Tag Archives: Architecture

Marvel or monster? Madrid’s Torres Colón to become protected architectural heritage

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El País reports that the Colón Towers, two high-rise buildings in the vicinity of Madrid’s Plaza de Colón and Biblioteca Nacional, may soon become listed. Designed by Antonio Lamela (December 1, 1926–April 1, 2017), the towers’ suspended structure was innovative at the time of their construction, between 1967 and 1976. In the 1990s new fire regulations resulted in the construction of an art nouveau roof, known as ‘el enchufe’ (‘the plug’), which links the towers and provides access to an emergency staircase.  

According to the Asociación para la Protección de las Torres Colón, which is campaigning for the recognition of the towers’ architectural importance, ‘su valor arquitectónico, del que su sistema estructural es parte indiscutible y esencial, además de su proyección nacional e internacional, merece ser reconocido como parte del patrimonio arquitectónico madrileño.’

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Doctoral Studentship for Spanish Architecture at the University of Warwick

zamora_15825The university of Warwick is offering a Doctoral Studentship to a UK/EU candidate, focusing on ‘Petrifying Wealth: Religious buildings in Zamora, 11th-13th Centuries: building processes, forms and functions’

Outline of the project 

The construction of churches or church buildings is obviously as old as the dominance of Christianity in Western societies. The petrification of ecclesiastical wealth, however, implied a more recognisable and enduring presence for this institution throughout the medieval landscape, both urban and rural. The building of churches, and to a lesser extent monasteries, was also promoted by the laity. These were initiatives and investments that were partly religious in origin, in so far as they were ways to ensure the eternal salvation of the founders or of the community involved. The proliferation of masonry-built churches may also raise the question of other objectives of the secular world. Sometimes the laity invested in churches to provide a new, or at least a stronger, more formalised and more recognizable community identity.

Aims and Objectives
The aims and objectives therefore constitute four research strands:

• Contribution to the analysis of the material evidence both on a macro scale and regionally. Census and systematization through a database of churches in the regions selected through a Geographic Information System (GIS).

• Census and chronology of the foundations of family churches, paying particular attention to those endowed by women.

• Estimation of construction costs. Evaluation of aspects related to the production and transport of the materials used, the distance from the quarries of origin, the use of new stone and the reuse of old materials.

• Testing of the hypotheses concerning the functionality and use of the elements of the churches.

Methodology
Fieldwork in Zamora will identify the buildings that will form the focus of the study and these will then be examined archaeologically to determine the materials and the means of construction. Particular attention will focus on the precise recording of masons’ marks and on the compilation of a database of these marks and their locations for each building. These databases will be integrated into the larger database of the whole Petrifying Wealth project.

Outcome
The research will make a substantial contribution to the overall project and will form a discrete section of the database of material relating both to Spain and to the wider context of the project. It will inform further debate on the construction of stone buildings in medieval Europe and the means and methods of construction.

Studentship
The PhD studentship will be based at the CSIC in Madrid, and at the University of Warwick and will be supervised by Dr Therese Martin (CSIC) and Dr Jenny Alexander.

The student will be based in Madrid, have the status of a pre-doctoral fellow at the CSIC and will be expected to participate in CSIC activities. Although English is widely used at the CSIC, working knowledge of Spanish will be needed. Supervisions, by Skype and in person, will be at Warwick.

Applications are welcome from Students from the UK and the EU.

The studentship will cover home/EU fees (full time) and a stipend for UK students or EU students of 22,350 euros, rising to 27,000 euros per annum for three years.

Candidates ideally should have a First Class Honours degree in History of Art or a related discipline and a distinction-level Masters degree in History of Art or a related discipline.

Applications should include a statement of not more than 1,000 words indicating what skills and experience they will bring to the project, a current CV, a transcript of qualifications to date (and anticipated results if you are still studying for your MA), two letters of recommendation plus a writing sample (either a full essay or MA dissertation).

The deadline for applications is March 31st 2018 with interviews to be held in April 2018.

Applications should be made via the University of Warwick online application form.

Please make clear in your online application that you are applying for the Petrifying Wealth studentship.

If you wish to discuss the project in more details please email jennifer.alexander@warwick.ac.uk

Training and Support
Training needs will be assessed immediately after appointment as the level and type of training required will depend on the focus of the research proposal and the skills that the student brings to the discipline.

The student will also be able to participate in workshops offered by Warwick’s Centre for Advanced Doctoral Research Excellence (CADRE) and courses in information technology provided by Warwick’s IT services.

At the beginning of year 2 and 3 a review of training needs will be undertaken by the supervisors, and the regular supervision meetings will monitor this and identify any additional requirements.

Dissemination Plans
The research findings will be disseminated via a 80,000 word doctoral thesis, conference papers, and future publications such as articles, to be submitted beyond the completion date of the project. The results will be incorporated in the Petrifying Wealth database as part of a continuing research resource.

Casa Vicens, a home designed by Gaudí, now open to the public in Barcelona

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© Casa Vicens, Barcelona 2016. Photo: Pol Viladoms

The first home designed by Catalan architect Antoni Gaudí has recently opened to the public. Built between 1883 and 1885 as a summer house for the Vicens family, it is a masterpiece of riotous colour in an eclectic neo-moorish style. After over a century of transformations at the hands of various different owners, the World Heritage Site has been returned to its original disposition, while an addition constructed in 1925 has been transformed into a museum. Located in the Gràcia district and surrounded by a verdant garden, the house is open everyday, from 10 am to 8 pm.

Carrer de les Carolines, 20, 08012 Barcelona, Spain
Open daily from 10 am to 8 pm except 25 December, 1 and 6 January

 

Research Seminar: Aparencia y razón en el reinado de Felipe III. Las artes y la arquitectura al servicio de un nuevo gusto, 29 November-1 December 2017, Madrid

vista20jardines20casa20de20campo20con20la20estatua20de20felipe20iii201Los últimos veinticinco años han conocido una notable renovación y ampliación de las investigaciones centradas en aspectos diversos del reinado de Felipe III (1598-1621), especialmente, en lo que respecta al estudio del valimiento de Lerma y su influencia cortesana, política y cultural. Se han revisado, además, múltiples cuestiones de la política exterior de la Monarquía en este periodo conocido como la Pax Hispanica. Ahora, en 2017, nos hallamos en Madrid inmersos en la celebración de la construcción de uno de los espacios más emblemáticos de la capital: su Plaza Mayor. Parece este un momento excelente para reflexionar sobre cuáles son los rasgos propios de este periodo, que tantas veces queda ensombrecido por la proyección desmesurada de los longevos reinados que le preceden y que le suceden.

Este seminario nace con el objetivo de debatir en torno a los rasgos específicos y los procesos que definen el nuevo gusto que se aprecia en el reinado de Felipe III, prestando particular atención a los cambios que experimentan las artes y la arquitectura en la corte y en otros espacios cortesanos de su monarquía. Uno de los ejes vertebradores lo constituye el análisis del gusto por la apariencia, tanto en la configuración de los espacios como en las formas de auto-representación a través de ceremonias, usos y fiestas. La grandeza de la monarquía y del poder se refleja de manera mesurada y armónica a través de su arquitectura. El deleite de los sentidos y del ingenio se pone de manifiesto en el diseño funcional de palacios de recreo con galerías, huertas, jardines, parques y bosques. La materialidad terrenal basada en un lujo suntuario se combina con el retiro de la clausura y el rigor de las prácticas devocionales en la concepción misma de los conjuntos palaciegos. Se verifica, además, una verdadera proliferación de fundaciones religiosas y benéficas que transforman el tejido urbano.

Miércoles 29 de noviembre de 2017

Inauguración – Presentación institucional a las 16.00 horas.
Introducción al seminario (Alfonso Rodríguez G. de Ceballos y Bernardo García García)
I. Idea y configuración de la corte
16.00-20.00 / Salón de Actos – Fundación Universitaria Española (calle Alcalá 93)
Arquitectura e imagen en la corte de Valladolid
Jesús Urrea Fernández (Universidad de Valladolid)
El valido-arquitecto. La construcción de la grandeza de los Sandovales
Bernardo J. García García (Universidad Complutense de Madrid y Fundación Carlos de Amberes)
Discusión
Pausa
Tras la estela de Antonio Moro. La construcción de la imagen regia durante el reinado de Felipe III
Álvaro Pascual Chenel (Universidad de Valladolid)
«No había Pintor eminente en España, de quien haya tantas Pinturas en público, como de Vicencio Carducho». La decoración de los espacios de la corte.
Ángel Rodríguez Rebollo (Fundación Universitaria Española)
Discusión
Jueves 30 de noviembre de 2017
II. El arte de representar. Imagen, fiesta y Ritual
9.30-13.30 / Salón de Actos – Fundación Universitaria Española (calle Alcalá 93)
La correspondencia de Annibale Iberti: sobre viajes, pinturas, fiestas y un carrozzino en los espacios cortesanos de Valladolid
Alicia Cámara Muñoz (Universidad Nacional de Educación a Distancia)
Francisco de Mora, arquitecto de la Corte y la Villa de Madrid
Beatriz Blasco Esquivias (Universidad Complutense de Madrid)
Discusión
Pausa
«Por escalones de vidrio… subido a la alta esfera». El mecenazgo del primer marqués de Siete Iglesias: un modelo efímero de construcción de la identidad nobiliaria (1599-1621)
Santiago Martínez Hernández (Universidad Complutense de Madrid)
La carrera de un dramaturgo cortesano durante el reinado de Felipe III: el caso de Luis Vélez de Guevara
George Peale (California State University, Fullerton)
Discusión
Jueves 30 de noviembre de 2017
III. Mujeres y redes de familia
16.00-20.00 / Salón de Actos – Fundación Universitaria Española (calle Alcalá 93)
Fundaciones religiosas en la corte. La familia de Lerma y Margarita de Austria según confesores y predicadores
Alfonso Rodríguez G. de Ceballos (Fundación Universitaria Española)
La emperatriz María en el cuarto real de las Descalzas y el duque de Lerma
María Ángeles Toajas (Universidad Complutense de Madrid)
Discusión
Pausa
El Monasterio de la Encarnación de Madrid: red de mujeres, y mujeres en red
Leticia Sánchez Hernández (Patrimonio Nacional)
«En tierra ajena, lexos de mi Rey». Giovanna d’Austria, entre la corte de Felipe III y la de los virreyes de Nápoles y Sicilia
Ida Mauro (Universitat de Barcelona)
Discusión
Viernes 1 de diciembrede 2017
10.30-13.30 – Visita de estudio
[Reservada a organizadores y ponentes hasta 25 personas]
IV. La Monarquía Hispánica y la proyección del poder real
16.00-20.00 / Auditorio de la Fundación Carlos de Amberes (calle Claudio Coello, 99)
Mecenazgo y coleccionismo en tiempos de guerra: los marqueses de la Hinojosa y Villafranca en el gobierno de Milán (1612-1618)
Francisco Javier Álvarez García (Universidad Complutense de Madrid) y Odette D’Albo (Università Cattolica del Sacro Cuore y CREDEM)
Nápoles y Sicilia. La iniciativa cultural de los virreyes en el tránsito de Felipe II a Felipe III. Una perspectiva comparada
Joan Lluís Palos (Universitat de Barcelona)
Discusión
Pausa
Architectural exchanges between the Low Countries and Spain during the reign of the Archdukes: the impact of the high nobility
Sanne Maekelberg (KU Leuven)
Las exequias reales, la proyección del poder real, y la creación de un tiempo imperial en la Monarquía Hispánica de Felipe III
Alejandra B. Osorio (Wellesley College)
Discusión final
Clausura

Featured Exhibition: The Museum and Roman Temple of Cordoba: History of a Restoration

cartel el peloThe Museum and Roman Temple of Cordoba: History of a Restoration, Archeological Museum of Cordoba, closes 24 September 2017.

Intended to celebrate the Museum’s 150th anniversary, this display focuses on the most important Roman monument in the city, whose architectural and sculptural fragments have formed part of the Museum’s  collections since its early history. The exhibition also includes archival documents, sketches, plans and notes made by the mid-nineteenth century excavators of the Roman temple.

 

News from the world of Hispanic art

Many things happened last week in the world of Spanish and Latin American visual culture.

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The Prado’s Jeronimos Wing. Photo by Luis García on Wikimedia Commons, CC BY-SA 3.0.

London’s Sir John Soane Museum announced a new series of annual lectures and prizes intended to raise the profile of architects, artists and writers who broadened society’s understanding of architecture and the built environment. The inaugural lecture, scheduled for November 1 at the Royal Institution in London, will be delivered by Rafael Moneo, designer of the Prado’s Jeronimos Extension, which opened in 2007. As reported by The Art Newspaper, Moneo will be awarded the Soane Medal, a copy of the medal presented in 1835 to Sir John Soane by “the Architects of England”, in recognition of his “essential services to architecture”.

 

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Francis Bacon, Triptych, 1991, oil on linen, 198.1 x 147.6 cm, MOMA Museum, New York. Credit: William A. M. Burden Fund and Nelson A. Rockefeller Bequest Fund (both by exchange); © 2017 Estate of Francis Bacon/Artists Rights Society (ARS), New York/DACS, London.

On 21 July The Art Newspaper reported that Spanish Police recovered three paintings by Francis Bacon stolen from the private collection of Bacon’s acquaintance José Capelo in Madrid in 2015. A tip-off from the Art Loss Register enabled the recovery, which follows the arrest of ten people associated with the robbery in the past two years. Bacon portrayed Capelo in a work of 1987 now owned by the Swiss Galerie Gmurzynska and in one of his last paintings, the 1991 Triptych now at the MOMA.

 

 

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Lygia Pape, installation shot of Ttéia I, C, 2002, at the 53rd Biennal of Venice. Jean-Pierre Dalbéra on Flickr.

A less positive news comes from US District Court for the Southern District of New York. The daughter of Brazilian artist Lygia Pape, whose monographic exhibition A Multitude of Forms closed yesterday at Met Breuer, has sued LG Electronics, several retailers and Getty Images Korea for copyright infringement. According to the complainants, LG Electronics approached the Pape estate (Projeto Lygia Pape) to license her work Ttéia (2003), which they wished to use as default wallpaper and packaging for their new phone K20 V. Pape’s estate refused LG’s request, citing the artist’s life-long resistance to the commercialisation of her work. Nevertheless, LG persevered in their use of the image, using a too-close unauthorized derivation of the work on the phone’s wallpaper and packaging. As a result, Pape’s daughter has asked the Court to recall the packaging, advertising, and other materials that contain the infringing image, including the phone itself if necessary. As noted by the plantiffs’ lawyer John Cahill, ‘This is an extreme, perhaps unique, case in which a multinational corporation—fully aware that it was doing wrong—abused a work of fine art in the service of the profit motive.’ A positive resolution of the case may ensure better protection for artists’ rights in the future.

 

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Salvador Dalí in 1965. Roger Higgins, Library of Congress, New York World-Telegram & Sun Collection. Wikimedia Commons.

To end on a lighter note, Dalí’s famously exuberant mustache is still in perfect shape, almost 30 years after the artist’s passing. The information was reported by Narcís Bardalet, the embalmer who took care of the Surrealist’s body after his death in 1989, following the exhumation of Dalí’s corpse last week. Ordered by a Spanish Court, the exhumation will enable a DNA examination to determine whether María Pilar Abel Martínez is an illegitimate daughter of the artist, as she claims since 2007.

 

Conference: III International Seminar on Sacred Heritage, São Paulo, Brasil, 26-29 July 2017

5 wikimedia pic church from left accross the lakeIII International Seminar on Sacred Heritage, Monastery of São Bento de São Paulo, Brasil, 26-29 July 2017

This Seminar, the third organised by the Grupo de Pesquisas Barroco
Memória Viva do Instituto de Artes of the UNESP and coordinated by Prof. Dr. Percival Tirapeli in collaboration with the Faculdade São Bento, discusses relevant aspects of 20th century sacred architecture until 1970.

Programme:

26 July
Teatro do Colégio de São Bento

14h – Recepção, credenciamento e inscrições

Abertura de Exposição
Escultura Sacra Moderna, Murilo Sá Toledo, Santana do Parnaíba
Curadoria de Rafael Schunk (IA-UNESP)

14h30 – Conferência
Os espaços litúrgicos e o Concílio Vaticano II
Prof. Dr. Gabriel Frade

15h30 – Lançamento dos livros
II Seminário Internacional da América Latina
Grupo de Pesquisa Barroco Memória Viva, IA-UNESP/CNPq

Quatro ensaios sobre Niemeyer
Rodrigo Queiroz e Hugo Segawa, FAU-USP; Ingrid Quintana Guerreiro,
Universidad de Los Andes, Bogotá

16h – Conferência
Atuação da Igreja no século XX
Abade Dom Matthias Tolentino Braga, OSB

17h – Visita técnica
Basílica Abacial de Nossa Senhora da Assunção,
Mosteiro de São    Bento
Dom Carlos Eduardo Uchôa, OSB

18h – Vésperas
Basílica Abacial de Nossa Senhora da Assunção,
Mosteiro de São Bento
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27 July
Teatro do Mosteiro de São Bento

9h às 11h30 – Conferências
Arquitetura neocolonial em São Paulo
Profa Dra. Maria Lucia Bressan Pinheiro, FAU-USP

Arquitetura sacra moderna em Buenos Aires
Profa Drª Graciela Viñuales Gutierrez, CEDODAL, Buenos Aires

Aspectos da arquitetura sacra na América
Profa Drª Ingrid Quintana Guerreiro, Universidad de Los Andes, Bogotá

11h30 às 12h – Intervalo

12h às 13h30 – Mesa-redonda: Arquitetura e América Latina
Arquitetura do período Entre guerras: igrejas de São Raphael na  Moóca
e Nsa. Sra. da Paz no Glicério
Pesquisadora Drª Milene Chiovatto, Pinacoteca do Estado de São Paulo

Da Pampulha à Catedral de Brasília: a projeção da arquitetura  moderna
brasileira no cenário internacional
Prof. Dr. Rodrigo Queiroz, FAU-USP

Arte contemporânea na América Latina e suas raízes sacras
Dra Cláudia Fazzolari. Prolam/ABCA

13h30 – Almoço

14h30 às 16h – Mesa-redonda: Imaginária Sacra
Marino Del Favero – Estabelecimento de Esculptura e Entalho
Profª Ms. Cristiana Cavaterra

Modernidade e tradição: a indústria e a imaginária religiosa no início
do século XX
Profª Drª Maria José Spiteri T. Passos, Universidade Cruzeiro do Sul

O apogeu da escultura em bronze em São Paulo
Prof. Dr. Mozart Bonazzi da Costa, PUC-SP

16h – Intervalo

16h30 às 18h – Palestras
Aspectos da arte sacra popular
Prof. Dr. Oscar D´Ambrosio, UNESP

Mário de Andrade e o Modernismo: tombamentos da arte sacra pelo IPHAN
Victor Hugo Mori, IPHAN/CONDEPHAAT
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28 July
Teatro do Mosteiro de São Bento

9h – Conferência
Panorama da arquitetura eclética em São Paulo
Prof. Dr. Percival Tirapeli, IA-UNESP

10h – Palestra
O traço moderno na arquitetura religiosa paulista
Prof. Ms. Márcio Antonio Lima Junior, FAU-USP

10h30 – Intervalo

11h às 13h – Mesa-redonda: Ações de Restauro
Aspectos executivos da conservação e restauro e o papel das entidades
da área
Francisco Zorzete, presidente da Associação de Empresas de Restauro
(ASSEER)

Restauro e Arte Sacra: Igreja do Cristo Operário
Paula Tabañez, Julio Moraes Conservação e Restauro

Restauro dos afrescos e Capela da Casa Portinari
JM Conservação e Restauro

13h – Almoço
14h – Conferência
Música sacra moderna
Prof. Dr. Acchile Picchi/Alfredo Zaine

15h às 16h – Mesa-redonda: Formação e importância de coleções públicas
Dom Duarte Leopoldo e Silva e a formação do Museu de Arte Sacra de São
Paulo – importância na preservação da arte sacra no século XX
Museu de Arte Sacra de São Paulo (MAS)

Obra sacra nos acervos dos Palácios do Governo e a capela de São Pedro
em Campos de Jordão
Pesquisadora DraAna Cristina de Carvalho, diretora do Acervo Histórico
Artístico dos Palácios do Governo de São Paulo

16h – Intervalo

16h30 às 18h – Mesa-redonda: Pintura sacra
A obra sacra de Candido Portinari
Profa Dra Elza Ajzenberg, USP, Pós-Graduação Interunidades

Pintura sacra no Grupo Santa Helena
Profa Dra Lisbeth Rebolo Gonçalves, USP/ABCA

Pinturas Murais de Emeric Marcier na capela da Santa Casa de Mauá
Profª Me. Rosângela Aparecida da Conceição (UNIP)
Ms. Rafael Schunk (IA-UNESP)

18h – Encerramento do III Seminário sobre o Patrimônio Sacro na América
Latina, Prof. Dr. Percival Tirapeli
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29 July
9h às 12h – Visitas técnicas
Visita opcional ao Mosteiro das Beneditinas, acompanhado por Abade Dom
Matthias Tolentino Braga, OSB e pelo Prof. Márcio Antonio Lima Junior.

Visita à exposição Santos devocionais: o barro como fé, com esculturas
de Stella Kehde, curadoria de Percival Tirapeli, Museu de Arte Sacra,
Sala do Metrô Tiradentes.