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www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

www.ofhouses.com

 

Of Houses guest curated by The Intertwining (Paula V. Álvarez Benítez, Nuria Álvarez Lombardero, Álvaro Carrillo Eguilaz, David Arredondo Garrido, Francisco González de Canales, Vincent Morales Garoffolo and Juan Antonio Sánchez Muñoz):

“Frigiliana is not only a perfect display of the world Rudosfky captured in “Architecture Without Architects”, it also draws on certain shortages of his liking, like the hypnotizing decline the village was in the 1970s. Tuning in his intervention with this unique vernacular environment, he reclaimed pleasure and knowledge as key construction materials. This is can be seen in details like the removal of the backs of the seating areas, converting them into horizontal surfaces, some of which he would call “Morning sunbath” or “Evening sunbath”. In addition, Rudosfky developed different eco-centric tactics, such as using, in his drawings, a similar legend to describe an olive tree or a room, or by articulating the rooms through radically orthogonal paths, measured out with clay tiles, recalling the natural field. A hedonist sense was also accomplished through the use soft materials and ephemeral situations such as the swimming pool canopies, the summertime mosquito-net rooms which colonize the pergola, the rugs, the stools, the shadows… Even the reed blinds constructed by his wife, Berta, who in some ways activated Bernard Rudofsky’s domestic imaginary, take part in this performance of details.”

 

Text: Álvaro Carrillo Eguilaz. Photos: Bernard Rudofsky, Ricardo Devesa. Courtesy of The Bernard Rudofsky Estate, Vienna.

El jurado de este año, realizado el 23/02/2012, en @Masterdiadea quedará marcado por poder haber contado con la inestimable presencia en Elisava Escola Disseny de:

 

• Ramon Escalé, Cap dels Serveis Territorials - arquitecto técnic de l'Ajuntament de Puig-reig

• Imma Espel, Tècnica de Turisme del Consell Comarcal del Berguedà

• Mireia Canal, Tècnica en promoció econòmica del Consorci del Parc Fluvial

• Rosa Serra Rotés, coordinadora de l'Àrea de Coneixement i Noves Tecnologies de la Diputació de Barcelona

• Pere Pugès, gerent de IESMED - cooperativa europea e innovació social

• Ethel Baraona, editora de arquitectura de dpr-bcn

• Esther Rovira, arquitecta

• Arianna Mazzeo, coordinadora de projectes europeus

• El equipo de directores del master (Marc Binefa + MauriOB) junto con el director de taller de Arquitectura Aplicada, Ricardo Devesa

 

Y con todo un grupo de estudiantes que hicieron historia! Enhorabuena a todos y gracias!

El jurado de este año, realizado el 23/02/2012, en @Masterdiadea quedará marcado por poder haber contado con la inestimable presencia en Elisava Escola Disseny de:

 

• Ramon Escalé, Cap dels Serveis Territorials - arquitecto técnic de l'Ajuntament de Puig-reig

• Imma Espel, Tècnica de Turisme del Consell Comarcal del Berguedà

• Mireia Canal, Tècnica en promoció econòmica del Consorci del Parc Fluvial

• Rosa Serra Rotés, coordinadora de l'Àrea de Coneixement i Noves Tecnologies de la Diputació de Barcelona

• Pere Pugès, gerent de IESMED - cooperativa europea e innovació social

• Ethel Baraona, editora de arquitectura de dpr-bcn

• Esther Rovira, arquitecta

• Arianna Mazzeo, coordinadora de projectes europeus

• El equipo de directores del master (Marc Binefa + MauriOB) junto con el director de taller de Arquitectura Aplicada, Ricardo Devesa

 

Y con todo un grupo de estudiantes que hicieron historia! Enhorabuena a todos y gracias!