3 - Wasmuth-Verlag
3 - Wasmuth-Verlag 3 - Wasmuth-Verlag
4 Neuerscheinungen O’Neil Ford Duograph Series, Vol. 3 The University of Texas at Austin Ed.: Wilfried Wang Texts: Rafael Iglesia, Juan Manuel Rois, Marcelo Villafañe, Wilfried Wang English 144 pages with c. 190 illustrations in color 29,5 × 21,5 cm. Paperback EUR 29,80 (D) ISBN 978 3 8030 0719 3 4 th quarter of 2010 Two masterpieces of contemporary Argentinean architecture A comprehensive documentation O’Neil Ford Duograph Series Richly illustrated and insightfully notated, the volumes of the series give examples, two at a time, of what is best in architecture today yet overlooked around the world. To this aim the Center for American Architecture and Design (CAAD) and the O’Neil Ford Chair in Architecture at the University of Texas at Austin, School of Architecture have joined forces. Each issue documents in some detail two buildings by two differ - ent architects from a single country. These build - ings are complemented by descriptions from the respective architects and external critics. Argentina Altamira Building, 1998–2001 by Rafael Iglesia Florencia Raigal House, 2004–2006 by Marcelo Villafañe The book presents a high-rise and a free-standing house, two common building types of contemporary architecture. Both buildings are located in Rosario, Argentina’s third largest city with a dense aggregation of high-rises in the downtown area, surrounded by the conventional suburban belt, which is now spreading deep into the Pampas. The specific resolution of the two buildings is anything but typical. This Duograph offers close examinations, revealing both to be radical reinterpretations of their types. Marcelo Villafañe’s small house for Florencia Raigal integrates a spatial specificity – in continuation of the modernist free plan – with a parlante configuration: a house that comes to life with a distinct sculptural roof that happens to be hipped, but actually originates in the three dimensional reanimation of an abstracted cowhide, so typical and at the same time so distinctive of Argentina, a country of gauchos, asados & quinchos (cowboys, barbecues and grill pavillons). In this small house Villafañe shows in a wordless but built manifesto all his design control. Belying the house’s casualness there is a compositional rigor which clearly surfaces upon close reading. From a distance, Rafael Iglesia’s high-rise building – Altamira (High View) – looks as if it is just another one of those late modernist towers. In fact, it radically breaks with the skeletal frame convention of orthodox high-rises. Iglesia‘s high-rise places the Miesian skyscrapers more closely in line with Louis Sullivan’s tripartite “tall office building” discourse than most modernists would be ready to accept. Iglesia is able to break from this convention because he has been interrogating both the nature of residences in general (and specifically for high-rises) as well as the structural consequences in particular. The result of his stud - ies is a cantilevering structure of unprecedented daring, in fact a double cantilever both in the horizontal and the vertical sense. The strict control of the details, specifically the structural openings and the related line of glazing, serve to emphasize the brut quality of the concept, structure and materialization. Foto: Walter Salcedo Foto: Walter Salcedo Foto: Cucurell Manuel
O’Neil Ford Monograph Series, Vol. 3 The University of Texas at Austin Ed.: Elias Constantopoulos, Wilfried Wang Texts: Alekos Fassianos, Leti Arvaniti Krokos, Elias Constantopoulos, Wilfried Wang English 144 pages with c. 220 illustrations in color 29,5 × 21,5 cm. Paperback EUR 29,80 (D) ISBN 978 3 8030 0718 6 4 th quarter of 2010 Reforming existing architecture with the help of a profound vision for the present The comprehensive documenta - tion of an outstanding example of architecture Foto: Charalambos Louizidis Foto: Daniel Sylvester Foto: Daniel Sylvester Foto: Daniel Sylvester O’Neil Ford Monograph Series The volumes of the series use the luxury of hundreds of images on almost as many pages, to - gether with insightful essays, to once again assert the presence of the architectural book in the age of the internet. To this aim the Center for Kyriakos Krokos: Fassianos Building Athens 1987–1992 Amongst a city dominated by balconied apartment buildings, Athens possesses not only the monuments of an ancient civilization but also a handful of mod ern attempts at reconnecting to this intellectual and art - istic achieve ment. Unperturbed by such a task was a group of architects of the 20 th century, to whom Kyriakos Krokos (1941–1998) be longed. Kyriakos Krokos studied at the Polytechnic School in Athens and later in Paris with the painter Yannis Tsarouxis (1910–1989). His close interest in the fine arts brought him into early contact with Alekos Fassianos (born in 1935), Greece’ foremost painter, with whom he shared the goal of developing a language from the subconscious continuity of anonymous Aegean culture, reaching as far back as Cycladic civilization. In 1977 Krokos was awarded the first prize in the competition for the Byzantine Museum in Thessaloniki. It was to be his largest and most comprehensive architectural statement in terms of a new freestanding building. However, the much smaller commission of the conversion and remodelling of an Athenian apartment building (1987–1992) belonging to the Fassianos family provided the experimental grounds for his architectural visions and details, many of which would also be realized in the Byzantine Museum (1989–1993). In the afterwards mixed-use Fassianos building that includes a private art gallery and apartments, both Krokos and Fassianos have realized their idea of a quotidian urban life, in which art and architecture are mutually sustaining. Krokos showed here a sculptor’s penetrating vision: seeing in a rough block of stone the potential of a carefully hewn figure. Few commis - sions and even fewer architectural designs have transformed an otherwise harmless, not to say banal building into a radically different reality. While identical in structure and substance, the typology of the Fassianos building has been carefully adjusted and rectified in its syntax, many pre-existing elements have been exposed, some details have been added, and the result is a concise, precise piece of architecture. This pub lication documenting the building includes the reproduction of extensive hitherto unpublished archival material and numerous photos. American Architecture and Design (CAAD) and the O’Neil Ford Chair in Architecture at the University of Texas at Austin, School of Architecture have joined forces. Each monograph sets out to document an important work of modern architecture economically and permanently, in a format that allows the reader to study its contents close-at-hand. 5 Neuerscheinungen
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4 Neuerscheinungen<br />
O’Neil Ford Duograph Series, Vol. 3<br />
The University of Texas at Austin<br />
Ed.: Wilfried Wang<br />
Texts: Rafael Iglesia, Juan Manuel Rois, Marcelo Villafañe,<br />
Wilfried Wang<br />
English<br />
144 pages with c. 190 illustrations in color<br />
29,5 × 21,5 cm. Paperback<br />
EUR 29,80 (D)<br />
ISBN 978 3 8030 0719 3<br />
4 th quarter of 2010<br />
Two masterpieces of<br />
contemporary<br />
Argentinean architecture<br />
A comprehensive documentation<br />
O’Neil Ford Duograph Series<br />
Richly illustrated and insightfully notated, the<br />
volumes of the series give examples, two at a<br />
time, of what is best in architecture today yet<br />
overlooked around the world. To this aim the<br />
Center for American Architecture and Design<br />
(CAAD) and the O’Neil Ford Chair in Architecture<br />
at the University of Texas at Austin, School of<br />
Architecture have joined forces. Each issue documents<br />
in some detail two buildings by two differ -<br />
ent architects from a single country. These build -<br />
ings are complemented by descriptions from the<br />
respective architects and external critics.<br />
Argentina<br />
Altamira Building, 1998–2001 by Rafael Iglesia<br />
Florencia Raigal House, 2004–2006 by Marcelo Villafañe<br />
The book presents a high-rise and a free-standing house, two common<br />
building types of contemporary architecture. Both buildings are located<br />
in Rosario, Argentina’s third largest city with a dense aggregation of<br />
high-rises in the downtown area, surrounded by the conventional suburban<br />
belt, which is now spreading deep into the Pampas.<br />
The specific resolution of the two buildings is anything but typical. This<br />
Duograph offers close examinations, revealing both to be radical reinterpretations<br />
of their types. Marcelo Villafañe’s small house for Florencia<br />
Raigal integrates a spatial specificity – in continuation of the modernist<br />
free plan – with a parlante configuration: a house that comes to life<br />
with a distinct sculptural roof that happens to be hipped, but actually<br />
originates in the three dimensional reanimation of an abstracted cowhide,<br />
so typical and at the same time so distinctive of Argentina, a<br />
country of gauchos, asados & quinchos (cowboys, barbecues and grill<br />
pavillons). In this small house Villafañe shows in a wordless but built<br />
manifesto all his design control. Belying the house’s casualness there is<br />
a compositional rigor which clearly surfaces upon close reading.<br />
From a distance, Rafael Iglesia’s high-rise building – Altamira (High<br />
View) – looks as if it is just another one of those late modernist towers.<br />
In fact, it radically breaks with the skeletal frame convention of orthodox<br />
high-rises. Iglesia‘s high-rise places the Miesian skyscrapers more<br />
closely in line with Louis Sullivan’s tripartite “tall office building” discourse<br />
than most modernists would be ready to accept. Iglesia is able<br />
to break from this convention because he has been interrogating both<br />
the nature of residences in general (and specifically for high-rises) as<br />
well as the structural consequences in particular. The result of his stud -<br />
ies is a cantilevering structure of unprecedented daring, in fact a double<br />
cantilever both in the horizontal and the vertical sense. The strict control<br />
of the details, specifically the structural openings and the related<br />
line of glazing, serve to emphasize the brut quality of the concept,<br />
structure and materialization.<br />
Foto: Walter Salcedo<br />
Foto: Walter Salcedo<br />
Foto: Cucurell Manuel
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