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[EN] This research aims to analyse the development of a multiculturalist discourse in European post-war architecture (1950s-1960s). It focuses on the work of the Dutch architect Aldo van Eyck (1918-1999), who built his theoretical framework by merging modern architecture, pre-war avant-garde and the artistic production of non-Western cultures. The Otterlo Circles, presented by Van Eyck during the last CIAM (1959), were an attempt to synthesize a complex design methodology based on a concept of time inherited from James Joyce. After introducing the post-war architectural context of his time, we take the writings of Carola Giedion-Welcker, Van Eyck¿s mentor in Zurich, as a starting point for a conceptual analysis of his essays. The three official versions of the Otterlo Circles are then presented, suggesting an unofficial fourth version: Van Eyck¿s house in Loenen aan de Vecht, which will be interpreted as a Collection of experiences-objects-memories. The house and its objects will be used as an initial step to unpack how global travel and art collecting sustained a non-universalist view which gave rise to a profound reconceptualization of architecture. By using the Otterlo Circles, Van Eyck¿s work appears as the result of a reconciliation of many different cultures, discovered through travels and reading. The keys to understanding his designs are to be found in his house, in the multicultural Collection of objects and strategies he used to build his personal discourse. Following this research, Van Eyck¿s own house stands out as a necessary place to start any analysis of his work. This research, for the first time, attempts a conceptual explanation of the Otterlo Circles, exploring its theoretical implications for architectural design. Moreover, it develops a novel analysis of his home in Loenen, not only as an architectural project, but as a device intersecting with objects, inhabitants and spatial concepts, a holistic approach to the analysis of domesticity., This research has been funded with a Predoctoral Fellowship by the Department of Education, Research and Culture of the Valencian Community. The collaboration of the Aldo and Hannie van Eyck Foundation, especially through Tess van Eyck (head), has also been essential to access the documents and the architect's own home.

Objetivo En un momento de intensa actividad en la reformulación de la arquitectura escolar, el colegio Nuestra Señora del Recuerdo de Luis Laorga incorporó avances en la tipología de acuerdo a las nuevas necesidades pedagógicas y destacó como una obra ejemplar de arquitectura. La investigación pretende identificar los valores y aportaciones de este edificio, así como determinar su relevancia en la historia de la arquitectura española. Metodología Este trabajo sitúa la obra en su contexto histórico, analiza en detalle el edificio a partir de la documentación original de la obra y determina su repercusión a través de su aparición en publicaciones de arquitectura de la época. Conclusiones Si bien el proyecto partió de patrones racionalistas, añadió aportaciones particulares que contribuyeron al desarrollo de la tipología escolar. Esta obra se convirtió en una referencia para proyectos posteriores gracias a su difusión a través de las revistas especializadas que equipararon por primera vez una escuela española a los ejemplos de vanguardia internacionales. Originalidad El colegio de Laorga, aunque fue valorado en el momento de su construcción, ha sido poco atendido por la historiografía, principalmente como consecuencia de su demolición. Por tanto, se considera valioso el estudio en detalle de este proyecto, para rescatar sus aportaciones y valores como obra arquitectónica. Este artículo no sólo se dirige a investigadores sino también al conjunto de los arquitectos por la vigencia de su valor como proyecto arquitectónico. Objetiu En un moment d'intensa activitat en la reformulació de l'arquitectura escolar, el colegi Nuestra Señora del Recuerdo de Luis Laorga va incorporar avanços en la tipologia d'acord a les noves necessitats pedagògiques y va destacar com una obra exemplar d'arquitectura. La investigació pretén identificar els valors i aportacions d'aquest edifici, així com determinar la seva rellevància en la història de l'arquitectura española. Metodologia Aquest treball situa l'obra en el seu context històric, analitza en detall l'edifici a partir de la documentació original de l'obra i determina la seva repercussió a través de la seva presència en publicacions d'arquitectura de l'època. Conclusions Si bé el projecte va partir de patrons racionalistes, va afegir aportacions particulars que van contribuir al desenvolupament de la tipologia escolar. Aquesta obra es va convertir en una referència per projectes posteriors gràcies a la seva difusió a través de les revistes especialitzades que van equiparar per primera vegada una escola espanyola als exemples de vanguàrdia internacionals. Originalitat El Colegio de Laorga, encara que fou valorat en el moment de la seva construcció, ha estat poc atès per la histografia, principalment com a conseqüència de la seva demolició. Per tant, es considera valuós l'estudi en detall d'aquest projecte, per rescatar les seves aportacions i valors com obra arquitectònica. Aquest article no només es dirigeix a investigadors, també al conjunt dels arquitectes per la seva vigència del seu valor com a projecte arquitectònic. Objective Nuestra Señora del Recuerdo School designed by Luis Laorga synthesizes the common concerns of school architecture at a moment of intense activity in the study of typology and it stands out as an exemplary work as well. The research identifies the values and contribution of this building and determines its relevance in the history of the Spanish architecture. Methodology This work places Nuestra Señora del Recuerdo School in its historical context, analyzes the building in detail using original documentation and determines its impact in the architecture journals of the period. Conclusions The project was created on the basis of rationalist patterns and offered particular concepts that contributed to the development of typology. This design became a point of reference for later projects due to its diffusion in specialized journals that, with these publications, put a Spanish school on the level of international vanguard for the first time. Originality Although the Laorga’s school building was valued in its time, it has not been enough heeded by historiography mainly as consequence of its demolition. Therefore, the study of this project in depth is considered proper to highlight its contribution as an architecture work. This paper is not only writing to researchers but also to all architects by the current validity of its architectural principles.

[EN] The work of Le Corbusier is a comprehensive exploration of urban and architectural solutions which show continuity relationships between city and building, architecture and environment, interior and exterior space throughout elements of integration and / or mediation used by the Swiss master like ramps, lower volumes, incoming and outgoing, open floor plans and thick facades. The Association Millowners Building (1954) located in the city of Almedabad in India, and the Carpenter Center for Visual Arts at the Graduate School of Design of Harvard (1961 to 1964) located in the city of Cambridge, in the United States, are two buildings that have some characteristics in common, like a basic volume, use of reinforced concrete, using similar facade elements and a projected ramp gives a recognizable and distinctive character of both buildings. Different authors compared the two buildings as Giedion 1967 or 1975 Frampton, and have stated that one has been based on the other. However, a comparative analysis verifies that although the ramp is the most obvious common element, it plays a very different role in the definition of urban relationships of each of the buildings with their immediate environment and the city. Moreover other elements configure crucial aspects in the relationship between the buildings and the urban space creating architectural solutions and interesting relations that are crucial for the definition of the relationship with the environment and the urban character of every building., [ES] La obra de Le Corbusier es una amplia exploración de soluciones urbanas y arquitectónicas que plantean relaciones de continuidad entre edificio y ciudad, arquitectura y entorno, espacio interior y espacio exterior: rampas, cuerpos bajos, entrantes y salientes, plantas libres y fachadas con espesor, son algunos de los elementos de integración y/o de mediación utilizados por el maestro suizo. El Millowners Association Building de 1954 ubicado en la ciudad de Almedabad en la India, y el Carpenter Center for Visual Arts de la Graduate School of Design of Harvard de 1961-1964 en la ciudad de Cambridge, en Estados Unidos, son dos edificios que presentan rasgos característicos en común: una volumetría básica, uso del hormigón armado visto, uso de similares elementos de fachada y una rampa que sobresale del edificio y que confiere a ambos un carácter reconocible y peculiar. Los dos edificios ya han sido puestos en relación por diferentes críticos como Giedion 1967, o Frampton 1975, e incluso se ha considerado uno como antecedente del otro. Sin embargo, un análisis comparativo permite verificar que aunque la rampa es el elemento común más evidente, éste juega un papel muy diferente en la definición de las relaciones urbanas de cada uno de los edificios con su entorno inmediato y con la ciudad. Y además que también, en la relación del edificio con la ciudad entran en juego otros elementos y soluciones arquitectónicas, que de manera solidaria, son determinantes definidores de su relación con el entorno y su carácter urbano.

In 1962 Umberto Eco published Opera aperta, an essaydevoted to the analysis of the relationship addresser – addresseethrough the artwork, in accordance with the philosophicalthought of the moment. The transfer to architecture,from a semantic perspective, did not take long to come,and several consequences of this new understanding ofthe discipline can be highlighted in the theoretical and thepractical fields. Driven by the economic and productiveconditions, works were ascribed to a systematic nature ofthe project, where the indeterminacy of form enlarged thestudy of its possibilities. This article analyses this fact throughthree case studies: The Venice Hospital project, by LeCorbusier and Guillermo Jullian de la Fuente, the Universityof Toulouse-Le-Mirail constructed by the team Candilis-Josic-Woods, and the Alison and Peter Smithson’s Kuwaiturban studies and government offices.