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In 1923, H.P. Berlage travelled to the Dutch East Indies. When he published his book about the journey, Mijn Indische Reis (Berlage 1931), he included only 36 of the 60 drawings - almost all originally in color but printed in black and white. The original drawings, preserved at the Nederlands Architectuurinstituut, the Dutch Institute of Architecture, were published in part by this institution under the title De indische reis van H.P. Berlage (Berlage & Molenaar 1993) in a box with 46 color reproductions on laid paper. The drawings of the trip included in this article correspond to this latter work. They are apparently very simple drawings, almost all produced with colored chalk, with a freedom and stroke fluidity that contrasts considerably with his “canonical" drawings which, despite their extraordinary quality, are conventional. [ABSTRACT FROM AUTHOR]

This paper examines the use of little models in the pedagogy of teaching Graphic Expression, notably in the Analysis of Architectural Forms. In order to verify the effectiveness of this already tested method, the authors expound several processes of making models from some twentieth century architects, contrasting the opinion on analytical models from various authors, and simultaneously relating the making of models in architecture and in other contemporary art objects. [ABSTRACT FROM AUTHOR]

In this paper we address the academic curriculum in architecture during the postwar period in Spain. The autarkical regime established in those years implied the isolation of Spanish architecture regarding international cultural trends. Simultaneously, the new political regime turned its back on the modern architecture of the previous decade, associated to some extent with the Republic. Alternatively, it promoted an architecture that inquired into the historical styles of the past. In this context, we take a look at the training received by two architects from Alicante at the Architecture School of Madrid during those years (1942-1953): Francisco Muñoz Llorens and Juan Antonio García Solera. Through their drawings and experiences, as well as based on specialized journal reviews, we can attain a better understanding of the academic curriculum followed by the Spanish architecture students of that period. [ABSTRACT FROM AUTHOR]

The article reviews the work of Emilio Pérez Piñero, a designer of unfolding structures and geodesic domes, who leaped directly from isolated, impoverished Spain to the international forefront of technological development and tragically a few years after. The paper describes the main aspects of Piñero's work and explains how his foldable, movable structures embody some key issues of the architecture of the nineteen-sixties, anticipating a number of proposals joy Rayner Banham, Ron Herron or Peter Cook. [ABSTRACT FROM AUTHOR]