Artículos / Journal Papers by Gonzalo Sotelo-Calvillo
EGA: Revista de Expresión Gráfica Arquitectónica, 2021
Aunque no terminó sus estudios de arquitectura, la influencia ejercida por estos es evidente en l... more Aunque no terminó sus estudios de arquitectura, la influencia ejercida por estos es evidente en la obra de Pablo Palazuelo, quien trató de elaborar un método de trabajo que le sirviera para desvelar los procesos formativos de la realidad y traducirlos a un lenguaje gráfico. Este ensayo propone verificar si las diversas operaciones inherentes al dibujo arquitectónico también se encuentran presentes en la metodología articulada por Palazuelo. Esta premisa se fundamenta tanto en la formación universitaria de Palazuelo, como en sus escritos. Para confrontar esta hipótesis, este estudio propone un recorrido que comienza con las enseñanzas recibidas por Palazuelo. Posteriormente, el artículo pretende desvelar las diferentes operaciones y recursos gráficos que Palazuelo empleaba, a través de comparativas entre parejas de sus obras. Finalmente, los distintos bocetos inéditos de Palazuelo, que custodia su Fundación, se analizan hasta reconstruir las huellas del método aplicado en la elaboración de sus diversas propuestas. /
Although he did not finish his studies in architecture, their influence is evident in the work by Pablo Palazuelo, who tried to develop a working method that would serve to reveal the formative processes of reality and translate them into a graphic language. This essay proposes to verify if the various operations inherent to the architectural drawing are also present in the methodology articulated by Palazuelo. This premise is based both on university education of Palazuelo and on his writings. To confront this hypothesis, this study proposes a journey that begins with the teachings received by Palazuelo. Subsequently, the article aims to reveal the different operations and graphic resources that Palazuelo used, through comparisons between pairs of his works. Eventually, the different unpublished sketches by Palazuelo, that his Foundation guards, are analyzed to reconstruct the traces of the method he applied in the elaboration of his various proposals.
Nexus Network Journal, 2020
After studying the unpublished sketches of the Spanish artist Pablo Palazuelo, this essay propose... more After studying the unpublished sketches of the Spanish artist Pablo Palazuelo, this essay proposes the existence of geometric patterns that order his designs. To illustrate the proposal, this paper selects three representative projects by Palazuelo that attempt to demonstrate the presence of a working process related to a mathematical substrate. Specifically, the use of an irregular tiling is proposed for the creation of the following architectural elements: the scenery for a composition by Kandinsky (1950-1954), and the plan for a hotel on Princesa Street, Madrid, (1961). This study also examines the use of regular tessellations in the design of the ceilings of the Huarte Residence in Madrid, (1965). The treatises by Bourgoin and Ghyka have been selected from the library of Palazuelo as the primary theoretical bases of this study. This methodology constitutes a line of further research to analyze different architectural projects.
This paper is aviable at:
https://rdcu.be/bRCEY
EGA: Revista de Expresión Gráfica Arquitectónica, 2017
En el presente artículo se trata de explorar el empleo de estructuras geométricas que ordenan los... more En el presente artículo se trata de explorar el empleo de estructuras geométricas que ordenan los diseños de Pablo Palazuelo. Dado que dibujo y arquitectura recorren caminos paralelos en su obra, se han tratado de vislumbrar las distintas fases metodológicas aplicadas sobre una base reguladora. Concretamente en dibujos como Signos (1949-1952) y el diseño de las puertas del Colegio de los Basilios en Alcalá de Henares (1991), donde implementó como estructura una teselación. Para este fin se analizan bocetos inéditos pertenecientes a la Fundación Pablo Palazuelo como sistemas operativos y organizadores de las propuestas gráficas. /
This paper aims to explore the use of geometric structures to arrange the designs by Spanish artist Pablo Palazuelo. Since drawing and architecture covered parallel paths in his work, this article intends to trace the different methodological phases applied on a regulatory basis; mainly in the drawings for Signos (1949-1952) and the design of the gateway for Colegio de los Basilios in Alcalá de Henares (1991), where he implemented a tessellation as structure. For this purpose, unpublished sketches belonging to the Fundación Pablo Palazuelo are analysed as operating systems and organizers of his graphic proposals.
Goya, Revista de Arte, Jan 2017
Pablo Palazuelo soñó desde la ventana de su residencia parisina con las vidrieras de la iglesia d... more Pablo Palazuelo soñó desde la ventana de su residencia parisina con las vidrieras de la iglesia de Saint Severin. Posteriormente, cuatro proyectos le brindaron la posibilidad de dibujar con la luz y materializar el color. Gracias a los documentos inéditos atesorados por la Fundación del pintor, este estudio propone analizar el proceso desarrollado durante la elaboración de sus propuestas para vitrales. Reunidos por primera vez, los diseños para la residencia Arango, Valdemorillo (1984-1986), la parroquia de San Salvador, Guetaria (1995-1996), la casa comercial Palazuelo, Madrid (1996) y el Auditorio, Barcelona (1998), ilustran esta incursión en el terreno del umbral lumínico. /
Palazuelo Pablo dreamed from the window of his Paris residence with the stained glasses of Saint Severin church. Subsequently, four projects provide him the ability to draw with light and materialize colour. Thanks to the unpublished documents treasured by the Foundation of the painter, this study aims to analyze the process developed during the preparation of his proposals for stained glass. Gathered for the first time, the designs for residence Arango, Valdemorillo (1984-1986), the San Salvador parish, Guetaria (1995-1996), the trading house Palazuelo, Madrid (1996) and the Auditorium, Barcelona (1998), illustrate this raid into the field of the light threshold.
Archivo Español de Arte, Jan 2017
Pablo Palazuelo (1915–2007) no sólo demostró su maestría en el ámbito pictórico, sino que también... more Pablo Palazuelo (1915–2007) no sólo demostró su maestría en el ámbito pictórico, sino que también se adentró también con éxito en la tercera dimensión. A partir del análisis de los fondos de la Fundación del artista se ha tratado de reconstruir el proceso de trabajo escultórico, empleando como semilla los trazados simbólicos contenidos en el boceto Del cuatro para seguir el rastro de las maquetas y croquis inéditos que custodia dicha institución. /
Pablo Palazuelo (1915-2007) not only demonstrated his command of the pictorial field, but also ventured successfully into the third dimension. After analyzing the funds the Foundation of the artist holds, the reconstruction of the sculptural work process have been presented, using the symbolic paths contained in the sketch Del cuatro as a seed, tracing unpublished models and sketches that the aforementioned institution guards.
ZARCH. Journal of interdisciplinary studies in Architecture and Drawing, 2016
En el presente artículo se analizan los principales proyectos paisajistas elaborados por Pablo Pa... more En el presente artículo se analizan los principales proyectos paisajistas elaborados por Pablo Palazuelo. Al ocupar el paisaje un espacio central en una obra que interrelacionaba arte y arquitectura, se han tratado de desvelar las distintas etapas de su proceso productivo. Un proceso desplegado desde las bases de su pensamiento contenidas en sus escritos, hasta sus propuestas de una creciente complejidad. Describiendo un recorrido que abarca las incipientes restauraciones ajardinadas para La Peraleda en Galapagar (1950-1965) y el Castillo de Monroy, Cáceres (1970-1985), y concluye con la reordenación urbana de la propuesta para la Avenida de la Ilustración en Madrid (1985-1987). Para este propósito se estudian los escritos y bocetos inéditos de la Fundación Pablo Palazuelo como fundamentos teóricos y gráficos.
This essay aims to analyze the main landscape designs by Spanish artist Pablo Palazuelo. Since the landscape occupies a central space that interrelates art and architecture in his work, this research has tried to unravel the various stages of his production process. A process unfolded from the bases of his thought, contained in his writings, to his increasing complexity designs. It describes a journey that covers emerging garden restorations for La Peraleda in Galapagar (1950-1965) and the Castillo de Monroy, Caceres (1970-1985), and concludes with the urban renewal of the proposal for the Avenida de la Ilustración in Madrid (1985 -1987). A selection of unpublished writings and sketches belonging to the Pablo Palazuelo Foundation are studied as theoretical and graphic foundations for this purpose.
https://papiro.unizar.es/ojs/index.php/zarch/article/view/1527/1753
EGA: Revista de Expresión Gráfica Arquitectónica, 2010
A pesar de su imposibilidad de culminar sus estudios de arquitectura, el legado de los conocimien... more A pesar de su imposibilidad de culminar sus estudios de arquitectura, el legado de los conocimientos adquiridos en Oxford influye de tal manera que parece llegar a condicionar el proceso de trabajo de Pablo Palazuelo. Con el empleo de las herramientas brindadas por el dibujo arquitectónico, en este escrito se pretende profundizar en el estudio de su producción a partir de una selección de los hallazgos gráficos descubiertos durante el trabajo de inventariado y catalogación realizada para la Fundación Pablo Palazuelo. Se pretende establecer una relación entre su proceso productivo y la sintaxis gráfica arquitectónica legada por su formación, para ello se han seleccionado cinco obras y cinco proyectos que cuentan con el condicionante añadido de un locus ajeno a los límites del soporte elegido. /
In spite of the impossibility of finishing his architectural university studies, the legacy of the knowledge acquired in Oxford influenced Pablo Palazuelo in such a way that it seemed to condition his work process. Employing the tools provided by architectural drawing, In this article, I intend to examine Palazuelo’s production in depth, beginning with a selection of graphic findings discovered during inventory and catalog work which have been carryied out in the Fundación Pablo Palazuelo. I aspire to establish a relationship between his productive process and the architectonic graphic sintaxis bequeathed by his education. For this reason, five works and five projects, which deal with the added condition of a locus separated from the limits of the support chosen, have been selected.
Capítulos de libros / Book chapters by Gonzalo Sotelo-Calvillo
Graphic Horizons, 2024
Faced with the challenge of optimizing the learning of design, graphic construction, coding, and ... more Faced with the challenge of optimizing the learning of design, graphic construction, coding, and expression of architecturally complex elements, this essay presents a teaching experience developed in the Architecture Drawing course of the first year of Architecture Studies that incorporates Augmented Reality (AR). After initial experiences providing three-dimensional models of studied objects integrated into AR, which were well-received by students, a specific study was proposed on an architectural element with spatial complexity and recurring assimilation difficulties, namely the stair. This exploration covered the phases of ideation, realization, and communication of that element, utilizing AR as an instrumental resource and motivational trigger. The aim was to use AR to contribute to solve problems derived from the lack of spatial comprehension and communicative resources of students in the first stage of their learning process of Architecture and its representation. Furthermore, the adoption of this new technology is proposed not in isolation, but integrated into a hybrid method that combines traditional drawing with the use of AR. In this way, the experience seeks to incorporate new applications to enhance the teaching-learning process and student motivation as a complement to previously successful methodologies.
Graphic Horizons, 2024
This paper outlines an initiative that aims to integrate teaching and research through the explor... more This paper outlines an initiative that aims to integrate teaching and research through the exploration of artistic fields adjacent to architecture with the goal of fostering student motivation by creating new opportunities. The exercise utilizes a collection of Pablo Palazuelo’s geometric abstraction works as a basis for creating graphic proposals for the design of utopian cities. Two competitions were promoted as a result of a signed agreement between the university and Pablo Palazuelo Foundation. Additionally, this experience has been incorporated into projects developed within the Urban Design course. After discussing the reasons that led to the choice of this author as a source of initial references, the works selected for the statements were discussed and the works submitted by the students were analyzed, both in terms of their content and graphic characteristics. The scope of the study is defined, on one hand, to the selected works by Palazuelo, and on the other, to the results of the last two competitions that centered on creating projects for ideal cities, using Palazuelo’s work as a starting point.
Robert Ferrer i Martorell. Línies Presents, 2023
Artículo publicado en el catálogo de la exposición Robert Ferrer i Martorell. Línies Presents, re... more Artículo publicado en el catálogo de la exposición Robert Ferrer i Martorell. Línies Presents, realizada en la Fundación Chirivella Soriano de Valencia. Robert Ferrer i Martorell demuestra una generosa voluntad divulgativa al aprovechar sus exposiciones para manifestar con claridad la coherencia y precisión geométrica contenidas en el proceso de trabajo desarrollado para elaborar su producción. Ferrer es un artista que demuestra un espíritu constructivista al definir su producción en términos de materiales, acabados, dimensiones y módulos. Aunque Linies Presents pueda parecer una exposición muy heteróclita que únicamente reúne las líneas de investigación formal que Ferrer está desarrollando actualmente, existen elementos e intenciones que están presentes en todas las piezas, aunque no siempre resulte evidente. Por lo que es necesario rastrear los hilos conductores que ligan muchas de las realizaciones a partir de la metodología empleada hasta abordar con garantías el análisis de las obras concretas. |
Article published in the catalog of the exhibition “Robert Ferrer i Martorell: Linies Presents,” held at the Chirivella Soriano Foundation in Valencia. Robert Ferrer i Martorell demonstrates a generous commitment to dissemination by using his exhibitions to clearly express the coherence and geometric precision inherent in the working process developed to create his production. Ferrer is an artist who showcases a constructivist spirit by defining his production in terms of materials, finishes, dimensions, and modules. Although "Línies Presents" may appear as a highly eclectic exhibition that solely brings together the formal lines of investigation Ferrer is currently developing, there are elements and intentions present in all the pieces, even if not always evident. Therefore, it is necessary to trace the guiding threads that connect many of the creations based on the methodology employed before confidently delving into the analysis of specific works.
Full book available at:
https://www.chirivellasoriano.org/wp-content/uploads/2024/01/Robert-Ferrer-i-Martorell_Linies-presents_catalogo.pdf#new_tab
Pablo Palazuelo. Método Geométrico, Mar 29, 2023
Escrito publicado en el catálogo de la exposición Pablo Palazuelo Método geométrico, realizada en... more Escrito publicado en el catálogo de la exposición Pablo Palazuelo Método geométrico, realizada en el Museo Universidad de Navarra.
Pablo Palazuelo siempre fue extremadamente cuidadoso en no desvelar su proceso de trabajo artístico. A pesar de demostrar su generosidad pedagógica, al transmitir sus descubrimientos no sólo a través de su obra, sino también al difundir su visión por medio de escritos, conversaciones, conferencias y cursos, Palazuelo alentó el misterio de su método al guardar las fases iniciales de su producción. Actualmente, estos documentos descansan en los almacenes de la Fundación Pablo Palazuelo; y gracias a la colaboración de esta institución con el Museo Universidad de Navarra se han podido reunir las más de 130 obras que estructuran la exposición titulada Pablo Palazuelo: Método Geométrico. |
Pablo Palazuelo always took great pains not to reveal his artistic process. Although he was very generous with his teaching, when he shared his discoveries through his work and expressed his vision in the form of writing, conversations, conferences and courses, Palazuelo ensured that his method remained a mystery by keeping the early stages of his process a secret. Today, these documents are kept at the Fundación Pablo Palazuelo, whose collaboration with Museo Universidad de Navarra has made it possible to bring together the 130-plus works that make up this exhibition entitled Pablo Palazuelo: Método Geométrico.
Pablo Palazuelo La línea como sueño de arquitectura | Pablo Palazuelo: The Line as a Dream of Architecture, 2023
Escrito publicado en el catálogo de la exposición Pablo Palazuelo La línea como sueño de arquitec... more Escrito publicado en el catálogo de la exposición Pablo Palazuelo La línea como sueño de arquitectura, realizada en el Museo ICO.
Dado que dibujo y arquitectura recorren caminos paralelos en la obra de Palazuelo, se ha decidido situar el acento en su proceso de trabajo, ya que las muestras sobre papel y metal constituyen los únicos rastros que permiten visualizar y valorar cuál hubiese sido su resultado final. Por lo que se analiza su metodología para reconstruir las diversas fases descritas haciendo hincapié en los sistemas y recursos gráficos que articuló en la representación de sus diseños arquitectónicos. |
Writing published in the catalog of the exhibition Pablo Palazuelo: The Line as a Dream of Architecture, held at the Museo ICO.
Given that drawing and architecture run parallel paths in Palazuelo’s work, it has been decided to place the emphasis on his work process, since the samples on paper and metal constitute the only traces that allow the visualization and assessment of what their final result would have been. Therefore, his methodology is analysed to reconstruct the various phases described, emphasizing the systems and graphic resources that he articulated in the representation of his architectural designs.
ISBN: 978-84-19050-61-8
Pablo Palazuelo La línea como sueño de arquitectura / Pablo Palazuelo: The Line as a Dream of Architecture, 2023
Introducción al catálogo de la exposición Pablo Palazuelo La línea como sueño de arquitectura, re... more Introducción al catálogo de la exposición Pablo Palazuelo La línea como sueño de arquitectura, realizada en el Museo ICO. Una exposición que reúne por primera vez las doce obras y los doce proyectos más representativos que ilustran la aproximación más directa que operó Pablo Palazuelo entre sus investigaciones geométricas y la arquitectura. /
Introduction to the catalog of the exhibition Pablo Palazuelo: The Line as a Dream of Architecture, held at the Museo ICO. In this exhibition the most representative twelve works and twelve projects are collected for the first time, these illustrate the most direct approximation operated by Pablo Palazuelo between his geometrical research and architecture.
ISBN: 978-84-19050-61-8
Architectural Graphics. EGA 2022. Springer Series in Design and Innovation, 2022
Architectural drawing is constantly evolving, but it has invariants. This article aims to investi... more Architectural drawing is constantly evolving, but it has invariants. This article aims to investigate the two representation systems most used in the design process of Enric Miralles. An architect who began using a perceptual vision as the origin of his designs, which he analyzed in detail in his doctoral thesis. Though, it was progressively losing relevance in favor of the plant. However, this writing is not only a review of the graphic method deployed in Miralles’ sketches, proposed throughout the different stages of his career, but also its new contribution lies in tracing a possible relationship with the work process displayed in the drawings by Charles Rennie Mackintosh.
For this reason, this essay proposes a deductive analysis where their sketches are blended in order to establish for the first time the existing connections between the drawings of both architects. After reviewing the studies that analyzed the method of drawing developed by Miralles, these approaches are confronted with his writings and conversations. The comparison with Mackintosh’s work is based on published essays on his graphic process. The field of study is limited to the preliminary sketches, since they can assist to unveil the essence of the method that served them to represent and to communicate their projects.
Architectural Graphics. EGA 2022. Springer Series in Design and Innovation, 2022
This research focuses on four housing developments built by the Spanish Patronato de Casas de la ... more This research focuses on four housing developments built by the Spanish Patronato de Casas de la Armada [Board of Houses of the Navy] during the first post-war years in the Salamanca district of Madrid, designed by the architects José Fonseca y Llanedo, Manuel Ruiz de la Prada, José Gómez Mesa and José María Rodríguez Cano; all of them were designers in the Architecture Section of the Instituto Nacional de la Vivienda [National Housing Institute]. After studying Architecture together at the University of Madrid, they began a career where their interest in social housing is not only confirmed, but it is also reinforced by their common work at the INV. And it is in these years of joint collaboration when they designed some of the first residences built by the Patronato de Casas de la Armada. The study of the existing documentation of these dwellings filed in the INVIED [Institute of Housing, Infrastructure and Equipment of the Defense] allows a brief analysis of the four developments selected and then to draw similarities and differences among the existing graphic documentation and the typological characteristics of these houses. The diverse and interesting solutions given to very different plots of the district of Salamanca in Madrid show the wide range of design resources implemented by the four studied architects.
Graphical Heritage. EGA 2020. Springer Series in Design and Innovation, 2020
The most direct knowledge of the architectural heritage during the training of architects is prod... more The most direct knowledge of the architectural heritage during the training of architects is produced through the drawings contained in their travel sketchbooks. This paper aims to analyze the influences of these teachings on Charles Rennie Mackintosh during the design process of the Glasgow School of Art, due to the prominent role of such school in contemporary architecture and his saliency as one of its major representatives.
Our objective is to transcend the formal approaches that have been made in the preceding publications to attempt to reveal the mechanisms inherited from the study of vernacular buildings in the methodology that Mackintosh used in this project.
To support the hypothesis, this essay not only analyzes the previous writings, but also the original sources of the graphic material developed by Mackintosh and archived in the Glasgow School of Art, the University of Glasgow and the National Library of Ireland in Dublin.
A circular route is planned that with the education of Mackintosh in Glasgow, continues with the medieval architectures drawn in Britain and Italy, and culminates with the proposal for the educational building back to his Scottish hometown.
This chapter is aviable at:
https://rdcu.be/b4x4A
Pablo Palazuelo: Geometría Docente. Cursos impartidos en el Círculo de Bellas Artes, 2018
Capítulo introductorio al libro "Pablo Palazuelo: Geometría Docente. Cursos impartidos en el Círc... more Capítulo introductorio al libro "Pablo Palazuelo: Geometría Docente. Cursos impartidos en el Círculo de Bellas Artes". Donde se trata de hacer una reconstrucción de los Talleres de arte actual que dirigió en el Círculo de Bellas Artes de Madrid durante los años 1984 y 1985. Estos talleres impartidos por Palazuelo tuvieron una vocación principalmente teórica, lo que hace enormemente interesante su edición, realizada a partir de las transcripciones sonoras conservadas. Constituye un testimonio de la labor pedagógica llevada a cabo por Palazuelo para hacer más inteligible la base teórica que sustenta su pensamiento. /
Introductory chapter to the book "Pablo Palazuelo: Teaching Geometry. Courses taught at the Círculo de Bellas Artes". Where it is a reconstruction of the current art workshops that he directed at the Círculo de Bellas Artes in Madrid during the years 1984 and 1985. These workshops taught by Palazuelo had a mainly theoretical vocation, which makes their edition, carried out enormously interesting from the preserved sound transcriptions. It constitutes a testimony of the pedagogical work carried out by Palazuelo to make the theoretical basis that supports his thought more intelligible.
Full book available at:
https://www.circulobellasartes.com/wp-content/uploads/2020/05/PALAZUELO_geometria-docente-comprimido.pdf
Pablo Palazuelo Inédito. La colección del artista, 2012
Artículo introductorio para la exposición temporal “Pablo Palazuelo inédito, la colección del art... more Artículo introductorio para la exposición temporal “Pablo Palazuelo inédito, la colección del artista”, donde se han podido desvelar las cincuenta obras que habían permanecido inéditas en los almacenes de la Fundación Pablo Palazuelo, en el antiguo taller de Galapagar. En la que se establece un breve recorrido cronológico introductorio, para centrarse en las efervescentes producciones de los últimos quince años de su carrera. Una obra que Palazuelo desarrolló como un infatigable proyecto vital, que le llevó a continuar dibujando hasta sus últimos días en el otoño de 2007.
Palazuelo. Caligrafías musicales , 2013
Pablo Palazuelo establecía una interrelación entre vista y oído a través de su trabajo, una conex... more Pablo Palazuelo establecía una interrelación entre vista y oído a través de su trabajo, una conexión entre pintura y música, donde las formas fuesen sonidos. Durante el trabajo de catalogación realizado para la Fundación Pablo Palazuelo durante más de tres años este enlace no sólo se hizo evidente en la obra gráfica sino también en los abundantes textos que legó el autor madrileño. /
Through his work, Pablo Palazuelo forged a relationship between sight and hearing, a connection between painting and music, where shapes were sounds. During the cataloguing task carried out during more than three years for the Pablo Palazuelo Foundation, this link not only became evident in his graphic work, but also in the multitude of texts the Madrid artist left after his death.
Libros / Books by Gonzalo Sotelo-Calvillo
A partir de los escritos, bocetos, dibujos, maquetas y esculturas que atesora la Fundación del pi... more A partir de los escritos, bocetos, dibujos, maquetas y esculturas que atesora la Fundación del pintor, esta publicación propone una investigación configurada en tres aproximaciones progresivas al proceso de trabajo elaborado por Palazuelo, materializadas en cada uno de los volúmenes editados.
En Cimientos de un pensamiento, se rastrean los fundamentos teóricos que sirvieron a Palazuelo para traducir a un lenguaje gráfico las transformaciones operadas dentro de una realidad cambiante. De los hallazgos obtenidos a partir de los numerosos libros que estudió se conservan numerosos escritos inéditos que han servido como estructura para organizar este ensayo.
Sueños geométricos aborda el análisis de su obra dibujada, pintada y esculpida desde un punto de vista metodológico. En este estudio se confrontan las teorías desgranadas en el tomo anterior hasta proponer los tratados geométricos que aportaron un soporte regulador a las composiciones de Palazuelo.
Finalmente, esta obra concluye con Umbral arquitectónico, donde el foco de atención se desplaza hasta el espacio arquitectónico para estudiar sus quince obras y sus quince proyectos más representativos. De esta manera, este escrito se cierra al proponer una nueva aproximación a uno de los artistas españoles más importantes del siglo xx desde una perspectiva poliédrica y multidisciplinar.
Uploads
Artículos / Journal Papers by Gonzalo Sotelo-Calvillo
Although he did not finish his studies in architecture, their influence is evident in the work by Pablo Palazuelo, who tried to develop a working method that would serve to reveal the formative processes of reality and translate them into a graphic language. This essay proposes to verify if the various operations inherent to the architectural drawing are also present in the methodology articulated by Palazuelo. This premise is based both on university education of Palazuelo and on his writings. To confront this hypothesis, this study proposes a journey that begins with the teachings received by Palazuelo. Subsequently, the article aims to reveal the different operations and graphic resources that Palazuelo used, through comparisons between pairs of his works. Eventually, the different unpublished sketches by Palazuelo, that his Foundation guards, are analyzed to reconstruct the traces of the method he applied in the elaboration of his various proposals.
This paper is aviable at:
https://rdcu.be/bRCEY
This paper aims to explore the use of geometric structures to arrange the designs by Spanish artist Pablo Palazuelo. Since drawing and architecture covered parallel paths in his work, this article intends to trace the different methodological phases applied on a regulatory basis; mainly in the drawings for Signos (1949-1952) and the design of the gateway for Colegio de los Basilios in Alcalá de Henares (1991), where he implemented a tessellation as structure. For this purpose, unpublished sketches belonging to the Fundación Pablo Palazuelo are analysed as operating systems and organizers of his graphic proposals.
Palazuelo Pablo dreamed from the window of his Paris residence with the stained glasses of Saint Severin church. Subsequently, four projects provide him the ability to draw with light and materialize colour. Thanks to the unpublished documents treasured by the Foundation of the painter, this study aims to analyze the process developed during the preparation of his proposals for stained glass. Gathered for the first time, the designs for residence Arango, Valdemorillo (1984-1986), the San Salvador parish, Guetaria (1995-1996), the trading house Palazuelo, Madrid (1996) and the Auditorium, Barcelona (1998), illustrate this raid into the field of the light threshold.
Pablo Palazuelo (1915-2007) not only demonstrated his command of the pictorial field, but also ventured successfully into the third dimension. After analyzing the funds the Foundation of the artist holds, the reconstruction of the sculptural work process have been presented, using the symbolic paths contained in the sketch Del cuatro as a seed, tracing unpublished models and sketches that the aforementioned institution guards.
This essay aims to analyze the main landscape designs by Spanish artist Pablo Palazuelo. Since the landscape occupies a central space that interrelates art and architecture in his work, this research has tried to unravel the various stages of his production process. A process unfolded from the bases of his thought, contained in his writings, to his increasing complexity designs. It describes a journey that covers emerging garden restorations for La Peraleda in Galapagar (1950-1965) and the Castillo de Monroy, Caceres (1970-1985), and concludes with the urban renewal of the proposal for the Avenida de la Ilustración in Madrid (1985 -1987). A selection of unpublished writings and sketches belonging to the Pablo Palazuelo Foundation are studied as theoretical and graphic foundations for this purpose.
https://papiro.unizar.es/ojs/index.php/zarch/article/view/1527/1753
In spite of the impossibility of finishing his architectural university studies, the legacy of the knowledge acquired in Oxford influenced Pablo Palazuelo in such a way that it seemed to condition his work process. Employing the tools provided by architectural drawing, In this article, I intend to examine Palazuelo’s production in depth, beginning with a selection of graphic findings discovered during inventory and catalog work which have been carryied out in the Fundación Pablo Palazuelo. I aspire to establish a relationship between his productive process and the architectonic graphic sintaxis bequeathed by his education. For this reason, five works and five projects, which deal with the added condition of a locus separated from the limits of the support chosen, have been selected.
Capítulos de libros / Book chapters by Gonzalo Sotelo-Calvillo
Article published in the catalog of the exhibition “Robert Ferrer i Martorell: Linies Presents,” held at the Chirivella Soriano Foundation in Valencia. Robert Ferrer i Martorell demonstrates a generous commitment to dissemination by using his exhibitions to clearly express the coherence and geometric precision inherent in the working process developed to create his production. Ferrer is an artist who showcases a constructivist spirit by defining his production in terms of materials, finishes, dimensions, and modules. Although "Línies Presents" may appear as a highly eclectic exhibition that solely brings together the formal lines of investigation Ferrer is currently developing, there are elements and intentions present in all the pieces, even if not always evident. Therefore, it is necessary to trace the guiding threads that connect many of the creations based on the methodology employed before confidently delving into the analysis of specific works.
Full book available at:
https://www.chirivellasoriano.org/wp-content/uploads/2024/01/Robert-Ferrer-i-Martorell_Linies-presents_catalogo.pdf#new_tab
Pablo Palazuelo siempre fue extremadamente cuidadoso en no desvelar su proceso de trabajo artístico. A pesar de demostrar su generosidad pedagógica, al transmitir sus descubrimientos no sólo a través de su obra, sino también al difundir su visión por medio de escritos, conversaciones, conferencias y cursos, Palazuelo alentó el misterio de su método al guardar las fases iniciales de su producción. Actualmente, estos documentos descansan en los almacenes de la Fundación Pablo Palazuelo; y gracias a la colaboración de esta institución con el Museo Universidad de Navarra se han podido reunir las más de 130 obras que estructuran la exposición titulada Pablo Palazuelo: Método Geométrico. |
Pablo Palazuelo always took great pains not to reveal his artistic process. Although he was very generous with his teaching, when he shared his discoveries through his work and expressed his vision in the form of writing, conversations, conferences and courses, Palazuelo ensured that his method remained a mystery by keeping the early stages of his process a secret. Today, these documents are kept at the Fundación Pablo Palazuelo, whose collaboration with Museo Universidad de Navarra has made it possible to bring together the 130-plus works that make up this exhibition entitled Pablo Palazuelo: Método Geométrico.
Dado que dibujo y arquitectura recorren caminos paralelos en la obra de Palazuelo, se ha decidido situar el acento en su proceso de trabajo, ya que las muestras sobre papel y metal constituyen los únicos rastros que permiten visualizar y valorar cuál hubiese sido su resultado final. Por lo que se analiza su metodología para reconstruir las diversas fases descritas haciendo hincapié en los sistemas y recursos gráficos que articuló en la representación de sus diseños arquitectónicos. |
Writing published in the catalog of the exhibition Pablo Palazuelo: The Line as a Dream of Architecture, held at the Museo ICO.
Given that drawing and architecture run parallel paths in Palazuelo’s work, it has been decided to place the emphasis on his work process, since the samples on paper and metal constitute the only traces that allow the visualization and assessment of what their final result would have been. Therefore, his methodology is analysed to reconstruct the various phases described, emphasizing the systems and graphic resources that he articulated in the representation of his architectural designs.
ISBN: 978-84-19050-61-8
Introduction to the catalog of the exhibition Pablo Palazuelo: The Line as a Dream of Architecture, held at the Museo ICO. In this exhibition the most representative twelve works and twelve projects are collected for the first time, these illustrate the most direct approximation operated by Pablo Palazuelo between his geometrical research and architecture.
ISBN: 978-84-19050-61-8
For this reason, this essay proposes a deductive analysis where their sketches are blended in order to establish for the first time the existing connections between the drawings of both architects. After reviewing the studies that analyzed the method of drawing developed by Miralles, these approaches are confronted with his writings and conversations. The comparison with Mackintosh’s work is based on published essays on his graphic process. The field of study is limited to the preliminary sketches, since they can assist to unveil the essence of the method that served them to represent and to communicate their projects.
Our objective is to transcend the formal approaches that have been made in the preceding publications to attempt to reveal the mechanisms inherited from the study of vernacular buildings in the methodology that Mackintosh used in this project.
To support the hypothesis, this essay not only analyzes the previous writings, but also the original sources of the graphic material developed by Mackintosh and archived in the Glasgow School of Art, the University of Glasgow and the National Library of Ireland in Dublin.
A circular route is planned that with the education of Mackintosh in Glasgow, continues with the medieval architectures drawn in Britain and Italy, and culminates with the proposal for the educational building back to his Scottish hometown.
This chapter is aviable at:
https://rdcu.be/b4x4A
Introductory chapter to the book "Pablo Palazuelo: Teaching Geometry. Courses taught at the Círculo de Bellas Artes". Where it is a reconstruction of the current art workshops that he directed at the Círculo de Bellas Artes in Madrid during the years 1984 and 1985. These workshops taught by Palazuelo had a mainly theoretical vocation, which makes their edition, carried out enormously interesting from the preserved sound transcriptions. It constitutes a testimony of the pedagogical work carried out by Palazuelo to make the theoretical basis that supports his thought more intelligible.
Full book available at:
https://www.circulobellasartes.com/wp-content/uploads/2020/05/PALAZUELO_geometria-docente-comprimido.pdf
Through his work, Pablo Palazuelo forged a relationship between sight and hearing, a connection between painting and music, where shapes were sounds. During the cataloguing task carried out during more than three years for the Pablo Palazuelo Foundation, this link not only became evident in his graphic work, but also in the multitude of texts the Madrid artist left after his death.
Libros / Books by Gonzalo Sotelo-Calvillo
En Cimientos de un pensamiento, se rastrean los fundamentos teóricos que sirvieron a Palazuelo para traducir a un lenguaje gráfico las transformaciones operadas dentro de una realidad cambiante. De los hallazgos obtenidos a partir de los numerosos libros que estudió se conservan numerosos escritos inéditos que han servido como estructura para organizar este ensayo.
Sueños geométricos aborda el análisis de su obra dibujada, pintada y esculpida desde un punto de vista metodológico. En este estudio se confrontan las teorías desgranadas en el tomo anterior hasta proponer los tratados geométricos que aportaron un soporte regulador a las composiciones de Palazuelo.
Finalmente, esta obra concluye con Umbral arquitectónico, donde el foco de atención se desplaza hasta el espacio arquitectónico para estudiar sus quince obras y sus quince proyectos más representativos. De esta manera, este escrito se cierra al proponer una nueva aproximación a uno de los artistas españoles más importantes del siglo xx desde una perspectiva poliédrica y multidisciplinar.
Although he did not finish his studies in architecture, their influence is evident in the work by Pablo Palazuelo, who tried to develop a working method that would serve to reveal the formative processes of reality and translate them into a graphic language. This essay proposes to verify if the various operations inherent to the architectural drawing are also present in the methodology articulated by Palazuelo. This premise is based both on university education of Palazuelo and on his writings. To confront this hypothesis, this study proposes a journey that begins with the teachings received by Palazuelo. Subsequently, the article aims to reveal the different operations and graphic resources that Palazuelo used, through comparisons between pairs of his works. Eventually, the different unpublished sketches by Palazuelo, that his Foundation guards, are analyzed to reconstruct the traces of the method he applied in the elaboration of his various proposals.
This paper is aviable at:
https://rdcu.be/bRCEY
This paper aims to explore the use of geometric structures to arrange the designs by Spanish artist Pablo Palazuelo. Since drawing and architecture covered parallel paths in his work, this article intends to trace the different methodological phases applied on a regulatory basis; mainly in the drawings for Signos (1949-1952) and the design of the gateway for Colegio de los Basilios in Alcalá de Henares (1991), where he implemented a tessellation as structure. For this purpose, unpublished sketches belonging to the Fundación Pablo Palazuelo are analysed as operating systems and organizers of his graphic proposals.
Palazuelo Pablo dreamed from the window of his Paris residence with the stained glasses of Saint Severin church. Subsequently, four projects provide him the ability to draw with light and materialize colour. Thanks to the unpublished documents treasured by the Foundation of the painter, this study aims to analyze the process developed during the preparation of his proposals for stained glass. Gathered for the first time, the designs for residence Arango, Valdemorillo (1984-1986), the San Salvador parish, Guetaria (1995-1996), the trading house Palazuelo, Madrid (1996) and the Auditorium, Barcelona (1998), illustrate this raid into the field of the light threshold.
Pablo Palazuelo (1915-2007) not only demonstrated his command of the pictorial field, but also ventured successfully into the third dimension. After analyzing the funds the Foundation of the artist holds, the reconstruction of the sculptural work process have been presented, using the symbolic paths contained in the sketch Del cuatro as a seed, tracing unpublished models and sketches that the aforementioned institution guards.
This essay aims to analyze the main landscape designs by Spanish artist Pablo Palazuelo. Since the landscape occupies a central space that interrelates art and architecture in his work, this research has tried to unravel the various stages of his production process. A process unfolded from the bases of his thought, contained in his writings, to his increasing complexity designs. It describes a journey that covers emerging garden restorations for La Peraleda in Galapagar (1950-1965) and the Castillo de Monroy, Caceres (1970-1985), and concludes with the urban renewal of the proposal for the Avenida de la Ilustración in Madrid (1985 -1987). A selection of unpublished writings and sketches belonging to the Pablo Palazuelo Foundation are studied as theoretical and graphic foundations for this purpose.
https://papiro.unizar.es/ojs/index.php/zarch/article/view/1527/1753
In spite of the impossibility of finishing his architectural university studies, the legacy of the knowledge acquired in Oxford influenced Pablo Palazuelo in such a way that it seemed to condition his work process. Employing the tools provided by architectural drawing, In this article, I intend to examine Palazuelo’s production in depth, beginning with a selection of graphic findings discovered during inventory and catalog work which have been carryied out in the Fundación Pablo Palazuelo. I aspire to establish a relationship between his productive process and the architectonic graphic sintaxis bequeathed by his education. For this reason, five works and five projects, which deal with the added condition of a locus separated from the limits of the support chosen, have been selected.
Article published in the catalog of the exhibition “Robert Ferrer i Martorell: Linies Presents,” held at the Chirivella Soriano Foundation in Valencia. Robert Ferrer i Martorell demonstrates a generous commitment to dissemination by using his exhibitions to clearly express the coherence and geometric precision inherent in the working process developed to create his production. Ferrer is an artist who showcases a constructivist spirit by defining his production in terms of materials, finishes, dimensions, and modules. Although "Línies Presents" may appear as a highly eclectic exhibition that solely brings together the formal lines of investigation Ferrer is currently developing, there are elements and intentions present in all the pieces, even if not always evident. Therefore, it is necessary to trace the guiding threads that connect many of the creations based on the methodology employed before confidently delving into the analysis of specific works.
Full book available at:
https://www.chirivellasoriano.org/wp-content/uploads/2024/01/Robert-Ferrer-i-Martorell_Linies-presents_catalogo.pdf#new_tab
Pablo Palazuelo siempre fue extremadamente cuidadoso en no desvelar su proceso de trabajo artístico. A pesar de demostrar su generosidad pedagógica, al transmitir sus descubrimientos no sólo a través de su obra, sino también al difundir su visión por medio de escritos, conversaciones, conferencias y cursos, Palazuelo alentó el misterio de su método al guardar las fases iniciales de su producción. Actualmente, estos documentos descansan en los almacenes de la Fundación Pablo Palazuelo; y gracias a la colaboración de esta institución con el Museo Universidad de Navarra se han podido reunir las más de 130 obras que estructuran la exposición titulada Pablo Palazuelo: Método Geométrico. |
Pablo Palazuelo always took great pains not to reveal his artistic process. Although he was very generous with his teaching, when he shared his discoveries through his work and expressed his vision in the form of writing, conversations, conferences and courses, Palazuelo ensured that his method remained a mystery by keeping the early stages of his process a secret. Today, these documents are kept at the Fundación Pablo Palazuelo, whose collaboration with Museo Universidad de Navarra has made it possible to bring together the 130-plus works that make up this exhibition entitled Pablo Palazuelo: Método Geométrico.
Dado que dibujo y arquitectura recorren caminos paralelos en la obra de Palazuelo, se ha decidido situar el acento en su proceso de trabajo, ya que las muestras sobre papel y metal constituyen los únicos rastros que permiten visualizar y valorar cuál hubiese sido su resultado final. Por lo que se analiza su metodología para reconstruir las diversas fases descritas haciendo hincapié en los sistemas y recursos gráficos que articuló en la representación de sus diseños arquitectónicos. |
Writing published in the catalog of the exhibition Pablo Palazuelo: The Line as a Dream of Architecture, held at the Museo ICO.
Given that drawing and architecture run parallel paths in Palazuelo’s work, it has been decided to place the emphasis on his work process, since the samples on paper and metal constitute the only traces that allow the visualization and assessment of what their final result would have been. Therefore, his methodology is analysed to reconstruct the various phases described, emphasizing the systems and graphic resources that he articulated in the representation of his architectural designs.
ISBN: 978-84-19050-61-8
Introduction to the catalog of the exhibition Pablo Palazuelo: The Line as a Dream of Architecture, held at the Museo ICO. In this exhibition the most representative twelve works and twelve projects are collected for the first time, these illustrate the most direct approximation operated by Pablo Palazuelo between his geometrical research and architecture.
ISBN: 978-84-19050-61-8
For this reason, this essay proposes a deductive analysis where their sketches are blended in order to establish for the first time the existing connections between the drawings of both architects. After reviewing the studies that analyzed the method of drawing developed by Miralles, these approaches are confronted with his writings and conversations. The comparison with Mackintosh’s work is based on published essays on his graphic process. The field of study is limited to the preliminary sketches, since they can assist to unveil the essence of the method that served them to represent and to communicate their projects.
Our objective is to transcend the formal approaches that have been made in the preceding publications to attempt to reveal the mechanisms inherited from the study of vernacular buildings in the methodology that Mackintosh used in this project.
To support the hypothesis, this essay not only analyzes the previous writings, but also the original sources of the graphic material developed by Mackintosh and archived in the Glasgow School of Art, the University of Glasgow and the National Library of Ireland in Dublin.
A circular route is planned that with the education of Mackintosh in Glasgow, continues with the medieval architectures drawn in Britain and Italy, and culminates with the proposal for the educational building back to his Scottish hometown.
This chapter is aviable at:
https://rdcu.be/b4x4A
Introductory chapter to the book "Pablo Palazuelo: Teaching Geometry. Courses taught at the Círculo de Bellas Artes". Where it is a reconstruction of the current art workshops that he directed at the Círculo de Bellas Artes in Madrid during the years 1984 and 1985. These workshops taught by Palazuelo had a mainly theoretical vocation, which makes their edition, carried out enormously interesting from the preserved sound transcriptions. It constitutes a testimony of the pedagogical work carried out by Palazuelo to make the theoretical basis that supports his thought more intelligible.
Full book available at:
https://www.circulobellasartes.com/wp-content/uploads/2020/05/PALAZUELO_geometria-docente-comprimido.pdf
Through his work, Pablo Palazuelo forged a relationship between sight and hearing, a connection between painting and music, where shapes were sounds. During the cataloguing task carried out during more than three years for the Pablo Palazuelo Foundation, this link not only became evident in his graphic work, but also in the multitude of texts the Madrid artist left after his death.
En Cimientos de un pensamiento, se rastrean los fundamentos teóricos que sirvieron a Palazuelo para traducir a un lenguaje gráfico las transformaciones operadas dentro de una realidad cambiante. De los hallazgos obtenidos a partir de los numerosos libros que estudió se conservan numerosos escritos inéditos que han servido como estructura para organizar este ensayo.
Sueños geométricos aborda el análisis de su obra dibujada, pintada y esculpida desde un punto de vista metodológico. En este estudio se confrontan las teorías desgranadas en el tomo anterior hasta proponer los tratados geométricos que aportaron un soporte regulador a las composiciones de Palazuelo.
Finalmente, esta obra concluye con Umbral arquitectónico, donde el foco de atención se desplaza hasta el espacio arquitectónico para estudiar sus quince obras y sus quince proyectos más representativos. De esta manera, este escrito se cierra al proponer una nueva aproximación a uno de los artistas españoles más importantes del siglo xx desde una perspectiva poliédrica y multidisciplinar.
Ávido lector, Palazuelo bebió de fuentes de un pasado muy lejano para poder producir una obra nueva. Un océano de saberes donde descubrió fascinantes tratados geométricos que le permitieron desplegar todo el potencial gráfico anidado en los números. En esta publicación se estudian los escritos de Palazuelo en paralelo a los libros que pueblan su biblioteca para entresacar los fundamentos teóricos que explican su producción. Unos fundamentos en los que era capaz de aunar ámbitos aparentemente tan lejanos como el taoísmo, la alquimia, la mecánica cuántica o la teoría de los sistemas caóticos.
Gracias a las propiedades de transparencia de los papeles de croquis que Palazuelo empleaba, se han tratado de reconstruir los distintos pasos trazados desde los primeros bocetos hasta la obra terminada mediante un análisis de superposición de los distintos croquis inéditos que posee su Fundación. Entre sus estudios, Palazuelo mencionaba especialmente la ayuda de un misterioso libro de una antigua civilización oriental que nunca reveló, y del cual se propone en estas páginas una hipótesis factible. Esta publicación constituyó un hallazgo que le proporcionó una elegante red estructurante sobre la que se desplegaban sus composiciones, hasta alcanzar una nueva visión geométrica, que denominó transgeometría.
La singularidad de esta edición, centrada en la vertiente más arquitectónica de su obra, sólo ha sido posible realizarla a partir del estudio de las legiones de bocetos y croquizaciones inéditos, que Palazuelo guardaba celosamente. A raíz del trabajo de inventariado y catalogación que he elaborado sobre los fondos pertenecientes a la Fundación Pablo Palazuelo, se han podido desvelar muchas de las sinergias organizativas empleadas, que se han completado con el testimonio de los arquitectos que colaboraron en estas obras. Unas obras que ejemplarizan un proceso de trabajo que guarda una asombrosa similitud al desarrollado en un proyecto arquitectónico.
Se plantea proporcionar la ayuda de la realidad aumentada para solventar los problemas derivados de la falta de comprensión espacial y de recursos comunicativos del alumnado en la primera etapa de su proceso de aprendizaje de la Arquitectura y su representación. Sin embargo, el empleo de esta nueva tecnología no se plantea aislada, sino desde una metodología híbrida que aúna el dibujo tradicional con el uso de la RA. De esta manera se propone incorporar nuevas aplicaciones que faciliten el proceso de enseñanza-aprendizaje y la motivación del alumnado como complemento de metodologías probadas con éxito anteriormente.
Sin embargo, en este escrito no solo se plantea una revisión del método gráfico desplegado en los bocetos de Miralles a lo largo de las distintas etapas de su carrera, sino que su nueva aportación reside en rastrear una posible relación con el proceso presente en los dibujos de Charles Rennie Mackintosh (Glasgow, 1868 — Londres, 1928). Por lo que este ensayo propone un análisis deductivo donde se entremezclan sus bocetos para establecer una comparativa entre ambos autores.
Tras revisar los estudios donde se analiza el método de dibujo desarrollado por Miralles, estas aproximaciones se confrontan con los escritos y conversaciones del propio arquitecto. La comparativa con la obra de Mackintosh se sustenta en los ensayos publicados sobre su proceso gráfico desplegado. El campo de estudio se acota a los bocetos preliminares, dado que pueden contribuir a desvelar la esencia
del método que sirvió a ambos autores para representar y comunicar sus proyectos.
Tras una breve introducción a sus obras en común, en donde se constata su interés por las viviendas sociales, se indican las características generales y localización de las primeras residencias construidas por el Patronato de Casas de la Armada.
Se estudia la documentación existente en el INVIED de estas viviendas para realizar un breve análisis de las cuatro promociones y a continuación realizar paralelismos entre la documentación gráfica existente y las características tipológicas de estas viviendas.
Las diferentes e interesantes soluciones dadas a unas muy distintas parcelas muestran los amplios recursos proyectuales de los cuatro arquitectos considerados. Y la variedad y calidad en la documentación gráfica hallada los diferencia del resto de los proyectos de los Patronatos Militares.
Se fija como objetivo trascender las aproximaciones formales que se han realizado en las publicaciones precedentes para tratar de desvelar los mecanismos heredados del estudio de la arquitectura vernácula en la metodología que Mackintosh empleó en este proyecto.
Para esta empresa no solo se han estudiado los escritos precedentes, sino que también se ha acudido a las fuentes originales del material gráfico desarrollado por Mackintosh que atesoran la Escuela de Arte de Glasgow, la Universidad de Glasgow y la Biblioteca Nacional de Irlanda en Dublín.
Este ensayo propone un recorrido circular que comienza con la formación de Mackintosh en Glasgow, prosigue con las arquitecturas vernáculas dibujadas en Gran Bretaña e Italia, y culmina con la propuesta para el edificio educativo de vuelta a su ciudad escocesa natal.
Se señala la dificultad en el acceso público a una vasta documentación, detallando la documentación escrita existente sobre el asunto y la manera en que los proyectos realizados se almacenan en el Archivo General y Documentación del Instituto de Vivienda, Infraestructura y Equipamiento de la Defensa.
Se concluye con el análisis de las diferencias existentes entre los archivos de los tres ejércitos: Tierra, Marina y Aire; y con las cifras de viviendas construidas por el Patronato durante su existencia según los diferentes colectivos (jefes, oficiales y suboficiales) para los que se construía.
Durante la fructífera carrera de Palazuelo, dos viajes constituyeron sendos momentos decisivos tanto para su formación y la evolución de su obra. En 1933, continuó sus estudios de arquitectura en la School of Arts and Crafts de la ciudad de Oxford, donde este pintor español recibió una educación que le permitió no sólo dotar de nuevas herramientas gráficas, sino también un método procesal que implementó durante su producción.
El segundo viaje iniciático le llevó a París, donde aplica las lecciones aprendidas en su incipiente producción artística. Para ilustrar ambos momentos este texto desvela archivos gráficos inéditos de Fundación Pablo Palazuelo que he catalogado. /
Oxford-Paris. From initiation voyage to insight trip in Palazuelo
During Palazuelo successful career, two trips were crucial turning points for both his formation and the evolution of his work. In 1933, he continued his architectural studies at the School of Arts and Crafts of the city of Oxford, where this Spanish painter received an education that allowed him not only endow new graphical tools, but also a procedural method he implemented throughout his production.
The second initiation voyage took place in Paris, where he applied the lessons learned in his fledgling artistic career. To illustrate both moments this text unveils unpublished graphic files from Palazuelo Foundation that I catalogued.
La exigente dinámica del concurso de arquitectura ha permitido integrar las investigaciones gráficas de ámbitos fronterizos al ensimismado mundo arquitectónico. Algunos autores plásticos han encontrado en este formato un nuevo escenario que trasciende las limitaciones de su soporte habitual que conforma el lienzo o la escultura, desde el que dotar a su andamiaje teórico de una dimensión urbana.
En la presente comunicación se pretende analizar esta enriquecedora alianza establecida entre diversas corrientes artísticas y el proyecto gráfico presentado en los concursos de arquitectura. Se propone un recorrido que transita por dos proyectos que ilustraban las emergentes teorías de las vanguardias del siglo XX, y dos destacadas propuestas de autores del ámbito español. Donde el material gráfico existente -publicado e inédito- es determinante, ya que los cuatro casos comparten el adverso destino de no llegar a ser construidos.
Avant-gardes in competition. Graphic contributions in projects by van Doesburg, Gabo, Oteiza and Palazuelo.
The architectural competition’s demanding workflow has integrated graphic research from engrossed architectural world border areas. Some plastic authors found in this format a new arena that transcends the usual support’s limitations -the canvas or sculpture matter-, to supply an urban dimension to their theoretical framework.
This communication tries to analyze this rich partnership between various artistic trends and competition graphic designs. It offers a journey that goes through Theo van Doesburg and Naum Gabo projects, illustrating the emerging theories of twentieth century avant-garde, and Pablo Palazuelo and Jorge Oteiza designs within Spanish context. None of them were built.
Siempre insistimos en la necesaria existencia dentro del dibujo de una base geométrica estructurante. Un orden previo autoimpuesto que posibilita la precisa proporción y definición arquitectónicas desde las más tempranas fases de croquización. Este rigor es un componente indispensable dentro de los conocimientos que el alumno ha de adquirir para abordar con solvencia una correcta comprensión de los modelos arquitectónicos propuestos. Se trata de una práctica que ha de comenzar ineludiblemente desde las primeras fases de la ineludible croquización.
En la presente comunicación se trata de enfocar esta exactitud geométrica requerida para la correcta ejecución del dibujo arquitectónico, estableciendo un análisis comparativo con la minuciosa metodología desarrollada por Pablo Palazuelo. De esta manera, se tratará también de determinar su posible aplicación docente en nuestras asignaturas gráficas, Dibujo Arquitectónico y su hermana Laboratorio de Informática Gráfica.
The Rigour of Regulating Geometry. Pablo Palazuelo’s Trans-geometry Applications in Architectonic Drawing.
We always insist on the necessary existence of a structuring geometric base within the drawing. A self-imposed previous order that makes possible both the precise proportion and architectonic definition from the earliest design phases. This rigour is an indispensable component among the graphical knowledge that the student has to handle with reliability to achieve a correct understanding of the proposed architectonic models. This is a practice that would have to start at the necessary first outline stage.
The present abstract aims to focus this geometric precision required for the correct execution of the architectonic drawing, establishing a comparative analysis between the meticulous methodology developed by Pablo Palazuelo and student’s work. This way, we will also try to determine its possible educational application in our graphical subjects. The figure of Palazuelo was chosen because the influence of clear inheritance that its architectonic formation has exerted in its production, where the line plays a main role as a precise shape element.
El objetivo de este trabajo es la búsqueda de una conexión entre la elección del sistema de representación gráfica tridimensional y los resultados arquitectónicos tanto formales como espaciales. Para lograr este objetivo, la extensión de este estudio se limita a las obras de los grandes maestros del siglo pasado obras, en comparación con ejemplos seleccionados de arquitectos contemporáneos. La investigación también se limita a los dibujos preliminares y croquis como una aproximación más cercana a la génesis del proceso de trabajo. El viaje termina con la verificación de la premisa en las obras de los alumnos del último curso, como una última confirmación del uso dado a estos sistemas gráficos en los primeros años académicos.
Axonometry versus conical. The choice of the three-dimensional system of representation in the design process.
The aim of this paper is to seek a connection between the election of the three-dimensional graphic representation system and both formal and spatial architectural results. To achieve this target, this study’s extension is limited to the last century great masters’ works, compared to contemporary architects’ selected examples. The research is also confined to preliminary drawings and sketches as a closer approximation to work process’ genesis. The journey ends with the verification of the premise in the last course students’ works, as a last confirmation of the use given to these graphic systems in the academic first years.
This research investigates the relationship between the geometric method used by Palazuelo and the architectural design’s process. Choosing this Spanish painter and sculptor as thread of this thesis is not fortuitous, since the architecture has an essential influence on his work. An influx that arrives in part through his academic training, as he was an architecture student at the School of Arts and Crafts of the city of Oxford (1933-1936). Furthermore his proposals designed closely linked to a built place, therefore conditioned by its traces. The working hypothesis formulated from texts written by authors like Victor Nieto Alcaide and Juan Daniel Fullaondo suggested an interconnection with organic architecture. As a check on the degree of depth in other published reviews, articles that explore the process that the artist developed during the production of his work, and penetrate into structural issues beyond formal domain have been selected. Following this pattern, along with a temporal dimension, assays by Santiago Amón, Carme Bonell, Valerio Bozal, Manuel J. Borja-Villel, Francisco Calvo Serraller, Claude Esteban, Julián Gállego, Teresa Grandas, Max Hölzer, George Limbour, Kevin Power and Carlos Rodriguez-Spiteri have been selected. Oral sources within an inherently environment close to his achievements, as Pere Casanovas and Soledad Lorenzo, are also added. In addition to people coincided with his accomplishments, such as Ramón Ayerza, Mariano Bayón, José Antonio Corrales, Luis Gordillo, Rafael Moneo, José Rodríguez-Spiteri and Antonio Tornero. From obtained access to the writings, books, sketches and abundant graphic and sculptural work that holds the Foundation painter, it has been able to develop a theoretical and geometric framework that have served as the basis for confronting these premises. This dissertation has been structured in a narrative that ⎯in addition to the previously mentioned studies⎯, begins with the foundations of Palazuelo thought. A structure built from his writings, where he defended a syncretism that reconciles the views of Western and Eastern cultures. In the following sections, his main graphic and sculptural works have been analyzed with particular emphasis on the productive method. A process that resists mere chronological enumeration, so the classification proposed in this investigation tries to be as faithful as possible to the spirit expressed by Palazuelo, based on bloodlines and coherences, to uncover the tools he used and to compare them with the architectural design process. This tour is completed with a final chapter that gathers the sixteen proposals and sixteen works most representative projects that illustrate the more direct approach that Palazuelo worked between geometric investigations and a given locus. For nearly four years, a detailed inventory and cataloguing of documents and works on paper, canvas and metal made by Palazuelo was developed. This research brings to light a set consisting of nearly four thousand works, mostly unpublished, that constitute the current archive of the aforementioned institution. Ultimately, this research builds a graph and geometric fabric referred to one of the most important Spanish artists of the twentieth century, interspersed by his theoretical thinking and achievements in drawings, models, sculptures and architectural proposals. Which allow establishing agreements and disagreements with the process of architecture to propose a new geometric interdisciplinary approach.
This research is aviable at:
https://oa.upm.es/39118/