Tesis Recientes II. “Material, Espacio y Color en Mies van der Rohe: Café Samt & Seide, hacia una Propuesta Estructural.”

Imagen de - Portada libro tesis recientes


Material, Space and Color are elements employed by Mies van der Rohe as principles and factors of a new expression in the exhibitions executed together with Lilly Reich as essays identified with an intellectual proposal or idea of architecture. In the Cafe Samt & Seide, the visual structure of opposites born out of the double antagonistic textile material of the exhibition unfolds in an order of independent elements in which the intellectual synthesis art-science-philosophy guides the process of formalization in an intention transferred to its architecture in the use of technology.
The creativity and repercussion of the avant-gardes show the integrating will of the protoarchitectural exhibition as total art. The interpretative aspects of the plastic, visual and musical arts are integrated as criteria and sensibilities applied to the juxtaposed material, spatial and color intentions. Modernity and tradition converge in this constructed space whose surfaces cover a hidden metallic framework. The minimal textile construction will be incorporated as an idea of form in the future construction of the metal pillar, the floating wall of its dwellings and open to nature pavilions, and the large technological façade of the public space of its groupings in the city. The total space of the Cafe Samt & Seide within the large hall in Berlin anticipates the artistic and industrial exhibitions realized together with Lilly Reich inside the spacious metal-framed rooms as conceptual installations of gravity and light preceding the large-scale pavilions and universal space.
Architecture, construction and place are integrated in the installation by the structural principle of support-cladding as an intellectual proposal developed in the exhibitions. Oscillator and frame are scaled constructions within the illuminated porticoed nave, expressing an order of parts that reflect an integrated whole in nature and the universal. The multiple spatial, constructive and conceptual relationships of the exhibition reveal the installation as an exponent and precedent of his work and idea, which he defined as a structural proposal. The structure, understood as a set of cultural values and technical means, is the concept with which Mies van der Rohe identifies the technological intellectual synthesis of his time, constituting the purpose of the material, spatial and color expression.

Publication: book chapter
Publisher: Fundación de Arquitectura COAM, ea! Ediciones.

“La moto de Molezún. Registro fotográfico de la Lambretta C125 durante el viaje europeo de un pensionado en Roma.”

Imagen de - Portada revista RITA


If there is something that characterizes the work of Ramón Vázquez Molezún it is creativity, risk, emotion. This work, vital and optimistic, was innovative and absolutely personal, and the origin of all this should be sought in something as prosaic as a motorbike. As a pensioner in Rome in the early 1950s, Molezún acquired a Lambretta C125 which he transformed and adapted completely until appropriated it and turned it into a real house on his back and a perfect companion on his journey through Europe. A vehicle that allowed him mobility and independence that reflected his restless vitalist and artistic character in formation, becoming an indispensable object, full of meaning, that Molezún photographed insistently alongside the beautiful landscapes and buildings that he visited during the more than 100.00 km he travelled on his great journey. The motorbike is revealed in Molezún as much more than a fast and cheap means of transport; it is discovered as the driving range and transformations of the future architect. Mind and hands united in work; symbiosis of architect and craftsman. A journey of life that begins on land on a motorbike in Rome and ends on a boat, his dorn, in the Bueu Sea.

Publication: Research Article
Journal: rita_ Revista Indexada de Textos Académicos, nº14. ISSN 2340-9711

“Crítica y humanismo en el Pabellón de España de Nueva York de Javier Carvajal.”

Imagen de - Portada revista REIA


The silent presence of the great pavilion in Corona Park at the New York World’s Fair (1964) is representative of Javier Carvajal’s proposal for an alternative city integrated into nature. Industrial and artisan materials are rhythmically repeated to the exhibition contents in a synthesis of cultural values in which the Nordic model, integrating the everyday and natural, is added to the monumentality and sensoriality of tradition interpreted in a contemporary key. Especially of the Alhambra, recognizable from the cushioned-mural of the prefabricated cladding of its hermetic exterior volume to the natural paradise of the interior formed by the courtyard-garden and the suspended ceiling firmament, in a fluid atmosphere full of mystery, shadow and backlighting furnished with the padded Granada armchair. The criticism of a dehumanized urban growth, the technique applied to spaces made for living oriented from climate adaptation, the cultural revision of the Alhambra Manifesto and the affirmation of the principles of the modern masters, align the proposal of the New York Pavilion by Javier Carvajal with the critical and humanist aspects (Ockman, 1993) that characterized, in the significant period of transition between modernity and post-modernism, the international avant-garde architecture.

Publication: Research Article
Journal: REIA Revista Europea de Investigación en Arquitectura, nº16. ISSN 2340-9851

“La materia objetiva. Transparencia, reflejo y masa: cualidades visuales del material en Mies.”


The artisan and empirical thought that characterizes Mies’ formation in the use of material evolves into a philosophicalscientific thought that identifies matter and its expression with a significant structure. In the Friedrichstrasse Building 1921 and Crystal Skyscraper 1922, transparency, reflection and mass are the three factors that determine their shape, represented in the models, perspectives and elevations as independent visual qualities. The light that passes through the glass, which is reflected on its surface, in an abstracted vision-mass of glossy-colour, is directly linked in the light study of the skyscraper with the physical laws of nature established by science since the 17th century in an interpretation of matter and structure close to the unifying or total scientific thought of the 20th century. Transparent glass, mass or reflective glass is used as the main effect of the project, a way extended to the rest and diversity of opaque or translucent materials explored in the interior in the exhibitions held in conjunction with Llilly Reich and in the German Pavilion 1928-1929, whose complex atmosphere of transparency, reflection and mass is materialised under the new plane free of horizontal light, type and essential contribution of his work with the glass skyscraper.

Publication: Research Article
Journal: REIA Revista Europea de Investigación en Arquitectura, nº13. ISSN 2340-9851

“Estrategias de iniciación al proyecto arquitectónico: A Tango Performance, The Motor y Dance Infusion.”

Imagen de - Portada revista Constelaciones


A first-year project is a mechanism that directs the student’s incipient development towards the exploration of diverse fundamental themes of architecture. It is a strategy that triggers several types of knowledge and at the same time, supports itself on them. In its planning, heterogeneous fields are intertwined, links are established, and tactics and procedures are suggested in order to introduce the student to architectural project. The article analyses the internal mechanics of three types of first-year projects aiming to understand the strategies involved in its operation. It presents each type as an operational strategy that uti-lizes concepts, processes and tools it considers essential to develop its working hypotheses.

Publication: Research Article
Journal: Constelaciones, nº7. ISSN 2340-177x

“Iniciación al proyecto arquitectónico: el ejercicio como dispositivo de aprendizaje.”

Imagen de - Portada revista Zarch 12


Experimental pedagogical strategies of the Avant-garde of the 20th century, such as the Base Section of the Vkhutemas or the Preliminary Course of the Bauhaus, are teaching methodologies that provided a set of didactic tools in the decades after the Second World War, in which workshop exercises such as those of Albers, Moholy-Nagy or Itten, were adapted to new educational contexts and formats. Since then, numerous researchers and authors (Shellman, McGinty, Jordan, Somol, Stanton, Love…) have analyzed parameters, characteristics and preliminary project procedures of different schools and contexts, in which the families of exercises form types or modalities of action that use a set of elements and project mechanisms, recognizable as operative schemes that admit modifications without losing essential common characteristics. Their analysis shows the evolution and variety of propaedeutic and methodological pedagogies within a permanent debate around the teaching strategies of initiation to the architectural project and the nature of the exercise as a device for disciplinary learning and as a subject for reflection, research and knowledge.

Publication: Research Article
Journal: ZARCH, nº12. ISSN 2341-0531

“Mies Van der Rohe: Café de Terciopelo y Seda, Berlín 1927”, 17th Volume – Collection: Cuadernos de Investigación de la Exposición Arquitecturas Ausentes del Siglo XX.
“La idea de espacio. Material, estructura, color, mobiliario y construcción en el Café de Terciopelo y Seda, 1927”

Imagen de - Portada libro Mies


“Architecture is always the spatial expression of an intellectual decision.” Mies van der Rohe, 1928

The minimal and ephemeral construction of the Velvet and Silk Café is much more than an atmosphere of textile surfaces. The space is conceived and constructed with ideas. Its architecture is the order that is incorporated into the essentials of experience. Materialist and idealist at the same time, Mies works with the spatial qualities of the textile material and its interrelation.
The new limits are dematerialized by their glow, transparency and light. The intense velvets have a structuring role, parallel and sliding to the background composed by the two large canvases and the exhibition sign. This order or frontality is contrasted by the rotation of the four orthogonal cloths, two high and two curved of the central group of silks of soft tones. This system of continuity and transparency in both directions is subtly arranged in relation to the direction and axes of the space. At the back of the esplanade of the Barcelona Exposition, the velvets will become the parallel and sliding walls of marbles full of texture and color. The silks in the free series of crystals and waters.
Abstraction in the arrangement of the canvases precedes color; there is an echo of the hidden order or grid of Paul Klee’s landscape watercolors. Color is understood as an attribute of the material. Each cloth is a plane enhanced by the decision of its tint and juxtaposed to the whole. The action of depth and dynamism is similar to the perspective of color planes of Kazimir Malevich’s pictorial space. The velvets were of intense colors: reds, oranges and blacks; and the silks of soft silver, lemon-yellow and gold tones. This diversity evokes the chromatic range that distinguishes the different areas and routes of the Charlottenhof Garden Hall in Potsdam and the cheerful romantic and nationalistic architecture of Karl Friedrich Schinkel.
The contrast of the canvases floating from a slender support is the principle of the tubular furniture and the lightweight or next-to-nothing construction of the installation. The removable cloths are bolted to the 24 mm steel tube frames as is the leather upholstery of the oscillator. The cloth wraps around the tube, its drop is tangent and hides the screw. The bolted cladding is the basis for the original solutions of the chrome structure and the wall cladding of the Barcelona Pavilion. The marble completely adorns the concealed structure as the padded leather upholstery of the Barcelona armchair rests on its frame. In both spaces, the construction of content and container are conceived in extension. The furniture is leather seats and glass envelopes in the air just as the materials float in it. The spatial expression is based on the unitary experience of lightness and the principle of weightlessness.

Publication: book chapter
Publisher: Ministerio de Vivienda y Editorial Rueda SL.

Other texts:
“Mies van der Rohe: Café de Terciopelo y Seda 1927”. Arquitecturas Ausentes del Siglo XX. (2005). Ministerio de Vivienda y Tanais Ediciones SA. Edición a cargo de Raúl Rispa, 180-187.
“Materia, color y textura en la obra de Mies van der Rohe / Matter, colour and texture in the work of Mies van der Rohe”. La materia de la arquitectura / The matter of architecture. (2007). Fundación Miguel Fisac, Edición a cargo de Francisco Arques Soler, 203-211.
“Estudio interpretativo de color del Cafe Samt & Seide de Mies van der Rohe y Lilly Reich, Berlín 1927”. Tectónica. (2012). ATC Ediciones, 7.
“Opposition and Continuity in Mies’ public space. Construction and structural expression in urban order”. EURAU12 Porto | Espaço Público e Cidade Contemporânea: Actas do 6º European Symposium on Research in Architecture and Urban Design. (2012). FAUP, Faculdade de Arquitectura da Universidade do Porto, 100-118.
“Estructura y permanencia”. Città in transformazione. Revista di Architettura e Cittá. XXV Seminario Internazionale Architettura di Camerino (Italia). (2016). Di Baio Editore, 54-59.
“La necesidad de conocer: idea y contexto”. Architettura sociale. Revista di Architettura e Città. XXVI Seminario Internazionale Architettura di Camerino (Italia). (2017). Di Baio Editore.
“Fenomenología e cidade contemporánea”. Arquitetura, Cidade, Paisagem / Architettura, Città, Paesaggio. (2019). Ed. Caleidoscópio-Ediçao e Artes Gráficas, 15-40.


Campo Arañuelo School Lunchroom in Navalmoral de la Mata.
“Comedor escolar”. Guía de Arquitectura de Extremadura: 2007-2017. (2019). Ed. COA Extremadura, 77.

Pre-primary and Primary Education School in Mérida.
“Centro de Enseñanza Infantil y Primaria en Mérida” CIAB V. (2012). Ed. General de Ediciones de Arquitectura DL, 268-273.
“Colegio Público de Enseñanza Infantil y Primaria 6 + 12 Unidades”. Guía de Arquitectura de Extremadura: 2007-2017. (2019). Ed. COA Extremadura, 33.

Pre-primary and Primary Education School in Hervás.
“Entrevista: Enrique Colomés Montañés”. Arquitectura e Vida nº 90. (2009). Ed. Loja da Imagem, 10-17.
“CEIP 6+12 unidades en Hervás, Cáceres”. Con Arquitectura nº 29. (2009). Ed. Con Arquitectura Ediciones SL., 11-18.
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“C.E.I.P. 6+12 unidades en Hervás. Cáceres”. Temas de Arquitectura nº12: Arquitectura Escolar. (2011). Ed. General de Ediciones de Arquitectura SL., 30-41.
“Centro de Enseñanza Infantil y Primaria 6 + 12 Unidades”. Guía de Arquitectura de Extremadura: 2007-2017 (2019). Ed. COA Extremadura, 82-83.

“British Council Infant School” Somosaguas, Madrid.
“Escola Infantil em Pozuelo de Alarcón, Madrid”. Arquitectura e Vida nº 84. (2007). Ed. Loja da Imagem, 56-65.
“Escuela infantil en Pozuelo de Alarcón, Madrid”. Arquitectura nº 348. (2007). Ed. COAM, 42-45.
“Escuela Infantil en Pozuelo de Alarcón. Madrid”. IX Bienal Española de Arquitectura y Urbanismo / 9th Spanish Architecture and Urbanism Biennial. (2007). Ed. Ministerio de Vivienda, 246-253.
“Escuela jardín. Pozuelo de Alarcón, Madrid”. Europa: Acero / Arquitectura nº 7. (2008). Ed, APTA, 40-43.
«Tres Proyectos con Hormigón Blanco» CIAB III. (2008). Ed. Gral de Ediciones de Arquitectura, 248-257.
“Escuela infantil en Pozuelo de Alarcón, Madrid: el aula como espacio en el jardín. Entrevista a Enrique Colomés Montañés”. Arquitectos de Madrid nº 04. (2009). Ed. COAM, 18-26.
“Escuela Infantil y el aula como espacio del jardín”. Madrid 100% Arquitectura / Madrid 100% Architecture. (2009). Ed. Fundación Arquitectura COAM – Ediciones de Arquitectura, 66-67.
“Escuela Infantil British Council”. Arquitectura Española 1975-2010. 35+ “Construyendo en Democracia”. (2012). Fundación ACS, 100-112.

Family Vault in Tuy, Pontevedra.
«Tres Proyectos con Hormigón Blanco» CIAB III. (2008). Ed. Gral de Ediciones de Arquitectura, 248-257.

Faculty of Library Science (Universidad de Extremadura) and General Library of Extremadura in the former Military Hospital at Alcazaba of Badajoz.
“Sur”. Ideas para la Facultad de Biblioteconomía y Documentación y Biblioteca General de Extremadura. (1998). Ed. Junta de Extremadura, 18-25.
Limen, Umbral y Frontera” Oeste nº 14. (2001). Ed. Avisa, COAE, 138-147.
“Intervención en el antiguo Hospital Militar de la Alcazaba de Badajoz = Intervention on the old military hospital of la Alcazaba in Badajoz”. ON Diseño nº 236 (2002). Ed. On Diseño SL, 228-249.
“Facultad de Biblioteconomía y Documentación. Alcazaba de Badajoz”. Nuevos Centros Educativos en Extremadura, España. (2003). Junta de Extremadura, 123-126.
“Facultad de Biblioteconomía y Documentación y biblioteca de Extremadura: Rehabilitación de la Alcazaba de Badajoz”. Arquitectura nº 331. (2003). Ed. COAM, 86-89.
“De nuevo, una arquitectura declarada culpable: La Facultad de Biblioteconomía en Badajoz”. Arquitectura nº 332. (2003). Ed. COAM, 1.
“Arquitectura y Tribunales”. Arquitectura nº 333. (2003). Ed. COAM, 1.
“Facultad de Biblioteconomía y Documentación y Biblioteca General de Extremadura”. IX Bienal de Arquitectura de Venecia. Pabellón de España. Corredores de Fondo. (2004). Ed. Ministerio de Asuntos Exteriores y de Cooperación y Ministerio de Vivienda. Edición a cargo de Gerardo Ayala, 198 – 205.
«Tres Proyectos con Hormigón Blanco» CIAB III. (2008). Ed. Gral de Ediciones de Arquitectura, 248-257.
“Facultad de Biblioteconomía y Documentación y Biblioteca General de Extremadura. Alcazaba de Badajoz”. Guía de Arquitectura de Extremadura 1975-2006. (2007). Ed.  Agencia Extremeña de la Vivienda, el Urbanismo y el Territorio, COA Extremadura, 98-99.

Rehabilitation of the Hospedería Fonseca as a Center for Postgraduate Studies, Continuing Education and Cultural Activities.
«Premios para la Rehabilitación de la Hospedería Fonseca», Arquitectos nº 149. (1999). Ed. CSCAE, 78-79.

Management Building and Government Pavilion of the University of Murcia.
“Edificio de gestión y rectorado de la Universidad de Murcia. Campus de Espinardo: Horizontal y Abierto“. Catálogos de Arquitectura nº 3. (1998). Ed. COA Murcia, 20-23.

Burgos Bullring.
“Plaza de Toros de Burgos”. AR nº2. (2002). Ed. Faculdade de Arquitectura da Universidade Técnica de Lisboa, 36-39.

Pavilion in Moncloa-Madrid University Campus.
“Los 40 como límite: jóvenes arquitectos de España” Arquitectura Viva nº 46. (1989). Ed. AviSa (Arquitectura Viva SL), 30.
“Oficina bancaria y sala de exposiciones en la Ciudad Universitaria. Madrid”. X Premios: Urbanismo, Arquitectura y Obra Pública: 1995. (1996). Ed. Ayuntamiento Madrid, Gerencia Municipal de Urbanismo, D.L.
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“Banco Central Hispano”. Madrid: A guide to recent architecture. (1997). Ed. Ellipsis London Limited, 190-191. Author: Broughton, Hugh.
“Pabellón de Servicios Universitario. Ciudad Universitaria de Madrid”. Madrid Arquitectura. (2002). Ed. Munilla-Lería, 262-263.
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“Pabellón en la Universidad Complutense”. IX Bienal de Arquitectura de Venecia. Pabellón de España. Corredores de Fondo. (2004). Ed. Ministerio de Asuntos Exteriores y de Cooperación y Ministerio de Vivienda. Edición a cargo de Gerardo Ayala, 198 – 205.

School Sports Center in Aldea del Fresno, Madrid.
“Los 40 como límite: jóvenes arquitectos de España” Arquitectura Viva nº 46. (1989). Ed. AviSa (Arquitectura Viva SL), 30.
“Pabellón escolar. Aldea del Fresno, Madrid”. Arquitectura y Desarrollo Urbano. CAM (Zona Oeste). Tomo VI. (1991). Ed. COAM, CAM y Dirección General de Arquitectura, 33-35.
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“Polideportivo de Aldea del Fresno (Madrid) = Multi-sports hall of Aldea del Fresno, Madrid”. ON Diseño 187. (1997). Ed. On Diseño SL, 178-187.

Residential Building in Trinidad-Perchel neighborhood (Málaga).
“Los 40 como límite: jóvenes arquitectos de España” Arquitectura Viva nº 46. (1989). Ed. AviSa (Arquitectura Viva SL), 30.
“9 viviendas. Barrio Trinidad Perchel, Málaga”. Vivienda colectiva I. (2002). Ed. Munilla-Lería, 118-123.

Central-Hispano Pavilion at Expo Sevilla 1992.
“Pabellón Central Hispano. Expo-92”. Diseño Interior nº 15. (1992). Ed. Md Globus Comunicación, 98-107.
“Tesoros públicos: Pabellón del Banco Central Hispano”. A&V: Monografías de Arquitectura y Vivienda nº 34-35. (1992). Ed. AviSa (Arquitectura Viva SL), 152-155.
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“Pabellón Central Hispano Expo-92. Sevilla”. III Muestra de Arquitectos Jóvenes Españoles 1994. (1994). Fundación Antonio Camuñas, 100-106.

Puerta de Hierro Sports Park.
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Bank Offices en Madrid.
“Oficina bancaria en Madrid”. ON Diseño nº 111. (1990). Ed. ON Diseño S.L., 180-186.
“Sucursal bancaria, Pozuelo de Alarcón. Madrid”. Arquitectura. (1990). Ed. Colegio Oficial de Arquitectos de Madrid COAM, 15.
“Dos sedes del Banco Central Hispanoamericano. Madrid = Two head offices for the Banco Central Hispanoamericano”. Oficinas: diseño, interiorismo, arquitectura, mobiliario. (1992). 83-88.

Residential Building on Alejandro Rodriguez Street in Madrid.
“Edificio de viviendas en C/ Alejandro Rodríguez. Madrid”. Arquitectura. (1989). Ed. Colegio Oficial de Arquitectos de Madrid COAM, 12.
“Edificio de Viviendas en la C/ Alejandro Rodríguez. Madrid”. Guía de Arquitectura de Madrid nº 2. (1989). Ramón Guerra de la Vega, 100-106.
“Edificio de viviendas en Madrid en la calle Alejandro Rodrigues de Madrid”. ON Diseño nº 110, (1990). Ed. ON Diseño S.L., 111-119.
“Edificio de Viviendas en la calle Alejandro Rodriguez, Madrid”. Madrid: A guide to recent architecture. (1997). Ed. Ellipsis London Limited, pp 240-241. Author: Broughton, Hugh.

C.O.A.G. Subdelegation Headquarters in Vigo.
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