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Alberto campo baeza essay

alberto campo baeza essay Navigation menuLa Idea Construida Alberto Campo Baeza I have tried to be clear and think it may help you. I might surprise you with a list that includes not only books on architecture but also features works on other subjects. In my case, in my house, there are more books of Poetry than Architecture and as you can imagine, my collection of books on Architecture is quite large!. In his introductory essay to this survey of Alberto Campo Baeza's projects and finished buildings, Antonio Pizza begins by listing the influences on the Spanish architect's career since , the year in which he graduated from the Escuela de Arquitectura de Madrid. In particular, Pizza rightly draws attention to the importance of what Campo Baeza learned from Alejandro de la Sota, one of the most gifted of Spain's postwar architects. Испанец Альберто Кампо Баеза – архитектурный интеллектуал. Он ведёт свою практику в Мадриде и больше тридцати пяти лет преподаёт в Высшей школе архитектуры ETSAM, которую сам окончил. Его преподавательская деятельность за тридцать лет не ограничилась только Испанией – подобно многим своим коллегам, Кампо Баеза периодически выступает приглашённым преподавателем в крупных мировых школах – на его счету Высшая техническая школа в Цюрихе (легендарная ETH), Политехническая школа Лозанны (EPFL), Пенсильванский и Колумбийский университеты, лекции в Гарварде.

Search the history of over billion web pages on the Internet. He alberto campo baeza essay for several international magazines. His publications include Guida all'architecttura del Novecento. Alberts Cnm-po Baeza English translation: Paul Hammond, Stephen Thome All rights reserved. No part of this work covered by the copyright herein may he reproduced or used in any form or by any means -graphic, electronic, or mechanical, including just click for source. Guernica, Vizcaya 46 Nursery school.

Madrid 59 Nursery alberto campo baeza essay, San Sebastian de los Reyes. Madrid 71 Public housing. Iestis del Pozo' store. Madrid SO Public school. Italia Caspar House. H'iza Extension to a school.

Universitat Pompeu Fabra, Barcelona 1: Baeza graduated feoim the Escuela de Arquiteetura de Madrid in He belongs to that laberto of Spanish architects which hail the good fortune to experience first-hand the gradual though decisive period of transition -most notably in the political sphere- which led to the reinstatement exsay democ- ratic, non-military government baezw Spain after the period of autarchic, dictatorial rule thai ended baeaz the death of Franco ina historic event that has since been Interpreted in widely differing ways.

From the very easay. Campo Baeza's architecture has been one of please click for source, a gradual shift from early exercises reflecting -for better or alberto campo baeza essay stubbornly localist architectural concerns, towards a form of abstraction based on a 'disregard' for the spa!

Recent historical studies of Spanish architecture have tended on the whole to be taxonomic. As always, it is difficult to see the critical value of labels like these. As serious critical tools, they are virtually worthless. However, genealogical approaches can be a good deal more productive in reconstructing the unique cakpo of an architect, and in defining alberto campo baeza essay nature visit web page extent of his idiosyncrat- ic engagement with a specific architectural context and culture.

Really outstanding teachers were few and far between when Jampo Baeza was at universi- ty. His memoirs are virtually silent about his own teachers, though he does mention Rafael Aburto - architect of the former head office of the Pueblo newspaper in Madrid More important were the elective masters of his apprentice years, who had a stronger and more enduring influ- ence on Ins early career.

These figures provide a more likely starting-point for any attempt to define and contextualize his work, and to trace the process that gradually led to the dis- tillation of his unique personal style.

Alejandro de la Sota and Julio Cano Lasso. Carvajal - the architect, with R. His plans, elevations and sections de- velop so fluently that his buildings seem the most natural things in the world. Everything translates into forms albeeto great power, though not into form for form's sake. His alberto campo baeza essay of form is a distillation of the circumstances and constraints that determine architectural necessity.

Alberto campo baeza essay next architect on the list, FJ. Campo Baeza's indebtedness to Alejandro de la Sota is more evident, both alberto campo baeza essay and con- ceptually. I think two works in particular were most influential on Ms stylistic and more alberto campo baeza essay eral cultural development: The gymnasium is an object lesson in how the in- spired repetition of a set of expressive and other compositional modes can instantly convey an architectural idea.

De hi Sota's own sketches demonstrate with the utmost clarity how eloquently its generative principle is revealed in the design of the section, which effortless- ly transforms site constraints into the raison d'etre of the alberto campo baeza essay building.

Similarly, the big metal frame unifies alberto campo baeza essay composition by, on the one hand, solving the problem of the roof and providing support for the tiered classrooms fitted into the profiles of the reticular beams, and on the other, by using a characteristically urban facade to resolve the difference of level between the existing school and the road.

De la Sota's unusual deployment of structural el- ements is also symbolically charged: In alberto campo baeza essay Gobierao Civil in Tarragona, designed at a time when Modernism seemed to rale out albfrto use of 'quality' materials, De la Sota's structural and sculptural uses marble to have an explicitly emotional intent that seems wholly symptomatic of his architecture.

The stereo- metric basis of the design -the absolute geometry of the cube- is both emphasized and nul- lified by the building's dual institutional and residential role. It is easy to see why Campo Baeza be- lieves that De la Sota's "extreme elegance of gesture, and exactness of phrasing bordering on silence" stands comparison with Mies van der Rone's mature style.

Campo Baeza's relation with Julio Cano Lass.

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Having taught him architectural design at the Escuela de Arquitectura de Madrid, Can. Their professional relationship culminated in the alberto campo baeza essay and construction of a group of major educational complexes - three voca- tional training centers in Vitoria. Salamanca and Pamplona alland the Universi. They were also designed to take a lot alberto campo baeza essay wear and tear: Salamanca,and i 'niversidad Labored, Aln Baezza the Universidad Laboral de Albero.

The plan of this inward-looking university citadel is rigorously modular -two orthogonal axes intersect in a large porticoed plaza which is both a circulation hub and a social alberto campo baeza essay conveniently sheltered from wind and dust. Chess- board layout and bright albertoo lime plaster enhance the impact of its starkly unadorned vol- umes, which are blind on the outside but give inside onto internal oasis-like courtyards open to the sky reading in our life essay alberto campo baeza essay from above with skylights.

As Lasso says in his own report, the solids of the markedly sculptural composition stand starkly aloof like purposeful landmarks. And yet, the actual ami,! Campo Baeza makes alberto campo baeza essay point clearly enough in the alberto campo baeza essay to the anthology of his most important writings, La idea construida.

La arquitectura a la he: Madrid, which the quotations in this essay are tak- en. Essaay from be- ing a history of forms, architectural history is really alberto campo baeza essay history of constructed ideas.

Forms are exsay with the passing of time; ideas remain and are eternal. The central concerns of architecture are how to control gravity- and how to re- late to light.

Baeza alberto essay campo: A professional essay writer knows exactly what it takes to create an essay that best fits a particular situation.

Indeed, the very future of architecture depends on whether a new understand- ing of these phenomena can be achieved. Significantly, Cam- po Baeza locates the ration d'etre of architec- tural process and product in transcendental capo that lie in the world of the beyond, and whose physical alberto campo baeza essay therefore transcends the geographical and temporal constraints of chronological history.

The intelligent kind of beauty that emanates from constructed ideas. This is something alberto campo baeza essay, much more than construction in the normal sense. Mica, have by definition almost no contingent attributes alberto campo baeza essay the philosophical sense, Campo Baeza tends to see them as absolute, eternal values.

So we must now baeaz to see what these 'supe- rior categories' mean in relation to historical events and places, tin- specificities of time and space. Campo Baeza himself gives some idea of their meaning when he alberto campo baeza essay, essayy example, bafza mod- ern inventions like plate glass and metal framework are directly related to gravity and light.

The fact that plate glass can make the upper horizontal surfaces of buildings transparent, while steel frames can separate the skin of a building from its structural support, suggests new tectonic solutions to the problem of gravity.

Испанец Альберто Кампо Баеза – архитектурный интеллектуал. Он ведёт свою практику в Мадриде и больше тридцати пяти лет преподаёт в Высшей школе архитектуры ETSAM, которую сам окончил. Его преподавательская деятельность за тридцать лет не ограничилась только Испанией – подобно многим своим коллегам, Кампо Баеза периодически выступает приглашённым преподавателем в крупных мировых школах – на его счету Высшая техническая школа в Цюрихе (легендарная ETH), Политехническая школа Лозанны (EPFL), Пенсильванский и Колумбийский университеты, лекции в Гарварде. Negli architetti che pensano. 9. Alberto Campo Baeza. (I ed. ). In quelli che hanno idee e che sono capaci di costruirle.  A critical essay about Joan Soane’s house-museum (see below in this article) can be found in the same volume. crossed or inverted series. and sublimating the aesthetical performance. plates in relief. proportions and chromatics. Here are the central topics of Architecture: the control of Gravity and the relationship with Light. Alberto Campo Baeza is a Spanish architect who was born in Valladolid, where his grandfather was an architect, from the age of two he lived in CADIZ where he saw the LIGHT. From his father he inherited a spirit of ANALYSIS and from his mother the determination to be an architect. Alberto lives in Madrid, where he moved to study Architecture. He has taught at the ETH in Zurich, the EPFL in Lausanne, the University of Pennsylvania in Philadelphia, Dublin, Naples, Virginia, Copenhagen, the BAUHAUS in Weimar, and at Kansas State University. Alberto’s works have been widely recognized, he has been. Alberto Campo Baeza (born , in Valladolid) is a Spanish architect, Head Professor of Design at the School of Architecture of Madrid ETSAM since He has built a selected number of very precise buildings and has received many awards. His work has been exhibited in many major cities and has been published in major architectural magazines around the world. Given this landscape of the Salinas de Janubio (the Janubio Salt pans) in Lanzarote, a black, radical and emphatic plane is proposed over the hills, in the center. Alberto Campo Baeza. Add to collection. Black. A black plane of concrete made out of the island’s volcanic ash. Alberto Campo Baeza. Add to collection. Radical.

In other words, Campo Baeza's kind of architecture is by definition incluswe of inescapable realities like context, function, composition and construction, but claims to be exclusive in formal terms; alberto campo baeza essay as alberto campo baeza essay himself puts it, it is "essential" but not "minimalist''.

Paraphrasing Mies van der Robe's less is more, Campo Baeza demies his concept of "more with less" mds con menos as " And a less which, leaving all questions of minimal- ism aside, distils the essence of a design by using a 'precise number of alberto campo baeza essay to translate ideas into physical reality.

The sunlight entering the enclosure is filtered and spiritualized not by high windows and Gothic columns, but by palm fronds and tall trunks that create an unmis- takably 'architectural' effect. From the early s, the formal restraint and volumetric simplicity of alberto campo baeza essay like the Town Hall in Fene and the nursery school in Aspe began to cohere in a recog- nisably personal language.

In the nursery school, the ostentatious 'purity' of what is an es- 13 I ampo IMS. The increasing assertiveness of these early s buildings lias been described by some critics as 'neo-rationalist". The cylindrical stairwell is jointed on- to the main structure as a lightwell.

As one of the supreme structuring principles of architectural alberto campo baeza essay, light in all its manifestations -horizontal, vertical, diagonal, zenithal- had by this stage become alberto campo baeza essay so much an obsessive theme, as the founding principle of Campo Baeza's architecture.

Significantly, he points to the Pantheon as a prime example of what he was try- ing to alberto campo baeza essay Nothing of that perfect, alberto campo baeza essay, that mar- vellous composition, would be altered. The building would still convey its universal message, and the venerable landscape of Ancient Rome would not reveal all its secrets at least not on the fust night.

And yet, no trace would remain of that miraculous sun-trap devised by hu- man beings to ensure that light from their friendly star would rain down inside the building every single day of the year.

The Sun would mourn its alberto campo baeza essay, and so would Architecture, because they are more than just friends. In this particular case, Campo Baeza's repertoire of compositional motifs translates into primary geometrical con- figurations, while the archetypal "cube' of the primitive hut achieves greater prominence through a carefully balanced contrast between cool expanses of glass and brilliant white cladding.

These eloquently introverted clusters of sun-drenched solids are alberto campo baeza essay pow- erful precisely because they convey a sense of total alberto campo baeza essay, irrevocable detachment from the 'other'. Differences of level, self-contained courtyards, volumes delimited by boundary walls- everything is totally and systematically decontextualized.

What I have elsewhere called a "state of alienation" is more than evident in the much-pub- lished photographs of the Gaspar House patios, in which treetops -traces of external reali- ty- crowd the borders alberto campo baeza essay a 'sacred compound' like abstract presences forming the static alberto campo baeza essay to a sophisticated stage design.

Inside the courtyards, brilliant surfaces sculpted by reflected light encircle, subjugate, enfeeble, reduce to simulacra the concrete manifesta- alberto campo baeza essay of a physical world excluded from the Initiatory rites that place the house apart from everyday reality.

Trees, mirror pools, even some of the masses themselves, a ghostly lack of solidity, while the natural landscape seems weirdly de-natinvd, subtly recontextual- ized and aestheticized as a decontextualized visionary setting for the house.

The sense of solitude is heightened not only by this explicit segregation of alberto campo baeza essay pseudo-natural ref- erences that serve to introduce the development of the architectural setting, but also by the isolation of the human figures who inhabit the house.

Click, Campo Baeza s drawings, models and photographs are alberto campo baeza essay by solitary human beings. Though the stereotomic, almost lithoidical nature of his buildings is never denied, the archetypal implications of mass are undermined, emptied, pared down, lightened, yet never wholly obliterated.

All alberto campo baeza essay is a long way from continuity with context. Open, penneable, multi-dimensional space there certainly is -and alberto campo baeza essay is very important- but it is all inside the building. Campo Baeza's cult of the 'domestic' might seem Loosian in origin were it not for the fact that the richness of experience it provides is created wholly -or prevalently- by light, and more par- ticularly, by diagonal light cutting across sun-filled, hermetically-sealed, double and triple height voids that both characterize and dematerialize the volumetric density of the build- ings.

In architecture, white is much more than a pure abstraction. It pro- vides a secure and effective base from which to work with light: You control space by controlling light, by illuminating the white surfaces that give it shape. Campo Baeza's "mysticism of light' is nostalgic in intent. In the harsh world of today, where every natural phenomenon has been irredeemably degraded and corrupted, and finding -anywhere on the planet- a 'virgin' site to build on is simply wishful thinking, what 'apparently' could be more uncontaminated than alberto campo baeza essay sky?

Certainly not our countryside, our coasts or any other purely physical place, where human interven- tion has left not only indelible scars but often terrible destruction in its wake. Depending on technology essay our atmosphere is suffering Hie consequences of uncontrolled urbanization alberto campo baeza essay the air around us is often unbreathable, the view front one of Campo Baeza's houses -whoso interaction with theoutside world is regulated by glass expanses trained by white wall panels- can offer a comfortingly alberto campo baeza essay perspective on life.

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