José Vela Castillo

At the beginning of the Cold War, the United States established military bases at various points around the globe to counter Soviet influence. The construction of these bases was an unprecedented undertaking because its scope. In Spain, an extensive network of military installations was built throughout the country in only 5 years. The main nuclei of this network were the bases of Torrejón, Zaragoza, Morón, and Rota. This article aims to show that these bases share a common design project which implements an underlying grid-like system in the organization of their masterplans. After detailed study of the Torrejón air base, we aim to demonstrate that this grid-like system was conceived as a sophisticated and precise graphic tool able to facilitate the design, construction, and maintenance of the bases, as well as to back an ideological project.

Article link:
https://rdcu.be/clXLs

Five (woodblock) prints of Ryōan-ji presents five approaches to the famous dry garden located in the homonymous temple in Kyoto. The aim has been to explore through them different peculiarities of this garden, and by extension, of Japanese dry gardens of Zen inspiration. The fields explored include narrative (Kawabata), music (Cage and Takemitsu), cinema (Ozu, Iimura) and architecture (Isozaki and Mies, in passing). The main intention has not been to give a unitary vison of Ryōan-ji. Instead, like the dazzle at the end of a haiku, I tried to build a mechanism of partial enlightenments, to show, at least partially, its complex essence. A mechanism which, simultaneously, sheds light on the narrative, the music and the architecture presented. The real protagonist of the text is the particular spatiality that this garden brings to life and the temporality that goes along with it; but also the constant correspondences of the play of traces and possible meanings disseminated across the different media.

Resumen Las novelas del autor japonés Yasunari Kawabata (1899-1972) se construyen mediante una escritura fragmentaria que se traduce en una composición mediante viñetas espacio temporales. Este artículo propone que la articulación interna de estas viñetas para constituir el espacio más amplio de la novela es facilitada por la concepción de la categoría de espacio que tiene el escritor, fuertemente influenciada por la concepción del espacio y la arquitectura en la tradición propia que se hace presente en la palabra japonesa para espacio, ma.

A principios de los años sesenta, un arqui- tecto recién titulado se enfrentó al importante reto de dar forma a un nuevo edificio escolar. No se trataba de un encargo cualquiera, puesto que provenía de Jimena Menéndez-Pidal, pero tampoco de cualquier arquitecto, ya que Fernando Higueras era un brillantísimo joven que se convertiría poco después en uno de los más in- novadores de su generación. Este proyecto, que termi- naría siendo la sede definitiva del Colegio Estudio, será su gran carta de presentación y se convertirá en una obra maestra de la que beberán muchos elementos posteriores de su obra. Este artículo busca explicar la historia y valores de su propuesta con cierto detalle, pero también contar la íntima colaboración entre los dos nombres citados y la herencia intelectual y educa- tiva que la ilumina, que es la de la España que hoy, una vez más, debemos reivindicar.

The Japanese writer Yasunari Kawabata (1899-1972) was the author of a series of masterful novels that he constructed by means of a fragmentary and episodic technique. In these novels he portrays the tensions of modernizing Japan throughout the second third of the twentieth century. Space, time and architecture have a protagonist role in their construction, to the point that they seem to build a narrative in which what happens cannot be understood without the joint existence of the spaces in which it happens, and vice versa. To explain the agency of this space-time architecture examples taken from his works will be contextualized in the broader framework of Japanese culture of the time. A coda tries to unveil some relations with the ideology and practice of the group of architects known as Metabolists, that flourished between the late 1950s and early 1960s in Japan.

The status of an " unbuilt idea " is a dubious one. It presupposes, in the first place, the existence of something as elusive as " architectural ideas ". Moreover, it disconnects architectural thinking from its materialization, either implying that ideas are not embedded in architecture only or that architecture can only be found in built buildings —erasing the ideas in the process. Finally, it takes away from architecture its capacity of awakening, of production versus mere reproduction. Of course, none of these assertions are quite right –though none are totally untrue. This paper will explore three architectural pieces designed by architect Enric Miralles around the mid-1990s in search not of an answer to the abovementioned questions —which will be impossible in the limited amount of space of this article— but of a demonstration, in the sense of a presentation, of the complexity of the task. Three architectural pieces radically different but nevertheless coherent as a group, of a rather uncanny quality —being architecture, are neither buildings nor ideas— will be presented in their exemplar quality: they are exemplar —even paradigmatic— constructions precisely because they are not buildings and remain unbuilt. No conclusions should be expected, even if the endeavor is worth the attempt.

This is the short story of a promise, the promise of (the payment of) a debt and the promise of
a promise: the promise of architecture, maybe. I say: I owe you an explanation. About what? Who, I? What? An explanation?
Explanation comes from Latin explanare,
‘to make level, smooth out’ hence the ‘make clear’ meaning. But in some languages, like Spanish, English ‘explanation’ translates into ‘explicación’ that also comes from Latin, this time from explicare: to unfold. This explanation, then, will try to unfold, to expand or to unfurl, even to reveal, I hope, some hidden or masked meanings of the (present) debt. And at the same time it will try to erase the great contemporary misunderstanding: that which says that debts should be paid, that our future is to be devoted to reciprocate a debt that. A debt that, in
*
CAPITAL letters, we never promised...
This paper will propose, in its first part, a genealogy of the debt that finds its point of departure in Friedrich Nietzsche (his Second essay On the Genealogy of Morality) and goes through Marcel Mauss and Jacques Derrida to Maurizio Lazzarato. Follows a shorter second part that proposes, from the standpoint of the promise (the counterfeit of the debt), a certain opening to what is to come. And this opening, I guess, is the place for architecture.

Este texto busca aproximarse a la obra escultórica de Eduardo Chillida desde un doble presupuesto. De una parte, se afirma que la escultura de Chillida construye lugares, lo que se argumenta explorando el significado de la palabra lugar y confrontándolo al más genérico de la palabra espacio. De otra, se propone que existe una íntima relación entre los conceptos de regla, modelo y paradigma y la propia escultura como construcción singular. La conclusión viene a ser que cada escultura de Chillida, especialmente aquellas en lugares abiertos como el Peine del viento o las que se encuentran en Chillida-Leku (pero no solo), se proponen como un cierto paradigma que, en cada caso, da lugar al lugar.

Este texto trata de exponer, en una primera exploración fenomenológica, el papel que el don tiene en arquitectura en relación con el fenómeno del lugar y con la propia posibilidad del ser evento del evento (que, para la arquitectura, da (su) lugar). Es obvio que esta cuestión está íntimamente relacionada con los conceptos de lugar, fenómeno y evento, pero también de don e incluso de la hospitalidad, que trataremos de trabajar desde por una parte la

In the summer of 1956 the architect Federico Faci Iribarren, or Yribarren (1914-2003), designed a group of thirteen single houses on a site in Aravaca, in the outskirts of Madrid. It is a remarkable set, that despite having certain reputation owed to some accidental (but nevertheless relevant) circumstances, is almost unknown. I believe, however, that it is important to clarify these special circumstances that surrounded the design as well as to offer a reevaluation of the set, given their remarkable architectural quality and their unique position as examples of modern living in Spain at that time.
Let me briefly advance the circumstances, as they are necessary to calibrate its role in the architectural debate of the moment. Here it is the key fact: in January 1956 Richard Neutra, accompanied by his son Dion, landed in Madrid for a long stay of six weeks. The reason for the visit was to develop, in collaboration with a group of Spanish architects, a major contest for US Air Force housing in the newly stablished bases in Spain after the 1953 agreements. Federico Faci was one of these architects who worked side by side with the master in the design of 1518 dwelling units in four settlements for the bases of Torrejón, Zaragoza, Morón and San Pablo (Seville). The relationship with Neutra was intense, since the project was developed almost entirely in Madrid. And this, in addition to unforgettable memories, produced a revolution in the way some of these collaborators, such as Faci, designed.
They didn’t win the competition, though. The commission was given to others. The best known result are the houses in El Encinar de los Reyes designed by Luis Laorga with José López Zanón for the Torrejón base in Madrid plus another smaller ensemble for the Zaragoza base.
These previous circumstances (the stay of Neutra in Madrid, the houses of El Encinar de los Reyes) led to some confusion about the possibility of the Austro-American master having built in Spain. It was thought that the houses of El Encinar were his design, the rumor went. The confusion then moved to these designs by Federico Faci. Its high quality could have certainly allowed the mistake. But better to give back the work to its author.
This communication will present, on the one hand, a clarification of the circumstances outlined above; on the other, an analysis of the designs and their contextualization in the contemporary debate, establishing both the continuities and the innovations within contemporary domesticity. I have been able to work with the original Aravaca housing project as well as with other contemporary ones by Faci; the document submitted for the Air Force competition by Neutra and his team, the Neutra archives at UCLA and the Air Force Historical Research Agency has been used as well.

Parece estar muy extendida la idea de que la baja cualificación tecnológica de la España de los años cincuenta, fruto de una desastrosa política autárquica sumada a los estragos de una larga posguerra, lastró la producción de una arquitectura moderna equiparable técnica y estilísticamente a la que se hacía en otros países y, fundamentalmente, en Estados Unidos. Y al decir equiparable técnicamente, deberíamos decir tecnológicamente (y el matiz tiene su importancia), y podríamos añadir que, dada una (supuesta) identidad entre arquitectura moderna y tecnología avanzada (como este Congreso sugiere), esta carencia de técnica sería tanto más dramática en la medida que habría hecho retroceder la arquitectura española no solamente a un estadio (casi) preindustrial si nos atenemos a la propia construcción sino a un imaginario estético trasnochado que situaría al país en un tiempo y un lugar más cercano a la Carmen de Bizet que al Luigi Nono de Der Rote Mantel.
Es obvio que la cuestión no es tan sencilla, y que el aparato técnico de la época supo construir, sin embargo, dispositivos tanto o más avanzados que los que en otros lugares se estaban dando, y ahí está mucho del trabajo de la DGRD o del INC para demostrarlo.
Pero incluso aceptado parte de esta premisa como válida, parece que se nos ha escapado durante mucho tiempo que algunos, incluso muchos de aquellos modelos que se consideran como determinantes o paradigmas a los que tender en la arquitectura residencial de los años cincuenta, en los hoteles que una burguesía poco a poco más ilustrada se construye, es decir, las mitificadas casas californianas de Neutra (incluso Schindler) o de la costa este de Breuer, y salvo contadas excepciones, se diseñan y ejecutan mediante uno de los sistemas de más baja tecnología posible: la estructura, más o menos adaptada y modificada pero en esencia la misma, balloon frame usada en los anteriores ciento cincuenta años.
Y así, cuando Neutra viene en 1956 para realizar el famoso concurso para alojamientos de los militares americanos, es verdad que diseña sus casas junto a sus colaboradores españoles con sencillos muros de ladrillo, simples carpintería de acero y baldosín catalán y terrazo, pero no es menos cierto que esta forma de construir no es sino la análoga al entramado de madera que tanto usaba Neutra (y Schindler y Beuer) en esos soñados Estados Unidos de película.
Lo que esta comunicación propone, entonces, no es sino una revisión de esta relación, tan dada por sentado como no siempre examinada en detalle, entre técnica y modernidad en el contexto español de la década de los cincuenta.

Madrid, September 26th, 1953. James Dunn, U.S. ambassador in Spain and Alberto Martín-Artajo, Spanish Foreign Affairs minister signed the U.S.-Spain Agreements, also known as “Pacto de Madrid.” Following the treaty with the Vatican in August and the previous membership of the FAO and the UNESCO (Spain eventually enter U.N. in 1955), Francoist Spain was slowly building up its legitimacy in the Western community of nations.
True, Spain didn’t enter into the European Recovery Program owed to its international isolation as a fascist state. But, after a hard and long diplomatic offensive, Franco obtained minimum aid from the U.S.
The U.S.-Spain agreements were not only a political achievement of the Franco regime, but had important economic and military consequences for the country (and for the future of the Regime). Spain, that desperately needed economical help owed to the disastrous autarchy policies implemented by the government, found a temporary relief in the American aid. The U.S., in turns, wanted to extend its defense capacities against the USSR (Spain was placed in a decisive strategic region), and was more than willing to pay the small price asked for.
Four main U.S. bases were, accordingly, set in Spain. One for the Navy (Rota), and three for the Air Force (Morón, Torrejón and Zaragoza). Placed in a diagonal that crossed Spain from southwest to northeast, assisted by a myriad of smaller settlements, they created the hugest infrastructure being built in Spain at the time.
An engineering office was stablished in Madrid, the AESB (“Architects Engineers Spanish Bases”) with a team of Spanish architects led by American technicians. Professional and technical exchange, so precious for Spanish architects, followed. Richard Neutra was also involved in a major competition for housing units for the American personnel, working jointly with a team of selected Spanish architects.
The direct impact of the built structures was, of course, limited to the bases themselves. Apart from the military installations, the U.S. did not promote any other architecture program in Spain. There were, of course, close contacts between the American and the Spaniards, but given the backwardness of Spanish mileu its impact was limited.
This paper presents and overview of the process of negotiations, design and construction of the U.S. bases as a way of understanding the scope and relevance of U.S. program in Spain and its impact in Spanish architecture. By showing the specificity of this program in the postwar European Reconstruction context, it will help to understand the different politics of space the U.S. deployed at the time and the involvement of local actors in their definition. And by means of new archival research, it sheds new light into a not sufficiently known episode in Spanish architecture in its process of modernization.

Este artículo presenta un detallado análisis de un edificio tan singular como prematuramente olvidado: la Central térmica que Hidroeléctrica Española construye en Escombreras, Cartagena, a mediados de los años cincuenta, bajo proyecto del arquitecto Fernando Urrutia y el ingeniero Carlos Jaureguizar. Y lo hace desde un doble punto de vista: de una parte, contextualiza el edificio en el marco industrial y arquitectónico del momento, al que ofrece una respuesta de una perfecta modernidad, a la vez pragmática y monumental, que debe ser puesta en valor. De otra, centrándose en un meticuloso análisis constructivo, geométrico y estético de, quizás, su elemento más singular, la muy ingeniosa celosía funcional (así la denomina el arquitecto) que construye sus fachadas mediante una piel modular prefabricada y que la dota de una personalidad única y de una contemporaneidad inquietante.

The status of an “unbuilt idea” is a dubious one. It presupposes, in the first place, the existence of something as elusive as “architectural ideas”. Moreover, it disconnects architectural thinking from its materialization, either implying that ideas are not embedded in architecture only or that architecture can only be found in built buildings —erasing the ideas in the process. Finally, it takes away from architecture its capacity of awakening, of production versus mere reproduction. Of course, none of these assertions are quite right –though none are totally untrue. This paper will explore three architectural pieces designed by architect Enric Miralles around the mid-1990s in search not of an answer to the abovementioned questions —which will be impossible in the limited amount of space of this article— but of a demonstration, in the sense of a presentation, of the complexity of the task. Three architectural pieces radically different but nevertheless coherent as a group, of a rat...

At the beginning of the Cold War, the United States established military bases at various points around the globe to counter Soviet influence. The construction of these bases was an unprecedented undertaking because its scope. In Spain, an extensive network of military installations was built throughout the country in only 5 years. The main nuclei of this network were the bases of Torrejon, Zaragoza, Moron, and Rota. This article aims to show that these bases share a common design project which implements an underlying grid-like system in the organization of their masterplans. After detailed study of the Torrejon air base, we aim to demonstrate that this grid-like system was conceived as a sophisticated and precise graphic tool able to facilitate the design, construction, and maintenance of the bases, as well as to back an ideological project.

Five (woodblock) prints of Ryōan-ji presents five approaches to the famous dry garden located in the homonymous temple in Kyoto. The aim has been to explore through them different peculiarities of this garden, and by extension, of Japanese dry gardens of Zen inspiration. The fields explored include narrative (Kawabata), music (Cage and Takemitsu), cinema (Ozu, Iimura) and architecture (Isozaki and Mies, in passing). The main intention has not been to give a unitary vison of Ryōan-ji. Instead, like the dazzle at the end of a haiku, I tried to build a mechanism of partial enlightenments, to show, at least partially, its complex essence. A mechanism which, simultaneously, sheds light on the narrative, the music and the architecture presented. The real protagonist of the text is the particular spatiality that this garden brings to life and the temporality that goes along with it; but also the constant correspondences of the play of traces and possible meanings disseminated across the di...

It seems that in the last decades architecture has finally become aware of the impact the demands of its construction and of its maintenance and operation have on the environment. The demands for architecture of being green or becoming ecological have been answered mostly through an enhanced use of technology, through a technical deployment of a multiplicity of systems and gadgets that try to achieve a better performance, or in other words, a better efficiency, but not by addressing the roots of the question. Henceforth, this increase in the use of technology is covering the fact that what architecture needs to do for being green is not to promote the use of technology, but to rethink its original relation with technique and nature. This paper will propose in the first place a brief survey of this original and tainted relation between architecture, technique and nature, to show how and why this relation was condemned since the beginning. Then, I will propose in the first place two s...

Let’s say: we are disciplined…but not too many of us, and not too much. This article consists of many voices running parallel, many hands writing at the same time, coherent, but with a different style, one might say. Voices doubled by other voices, words haunted by other words. You know, it has not always been easy to decide which discipline or which punishment best suits stylistic disobedience. Half the text, half my life, half a lie. And some unspecific images, some blue lines on the horizon, classical remnants of what (we) have been. Thence: The classical topos of the column transformed into a labyrinth inhabited by some hidden thread akin to underscore what of disciplinar (still) has architecture, today: its necessary inscription in reality as the physical trace of an-other (hence the style) and its unabashedly metaphorical condition. Whence: Unsurprisingly, it will be easy to recognize Derridean influence through this text. Traces of Derrida can (must) be found during its reading. Its textile condition weaves, warp and weft, language and architecture as disciplines. Style performs discipline, places meticulous shadows of its code and hints of its restraints.

espanol?Que se da realmente cuando se dice "dar lugar" ?Podemos decir que el lugar "se entrega"? ?Que es dado en la arquitectura? Y entonces, ?Que es dado, si algo, en la arquitectura? "Dar lugar" puede significar, a la vez e indistintamente, producir, proporcionar las condiciones para que algo se produzca, pero tambien, literalmente, dar algo, algo que aqui seria, acaso, "el lugar". ?Que es entonces el lugar que se puede dar y sobre todo, que es ese dar? ?Un regalo, un don? Dos aspectos pueden ser aqui explorados. La cuestion del dar en tanto que don y la cuestion del lugar en tanto que aparicion, de la arquitectura y del espacio. Ambos aspectos seran abordados en este articulo desde una perspectiva que pone en relacion la fenomenologia de Jean-Luc Marion y la deconstruccion de Jacques Derrida en el contexto de la arquitectura. EnglishWhat is really given when we say "giving place"? Could we say "delivering place"? What is...

... UN ESTUDIO SOBRE LA ARQUITECTURA NATURAL I! "*» ... ' I presente texto ofrece una revi, la arquitectura del maestro austroamericano Richard J. Neutra desde unos presupuestos teóricos que apuntan a la arquitectura como resultado de un proceso de creación natural. ...

La tesis trata de investigar la obra de Richard Neutra desde una perspectiva cultural amplia, que incluya fundamentalmente filosofia y antropologia. Se estudia una aquitectura cradora y desveladora de orden. Los capitulos en que se divide la tesis sonlos siguientes. Introduccion un lugar para el orden Cap.I El hombre en el mundo Cap.II Angulo recto y forma natural Cap. III maquina en el jardin Cap. IV transiciones y umbrales Cap. V de la casa y el lugar Cap. VI acerca de la percepcion, lo concreto y la -- Cap. VII estructura o el orden construido Ademas un apendice grafico y una bibliografia.

espanolOjos que no ven corazon que no siente, dicen que dice el dicho popular. ?Cuales los ojos que miran, que penetran, revelan, esta arquitectura? ?Donde y desde donde? La mirada de Aalto, le regard du haut, mira, se desliza, inquiere y quiere, se demora en su observar, y luego muestra lo que ha visto, nos lo cuenta, (se) da cuenta dandonos cuenta, nos lo explica y desdobla y despliega: toma prestado a cuenta un tiempo y un espacio, lo observa, lo recorre, lo conoce hasta en sus mas minimos detalles y finalmente lo restituye en su narracion sin descuento pero con sentido. Este texto se expone como una pregunta, no impone respuestas. Busca trazar y seguir como (e incluso cuando) algunos de los mejores edificios del arquitecto fines Alvar Aalto responden, explicita y constructivamente, a la luz. Para ellos se dispone un dispositivo, se oficia un juego, se propone una mascara: la del espejo en el vidrio. Los ojos de Aalto se encarnan en los lucernarios de Aalto, los personajes de Lew...

espanolYa desde el titulo apreciamos la duplicidad de este texto. Un texto que busca enroscarse en torno a este doble, fantasma de la perspectiva que establece una forma de ser el mundo, de presentarse: arquitectura es, siempre, perspectiva. Una lectura de la perspectiva, filosofica, y arquitectonica, en dos o tres momentos: Leibniz, y por tanto el barroco, Deleuze y por tanto el postestructuralismo, la arquitectura siempre y por tanto ahora. Una estructura doble, que se pliega y despliega y en su desdoblarse muestra el interior de algo que, sin embargo, no tiene interior: exterioridad absoluta. EnglishWe could read from the beginning the duplicity of this text. A text must evolve around a double, phantom of perspective that establishes a form of being in the world, of showing: architecture is, ever, perspective. A reading then of perspective from a philosophical and architectonical point of view, in two or three movements: Leibniz (then baroque), Deleuze (then post structuralism), ...

Cinco estampas de Ryōan-ji son cinco aproximaciones al famoso jardin seco emplazado en el templo del mismo nombre en Kioto. Se ha buscado a traves de ellas explorar distintas particularidades de este jardin y, por extension, de los jardines secos japoneses de inspiracion Zen desde distintos medios: la narrativa (Kawabata), la musica (Cage y Takemitsu), el cine (Ozu, Iimura), la arquitectura (Isozaki y Mies, tangencialmente). No se ha pretendido ofrecer una vision unitaria de Ryōan-ji, antes bien, como el deslumbramiento en el verso final de un haiku, se ha querido construir un mecanismo de iluminaciones parciales que muestre, al menos, parte de su compleja esencia; pero que tambien ilumine simultaneamente la narrativa, las musicas o la arquitectura que se presenta. El protagonista real del texto es la muy particular espacialidad que pone en marcha este jardin (y la temporalidad que lo acompana), asi como el constante reenvio en el juego de huellas de sus (posibles) significados, que...

espanolEsta es la historia de una promesa, la promesa (del pago) de una deuda y la promesa de una promesa: la promesa de la arquitectura, quizas. Digo: os debo una explicacion. ?Sobre que? ?Quien? ?Yo? ?Una explicacion? Explicacion proviene del latin explicare: desplegar. Esta explicacion, por tanto, tratara de desplegar, expandir, desenrollar o incluso revelar algunos significados ocultos, o enmascarados, de la deuda (presente). Y al mismo tiempo, intentara erradicar el gran malentendido contemporaneo: aquel que dice que las deudas deben saldarse, que nuestro futuro debe consagrarse a devolver una deuda que, en letras CAPITALES, nunca hemos adquirido… En primer lugar se desarrollara una cierta genealogia de la deuda, que comienza en Nietzsche (en concreto en el segundo ensayo de su Genealogia de la moral), y que pasando por Marcel Mauss y Jacques Derrida alcanza a Maurizio Lazzarato. Seguira una mas breve segunda parte que, desde el punto de vista de la promesa (contrafacto de la d...

Se trata de ofrecer una pequena reflexion acerca del caracter ilustrado o preilustrado del texto clasico de Claude Perrault sobre los ordenes arquitectonicos, y como de pasada afirmar la Modernidad (en sentido historico) de las reflexiones subyacentes acerca de la propio arquitectura y su vision desde la optica de la teoria actual. El presente texto trata de establecer algunas premisas desde las que afrontar el aprendizaje proyecto de arquitectura en la actualidad. Asi, desde el concepto de Teoria, que remontamos hasta su significado originario griego, se traza una suerte de contrafigura del proyecto de arquitectura en la contemporaneidad, haciendo especial enfasis en los aspectos propiamente disciplinares. Sin olvidar de otra parte, el necesario entronque de la propia arquitectura, y por ende de su proyecto, en un marco de pensamiento digamos filosofico que no puede hallarse sujeto a los vaivenes y caprichos de moda y de lo meramente "virtual".

espanolEl escritor japones Yasunari Kawabata (1899- 1972) fue autor de una extensa obra en la que destacan una serie de novelas que retratan las tensiones de un Japon que se moderniza a lo largo del segundo tercio del siglo veinte y que construye mediante una tecnica episodica y fragmentaria. En ellas el espacio, el tiempo y la arquitectura cobran un papel determinante, al punto que ayudan a construir un modo de narrar propio en el que los hechos que ocurren no pueden entenderse sin la existencia conjunta de los espacios en que acontecen, y viceversa. El presente texto quiere ofrecer una aproximacion a como es la arquitectura que se desprende, sin esfuerzo aparente, de la escritura del novelista. Para ello tomaremos ejemplos extraidos de algunas de sus obras y los contextualizaremos en el marco mas amplio de la cultura japonesa de la epoca. Una coda final apunta algunas relaciones no tan aparentes de lo anterior con la practica y la ideologia del grupo de arquitectos metabolistas, q...

This paper presents the results of experimental course work in 2015 with secondyear students at IE School of Architecture and Design under the auspices of Culture and Theory in Architecture I. The subject of the course is History of Modern Architecture. Importantly, this is the first contact IE students have with theory and history of architecture. One of the goals was to allow students to understand that history is not a monolithic object that stands before us ready-made, but a set multiple constructions in narrative form, hence necessarily a representation: a collection of stories, instead only one history. To accomplish this goal, the students were instructed to write their own particular narrative of a significative moment (building, design, event) in modern architecture.