Jan Molema
Curriculum of Prof. Dr. Ir. Ing. Jan Molema Has been working from 1970 on as scientific researcher and teacher at the Faculty of Architecture at the Technological University Delft in The Netherlands till 2011, although formally retired in October 2000. Visiting Professor at Universidad Gestalt de Diseño, Xalapa and U.A. de San Luís Potosí.Member of the Royal Catalan Academy of Fine Arts St. Jordi Prof. Hon. Novosibirsk Academy of Architecture and Arts Founder of the Foundation Analyses of Buildings STAG Hooikade 11 2627 AB DELFT Tel/fax/cont. 015 256 0 259 Dr.ir.ing.Jan.Molema@gmail.comAssen, 18 September 1935. Secondary School: RHBS-b at Assen. Polytechnic School of Building Amsterdam. Academy of Architecture Amsterdam. Technical University Delft. 1969 engineer in architecture. 1987 doctor (‘Antonio Gaudí, un camino hacia la originalidad’). 1986-1998 chairman of the Stichting Analyse van Gebouwen (Foundation for Analysis of Buildings), since then vice-chairman for international relations. Author of books, articles and exhibitions in Dutch, English, French, German, Spanish, Hungarian, Russian and Japanese about a variety of architects, such as Johannes Duiker, Bernard Bijvoet, Jan Gerko Wiebenga, the New Movement in The Netherlands, Hendrik P. Berlage, the Amsterdam School, Antoni Gaudí i Cornet, Josep Jujol (co-author), and Bruce Goff. Lectures abroad: China
Supervisors: Kenneth Frampton
Supervisors: Kenneth Frampton
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portrait. His face is unusual: it seems to want to escape from the
shadow covering the right side; it reveals a faint smile.
Melancholy imprisons this face. One also sees how the left eyebrow rises slightly in places; this is Jujol the architect - artist. In his right eyebrow, however, we find Jujol the architect - engineer. Strange as well is the melancholy of his moustache. A characteristically dandy moustache, just like his jacket and bow tie. The subject has a pencil in his pocket next to the inevitable silk handkerchief, which has been delicately placed in formal juxtaposition to the pocket itself. We finish with the hat that our architect holds in his hands in a manner which reminds us of Botticelli’s Venus protecting her pudendum.
portrait. His face is unusual: it seems to want to escape from the
shadow covering the right side; it reveals a faint smile.
Melancholy imprisons this face. One also sees how the left eyebrow rises slightly in places; this is Jujol the architect - artist. In his right eyebrow, however, we find Jujol the architect - engineer. Strange as well is the melancholy of his moustache. A characteristically dandy moustache, just like his jacket and bow tie. The subject has a pencil in his pocket next to the inevitable silk handkerchief, which has been delicately placed in formal juxtaposition to the pocket itself. We finish with the hat that our architect holds in his hands in a manner which reminds us of Botticelli’s Venus protecting her pudendum.
[4] Gaudí, con sus intereses en los campos científicos mencionados, habría encajado perfectamente en la joven República de las 7 Provincias de aquél entonces con el desarrollo de ciencias exactas que ocurría allá bajo la necesidad de construir obras de defensa contra el mar y las tropas españolas, como diques y fortalezas, más preciso en Delft, ciudad no solo de pintores famosos y residencia de Guillermo el Taciturno, en relación con la Universidad de Leyden.[4]
[5] En buena tradición Délfica hemos seguido el slogan de Stevin en nuestros libros en los que hemos intentado hacer comprender a Gaudí. No ha sido por nada. Aún hay que hablan de Gaudí como hombre de milagros. Nosotros le reconocemos como inventor, hombre de maravillas.
Escribió Bassegoda: ‘Simon Stevin tiene justa fama en todo el mundo.’ Siempre burlador añade: ‘..y en Bélgica se le honra debidamente. Una calle (..) en Bruselas lleva el nombre de Stevinstraat, caracterizada por la abundancia de restaurantes. La gastronomía ha substituido a la mecánica.’ Bien sea que coincidimos en Holanda con Gaudí en que nuestra comida es pobre, nuestros ensayos són como los de Gaudí: ricos y aparentemente honorables.[5] Ní en el Siglo XX Stevin se hubiera quedado en Bélgica.
portrait. His face is unusual: it seems to want to escape from the
shadow covering the right side; it reveals a faint smile.
Melancholy imprisons this face. One also sees how the left eyebrow rises slightly in places; this is Jujol the architect - artist. In his right eyebrow, however, we find Jujol the architect - engineer. Strange as well is the melancholy of his moustache. A characteristically dandy moustache, just like his jacket and bow tie. The subject has a pencil in his pocket next to the inevitable silk handkerchief, which has been delicately placed in formal juxtaposition to the pocket itself. We finish with the hat that our architect holds in his hands in a manner which reminds us of Botticelli’s Venus protecting her pudendum.