scholarly journals Hormigón armado y estética de la modernidad en el Colegio Alemán de Valencia. *** Reinforced concrete and modernity aesthetics at the German School of Valencia

2018 ◽  
Author(s):  
Irene Benet Morera
Keyword(s):  
Reinforced Concrete ◽  
20Th Century ◽  
Concrete Structure ◽  
Collaborative Work ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Postwar Period ◽  
Modern Conception ◽  
German School ◽  
Trabajo Colaborativo

El proyecto y construcción del Colegio Alemán de Valencia se desarrolla entre los años 1957 y 1961 por los arquitectos Pablo Navarro y Julio Trullenque (supervisado por Dieter Weisse y Peter Müller) adaptándose plenamente los principios de la arquitectura del Movimiento Moderno (los cinco puntos de Le Corbusier, el higienismo, etc.). Se detectan, además, influencias de prácticas constructivas y arquitectónicas propias del contexto alemán, debido al trabajo colaborativo entre ambas nacionalidades. Este es el caso de la concepción moderna del edificio como bloque dispuesto sobre una planta libre, y de su estructura de hormigón vista, y combinada con paramentos independientes de cerramiento, cuidando especialmente los acabados. Además, resulta destacable el desarrollo detallado del proyecto estructural, y el uso generalizado del hormigón armado, cuyos procesos de vertido y curado fueron rigurosamente controlados. Esto representó una innovación en Valencia, ya que la calidad constructiva por aquel entonces (desde la posguerra) era, se podría decir, precaria. Estas cuestiones ponen de manifiesto la necesidad de profundizar nuevamente sobre el edificio y su construcción, dada la significación y la pronta cronología como obra partícipe de la modernidad arquitectónica del S XX.***The project and construction of the German School of Valencia took place between 1957 and 1961 by the architects Pablo Navarro Alvargonzalez and Julio Trullenque (supervised by Rolf Dieter Weisse and Peter Müller) who fully adapted to the principles of Modern architecture. In addition, typical influences of constructive and architectural practices in the German context are detected due to the collaborative work between technicians of both nationalities (Spanish and German). This is the case of the modern conception of the building as a block arranged on a free floor and its exposed concrete structure, combined with independent enclosure walls, taking special care of the finishing. Furthermore, it is remarkable the detailed development of the structural project, and the widespread use of reinforced concrete, whose pouring and curing processes were rigorously controlled. This represented an innovation in Valencia since constructive quality from postwar period on was quite precarious. These issues bring to light the need to delve into the building and its construction once again, given the significance and early chronology as a participatory work of the architectural modenity of the 20th Century. 

3. Reinforced concrete

2018 ◽  
pp. 48-89
Author(s):  
Adam Sharr
Keyword(s):  
Reinforced Concrete ◽  
20Th Century ◽  
Social Order ◽  
Concrete Structures ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Structural Form ◽  
Mechanized Production ◽  
Garden Cities

Reinforced concrete lends itself to a structural form called the cantilever, where a slab or beam is hung outwards from one side, suspended without columns, counter-weighted by a mass of structure behind. ‘Reinforced concrete’ explains how concrete structures came to represent radically opposing ideas of high capitalism and communism in the 20th century. It explores how concrete—paradoxically liquid and solid, formless and formed, natural and human-made—became associated with attempts to rethink social order and mechanized production. The work of Le Corbusier is described, with the development of Garden Cities, megastructures, and brutalism. Concrete encouraged the reimagination of modern architecture, but its peculiarities also exposed modern architecture to question.

6. Conclusion

2018 ◽  
pp. 138-146
Author(s):  
Adam Sharr
Keyword(s):  
Reinforced Concrete ◽  
20Th Century ◽  
Modern Architecture ◽  
New Materials ◽  
Steel Reinforced Concrete ◽  
Structure Space ◽  
The Past ◽  
The Future ◽  
Electric Light

It took until the first half of the 20th century for architects’ ideas to mature, in conjunction with the new materials of steel, reinforced concrete, and electric light, into the distinctive imagery now recognized as modern architecture. But that imagery was only the outward sign of new ways of organizing structure, space, and surface. The Conclusion clarifies that, for much of the 20th century, modern architecture stood for the place of the future—as related to the past—in the present. But the associations of those ideas about future, present, and past always remained complex, changing, and contested. For all its global effects, modernity was never a unified phenomenon.

Niemeyer, Oscar (1907–2012)

2018 ◽  
Author(s):  
Michael Johnson
Keyword(s):  
Reinforced Concrete ◽  
Latin American ◽  
Rio De Janeiro ◽  
Fine Arts ◽  
Le Corbusier ◽  
Modern Architecture ◽  
Ministry Of Education ◽  
Urban Planner ◽  
Education And Health ◽  
The Aesthetic

Oscar Ribeiro de Almeida Niemeyer Soares Filho, better known as Oscar Niemeyer, was a prolific Brazilian architect and one of the leading Latin American exponents of international Modernism. Like Le Corbusier, whom he admired, he explored the aesthetic possibilities of reinforced concrete, but used the plasticity of the medium to transcend the rigid dogmatism of European Modernism, while evoking elements of the Brazilian landscape. His reputation rests primarily on the ceremonial buildings he created for the utopian capital of Brazil, but at the time of his death in 2012 he had completed approximately 600 works throughout the Americas, Africa, and Europe. Niemeyer attended the National School of Fine Arts in Rio de Janeiro from 1929 to 1934. He worked in the office of the influential Brazilian architect and urban planner Lúcio Costa in 1932, a professional partnership that would last decades and result in many important works of modern architecture. From 1936–1943 Niemeyer was a member of the team of Brazilian architects working with Le Corbusier on the new building for the Ministry of Education and Health in Rio de Janeiro. At the age of 29, he was assigned as a draftsman for Le Corbusier, but the changes he introduced after Le Corbusier’s departure convinced Costa to appoint him as the project's lead architect. The building, a horizontal bar bisected by a vertical slab, became an icon of Brazilian architecture and attracted international recognition.

Democratic Centralisms—Plural? A Comparative Analysis of Functional Communism in the French and Italian Communist Party Federations of Var and Gorizia, 1956

2020 ◽  
Vol 53 (1) ◽  
pp. 27-54
Author(s):  
Fiona Haig
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
Communist Party ◽  
Internal Dynamic ◽  
Postwar Period ◽  
Internal Organization ◽  
Democratic Centralism ◽  
Pyramidal Model

Democratic centralism was the Leninist-Bolshevik pyramidal model of internal organization in operation in all communist parties for most of the 20th century. Thus far, the question of whether it functioned consistently across the non-ruling parties has not been addressed explicitly or systematically. This article examines the implementation of this essential internal dynamic in a French and an Italian communist party federation in the early postwar period. Drawing on new personal testimonies from more than 50 informants, and inedita archival evidence, this analysis reveals not only similarities but also clear functional disparities between the two cases.

Test and Study on Impact of Corrosion on Bond Force between Steel and Concrete

2010 ◽  
Vol 36 ◽  
pp. 176-181
Author(s):  
Xian Feng He ◽  
Shou Gang Zhao ◽  
Yuan Bao Leng
Keyword(s):  
Reinforced Concrete ◽  
Corrosion Rate ◽  
Concrete Structure ◽  
Steel Corrosion ◽  
Reinforced Concrete Structure ◽  
Bond Force ◽  
Steel Bars ◽  
Protection Layer ◽  
Corrosion Of Steel ◽  
The Impact

The corrosion of steel will have a bad impact on the safety of reinforced concrete structure. In severe cases, it may even be disastrous. In order to understand the impact of steel corrosion on the structure, tests are carried out to study corrosion and expansion rules of steel bars as well as the impact rules of corrosion on bond force between steel and concrete. The results show that wet and salty environment will result in steel corrosion; relatively minor corrosion will not cause expansion cracks of protection layers; when steel rust to a certain extent, it will cause cracks along the protection layer; when there exists minor corrosion in steel and the protection layer does not have expansion cracks, the bond force is still large and rapidly decreases as the corrosion rate increases.

The Bauhaus Frame Reliability and Loosening

2020 ◽  
Vol 2 ◽  
pp. 107-121
Author(s):  
Kazimierz M. Łyszcz
Keyword(s):  
Social Context ◽  
20Th Century ◽  
Modern Architecture ◽  
Design Activity ◽  
Art World ◽  
Visual Form ◽  
Artistic Activity ◽  
Wide Range ◽  
Architecture And Design

The paper presents the problem of the frame, a clearly prevalent pattern in the selected activities of Bauhaus representatives. Despite only a dozen years of its existence, the school of modern architecture and design had a significant impact on the 20th-century world of art, and its social context, aesthetic and functions. In spite of its utilitarianist approach, it has developed a variety of standpoints that resulted in debates over the limits of art and have evolved into a wide range of creative movements that became a permanent feature of the art world. The essence of artistic activity evolved in this formation in two seemingly contradictory directions – towards a radical consolidation of the visual form, which is devoid of any decorations, and its gradual opening to the space surrounding the artistic and design activity. The first direction led to strengthening the integrity of the work and its materiality, while the second led to interference with the environment and the disappearance of the outline of the form. The diverse involvements and relations between these attitudes created different understandings of the frame encompassing the works.

Houses beyond manifestos

2021 ◽  
pp. 18-25
Author(s):  
Ruth Verde Zein
Keyword(s):  
Le Corbusier ◽  
Sao Paulo ◽  
Modern Architecture ◽  
São Paulo ◽  
Interconnected Network ◽  
Commercial Space ◽  
Good Shape ◽  
Individual Solution

Brazilian historiography on modern architecture, replicated by international authors, confirms the importance and the pioneer stance of Gregori Ilitch Warchavchik (1896-1972)/Mina Klabin’s (1896-1969) 1927-1932 architecture in São Paulo, and the 1126 Bahia Street (Luiz da Silva Prado) house, 1930-1931, São Paulo, Brazil, is a remarkable example of their initial set of houses. Its design dialogues with other houses simultaneously designed by Adolf Loos (1870-1933), Le Corbusier (1887-1965), Juan O’Gorman (1905-1982), and the connections among all these modernist pieces and their authors suggest the informal existence of an interconnected network of creators, spread across continents. Likewise, they all put forward proselytizing strategies to amplify the repercussion of their works through exhibitions, publications, and debates. The generous internal spaces of this house on Bahia Street, the steady play of its geometrical composition, and its wise topographical and innovative landscape arrangements are well balanced, providing the authors’ aim of both making a manifesto and providing the site and the client’s necessities with an appropriate individual solution. The house has been used as a commercial space in recent decades, but it has been properly maintained and it is still in good shape.

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