Papers by Ricardo Meri de la Maza
TC Cuadernos, 2024
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TC: Tribuna de la construcción, 2015
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TC: Tribuna de la construcción, 2019
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TC: Tribuna de la construcción, 2016
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TC: Tribuna de la construcción, 2015
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TC: Tribuna de la construcción, 2015
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Dearq, 2018
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TC: Tribuna de la construcción, 2018
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Temas de arquitectura, 2009
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Energy and Buildings, 2014
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TC Cuadernos, 2022
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TC: Tribuna de la construcción, 2020
Nothing here, everything there: Aires Mateus and the magic of architecture
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TC: Tribuna de la construcción, 2021
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Walter Gropius y Konrad Wachsmann realizaron una aportacion de notable relevancia a la industria ... more Walter Gropius y Konrad Wachsmann realizaron una aportacion de notable relevancia a la industria de la prefabricacion de la vivienda. Sentaron unos principios que, tras la Segunda Guerra Mundial, han servido de base sobre la que realizar continuas revisiones en pro de una optimizacion de la industria. Las Packaged Houses son una experiencia que manifiesta una continua revision de los procesos y los sistemas constructivos de viviendas prefabricadas. Este articulo trata de estudiar (siguiendo un criterio cronologico y centrado en el contexto de ese tipo de construccion) la experiencia de Gropius y Wachsmann y sus aportaciones como base de otras investigaciones que, incluso hoy en dia, continuan su curso.
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TC Cuadernos, 2018
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Papers by Ricardo Meri de la Maza
Entre ellos se encontraban la disolución de los límites del espacio y la conexión de la arquitectura
con la naturaleza. Mies van der Rohe fue uno de los arquitectos que recogió con mayor fuerza
estas inquietudes, transformándolas en la búsqueda de la generación de los nuevos sistemas
constructivos, visuales, formales y espaciales que se adecuasen a esos objetivos. En este artículo, a
través del análisis de una serie de casas de Mies Van der Rohe, proyectadas entre los años 1923 y
1951, los autores pretenden incidir en los mecanismos utilizados por Mies para establecer
distintos tipos de diálogos y relaciones con el entorno natural. Se trata de estrategias
eminentemente espaciales y visuales implementadas de forma precisa y refinada gracias a
decisiones materiales y constructivas que están en permanente evolución tanto conceptual como
material.
Modern architecture opened the door to a new world of architectural expectations and desires.
Among them were the dissolution of the limits of space and the connection of architecture with
nature. Mies van der Rohe was one of the architects who took up these concerns with the
greatest force, transforming them into a search for the generation of new constructive, visual,
formal and spatial systems that would meet these objectives. In this article, through the analysis
of a series of houses designed by Mies Van der Rohe between 1923 and 1951, the authors seek to
examine the mechanisms used by Mies to establish different types of dialogue and relationships
with the natural environment. These are eminently spatial and visual strategies implemented in a
precise and refined way thanks to material and constructive decisions which are constantly
evolving, both conceptually and materially.
This paper collects all these aspects, trying to reflect the challenges, difficulties, opportunities and advantages inherent to the process that is happening, based on the real experience of transformation carried out by the degree of Architecture at the Superior School of Technical Education of the University CEU UCH. Some of the topics to be addressed are: international practices, inside and outside the Erasmus/Leonardo programs; the international meetings or international weeks as a tool of internationalization at home of the curriculum of both students and teachers; the process of curricular transformation and the incorporation of English for Academic Purposes; the adjustments to deal with the multi-culturalism of students with very different backgrounds; and the need to adjust the curriculum.
This specialization is in opposition to the actually increasingly free and accessible information, where the added value is found in providing students with the capacity for analysis and creative thinking. The mere transmission of data or specific information quickly loses value confronted with the establishment of criteria that allow selecting among all available the most appropriate of those data. How can we focus at the same time on the most specific tasks and give the student the broader perspective of knowledge analysis?
The essay recovers the thoughts on Education of two philosophers, Bertrand Russell and Hans-Georg Gadamer, to apply them to the specific field of Architecture for promoting the formation of professionals with a global vision of knowledge prepared to give a full response to our changing society.
En el artículo propuesto se pretende poner en relación proyectos de casas de arquitectos coetáneos aunque de procedencia diversa y posicionamiento aparentemente divergente como son Livio Vacchini (1933-2007) y Rogelio
presumiendo de no ser moderno. Ante interminables superficies acristaladas, él prefiere los huecos pequeños y cuidadosamente ubicados. Ante el gusto por la exhibición, Loos apuesta por el placer del voyeurismo. Frente a las superficies atectónicas de sus contemporáneos, él selecciona maderas y piedras nobles para los revestimientos de sus interiores. Finalmente, mientras sus coetáneos más mediáticos diseccionan la construcción separando la estructura del cerramiento y apostando por
la estructura reticular de pilares, Loos reafirmará su condición pre-moderna sirviéndose del muro como elemento primario de construcción y definición espacial.
El Raumplan se comprende habitando el espacio y se dibuja con dificultad pero, ¿cómo se construye? Esa es la pregunta a la que intentaremos responder.
The Raumplan is one of the terms linked to 20th century architecture with more intellectual consideration in it and exerts a great influence over the conception of
habitable spaces. During a period in which the whole of Europe was amazed at the work that emanated from the new ideas about architecture, Loos introduced
his opposing theory boasting about his lack of modernity. Against never ending glazed surfaces, he preferred small openings, carefully placed. Against the pleasure
of exhibition, Loos went for the gratification of voyeurism. Rather than the nontectonic surfaces of his contemporaries, he chose fine timbers and stone for his
indoor cladding. Finally, while his celebrity coetaneous colleagues dissected the construction by separating the structure from the envelope and opted for a
reticulated pillar structure, Loos reinforced his pre-modern condition by using the supporting wall as a primal element for construction and spatial definition. The Raumplan can be understood by living in the space and can be drawn with
difficulty but, how is it built? That is the question we will try to answer.
e impersonal, al margen del habitante y con el objetivo final de crear un objeto
estética y funcionalmente ensimismado. No necesitaba ni referencias externas, ni
validaciones del usuario. A partir de los años 50, Louis Kahn explorará un nuevo
tipo de espacio en el que la materia, la estructura y la luz están íntimamente
relacionados y son los elementos para crear un espacio humanizado, con el usuario
en el centro de su quehacer. El proceso de proyecto de Kahn sigue una secuencia
en la que la materia crea el muro que va disolviéndose en columnas entre las
cuales se introduce la luz para hacer del espacio interior un mundo habitable y, por
ende, humano. Ese mismo proceso aplicará también al interior de los elementos
estructurales, que en sí mismo acabarán siendo contenedores de espacios, en
una relectura moderna del poché clásico. Estructura y espacio están de este
modo indisolublemente asociados, superando la canónica premisa de la ortodoxia
moderna por la cual la estructura, el cerramiento y el espacio eran categorías
independientes.
Canonical Modernism imposed a fluid, extensive and impersonal conception
of space, indepedent of the inhabitant and with the final objective of creating
an aesthetically and functionally self-absorbed object. Needed neither external
references nor user validations. Starting in the 1950s, Louis Kahn will explore
a new type of space in which matter, structure and light are closely related and
are the elements to create a humanized space, with the user at the center of his
work. Kahn’s project process follows a sequence in which matter creates the
wall, which dissolves into columns between which light is introduced to make
interior space a inhabitable, and therefore human, world. This same process
will also apply to the interior of the structural elements, which in themselves will
end up being containers of spaces, in a modern re-reading of classic poché.
Structure and space are thus inextricably associated, overcoming the canonical
premise of modern orthodoxy whereby structure, enclosure, and space were
independent categories.