Old Modernism, New Urbanism - University College London

Old Modernism, New UrbanismMichael HebbertUniversity College London

We of the postwar baby boom are said to be surprised –even indignant– to find old age creeping up on us. We may stay out of the clutches of envejecimiento for longer than previous generations, but there’s no escaping it in the end. The buildings that grew up with us are also growing old and showing signs of wear and decay –but their life-cycle, unlike ours, allows for renewal and conserva-tion from one human generation to the next–. So yesterday’s avant-garde becomes today’s heritage. Once la ville du futur stood in radical contradiction to the existing urban fabric, embodying revolu-tionary principles of light, space, circulation, rational layout, standardised construction. Today its legacy has been absorbed into collective memory alongside all the older traces in the urban palimpsest –ancient, Roman, Mediaeval, Renaissance, Baroque, Nineteenth Century–. Of course much of the twentieth century legacy will be replaced over time but significant buildings and landscapes deserve recognition as heritage, with all the challenges implicit in retaining instrinsic character while adapting to new uses and contexts.

All building uses change over time so –as Stewart Brand famously puts it (1994)– architecture must «learn» if it is to endure. Daniel Abramson’s recent study of Obsolescence (2016) highlights its peculiar history within modern architecture. He shows how pre-modern architectural theory lacked any concept of obsolescence, judging buildings by the eternal Vitrivian criteria of firmitatis, utilitatis and venustatis –firmness, commodity and delight–. Obsolescence entered architecture from nineteenth century accounting practice. It applied to buildings the notion of depreciation hitherto reserved for machinery, allowing the dwindling value of capital assets to be written off against taxation. Led by the Chicago real estate boom on the early twentieth century, conventional assumptions of architectu-ral permanence were overturned by life tables and tax allowances that put the «useful life» of a building at thirty years. After the Second World War the obsolescence concept was widened to underwrite death warrants for entire urban neighbourhoods that did not conform to the prescriptions of the Char-ter of Athens. The concept was a powerful destructive force in the Modernist pursuit of urban renewal.

But as Abramson’s narrative shows, the classic architectural forms of the Twentieth Century were themselves becoming obsolete even before the end of the century. With their clean lines and strong materials, Modern Movement buildings sought to defy time, yet many have aged more rapidly than their nineteenth century predecessors. Today’s owners pay the price for twentieth century ex-perimentation with untried materials and innovative forms: corrosion of reinforced concrete beams through carbonation, water penetration through flat roofs, rusting and buckling of metal framed windows, the terrible dangers of widely-used asbestos in pipe lagging, floor tiles and roof insulation. One of the most dramatic examples is Gabriel Loire’s Modernist reinvention of the stained glass win-dow, the dalle de verre, those remarkable glazing slabs featured in so many mid-century churches and cathedrals, formed by shattering thick blocks of coloured glass into fragments then embedding them as glowing lights within a frame of concrete or epoxy resin reinforced with steel, copper, brass or fibreglass threads. A fabulous technique, but risky. For example, the dalle de verre lantern designed by Patrick Reytiens and John Piper is the crowning glory of Liverpool Metropolitan Cathedral (desig-ned by Sir Basil Spence, consecrated in 1967) but fifty years on, loose shards of coloured glass were at risk of falling onto the high altar. In 2016 the Getty Foundation funded a conservation study of the lantern under its world-wide programme for Modernist heritage management, Keeping it Modern (Getty, 2016).

IX Congreso DOCOMOMO Ibérico Págs. 440-447 440

The material process of ageing is of less account than contextual change. If it is to avoid obso-lescence the Modernist legacy has to be reoriented to contemporary urban agendas: the growing awareness of resource stewardship, the changed life-style preferences of the X and Y generations, economic globalisation and the consequent shifts of manufacturing production from north to south, climate change. The phrase «new urbanism» may have different nuances on either side of the Atlantic (Hebbert, 2003) but there’s a common ground that differs radically from the model of contemporary town planning as understood by the modern movement in the mid twentieth century (e.g. Ostrows-ki, 1970): today’s emphasis is on street-based design, density, mixing of urban functions, environmen-tal sustainability, city-centre living, and mitigation of the carbon footprint. Its archetypal image is the urban figure-ground map in which the shared voids of a city, its streets and squares, become as le-gible and meaningful as the individual buildings (Hebbert, 2016). Modernist structures, designed as freestanding objects oriented primarily to their car parks, have to be reimagined as elements in the tissue of streets and blocks, oriented primarily towards the foot-goer.

Let’s consider this task in terms of three sets of actors, public, voluntary and private, drawing examples from various European experiences, but with a primary focus on the British case I know best. All three actors need to be in the picture. Much of the campaigning energy of voluntary groups such as DOCOMOMO, is spent on getting buildings inscribed onto public heritage lists, and defending designated buildings against inappropriate change. But much of our Modernist heritage isn’t desig-nated, so there is no legal obstacle to its demolition. Yet it has been refurbished or converted to new uses in a way that respects its original character, whether because the owner loves the look, or re-cognises its brand value: in other words, it has been valorised by commercial judgement. In this short paper we consider all three categories.

First, the public dimension. In the English case, heritage status was originally reserved for buil-dings dating from before the Second World War –the cut-off date for ‘«listing» (i.e. official designation as a building of special architectural or historic interest) was 1939–. Then in 1987 the listing process was extended to 1957 (Harwood, 2010). Since then the list has been regularly revised and extended through thematic surveys of postwar schools, universities, public housing estates, public sculpture, churches, factories, and so forth (Harwood & Davies, 2015). As anything over thirty years old might be a candidate for listing, we are now considering Post-Modern works of the late 1980s for heritage status. Each new list entry is based on a statement of significance, measured not just in terms of ar-chitectural or aesthetic quality, but also its meaning to the local community, and its value as a histo-rical witness (Historic England, 2015b). Besides the national list maintained by Historic England, municipalities can prepare «local lists» to enhance the conservation of buildings deemed locally if not nationally significant. Both listing and subsequent conservation demand highly specialist expertise that has been lamentably eroded in the past ten years by government cost-cutting at national and local level. All the more important, therefore, is the role of actors in the voluntary and private sectors.

In Britain multiple organisations campaign for Modernist heritage. DOCOMOMO-UK and DO-COMOMO Scotland exist as separate chapters within the international network, both being non-profit organisations supported by membership subscriptions, dedicated to the documentation and conservation roles affirmed in the Eindhoven manifesto of DOCOMOMO’s founding conference in 1990:

— To bring the significance of the modern movement to the attention of the public, the autho-rities, the professionals and the educational community concerned with the built environ-ment.

— To identify and promote the recording of the works of the modern movement, including a register, drawings, photographs, archives and other documents.

Michael Hebbert Old Modernism, New Urbanism


— To foster the development of appropriate techniques and methods of conservation and disseminate this knowledge throughout the professions.

— To oppose destruction and disfigurement of significant works of the modern movement.

— To identify and attract funding for documentation and conservation.

— To explore and develop knowledge of the modern movement.

DOCOMOMO’s leading partner organisation at a national level is the Twentieth Century Socie-ty. Its remit covers all styles and schools of architecture in the period from 1914 onwards, modernist but also revivalist, vernacular or post-modern. Like DOCOMOMO much of its work is documentary and educational, but it also has a special legal status as one of the six National Amenity Societies that must be informed, by law, about any application involving partial or total demolition of a listed buil-ding.1 Consequently the Twentieth Century takes the lead in case-work, both defending instances of listed heritage under threat, and arguing the cause of unlisted buildings. Each year a widely-publici-sed press release from the Society announces the «top ten» buildings and works of art currently at risk. The catalogue for 2017 included a municipal library and swimming pool (in London and Coven-try respectively), university halls of residence in Oxford and Durham, murals in bankrupt department

stores (Stockport and Hull), a synagogue and police station in central Manchester, a church in St Leonards-on-Sea, private dwellings (Devon and London) and a pu-blic housing estate in South London.

A flotilla of voluntary groups sup-port conservation within particular regions or cities. An interesting example is the Mo-dernist Society, which was founded in 2009 as the Manchester Modernist Society but is now seeding groups in four other centres with significant clusters of Twen-tieth Century architecture: Sheffield, Liver-pool, Birmingham and the London Bo-rough of Croydon (Modernist Society 2017). The Society promotes talks and exhibitions and has an active programme of high-quality web and print publication celebrating Modernist style. For example it has kept up a brave and lonely cam-paign on behalf of unlisted university ar-chitecture such as the remarkable Renold Building (by Cruikshank and Seward, ope-ned 1963), Britain’s first multi-storey tea-

1 The National Amenity Societies recognized by Historic England (2015a) are: Ancient Monuments Society –concerned with histo-ric buildings of all ages and types; Council for British Archaeology– for the archaeology of subterranean and standing structures; Society for the Protection of Ancient Buildings (SPAB) –for structures dating from before 1700, but also philosophical and techni-cal aspects of conservation–; Georgian Group –architecture and architecture-related arts from 1700 to 1840–; Victorian Society –Victorian and Edwardian architecture and architecture-related arts between 1840 and 1914–; 20C Society –architecture from 1914 onwards–.

Figura 1. Renold Building, University of Manchester Institute of Science and Technology,1963. Fotografía: Michael Hebbert



ching block. Its most important level of action is ideological –affirming the Zeitgeist of the Modern project in a context where– to quote the 20C Society’s 2017 Buildings at Risk announcement –«some of Britain’s most remarkable buildings are in danger of being lost for ever as development pressures, dwindling budgets and short termism fuel an out with the old, in with the new mentality–. We are witnessing the death of the idealism and public spiritedness which underpinned so much of the best architecture of the last century»–. (Twentieth Century Society, 2017; see also While, 2006)

This brings us to the third category of actors, those at the sharp end of management –building owners and promoters. There are neither set formula nor fixed policy rules for converting modernist structures to contemporary use. Successful translation has also needed owners who combine an en-trepreneurial willingness to take risks with the design flair to recognise potential convertability. We can illustrate the point with two extreme instances of adaptation of single-use structures. North of Barcelona the giant hoppers, grading halls and bagging plant of the cement works at Sant Just Desvern caught the attention of the young Ricardo Bofil and were transformed by him into a personal resi-dence, and the architectural office and design studios of his practice, Taller de Arquitectura. And in the inner suburbs of Oslo, the industrial landmark of the Grünnerløkka grain elevators was converted by HRTB Artkitektur into 226 student flats, triggering a wider transformation of the entire quarter of former manufacturing premises, saved from demolition to become a hub for creative industries.

Another matching pair of examples show structures originally designed around mid 20C con-cepts of mobility being successfully reoriented to their contemporary urban context. One is Canal House in Westminster, an Expressionist landmark beside the elevated Westway dual carriageway, built as a depot for railway vans, and since converted into open plan offices and rebranded as the «Battleship Building». The second example, from Manchester, also sits beside an elevated dual carria-geway and was intended to incorporate an upper-level walkway system. Built in 1964 to house the National Computing Centre, it is now known as the Manchester Technology Centre. Crucially, the conversion glazed in the overhang of the upper storeys to create a stylish bar –since converted into retail units– bringing economic vitality to a busy street frontage that had offered nothing but blank walls and parking lots. (fig. 3)

Figura 2. Oslo - the Grünnerløkka SiO Silos and Vulcan Quarter. Fotografía: Vulkanoslo. http://www.vulkanoslo.no/en/about-us/ [Consulta: January 30th 2017].



The Manchester Technology Centre is one of numerous 1960s buildings acquired and refurbis-hed by a family-owned property business, the Bruntwood Group. Originally developers of industrial and warehousing sheds, Mike Ogleby and his son Chris began to invest in the city centre of Man-chester at a time when much of the red-brick Victorian warehouse stock was derelict and the postwar white towers were regarded as shabby, low-value accommodation. Their most prominent acquisition was the Manchester Piccadilly Plaza, an office, hotel and retail complex of 1966, designed as a vast podium with three vertical elements to be a landmark in a fully motorised environment. Bruntwood’s

Figura 4. Piccadilly Gardens, Manchester, 1966. Fotografía: Author’s collection.

Figura 3. Manchester, Bruntwood’s refurbishment of the former National Computing Centre, 1964. Fotografía: Richard Brook. http://www.mainstreammodern.co.uk/ [Consulta: February 23rd 2017].



refurbishment in 2003 involved both a recladding of the Piccadilly tower to bring it up to contempo-rary standards of energy performance, and an entire redesign of the ground floor to facilitate pedes-trian flow between the streets on either side of the building. Similar transformations can be seen all round the centre of Manchester, restoring active use to a former parcels depot, an eye hospital, re-dundant office blocks, and to the former Bank of England building where once again a blank street elevation was brought to life with a glazed infill.

The approach developed by Bruntwood in central Manchester has been applied in the many other British cities where office blocks erected in the boom of the mid 20C have been shunned by investors. In central Leeds the company purchased the office block that dominates the entrance to the main railway station, an unloved complex developed in the 1960s by a commercial architect, John Poulson, stigmatised by his subsequent imprisonment for corruption. Like most office blocks of its vintage it was structurally robust, with reinforced concrete frames, curtain walling, open plan interiors, and floor-plates that have lent themselves readily to adaptation. After some years of work the building has been transformed into a site of serviced offices and is due to reopen as «Platform 2017», a symbol of Leed’s embrace of new urban life-styles. (fig.6)

With such examples we see Modernist heritage refurnished and repurposed for the contempo-rary city. Private owners and public agencies have played their part but the vital catalyst has been voluntary action by dedicated enthusiasts. In the radically different context of contemporary urbanism, the flame of the Modern Movement is still alight, still a source of surprise and delight.

Figura 3. Graphic

Figura 5. Portland St Manchester: new retail units on previously blank facade. Fotografía: Michael Hebbert



Acknowledgements

All thanks to Richard Brook, Patricia Canelas, Selma Carson, Mario Dominguez and Morten Wasstøl for their help in the making of this paper.

Bibliografía

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[Consulta: 27th January 2017]

HARWOOD, E. and DAVIES, J. O. (2015): England’s Post-War Listed Buidlings. London: Batsford.

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87, 6, pp. 705-728.

HISTORIC ENGLAND (2015a): Amenity Societies and Other Voluntary Bodies.

Figura 6. Leeds - Bruntwood at work on «Platform 17». Fotografía: Selma Carson.



Disponible en: https://historicengland.org.uk/advice/hpg/publicandheritagebodies/amenitysocieties/ [Con-sulta: 20th January 2017].

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Disponible en: https://historicengland.org.uk/advice/hpg/ [Consulta: 20th January 2017].

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[Consulta: 27th January 2017].

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TWENTIETH CENTURY SOCIETY (2017): C20 announces Top 10 Buildings At Risk. Disponible en: http://us3.campaign-archive2.com/?u=7adb63f2f9ad941a4a0c08eb7&id=4d4adc6563&e=bf37be28cb [Consulta: 21st January 2017]

WHILE, A. (2006): «Modernism vs. Urban Renaissance: Negotiating Post-War Heritage in English City Cen-tres», Urban Studies, 43, 13, 2399-2419.



Fundación DOCOMOMO Ibéricodocumentación y conservaciónde la arquitectura y del urbanismo delmovimiento moderno

Fundaçao DOCOMOMO Ibéricodocumentaçao e conservaçaoda arquitectura e do urbanismo domovimiento moderno

IX Congreso DOCOMOMO ibérico, San Sebastián, 16-18 de noviembre de 2016

IX Congresso DOCOMOMO ibérico, San Sebastián, 16-18 de novembro de 2016

Movimiento moderno: patrimonio cultural y sociedadMovimento moderno: património cultural e sociedade

Actas del IX Congreso DOCOMOMO ibérico

Actas do IX Congresso DOCOMOMO ibérico

Movimiento moderno: patrimonio cultural y sociedad

Movimento moderno: património cultural e sociedade

MINISTERIO DE CULTURA Y DEPORTE

Edita:© SECRETARÍA GENERAL TÉCNICA

Subdirección General de Atención al Ciudadano, Documentación y Publicaciones

© Fundación DOCOMOMO Ibérico

© De los textos e imágenes: sus autores

NIPO: 030-18-144-6 DOI: 10.4438/030-18-144-6

Catálogo de publicaciones del Ministerio: www.culturaydeporte.gob.es

Catálogo general de publicaciones oficiales: https://cpage.mpr.gob.es

Edición: 2018 / Ediçao: 2018

Coordinación de la edición / Coordinaçao da ediçaoInstituto del Patrimonio Cultural de EspañaFundación DOCOMOMO IbéricoDelegación Gipuzkoa - COAVN

Instituto del Patrimonio Cultural de España Consejo editorial / Conselho editorialElena Agromayor Navarrete Isabel Argerich FernándezSoledad Díaz MartínezMaría Domingo FominayaDaniel Durán RomeroGuillermo Enríquez de Salamanca GonzálezPablo Jiménez DíazJosé Vicente Navarro GascónJavier Rivera Blanco Belén Rodríguez NuereAna Ros TogoresMaría Pía Timón TiembloCristina Villar Fernández

Fundación DOCOMOMO IbéricoSusana Landrove

Delegación Gipuzkoa - COAVNMario Domínguez Maestre

Corrección de textosEducación y Patrimonio, S.L.

Imagen de cubiertaLibe Fernández Torróntegui

MINISTERIO DE CULTURA Y DEPORTE

INSTITUTO DEL PATRIMONIO CULTURAL DE ESPAÑA

Ministerio de Cultura y Deporte

Colegio Oficial de Arquitectos Vasco-Navarro Matxalen Acasuso Atutxa, Decana Presidenta del COAVN

Delegación Gipuzkoa - COAVNJudith Ubarrechena Iribarren, Presidenta de la Delegación de Gipuzkoa del COAVN

FUNDACIÓN DOCOMOMO IBÉRICO / FUNDAÇÃO DOCOMOMO IBÉRICO

Patronato de la Fundación DOCOMOMO Ibérico / Patronato da Fundação DOCOMOMO Ibérico

Consejo Andaluz de Colegios Oficiales de ArquitectosColegio Oficial de Arquitectos de AragónColegio Oficial de Arquitectos de AsturiasColegio Oficial de Arquitectos de CanariasColegio Oficial de Arquitectos de CantabriaColegio Oficial de Arquitectos de Castilla La-ManchaColegio Oficial de Arquitectos de Castilla y León EsteColegio Oficial de Arquitectos de la Comunidad ValencianaColegio Oficial de Arquitectos de ExtremaduraColegio Oficial de Arquitectos de La RiojaColegio Oficial de Arquitectos de MadridColegio Oficial de Arquitectos de MurciaColegio Oficial de Arquitectos Vasco NavarroColexio Oficial de Arquitectos de GaliciaCol·legi Oficial d’Arquitectes de les Illes BalearsCol·legi d’Arquitectes de CatalunyaConsejo Superior de Colegios Ofciales de Arquitectos de EspañaEscuela Técnica Superior de Arquitectura de la Universidad de SevillaEscuela Técnica Superior de Arquitectura de la Universidade de A CoruñaEscuela Técnica Superior de Arquitectura de la Universitat Politècnica de ValènciaFundación ArquiaFundación Colegio Oficial de Arquitectos de LeónFundación Mies van der RoheInstituto Andaluz del Patrimonio HistóricoOrdem dos Arquitectos

ORGANIZACIÓN DEL IX CONGRESO DOCOMOMO IBÉRICO / ORGANIZAÇÃO DO IX CONGRESSO DOCOMOMO

Instituciones organizadoras / Instituções organizadorasFundación DOCOMOMO IbéricoDelegación Gipuzkoa- COAVNColegio Oficial de Arquitectos Vasco-Navarro - COAVNInstituto del Patrimonio Cultural de España - IPCEEscuela Técnica Superior de Arquitectura. UPV-EHUDepartamento de Arquitectura. UPV-EHUEscuela Técnica Superior de Arquitectura. Universidad de NavarraGobierno Vasco (Departamento de Medio Ambiente, Planificación

Territorial, Vivienda y Arquitectura)Diputación Foral de Guipúzcoa (Departamento de Movilidad

y Ordenación del territorio)Ayuntamiento de San Sebastián (Departamento de Urbanismo sostenible)

Comité de honor / Comissao da honraCelestino García Braña, Fundación DOCOMOMO Ibérico Ana Tostões, DOCOMOMO InternacionalJordi Ludevid i Anglada, CSCAEJoão Santa Rita, Ordem dos ArquitectosJose Anglada Maria Muñoz Letamendi, Gobierno VascoDenis Itxaso González, Diputación GipuzkoaEnrique Ramos, Ayuntamiento Donostia

Comité organizador / Comité organizadorCelestino García Braña, Fundación DOCOMOMO Ibérico Judith Ubarrechena Iribarren, COAVN GipuzkoaMatxalen Acasuso Atutxa, COAVNJuanjo Arrizabalaga Echeberria, UPV/EHUJosé Ángel Medina Murua, Universidad de NavarraIsabel Argerich Fernández, IPCE

Comité científico / Comité científicoJosé Ángel Sanz Esquide, Universidad Politécnica de Cataluña

(Escuela del Vallés)Jose Angel Medina Murua, Universidad de NavarraMargherita Sani, Istituto dei Beni Culturali, Bologna Bixente Taberna Irazoki, Universidad del País VascoVictoria Ateca Amestoy, Universidad del País Vasco João Carlos dos Santos, Direção General do Patrimonio Cultural

Dirección del Congreso / Direção do CongressoMatxalen Acasuso Atutxa, COAVNJudith Ubarrechena Iribarren, COAVN GipuzkoaMario Domínguez Marestre, director / directorEstanislao Fernández Narbaiza, secretario de organización / secretário

de organizaçãoOlatz Ocerin Ibañez-Etcheto, secretaria de contenidos / secretária

de conteúdoEsteban García Marquina, secretario de finanzas / secretário de finançasJudith Ubarrechena Iribarren, secretaria de comunicación / secretária de

comunicação

Secretaría científica / Secretária científicaUnai Fernández de Betoño Sáenz de la Cuesta, UPV/EHULauren Etxepare Igiñiz, UPV/EHUFernando García NietoClaudia Pennese, COAVN GipuzkoaJosu Maroto Peñagaricano, Diputación de Gipuzkoa

Amigos y colaboradores / Amigos e parceirosLibe Fernández TorronteguiMikel Diaz de IlarrazaIrati Otamendi IrizarArritxu EizagirreIñaki BarrenetxeaMuseo San TelmoFundación ArquiaFYM Heidelberg Cement GroupHNA Hermandad Nacional Arquitectos

ÍNDICE

Pág.

Presentación IPCE......................................................................................................................................... 11 Javier Rivera Blanco, Subdirector general del Instituto del Patrimonio Cultural de España

Presentación actas del IX Congreso DOCOMOMO Ibérico ................................................................. 13 Celestino García Braña, Vicepresidente de la Fundación DOCOMOMO Ibérico

ÁREA 1: MOVIMIENTO MODERNO Y EVOLUCIÓN SOCIAL

Ponencias

Marcas .............................................................................................................................................................. 16 Josep Llinàs, Escuela Técnica Superior de Arquitectura de Barcelona, Universitat Politècnica de Catalunya

Arquitectura en presente ............................................................................................................................. 40 Víctor López Cotelo

Comunicaciones

Nova Oeiras Neighborhood Unit to Unesco Heritage List: a Strong Case of Civic Identity and Inte- grated Rehabilitation.................................................................................................................................... 53 José Manuel Fernandes, Faculdade de Arquitectura, Universidade de Lisboa

Los espacios de transición en los conjuntos de vivienda social del movimiento moderno. Meto- dología de análisis de los valores físicos y sociales para su puesta en valor en los barrios de pro- moción oficial de Madrid ............................................................................................................................. 64 Luis Moya, Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid y Graziella Trovato, Escuela Superior de Arquitectura y Tecnología, Universidad Camilo José Cela

El movimiento moderno en la materialización de la avenida del Oeste de Valencia: trazado y evo- lución arquitectónica .................................................................................................................................... 72 César D. Mifsut García, Escuela Técnica Superior de Arquitectura de Valencia, Universitat Politècnica de València

Del espacio compartimentado a la dimensión espacial de la vida cotidiana. Caño Roto y la UVAde Hortaleza ................................................................................................................................................... 78 Jon Arcaraz, Escuela Técnica Superior de Arquitectura, Universidad de Navarra

Juntas y en contraste. Las arquitecturas de ENASA en Barcelona (1947-1961) .............................. 84 Carolina B. García Estévez, Escuela Técnica Superior de Arquitectura de Barcelona, Universitat Politècnica de Catalunya

La vivienda obrera en España 80 años después. Las viviendas de la calle Rosselló de Josep Lluís Sert ......................................................................................................................................................... 94 Miguel Ángel Ruano Hernansanz, Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid

Pág.

La obra de Víctor Eusa Razquin: una arquitectura moderna atenta al pasado ................................ 101 Andrés Caballero Lobera, Escuela Técnica Superior de Arquitectura de San Sebastián, Universidad Politécnica del País Vasco

Descifrando la casa Tàpies .......................................................................................................................... 108 Antoni Pérez Mañosas, Departamento de Proyectos Arquitectónicos, Universitat Politècnica de Catalunya

La desaparición de las ciudades. Autosuficiencia como respuesta a la crisis en las obras de Bruno Taut y Frank Lloyd Wright .............................................................................................................. 116 David Arredondo Garrido, Área de Composición Arquitectónica, Universidad de Granada

Carvajal y García de Paredes, sensibilidad organicista. La iglesia de Nuestra Señora de Los Ángeles, Vitoria .............................................................................................................................................. 125 Francisco Fariña, Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid

O «espaço-transição» no atelier de Nuno Teotónio Pereira: realismo e idealismo na década de 1960 ...... 134 Tiago Lopes Dias, Escuela Técnica Superior de Arquitectura del Vallés, Universitat Politècnica de Catalunya y Centro de Estudos de Arquitectura e Urbanismo, Facultade de Arquitectura da Universidade do Porto

Residencia frente a hábitat: la cuestión social en el tránsito del movimiento moderno al Team 10..... 140 Montserrat Solano Rojo, Escuela Técnica Superior de Arquitectura y Edificación, Universidad Politécnica de Cartagena

Vers une Architecture: la lectura metodológica de Colin Rowe en La Tourette .............................. 150 Raúl Martínez Martínez, Departamento de Teoría e Historia de la Arquitectura y Técnicas de la Comunicación, Universitat Politècnica de Catalunya-BarcelonaTech

«Manierismo moderno» en la obra de Van den Broek y Bakema ....................................................... 156 Jeroen Roorda, Escuela Técnica Superior de Arquitectura de Barcelona, Universitat Politècnica de Catalunya

News from Nowhere. Noticias sobre la influencia de William Morris en la arquitectura del primer novecientos en Cataluña ................................................................................................................ 164 Roger Miralles, Escuela Técnica Superior de Arquitectura, Universitat Rovira i Virgili

Patrimonio y ciudad histórica en el Pla Macià del GATCPAC. La emergencia de los valores pa-trimoniales en el debate moderno ........................................................................................................... 172 Josep Maria García-Fuentes, Newcastle University

Industria moderna y arquitectura moderna: el caso eibarrés ............................................................. 180 Ana Azpiri Albistegui, Escuela Técnica Superior de Arquitectura de San Sebastián, Universidad Politécnica del País Vasco

Repercusión del movimiento moderno en la producción de vivienda protegida de posguerra en Gipúzcoa (1939-1959) ............................................................................................................................ 188 Leire Azcona Uribe, Escuela Técnica Superior de Arquitectura de San Sebastián, Universidad Politécnica del País Vasco

La vivienda de la década de 1950 y la definición de la sociedad española moderna. Navarra como laboratorio ........................................................................................................................................... 196 José Manuel Pozo, Escuela Técnica Superior de Arquitectura, Universidad de Navarra

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La Solana del Mar: tiempo, memoria y hapticidad ................................................................................ 206 Juan Moreno, Escuela Politecnica Superior IV, Universidad de Alicante, Ignacio Abad, Universidad Politécnica de Madrid y Alona Martínez Pérez, Escuela de Arquitectura de Leicester, Universidad De Montfort. Reino Unido

Vivienda moderna y prefabricación. El polígono de viviendas en Campanar, de GO DB Arquitectos ................................................................................................................................. 214 Maite Palomares, Escuela Técnica Superior de Arquitectura, Universitat Politècnica de València

La arquitectura para la sociedad del ocio: una oportunidad para el diseño moderno español 1920-1936 ....................................................................................................................................................... 222 María Villanueva Fernández y Héctor García-Diego Villarías, Escuela Técnica Superior de Arquitectura, Universidad de Navarra

Fernando Higueras y Antonio Miró: el Hotel Indálico de Almería .................................................... 230 José Francisco García-Sánchez, Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid

El Buque Fantasma: la Universidad Laboral Femenina de Zaragoza ................................................. 243 José Antonio Alfaro, Escuela de Ingeniería y Arquitectura, Universidad de Zaragoza

Una casa de renta en el paseo de la Concha de San Sebastián ........................................................... 250 Mariano González Presencio y Juan Bautista Echeverría Trueba, Escuela Técnica Superior de Arquitectura. Universidad de Navarra

El casino de San Juan de Luz, de Robert Mallet-Stevens, 1927-1928. Distintas reacciones a la modernidad .................................................................................................................................................... 257 Adrián Prieto Fernández, Universidad Complutense de Madrid

Los inicios de la modernidad en Sevilla. Ricardo Abaurre y Luis Díaz del Río. El proyecto de vi-viendas en Virgen de Luján, 24 .................................................................................................................. 265 Rodrigo Carbajal-Balell y Francisco Montero-Fernández, Escuela Técnica Superior de Arquitectura. Universidad de Sevilla

Ecos periféricos: proyecto moderno y construcción del lugar ............................................................ 274 Carlos Labarta, Escuela de Ingeniería y Arquitectura. Universidad de Zaragoza

La (in)adapatación del tiempo perdido .................................................................................................... 284 Óscar Miguel Ares, Escuela Técnica Superior de Arquitectura, Universidad de Valladolid

Garden suburbs de la Oficina Americana de Proyectos. Las «casas de los americanos» en las bases militares del Pacto de Madrid .................................................................................................................... 296 Ángel Alcaraz Bernal y Francisco Segado Vázquez, Universidad Politécnica de Cartagena

Entrevista

Diálogo entre Elías Torres y José Ángel Sanz Esquide.......................................................................... 306 Elías Torres Tur, Escuela Técnica Superior de Arquitectura de Barcelona, Universitat Politècnica de Catalunya y José Ángel Sanz Esquide, Escuela Técnica Superior de Arquitectura del Vallès, Universitat Politècnica de Catalunya

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ÁREA 2: IMPLICACIÓN CIUDADANA: FORMACIÓN, INFORMACIÓN, DIFUSIÓN

Ponencias

The Burrell Collection: a Glasgow Case Study in Restoring Modernist Heritage .......................... 312 Mark O’Neill, University of Glasgow

Ostinato Rigore. El Proceso SAAL. Portugal 1974-1976 ...................................................................... 319 Jóse António Bandeirinha, Universidade de Coimbra

El derecho a la ciudad como inspiración para la protección del patrimonio del movimiento moderno .......................................................................................................................................................... 338 Álvaro Sevilla-Buitrago, Escuela Técnica Superior de Arquitectura de Madrid, Universidad Politécnica de Madrid

Quando a luz se encontra com o silêncio ................................................................................................ 349 Alexandre Alves Costa, Faculdade de Arquitetura, Universidade do Porto

Comunicaciones

Arquitectura y participación en la socialdemocracia sueca. El Årsta Centrum de los hermanos Ahlsén .............................................................................................................................................................. 361 Daniel Fernández-Carracedo, Escuela de Ingeniería y Arquitectura, Universidad de Zaragoza

No «kiero» participar. Urbanismo participativo = Totalitarismo neoliberal ..................................... 368 Jorge León Casero, Facultad de Filosofía y Letras, Universidad de Zaragoza

Participation, Pride and Civic Heritage at Glasgow Museums ........................................................... 375 Susie Ironside, Glasgow Museums

Fernando Távora: experiencias para la formación de los ciudadanos y su participación en el espacio urbano ............................................................................................................................................... 383 Silvia Cebrián, Escuela Técnica Superior de Arquitectura, Universidad de Valladolid

La implicación de la comunidad en la recuperación de un edificio de viviendas. Brune Enea, Hondarribia, Guipúzcoa ............................................................................................................................. 392 Claudia Rueda, Centro Universitario de Arte, Arquitectura y Diseño, Universidad de Guadalajara e Isabela Rentería, Escuela Técnica Superior de Arquitectura la Salle Barcelona, Universitat Ramon Llull

«MGC, moderno ao Sul»: una experiencia divulgativa del movimiento moderno en el Algarve ........ 399 Miriam Lousame, Escuela Técnica Superior de Arquitectura, Universidad de Sevilla

Evaluación del riesgo de conservación de los edificios residenciales racionalistas del barrio de Gros en San Sebastián ................................................................................................................................ 405 Eneko Uranga, Maialen Sagarna e Iñigo Lizundia, Universidad del País Vasco

Antonio Bonet. Poblado Hifrensa (1967-1975). Fórmulas de regeneración urbana y protección patrimonial ..................................................................................................................................................... 411 Juan Fernando Ródenas García, Manuel Ferrer Sala y Gillermo Zuaznabar Uzkudun, CAIT, Escuela Técnica Superior de Arquitectura, Universitat Rovira i Virgili

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Proceso KOMOMO. Cómo gestionar el patrimonio arquitectónico moderno de forma colectiva.... 419Claudia Pennese, Arritokieta Eizaguirre Iribar, Irati Otamendi Irizar, Mikel Diaz de Ilarraza y Judith Ubarrechena Iribarren

ÁREA 3: GESTIÓN Y ECONOMÍA DEL PATRIMONIO CULTURAL

Ponencias

Social Development Through Heritage Management. A Case Study .................................................. 424 Andrea Rurale, Bocconi University, Milano

Old Modernism, New Urbanism ................................................................................................................. 440 Michael Hebbert, University College London

Comunicaciones

Reconversión proactiva de la arquitectura industrial del movimiento moderno en Eibar ........... 448 Ezekiel Collantes Gabella, Escuela Técnica Superior de Arquitectura de San Sebastián, Universidad Politécnica del País Vasco

El Plan Director como mecanismo de conservación y restauración de bienes hospitalarios. El caso del Hospital Clínico San Carlos de Madrid .............................................................................. 456 César Martín-Gómez y Alba Lorente, Escuela de Arquitectura, Universidad de Navarra

A Política do Espírito e a «lei dos cineteatros» no Estado Novo: flexibilidade e reabilitação. O caso do Cineteatro de Mangualde de Keil do Amaral ....................................................................... 464 Joana Gouveia Alves, CERIS, Instituto Superior Técnico de Lisboa

Gestión socioeconómica del patrimonio construido. Indicadores .................................................... 472 Ander de la Fuente, Agustín Azcárate y Verónica Benedet, Universidad del País Vasco

O Teatro Rosa Damasceno na economía urbana de Santarém (1939-1999-2039) ........................... 480 Diana Almeida Silva, Faculdade de Arquitetura, Universidade de Lisboa, Jose Raimundo Noras Centro de História, Faculdade de Letras, Universidade de Lisboa CH-Lisboa, CITCEM e CIJVS. Historiador y Tiago Soares Lopez, Faculdade de Arquitectura, Universidade do Porto. Arquitecto

El espacio contemporáneo del mercado: valoración patrimonial entre la continuidad y los nuevos roles urbanos .................................................................................................................................. 489 Eduardo Mosquera y Clara Mosquera, Escuela Técnica Superior de Arquitectura, Universidad de Sevilla

Patrimonialización de la vivienda colectiva desde los valores sociales ............................................ 498 David Hernández Falagán, Universitat Politècnica de Catalunya e Isabel Aparici Turrado, Universitat de Barcelona

Ponencia invitada

La memoria de la arquitectura y el urbanismo. Archivos de arquitectura, siglo XX, País Vasco ......... 505 Mariano J. Ruiz de Ael, Universidad del País Vasco

Old Modernism, New Urbanism - University College London

Documents

Transcript of Old Modernism, New Urbanism - University College London