BUSCADOR RECOLECTA

This dataset collects 1,433 bibliographic references related to Spanish architecture during the Franco's dictatorship (1939-1975). The research was focused on news of Spanish Architecture abroad, including academic journals, architectural press, conference proceedings, books, book chapters, magazines and newspapers, but it excludes the Spanish media. All references were tagged including names of architects, buildings, types of buildings and cities. The database is delivered in three file formats (BibTeX, RIS and Zotero RDF), which are compatible with several reference managers as Zotero, Mendeley, EndNote or RefWorks. This dataset was produced by the R&D project “Spanish architecture in international communication media: Publications, exhibitions, congresses (First part: 1940-1975)”.
Three ways were used to find the news: Firstly, systematic research was done using architectural databases as Avery Index to Architectural Periodicals, JSTOR or ProQuest Periodicals Index Online; secondly, the most influential architectural magazines were revised in paper (The Architectural Review, Architectural Forum, Casabella continuità, Domus or L’Architecture d’Aujourd’hui); and thirdly, some authors and works were studied following bibliographical references published in their monographs.

This issue of JOELHO is published in association with the International Conference “Team Ten Farwest: Critical Revision of the Modern Movement in the Iberian Peninsula, 1953–1981”. For the preparation of this conference — held in Porto in November 2019, in the year that marks the 60th anniversary of the last CIAM meeting of Otterlo in 1959 — two preliminary meetings were held, where several contributions of Portuguese and Spanish academics were presented — in Guimarães, December 2017, and Barcelona, June 2018. Many different historiographical perspectives were centred on subjects like the protagonists, the processes, architectural works, urbanism, and representation
— from anthropology to cinema, from pedagogy to research, from architectural language to theory, from housing to tourism, from image to criticism.

The work of Spanish engineer Eduardo Torroja was known and admired internationally by architects and engineers after the Second World War. However, the three works that would establish his place in the world of thin shell concrete structures — Algeciras Market Hall, Recoletos Pelota Court and La Zarzuela Racecourse — had been constructed twenty years earlier, during the Second Spanish Republic. This paper explores the mechanisms that would enable their delayed dissemination in the 1950s, in particular, the post-war platforms, mass media, and networks in which Torroja participated. Torroja was first involved in engineering networks and shortly afterwards in networks of Modern architecture, where the functionalist paradigm was being fully reviewed by what is known as organic architecture. His success was closely related to structural intuition, an inner experience that enabled him to bridge the gap between advanced engineering and Modern architecture. This intuition derived from his mastering of thin shell structures and transpired in the abstract and geometric forms of his trio of works., Peer Reviewed

This monographic issue of the journal HPA attempts to map the international spread of architectural culture in the mass media after the Second World War, taking the period 1945–1960 as a time frame.[1]

It focuses on how certain ideas about the city and contemporary architecture were disseminated through periodical publications, exhibitions and conferences by analyzing a series of monographic case studies in an attempt to answer some essential questions:

1. How was an architectural and/or urban design project with ties to a specific context presented in the international sphere through state, professional and educational channels—whether institutional or otherwise?

2. How did this occur during a period of radical cultural reconstruction and fundamental disciplinary redefinition?

3. And vice versa: how was the same project interpreted from the point of view of the foreign establishment?

4. How did the vision “from within” and the perspectives “from outside” interact?

We believe that analyzing this type of “external” perspective (specifically: how the architectural world of one country looks at the architecture of another) offers a productive path toward a historiographic renewal of studies centered on the processes affecting the international dissemination of modern architecture, beginning from the early years after the Second World War in Europe.

En diciembre de 2018, el Victoria & Albert Museum reabría el Cast Court tras un intenso periodo de rehabilitación. Su colección de vaciados de yesos de los principales monumentos y obras del arte, es una de las únicas en la que actualidad sigue emplazándose en el lugar original para el que fueron pensadas. Enciclopédica, exhaustiva y universal, el impacto que causaba a los visitantes del entonces South Kensington Museum de Londres se resumía “as an excursion around the world”, espíritu afín al que iluminó la experiencia de la Great Exhibition de 1851. En su origen, la doble función de los museos como talleres de aprendizaje y catalizadores de la crítica del público en general, situaba las colecciones de réplicas arquitectónicas a escala natural en el ambiguo terreno entre la academia y el mercado. La arquitectura para los Museos asumía el riesgo de la definición del valor de la copia, su sentido pedagógico, y su circulación como manifiesto. El presente artículo fijará su atención en dos reproducciones del patrimonio arquitectónico español que son capaces de reconstruir ese itinerario: del Patio de la Alhambra al Pórtico de la Gloria / In December 2018, the Victoria & Albert Museum reopened Cast Court after a period of intensive rehabilitation. Its collection of plaster casts of the principal monuments and works of art is one of the very few that is still held in the original place for which they were designed. The impact of this encyclopaedic, exhaustive and universal collection on visitors to what was then London’s South Kensington Museum was summarized as “an excursion around the world”, in a spirit close to that which lit up the Great Exhibition of 1851. Originally, the dual function of museums as teaching workshops and catalysts of the general public’s critical culture placed collections of full-scale architectural reproductions in the ambiguous terrain between the academy and the market. Architecture in the museums took on board the risks of defining the value of the copy, its pedagogic purpose and its circulation as manifesto. This article concentrates on two reproductions of Spain’s architectural heritage that allow us to reconstruct this journey: from the Court of the Alhambra to the Pórtico de la Gloria.