Organized by the Society of Friends of Drawing and Engraving with the support of the San Fernando’s Royal Academy of Fine Arts, have made public the awards for the 2021 edition. Among the winners, our colleague, Professor Rosa Vives.
The Ceán Bermúdez Award for the Arts of Drawing, Engraving and Illustrated Book distinguishes individuals and corporations, institutions, legal persons, organizations or public or private entities that have excelled in the field of artistic and cultural creation or have lent Notorious services in the promotion, development, trade, collecting or dissemination of the arts of drawing, printing and illustrated books.
JUAN AGUSTÍN CEÁN BERMÚDEZ (Gijón 1749 – Madrid 1829) He was the prototype of the illustrated scholar, a fundamental character for the history of Spanish art, a kind of catalyst for very diverse aspects in this field such as historiography, art criticism, collecting, the history of painting, of architecture. and Spanish sculpture, and also engraving. Not only did he maintain a close relationship with Goya and other artists of the time, but he was also a fundamental piece in the circle of politicians and intellectuals such as Jovellanos, Iriarte, Moratín, Vargas Ponce and many others who tried to regenerate the country through the education, culture, economics or politics.
The awards ceremony will be on October 1, Friday, at the Real Academia de Bellas Artes de San Fernando (Madrid).
This article uses an urban intervention in Panama City to discuss fundamental concepts in public space projects from a critical and theoretical perspective.
First, the functions of the street as a basic structure of public space are illustrated. Its importance is recognized not only as an element of urban connectivity, but also as a place of movement, encounter, support and creation of urban meanings and social identities.
Secondly, our case study is contextualized: the urban renewal of via Argentina, a street in the urban center whose environment was in a state of degradation like most streets in the city, largely occupied by the presence of vehicles. The intervention is part of a series of urban projects aimed at improving the physical structure of the city. The third section begins a critical analysis of the actions on Via Argentina, starting with the redistribution of street space, the relationship between vehicles and pedestrians, and the consolidation of public space.
Next, we discuss in detail the new primary elements used for the urbanization of the street. Curbs, fords, pavement, rigola, gutters, tree surrounds and bollards become part of a system that must maintain a coherent relationship between all its parts. In addition, emphasis is placed on the design of the ground and the application of the pavement as a tool for the construction of an urban image and identity. Finally, the article ends with an analysis of the parameters of accessibility in the project, relating the concept to the use of the pavement and the configuration in some sections of the street as a single platform. The article uses a wide repertoire of documentary photography to contextualize the case study.
Urban design; Public space; Pavement; Universal accessibility; Single platform; Via Argentina; Panama City.
This work exemplifies a search for participation for the promotion of urban-architectural projects both in the center and in the periphery of a Mexican city such as Puebla, where twenty years ago few activities were developed in which the main actors were the inhabitants. Fortunately, in recent years it has been possible to carry out specific actions where participation is a key part of having a less technical vision on the part of architects, urban planners and heritage conservators.
The first project is the Integral Urban Social Program in which, through a municipal action, an attempt was made to implement a participatory process in sectors considered to be of extreme poverty where municipal government programs tried to impact the areas called PIUS. An important part was the Participatory Design process that mobilized the main universities of the city through young architecture students to carry out a series of projects where the condition was to have contact with the communities.
In the case of the Casa Analco project, a university initiative in the historic centre of the city in a very traditional neighbourhood (16th century) with problems of deterioration, abandonment and insecurity, with which the university-neighbourhood link is currently promoted and in where space has been the pretext to promote university participation in the rehabilitation of a building, but at the same time in a rapprochement with the neighbourhood.
Through these two cases it is confirmed that it is possible to make participation possible through a process that must be adapted to each place, these experiences leave a series of reflections in different areas, from which a basic process can be broken down to encourage it through organization, promotion, awareness of the work team, knowledge of the place, time, evaluation, management and adaptability.
Cities have been inspirational for the creators of visual art works long since, first as mere secondary, additional motifs to indicate the “urban” environment of the main scene, then as subject-matters in their own right. Those images could depict both imaginary and actual cities of the past and of the future, including mythological and Biblical locations, documenting distant lands and fantasizing on the appearance of utopian cities. In some of these aspects, the history of city representations shares significant similarities with the history of landscape depictions.
In the present paper, however, I aim to focus on a curious and particular detail in this pictorial tradition. Following and further investigating a brief reflection by Michel Makarius from his 2004 book on Ruins, I would like to compare the visuality and aesthetic effects of dense and empty cityscapes, of which two classical examples could be the capriccios – imaginary views of cities completely filled with aesthetically pleasing elements, including magnificent remnants of the Antique heritage – and representations of cities in which their emptiness is highlighted to such extent that the observer tends to assume that the real subject-matter of the image is not the city, its buildings, forms and physical components but exactly its being “empty”.
These “extremities” on the broad range of cityscapes, i.e., the densely-filled and the extremely depopulated are, however, not merely historical sub-genres of long-gone centuries. These typologies have survived to this day, in various versions and with diverse accents; what’s more, they seem to be more relevant than ever in understanding not only the nature of these artistic representations and their aesthetic references, but also in learning more of our contemporary reality itself. It is enough to think of the numerous ways in which artists approach the convoluted issues and challenges of urban life today, with the classical references and visual vocabulary in mind, either unconsciously creating occasional parallels or using them as explicit forerunners to their own works. The density of the global megapolises are represented in artistically novel ways often with socially critical overtones, while the images of empty cities – not long ago, for example, during the recent pandemics and lockdowns – are again resulting in aesthetically inspiring and insightful works incentivizing us to reflect on the oscillating dynamisms of our present urban realities. Therefore, it is particularly beneficial to observe such renderings of our cities and hence to raise more our awareness of the multiple global issues that are often very strongly manifested in the everyday life in large metropolises. Pieces of art thematising the extreme forms of city life can become very efficient ways of constantly reminding us of our duties of taking care of both our cities and our life.
representations of cities; dense cityscapes; empty cities; aesthetics of urbanity
The aim of this research is, from a historical perspective, to establish a possible relationship between the themes of the Biennials of Chilean Architecture and the Exhibition Montages, during the 43 years since its foundation.
From this communication project, carried out by the College of Architects, a categorization of the exhibition spaces in relation to the theme of the Biennial has been deduced through conceptual models defined as metaphor, literalness or materiality.
This study tested which latent factors exist that could significantly impact the citizens-based performance assessment of the Neighborhood Renovation Service Office (NRSO) which is a renovation facilitating policy. Two hundred residents of Urban Deteriorated Areas (UDAs) in Fallah & Yaftabad neighborhoods, were interviewed by questionnaires. To analyze the outcomes of the questionnaires, first, an Exploratory Factor Analysis (EFA) for identifying underlying factors for assessment of the mentioned policy and subsequently Ordinal Logistic Regression (OLR) for modeling the factors concerning performance assessment were employed.
The residents who had more familiarity with the plans and policies evaluated the renovation office performance more positively. Also if NRSOs want to be assessed as more effective in their intervention they need to empower their interacting community’s socioeconomic factor. The OLR model showed that the sense of place is another significant underlying factor in this regard. However, residency duration despite converging as a factor in EFA did not show any significant impact based on the OLR model.
citizens-based assessment; renovation facilitating policy; Neighborhood Renovation Service Office (NRSO); Urban Deteriorated Areas (UDAs); Ordinal Logistic Regression (OLR)
On December 18 the Kings of Spain, accompanied by the Minister of Health, the president of the Madrid Region, the mayor of the capital of Spain and other representatives of institutions, unveiled the monument “The Tree of Life” a sculpture by Jaume Plensa.
Christo (Christo Vladimirov Javacheff), dead in 2020 and Jeanne-Claude, proposed in 1975, dead in 2009, one of their interventions on the Monument to the Colon of Barcelona. As they point out on their website, “All the unfinished projects of Christo and Jeanne-Claude failed because permission was denied with one exception, the Monument wrapped in Christopher Columbus, Barcelona Project, which began in 1975. Having received two denials, permission was granted by Pasqual Maragall, the mayor of Barcelona, in 1984″.