanalysis - Lacan School and its analysts (2009) and plays as Lesson of Charcot - hysterical about the theater (part novel published in 2005) and a Freudian Variations: the symptom (2010-2011), playing in April and May this year at the Casa de Cultura Laura Alvim.
Polo Contemporary Thought
Rua Conde Afonso Celso, 103 - Jd . Botânico - Rio de Janeiro
(21) 2286-3299 / 2286-3682
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Best Cruise For Fourty Year Olds

I CONLAPSA



The organizations I CONLAPSA - I Latin American Congress of Psychoanalysis at University and VII Symposium Program in Psychoanalysis postgraduate UERJ - are in full swing!
Soon the site will be online with information on job submission and registration .

Below is the text presenting the event.

Since the encouragement given by Freud in his 1919 article "Should psychoanalysis be taught in universities?" Until the creation in 1974 of a Department of Psychoanalysis in Paris VIII, by Jacques Lacan , the inclusion of psychoanalysis in University is one fact: it is an integral part currently not only the course of Degree in Psychology, as many programs in different university courses throughout Latin America.

This insertion is having such a degree of importance that were created in Brazil, Graduate Programs in the specific area, as the pioneer program of Psychoanalytic Theory UFRJ, now more than twenty years, and our program Research and Clinical Psychoanalysis in the UERJ, who completed ten years in 2009, besides being a prominent theory in lines of research in psychology programs of many Brazilian universities.

In Latin American Universities America is no different. There are many Graduate Programs that include psychoanalysis as a discipline or even make it his flagship.

In several meetings we had with teachers from other countries such as Argentina, Chile, Uruguay, Colombia, Venezuela, we were establishing ties of research and theoretical exchanges. Last year we had the pleasure and honor to have the UERJ in our celebration over ten years, psychoanalyst and professor at the University of Buenos Aires, Diana Rabinovich, pioneered the introduction of Lacanian psychoanalysis in Latin America when invited French psychoanalyst Jacques Lacan for courses in Caracas , which led to the famous man from Caracas Conference . From this meeting, we realized how important it would be a meeting of psychoanalysts militate in universities, and together we set out to accomplish it.

Our aim is to match a series of conferences at the University of Psychoanalysis by other Latin American countries, strengthening ties of research and knowledge production.

Sunday, February 13, 2011

Tucson Glory Hole Locations

Alternative rock (or architects who speak Latin)

(photos and drawings taken in Vendrell, Jaume Prat)

Oscar Tusquets has published Recently, an article entitled Country How wrong we both? on the water covering the Sagrada Familia. It sang the architect a mea culpa on behalf of his generation for his belligerence on the extreme end of the building. The article is well reasoned and put the finger on all aspects questionable the work, just to highlight the indisputable: the general case, the architectural concept, all the building and system is obviously the paradigm shift that represents the history of architecture: building both absolutely go periodically milestones that make a city where we have always been the main one in front of us, blessed also by millions of visitors each year who are trying to systematically look stupid precisely that. There are very few global architectural paradigms: the Sydney Opera, the Guggenheim Bilbao, and before the Empire State Building, Eiffel Tower, the Houses of Parliament in London. Little more. The Barcelona has always been neglecting both renounced to sell from the point of view and cultural institution, with entire intellectual elite that has systematically turned back. But.
central Nave Family Ssagrada (photo flickr)

But that comes from afar, Mr. Tusquets. Thing he knows better than anyone. And is that Modernism, regardless of his charisma and his drawing power has always had very bad press. The term itself is pejorative (as Li was also the impressionist, and still some others). The difference respect of Impressionism is precisely given by the fact that it is prestigious, has passed into history of art changed over and now is synonymous with prestige, high culture, the door to the twentieth century. Not so modern. In Catalonia live two distinct styles: the Novecentismo and Modernism. The first was the style of the classic Catalan bourgeoisie, sober, rooted in Ampurias ruins in the Roman ruins of Tarragona, in the Mediterranean and peaceful civilization. Pau Casals Noucentista is putting on the porch of his summer villa in Sant Salvador (Puig i Gairalt Antoni) a glass to the sea and opening to rear gardens, perfectly preserved, filled with awful sculptures of Josep Clara Llimona sublime. Modernism: the rapture, the exuberance, the new rich. The Indians returning home enriched by the slave trade. Textile mills, men out of nowhere, with no tradition or heraldry. A certain romanticism: writing Verdaguer, aboard an ocean liner owned by the Güell, L'Atlàntida. The Catalan origin set at the small shrines of the Pyrenees, dark, cold, wrapped in thick woods, rustic, robust, combined with the sensuality of the Arab conquerors, with Mudejar Teruel, with alien plant species imported by the Marquis Sama.
Josep Samà Fontserè and Marquis, Parc Sama: the precursor of Gaudi's Park Guell and Catalunña gateway to many exotic plant species thanks to the scholarship of its owner, the Marquis de Sama, converted for the occasion in botanical adviser Fontserè.
The differences between the two styles are, at constructive, very diffuse: the border is soft, flexible, and, except in extreme examples, often unidentifiable. Instead, ideological differences are abysmal, and have connoted modernism decisively relegated to a marginal position in Catalan architecture. Modernism is now seen as an outburst, as a style that boasts some arbitrary, capricious market. In some respects it is true: Gaudí built expensive. Very market. No more, but that Folger building the first roof garden of Catalonia Tecla Sala in Casal Sant Jordi, Pau Claris, or Francesc Cambo Florensa built to design gardens Rubió i Tudurí nearly fifty feet high in the middle of Via Layetana.
Adolf Florensa: Cambo home. Socket offices, two floors and luxurious garden villa two minutes walk from the Cathedral of Barcelona.

The novecentismo will become, almost without transition, rationalism: It would be another article to explore the transformation of the styles, the role of building walls composed charge, and relations between the architects to whom the start of the modern movement catches mature (Florensa, Folger, Puig) with younger activists (Torres Clave, Sert, Rodríguez Arias, Illescas, brothers Gairalt). The latter be concerned also for the dissemination of this architecture des a militant view, even belligerent and reactionary about what had been done so far, and create (or define or gloss that Le Corbusier developed simultaneously in Paris) a theory that can explain or justify their accomplishments. With all this, some modernist architects continue to give yours a position that has become marginal. Gaudi died on 25, but it's been years since lived retired, dedicated exclusively to the Sagrada Familia, who was visiting basis without expanding or trying out the limits it set. His death leaves an orphaned number of architects, yet continue to develop their work with competence, uncompromising. Its isolation, its limited distribution, its minority position will cause the weight of his work can not compete with the main trend, constantly fed by a significant number of thoughtful and talented minds.
The fate and evolution of the modern movement in Catalonia, with the Civil War through the post-institutional classicism, the conversion of some of the most significant members GATCPAC historicism, together with the (many) achievements of Modernist architects survivors demonstrate the inconvenient truth that Johnson and Russell Hitchcock reported in 1929 in the book The International Style: the Modern Movement is nothing more than another way. A more. A way not justified by his theory, not a finalist because of its tendency to make himself look like the culmination of the history of architecture, but its accomplishments. For the quality of its architects. Finally, competitive.
Raimon Duran Reynals: Aribau Street home, when GATCPAC

the fall of the horse: Raimon Duran Reynals. residential building in Diagonal, completed just after the Civil War.
The architect Josep Maria Jujol is in the midst of this storm. Some twenty years younger than Gaudi, his death not get it to work assiduously with him and opened his own studio side. It has nearly fifty years. Previously, its entry into the study of Gaudí has \u200b\u200brepresented a revolution. Revolution. To some extent we can say that is who makes Jujol Gaudí Gaudí. Explanation: The architect Gaudí had, give to the beginnings of his career (it would be a topic to explore, but probably give its collaboration with Martorell) a different way of working. Until then, studies in architecture were very reduced. Domènech i Montaner, for example, had very few assistants throughout his life: Guard, Oms, their children, little more. Drew Palau de la Musica Catalana all alone, with a record of only fifteen planes. The prospects are handwritten.
Gaudí worked with assistants. Constantly. Many, many at once: of Sugrañes Berenguer of Rubio i Bellver Puig Boada, Bayo Canaleta a completely integrated into your study as an Architect. Their role is fundamental in the architecture of the Master. Gaudi does not restrict, integrates up to make their works are a collage a juxtaposition of sensibilities integrated into a Wagnerian total artwork, and it does until the very end: the Bellesguard, for example, ceramic banks Sugrañes are shocking. Not only that, but never quite jell with almost shapeless mass of stone without devastating maladheridas over almost any solid surface, including fecal chutes.

Bellesguard Banks, photo by Josep Maria Alegre_ Artigas_Criticartt Beli
Mallorca Cathedral: choir moved against the walls, canopy and paintings (here invisible) Jujol, under the direction of Gaudí, all unfinished and provisional.

Jujol work otherwise. His entry into the study will shock the Master, overwhelmed by their exuberance. Gaudí Jujol like nobody understands, and his intervention was not based as much on the quality of their parts as in the integration, transitions (or, rather, lack thereof) of these into a coherent whole eats work as a continuous skin on the inside and out. Jujol was, is, an outstanding architect. In its own way is to Gaudí height, even to the extent that his talents do not add up, but clearly they multiply when they are together. Ultravirtuoso illustrator, model maker, paddle, locksmith, his enormous capacity for work overwhelms the entire study, which transforms and moves to gravitate around him. Jujol is the center and the margin, work with absolute independence, reporting only to the Master, juxtaposing the two architectures in a way simultaneously autonomous and interconnected mutual authorship until they lose it. Jujol make the facade of the Casa Batlló. Excluding balconies. Jujol will, indeed, the locksmith of the balconies at the Pedrera. Jujol make ceramic medallions and the bank Wavy Park Güell, completely changing the concept of what should be and, incidentally, invented the trencadís as we have received today: as an integrating mechanism waste work, patchwork, situational and episodic. Many of these achievements are due directly to his hand, or pictures or pallets, a man working without intermediaries. What characterizes the works is a power so wild that they eat the rest of the work. Gaudí created systems Jujol fillings. Jujol creating systems, Gaudí integrates, in a constant dialogue, an upward spiral that has made these works that are today.
A tram and Gaudí dies. After a short time Jujol married and the wedding trip will mark the rest of his work: Rome. Pear Jujol Baroque Rome: Bernini, Borromini, Bramante. San Pietro in Montorio and the tribute that the Master had done with him in the Palau Güell. La Fontana di Trevi. The architect will continue to own, outside the mainstream (which, of necessity, know-simply observe the stairwell of the house Planelles, the Diagonal, very close to both the Holy Family as the exquisite works Myrurgia , major work of Antoni Puig i Gairalt now trashed by Alonso and Balaguer. Planelles The house would be a great synthesis of everything, like the Master's own workshop, burned during the Civil War.
Antoni Puig i Gairalt, factory Myrurgia before the reform.

Jujol: Planells house (photo flickr)
After the war, the commissions are reduced in scale. Jujol retracts. Teaches at the Faculty of Architecture of Barcelona, \u200b\u200bwhere you will discover some bitterly ambivalent attitude of students and Federico Correa and Oriol Bohigas. Alfonso Milà still remember the anger that he was shot for not letting them hang in the Pedrera, sculpture of the Virgin Aleix Clapp had to leave the ground (collateral damage of the Tragic Week). It municipal architect in Sant Joan Despi, where he lived in the unique house built for his family, perfectly preserved at the house even more spectacular Serra-Xaus, with its turret turned forty-five degrees. Accept small orders marginal, regardless of official contacts, banded by the regime for Catalan, banded and incipient Catholic opposition. And it will be precisely the church who will give you the opportunity to perform their latest works.
Serra-Xaus tower to the left. On the right, house Jujol.

Serra-Xaus tower (photo flickr)
It's early in the 40: autarky, marginality, "black market (smuggled and sold on the black market). The country is devastated. In the village of Vendrell, capital of the Baix Penedès, is a Baroque church untouched by time and war. Need urgent restoration lies precisely in Jujol, which had already been occupying the building des 1931. This project perfectly exemplifies what Tusquets says in his article. Happens to be one of the minor works of an architect tired, almost finished, barely a trace of what once was. Is fully banded, forget all, and not even sure that the information signs of building too much emphasis is made to the author. Because Jujol is now the author of the church Vendrell, just as it can be Miralles Santa Caterina Market: appropriating the building, transforming a small base of operations and rereading it until it be something different from what had been until then.

Baroque catches
Catalonia in full economic decline. Many of his samples are minor works, traces of what this style was in other countries, cosmetic applied to basilical dimly lit, bare, austere, cold. When money was tattooed buildings are decorated with sculptures, with sumptuous covers. If not, were waiting for better times that never came.
Jujol rebukes the draft where it seems that the church would have left its architects. And without the least complex, it appropriates, transforms and leaves the church converted into a hybrid architecture that it shared with the Master and he has learned in Rome more what the circumstances and inspiration dictate.
church Vendrell, tattooed Jujol as original drawings.


The church is a perfect rectangle oriented east-southeast, free on three sides and attached to an illegal block by its long side to south-southwest. A west-northwest is the access, and dividing is shared by the city, an interesting and modest building, corner bending inward forming a nice little square, almost always in shade in summer. This is a square and less controlled, soulless except on market days, where someone has planted a eucalyptus horrible too close to the church. To the north the building overlooking a busy, narrow street where there are a number of businesses among which dog Badejo, the oldest bakery Vendrell, where he cooked a "coke" (a kind of cake) onion essential, part of a "cute" (cakes) Easter exceptional (for Passover). It is worth not to miss, either, his "vidre cokes" (extremely thin, crisp, crunchy, with sugar). Northwest on the square there was money to attach to building a home Baroque modest and interesting, almost reaches the height of the oculus above, in its day, seems to be the only source of natural light inside. A Southwest, playing the town hall, a chapel perpendicular to the main guideline. On the east side of the southwest wall is the sacristy. The church has a nave with side chapels very modest. Nothing more.
plant: the church in the center, this Municipal Market, City Hall Square to the northwest.


Even for someone
Jujol as detached as the architecture is money. A reform of a certain caliber will cost a significant amount, and not always be available all at once. So, first of all, the building is a system. A system implemented in phases, a system that will fill the existing to the extent that you can fill: if not, I will be nothing more than what they had. The main game rule Focusing the places of worship (not yet happened on Vatican II), enlighten, dignified and, from them, wrap the faithful to integrate them into the party in a hierarchical system that aims to unite officiants and participants leaving everyone in the side that touches is not revolutions can be ordered.
the main altar

The project is designed in phases: the main altar, side chapel large, sacristy, chapels. The mode of operation over the entire set will be exactly the same as if the system could grow and go beyond the main building, without limits or property, medians, and get to eat everything in the house Gaudi Calvet and open auctions, Pedrera in its waves covering the entire block, the Sagrada Familia des centripetal primary focus. The project will be, in the background, a Mat-Building analogous to those proposed in its day-X Team: a frame, a body designed to grow and shrink, leading implítico the embryo of future enlargements, never with a closed or defined, always in motion. Given here within four walls.
paintings-corner across the epidermis folded inside the building

This power system is a huge, wild, and it shows the very way being performed. Jujol seems to sabotage itself. The sculptures are fine art shop provincial, crappy, catalog, print product imitation of the tenth an unattainable model that comes precisely from the baroque imagery more English than Catalan, tortured and hyper. Are wrong, are bad. But its planning, its final position on the altar, their interconnection, the union of all in an integrated corpus transcends this lack of quality to fully give back. The belief system Jujol, fanatical Catholic, leads him to create a non-hierarchical cosmogony materials. Pig iron, coating of lime mortar, the frescos are as valid as gold, precious stones or sculpture by Michelangelo. An example: the restoration of the Cathedral of Mallorca The teacher believes that the choir, arranged through the church, it impedes the perception of space, and is preparing to dismantle it and attaching to the exterior walls. The choir is a part of the fourteenth century of exceptional artistic value and unique. Those responsible for it (with their own hands) will Sugrue and Jujol. Gaudí and called them his cats. Jujol decide in the first instance, "forget" the correct order of the parts when you reassemble, and, on appeal attacking the mixing and making new sculptures, and, above all, covering paintings that he made, without the least complex of hardwoods XIV century. A pulse. Without rethinking anything. Without any respect for the integrity of the original work but, simultaneously, with all the will and intent to transform, to adapt to the new position and the new project. Gaudí be delighted. The bishop of the cathedral's lay off all but Rubio, Malacca on the project until it reaches Barceló for his side chapel. This curriculum is not strange attitude: crappy sculptures integrated into sublime altar attached to a Baroque church.

late nineteenth century, concern written Gaudi left by the increased price of labor. The artisans were expensive and the works of the past again, and suggested the murals as the most effective and inexpensive to decorate the interior of the churches. Then, to lead by example: Bishop Torras i Bages asked whether it was appropriate that Josep Maria Sert pints Vic Cathedral, and again in writing, blessed the idea. The results are obvious to anyone who wants to travel there. Jujol followed that idea both inside and outside of some of their speeches at churches Vistabella fresco is painted almost entirely. The chapel of Rose, in Vallmoll, too, inside and out. Well, maybe the outside are graffiti (such as mental note, I just realized that this last chapel is not far from that Matisse did in Saint Paul de Vence). And what we want, Vendrell church is full of murals inside. These may be fresh on plaster or applied to altarpieces and sculptures in themselves, and, most interesting extensions of the same. When Jujol makes sculptures, altarpieces, when decorated chapels, their parts have no limits: they tend to merge with each other until it can seem that there is only one with many moments of intensity all the skin attached to the building. And the unions, the merger will take place precisely painting the gaps between interventions: friezes, arabesques, messages, appointments of the gospel. Latino and relevant phrases in Catalan. In the 40's!

And more: the altarpieces are not precisely attached to the walls are nailed to, the cross and seek the exterior walls with diamond windows to incorporate natural light. When that is not possible to put light bulbs. The diamond windows are not for nothing: it is the perfect way to pierce a wall of cargo is not ready to be bored. You save the threshold has not been reinforced with iron (I do not think they had too) and the two side corners nailed the load on the window in the solid panels that have not been touched. The central altar will have five of these holes, a central, major, and four sides, two and two. Burst on the south facade and give some joy to the soulless place. The side chapel has six smaller holes. In the Cathedral of Mallorca are also found, and are made with a bigger budget and, perhaps, by some experts palettes. The result will be to bite into the rock without any delivery. A goldsmith's work. Here, the walls plastered, are of masonry coarser and more poorly made, of So it is absolutely essential to frame the windows, thick stone frame that bind and absorb the irregularities of the walls. These frameworks (outside no budget for next to nothing) tend to merge with the rest. When you can not continue to sculpt, paint. Paints as well as sculpt. Relief disappears but the intensity and intent remain.
sketch in elevation of a side chapel

sketch in elevation of the main altar

outside a window in Vendrell
outside of a window Mallorca Cathedral, Gaudi-Jujol (photo fkickr. Josep Lluis Mateo?)


AL
outside interventions are minimal: new windows, restoration of the facade oculus principal (reduced version of a rose) glazed with a new, relatively similar to that placed in the church of Pi in Barcelona, \u200b\u200bprobably nothing in the main portal, but neck is known, and, finally, the two most interesting features: the sculpture placed in the bell tower and small lateral platform cantilevered over the narrow street.

The sculpture is almost literally a carbon copy which was available on the tower of Mas Bofarull in Pallaresos els (which I will soon), which, according to local history, is a portrait the prettiest girl in town, trailer-mounted bearings and balanced to spin with the wind: a wind vane, go. In the church the pretty girl is transformed into an angel too beautiful but with a face of some bad milk, or endowed with one of those majesties they look like out of the Old Testament, where God was constantly angry and willing to whore any ten people who would to worship a calf. It seems bronze but obviously I have not been verified. The result of these sculptures is so quiet that, however much Vendrell go to twenty or thirty days a year forever, that I see (fortunately, the bell tower remains the tallest structure in the village), will not dare to swear if the sculpture is still a cock or not. I would say yes, but without being able to swear.

The lateral forum: Jujol, like Gaudi, does not know street alignments. The relationship between houses and pedestrians is complex and has to do with flows of transit modes and enter the upper structure of the house. Here the pavement of the church is about one meter above the street side, and the chapel that served as the first left of the altar, you can reach eight feet or three. Jujol will bring the burst and cantilevered over the side street. Must fly five feet, approximately, and is a semi-circle of brick on a stone troncocilíndrica, would not be surprising that he could dispense with most of the iron needed to hold the cantilever. Strained volume side street and dignified. Otherwise it would be one of those streets asymmetrical with a bare wall on one side and houses with shops on the ground floor on the other: it is now one point less monotonous and has an additional reference point is going well.

Above all these intellectual operations building is, above all, a glance. Jujol systematizes all, yes. Working method and order, yes, but the significance of the system, making it a work of architecture, is his inspiration. His art, his poetic words too slippery to many architects the tackle in a manner so frank. Words that seem to exclude the effectiveness, operability of the process that has come to them. It seems as if these operations were a skeleton dress would, of necessity, inspired episodes, fragile and dependent on a personal language, and not transferable.



This building, like almost any other work of inspired architecture, shows that theories are to legitimize constructions, necessarily end up contradict a child who kills his father to be able to express.