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[ES] En el presente trabajo de investigación se lleva a cabo, en primer lugar, una revisión del estado de la cuestión en cuanto a arquitectura escolar se refiere. Para ello, se realiza una revisión histórica de la arquitectura destinada a la docencia, llegando hasta la arquitectura contemporánea en el ámbito escolar. Asimismo, se profundiza en la figura de Herman Hertzberger, arquitecto holandés que entiende arquitectura y educación como dos disciplinas inseparables, asumiendo la complementariedad de estas y entendiendo que la arquitectura es un instrumento pedagógico de importancia trascendental. Posteriormente, se presenta a la médica y pedagoga italiana María Montessori, así como el método educativo Montessori al que Herman Hertzberger se encuentra íntimamente ligado. Sobre una sólida base de pensamiento basada en las ideas de MªÁngeles Durán, Dolores Hayden y Anna Puigjaner entre otras, se emprende un análisis desde la perspectiva de género de las escuelas Montessori de Hertzberger. En dicho análisis de profundiza en las herramientas y recursos arquitectónicos mediante los cuales el holandés implanta de forma brillante en sus escuelas conceptos como el cuidado, lo público, lo privado y lo doméstico. Posteriormente, en base al análisis desarrollado, se genera un método de evaluación mediante marcadores que permite analizar otros espacios educativos desde la perspectiva de género. Finalmente, este será aplicado en un caso de estudio en la ciudad de Valencia., [EN] This research provides, in the first place, information of the current status of school's architecture. To this end, a historical review of architecture for teaching purposes is carried out, including contemporary architecture. Furthermore, the figure of Herman Hertzberger is introduced, as he is a Dutch architect who has understood the binomial architecture-pedagogy as indissoluble, assuming the complementarity of these two and understanding that architecture is a teaching instrument of transcendental importance. Subsequently, the Italian doctor and pedagogue Maria Montessori is presented, as well as the Montessori educational method to which Herman Hertzberger is closely linked. On a solid basis of thought based on the ideas of MªÁngeles Durán, Dolores Hayden and Anna Puigjaner among others, an analysis of Hertzberger's Montessori schools is undertaken from the gender perspective. In the above-mentioned analysis the architectural tools and resources through which the Dutchman brilliantly implements concepts such as care, public, private and domesticity in his schools are documented in depth. Based on the analysis developed, an evaluation method is generated using markers that allow other educational spaces to be analysed from a gender perspective. Finally, the evaluation method is applied in a case study in the city of Valencia, Spain., [CA] En el present treball de recerca es duu a terme, en primer lloc, una revisió de l'estat de la qüestió en quant a arquitectura escolar es refereix. Per a això, es realitza una revisió històrica de l'arquitectura destinada a la docència, arribant fins a l'arquitectura contemporània en l'àmbit escolar. Així mateix, s'aprofundeix en la figura de Herman Hertzberger, arquitecte holandés que ha entés el binomi arquitectura-pedagogia com a indissoluble, assumint la complementarietat d'aquestes i entenent que l'arquitectura és un instrument pedagògic d'importància transcendental. Posteriorment, es presenta a la metgessa i pedagoga italiana María Montessori, així com el mètode educatiu Montessori al qual Herman Hertzberger es troba íntimament lligat. Sobre una sòlida base de pensament basada en les idees de MªÁngeles Durán, Dolores Hayden i Anna Puigjaner entre altres, s'emprén una anàlisi des de la perspectiva de gènere de les escoles Montessori de Hertzberger. En aquesta anàlisi d'aprofundeix en els recursos arquitectònics mitjançant els quals l'holandés implanta de manera brillant a les seues escoles conceptes com la cura, l'àmbit públic, el privat i la domesticitat. Posteriorment, sobre la base de l'anàlisi desenvolupada, es genera un mètode d'avaluació mitjançant marcadors que permet analitzar altres espais educatius des de la perspectiva de gènere. Finalment, aquest serà aplicat en un cas d'estudi a la ciutat de València.

INDESEM has always been an explosion of one week of learning without education. Students themselves are responsible for everything and it is them who make sure that the technical and academic staff warm to the idea of breaking plenty of rules for a week. And you should see what happens when you do! Work continues into the early hours and the building is turned inside out to get at its hidden qualities. The daily routine is disrupted and the cleaners are made aware of their importance. Each time a group of students comes together to perform the task of getting this event off the ground, their own regular studies are largely ignored for the duration. It is only much later that they realize just what they have received in return when, after their studies, it transpires that designing and realizing a building demands a comparable attitude where it is again all down to anticipating, deliberating, seeking out conditions, making (and keeping) appointments.Those taking part come from all over the world, perhaps initially attracted by names and by the Netherlands, but also by the thrill of actually being able to meet and talk with so many others who are in the same boat. The task is no more than a pretext and catalyst for getting into contact with others and discussing with them. The results are merely conceptual models of thinking. The performance that needs generating is to get a group of complete strangers to formulate and present an idea and go on to defend it against all others. In this way, the idea of INDESEM is inciting glimpses of an alternative way of learning, directed to thinking instead of just cultivating external attractiveness. And it deserves to be continued in some way to point at what might be a lesson for the regular education.

RESUMEN Herman Hertzberger pertenece a ese grupo de arquitectos que, desde comienzos del siglo XX hasta nuestros días, han entendido el binomio arquitectura–pedagogía como indisoluble, como dos disciplinas complementarias en el proceso de aprendizaje que recrean un modelo de sociedad y, por ende, del espacio donde esta se desarrolla. Hertzberger entiende la arquitectura como instrumento pedagógico y como oportunidad esencial para la configuración de un espacio de relación. Su obra nos desvela una preocupación máxima por el usuario, por los valores colectivos, en un entendimiento de la arquitectura como soporte de libertad, cuyo antecedente inmediato fue el ideario de su maestro Aldo van Eyck. Pero es en su arquitectura escolar donde esto se observa de forma más radical. A través de los numerosos proyectos realizados vinculados a la educación, se recorren todas las etapas de aprendizaje del hombre desde la infancia hasta la universidad, en los cuales se desarrolla un amplio repertorio de estrategias proyectuales vinculadas a la Escuela Activa como modelo de aprendizaje y más concretamente al Método Montessori. Su dilatada obra vinculada a la enseñanza le permite ensayar en todos los registros posibles la idea de un edificio como ciudad, difuminando los límites entre espacios privados y públicos en todas las escalas entre la escuela y su entorno, en un recorrido que va del aula a la ciudad. SUMMARY Herman Hertzberger belongs to a group of architects that understand the architecture-pedagogy binomial as indissoluble. Ever since the beginning of the 20th Century, they have embraced the complementarity of these two disciplines in the educational world, and have revealed the way architecture and pedagogy collaborate through the recreation of a model for society and therefore influence the place where education takes place. In this context, Hertzberger understands architecture as a pedagogical tool as well as an opportunity for the configuration of a space for interaction. Hertzberger´s work confirms a commitment with the child as the centre of the learning process. Moreover, the architect demonstrates major interest in collective values, together with an understanding of architecture as a basis-foundation for freedom. His direct precedents are the ideas of his teacher, Aldo van Eyck. However, it is in his educational architecture where these can be radically observed. The numerous projects that he has designed cover all the phases of the educational process: from those of early childhood to university studies. In these projects he has developed a wide repertoire of design strategies linked to the Active school and the Montessori Method. His extensive work allows him to try out the full scope of the idea of a building being like a city, by blurring the limits between public and private space, the school and its environment, in a journey that crosses from the classroom to the city.

L'apropiació de l'espai és el que fa aparèixer l'esdeveniment al cos que és l'obra arquitectònica. Si cos és continent i esdeveniment és contingut, l'apropiació de l'espai és el que es troba entre els dos, és l'acció. L'acció pot prendre infinites formes, unes vegades previsibles i altres no. Que existeixin accions imprevisibles significa que existeix l'atzar, el canvi, l'adaptació, la diversitat i el desenvolupament de la persona i del seu entorn. Com que les formes que poden prendre les accions són infinites és difícil explicar el que és i pot arribar a ser una obra arquitectònica mitjançant la representació gràfica d'aquestes. Per aquest motiu he pres la decisió en aquest treball d'analitzar una obra de cadascun dels tres arquitectes (Giancarlo De Carlo, Aldo van Eyck i Herman Hertzberger) a través del cos i de l'esdeveniment, per a fer-los explícits i per a que, a través d'aquesta separació s'entengui el seu nexe, que és l'apropiació dels espais. A esdeveniment explico les possibilitats d'aquests espais de ser viscuts a través de les relacions entre els recorreguts, els accessos, els intersticis, els llindars, el dins, el fora. Mirant simultàniament els dos, un pot fer una lectura simultània del cos i l'esdeveniment per a fer possible l'apropiació de l'espai no només és anàlisi sinó eina de projecte.

In the sixties, the journal Forum voor Architectuur en Daarmee Verbonden Kunsten becomes the media employed by the Dutch wing of Team 10 to lecture on and spread the new architectural theories developed after the dissolution of C.I.A.M. Aldo van Eyck and Jaap Bakema head the editorial board in between 1959 and 1967. The editorial approach gravitates towards the themes defended by these young architects in the last meetings of the International Congresses of Modern Architecture, accompanied by the analysis of works of architecture that, in the editorial board’s opinion, give a correct response to the epoch’s needs. Moreover, the permeability and cross-sectional nature of the content, bring the editors’ board closer to the European architectural, cultural and artistic avant-garde. Thus, it is appreciated that similar theoretical assumptions than the ones that gave support to the different revolts that happened in Paris, London and Amsterdam between 1966 and 1968 underlie in great part of the journal’s writings. Its content is aligned parallel to the revolutionary phenomenon, contributing tosome degree to it. Herman Hertzberger, a young architect who worked for years as a part of the editorial board, was highly influenced by the contents of the journal. His later dedication to education as professor atDelft University of Technology, and hisassociation with Dutch Structuralism as well, turn him a key figure to study, because of the determining role of Forum’s acquired knowledge in his future professional activity.The proposed study pretends, first, to accentuate the content of Forum voor Architectuur en Daarmee Verbonden journal where the approach to the avant-gardes is produced, reflecting on the impact it had on the imagery of Herman Hertzberger based on his diverse contributions to the journal. Furthermore, it is aimed to stress the role of the cross-sectional nature architectural magazines in the transmission and contribution to the cultural and artistic avant-garde in the Sixties.

En 1968, Herman Hertzberger comienza el proyecto para Centraal Beheer, influido por las tendencias artísticas y culturales de la época. El concepto de espacio–soporte surge en este contexto fuertemente vinculado a la idea de la ciudad tradicional como marco estable capaz de soportar distintas interpretaciones a lo largo del tiempo y catalizador de las relaciones cotidianas entre el ser y el entorno. Centraal Beheer se considera un ejemplo de espacio–soporte, ya que la estrategia de proyecto de reproducción de las condiciones de habitabilidad de la ciudad tradicional persigue una mayor implicación del usuario en la personalización del espacio y se rige por una clara diferenciación de la forma arquitectónica y la sucesión de acontecimientos. Su funcionamiento se evalúa mediante la aplicación de la técnica de la deriva y la psicogeografía, concebidas inicialmente por la Internacional Situacionista para redescubrir el entorno urbano como un espacio–soporte, en las que el factor tiempo y el papel protagonista de las personas son también determinantes. El artículo busca demostrar cómo el bagaje estructuralista de Herman Hertzberger permite entender la réplica urbana de Centraal Beheer como un espacio–soporte desde una perspectiva antropológica y epistemológica. Por medio de una colección de textos, fotografías y croquis, la hipótesis se demuestra en un estudio de naturaleza transversal que se nutre de investigaciones coetáneas desarrolladas en campos como la arquitectura, el arte, la lingüística o la sociología. In 1968, Herman Hertzberger starts the project for Centraal Beheer inspired by the artistic and cultural trends in the sixties. It is in this context that the support–space concept, strongly linked to the idea of the traditional city, arises as a framework able to bear diverse interpretations throughout time and catalyst for the everyday relationships between the individual and the surroundings. Centraal Beheer is considered an example of a support–space building, up to the extent that the project’s strategy of reproducing the traditional city habitability conditions implies a greater user involvement in the space configuration while it is subject to a clear distinction between the architectural form and the sequence of events. Centraal Beheer’s functioning is assessed through the application of the dérive technique and psychogeography, which was initially conceived by Situationist International to rediscover the urban “milieu” as a support–space in which the time factor and the leading role of the user are also determinantal. This article aims to demonstrate how Herman Hertzberger’s structuralist background allows us to understand the urban replica of Centraal Beheer as a support–space from an anthropological and epistemological perspective. It is by means of a collection of texts, pictures, and unpublished sketches, that the hypothesis is demonstrated in a cross–sectional study nourished by coetaneous researches into fields such as architecture, art, linguistics or sociology.

En: Constelaciones. ISSN. 2340-177X. n. 6, 2018, pp 33-47 En la década de los sesenta, el trabajo de un conjunto de arquitectos neerlandeses se engloba bajo la terminología de Estructuralismo Holandés. La falta de una cohesión interna, así como las divergencias entre los distintos autores, han dado lugar a una lectura de su obra desde una perspectiva puramente arquitectónica, quedando relegados así, aspectos característicos de las ciencias sociales que se consideran de vital importancia para la correcta comprensión de algunos de los edificios y escritos. El impulso que este tema ha recibido en los últimos años se ha enfocado estrictamente en la vertiente compositiva, por lo que se considera imprescindible una revisión de los principios teóricos e influencias, con marcado carácter transversal, que siente los cimientos para futuras evaluaciones. Para ello, se tomará como referencia la obra escrita de uno de estos autores, Herman Hertzberger, que resulta clave por lo propositivo de sus aseveraciones y razonamientos. Un estudio comparativo de las teorías estructuralistas desarrolladas en otros campos, como la lingüística o la antropología, y los conceptos empleados por Hertzberger, no sólo demuestra la correspondencia real, sino también nos permite evaluar en qué medida el arquitecto neerlandés contribuyó al estructuralismo holandés. In the sixties, several Netherlander architects produced work identified as Dutch Structuralism. A lack of internal cohesion and divergences among the different authors, have led to a reading of their work from a more purely architectural perspective, with some of the aspects that are characteristic of the social sciences, being relegated to a less relevant position. Those aspects, are however, considered of the utmost importance to correctly comprehend some of the buildings and writings. Since the boost that this subject has received in the last years has been strictly focused on the compositional side, it is considered imperative that a transversal-nature review of the theoretical principles and influences is made, to provide the basis for future assessments. For that purpose, Herman Hertzberger’s written work is taken as a reference, whose results are key because of his propositional asseverations and reasoning. A comparative study of the structuralist theories developed in other fields, such as linguistics or anthropology, and the concepts employed by Hertzberger, not only demonstrates the actual correspondence, but also allows us to assess to what extent he contributed to Dutch Structuralism.

"Piensa en las escuelas y, por lo general, siguen conjurando visiones de aulas con pizarras y maestros haciendo todo lo posible por hacer que los niños los vean un poco más sabios" (Hertzberger, 2008) La filosofía de enseñanza Montessori, pretende hacer del profesor un acompañante para los alumnos en su propia búsqueda del aprendizaje. Estas pautas de una enseñanza más libre para el alumno, son cada vez aplicadas en más centros escolares, en cierta medida, sean o no seguidores de esta pedagogía, puesto que son los principios hacia los que está evolucionando la enseñanza hoy en día. Este trabajo propone analizar la arquitectura escolar de los centros basados en la enseñanza Montessori, con el fin de estudiar los modelos realizados por el arquitecto holandés Herman Hertzberger en vistas a la búsqueda de cierta arquitectura en modelos de barrio visitados en la ciudad de Cracovia. Estas escuelas de barrio son capaces de hacernos ver cómo cualquier entorno puede ser válido para realizar una misma actividad, a la vez que marcarnos la gran diferencia entre el uso de un espacio en el que se ha cuidado su arquitectura en vistas a la enseñanza, y otro que parece haberse intentado adaptar a ella sin un esfuerzo en su arquitectura. Una escuela puede hacer ciudad, participando de ella y haciéndola participar en ella. Mediante una arquitectura meditada, podemos cambiar el carácter de un alumno, un aula, un patio y de todo un barrio. "Think of schools and usually it still conjured up visions of classrooms with blackboards and teachers in front doing their best to make the children facing them a little wiser" (Hertzberger, 2008) The philosophy of the Montessori teaching method, aims to make the teacher a partner for students in their own quest for learning. These guidelines of a free education for students, are increasingly applied in more schools, to some extent, whether or not fans of this pedagogy, since they are the principles to which is evolving the education today. This work proposes to analyze the school architecture of the centres based on Montessori education, in order to study the models made by the Dutch architect Herman Hertzberger with the intention of looking for some architecture in the neighborhood models visited in the city of Krakow. These neighborhood schools are able to make us see how any environment can be valid for the same activity, at the same time of highlighting us the great difference between the use of a space carefully created for teaching, and another one that seems to have tried to adapt to it with no effort on its architecture. A school can make city, participating in it and making it participate from itself. Through a good architecture, we can change the character of a student, a classroom, a playground and all of a neighborhood. Universidad de Sevilla. Grado en Fundamentos de Arquitectura

Projektet utgår ifrån en frågeställning om hur skolbyggnaden i sig kan stimulera till lärande och nyfikenhet. Det finns flera sätt som detta kan utföras på, men det här projektet fokuserar på hur detta kan utföras genom utformning av rumsligheter. Inspirationen kommer huvudsakligen ifrån spelmiljödesign och från arkitekten Herman Hertzberger och hans bok "Space and Learning". Byggnaden består av ett program för en mellan- och högstadieskola, som är distribuerat på ett sätt som gör det utmanande att orientera sig. Rummen är utplacerade som kuber med helt eller delvis massiva väggar. De binds samman av en glasfasad, och mellanrummet som skapas blir en yta av öppen aktivitet och där intressanta rumsligheter skapas. En annan metod för att stimulera och väcka nyfikenhet är att skapa siktlinjer. De är horisontella: genom glaspartier i väggarna, och vertikala: genom öppningar i bjälklaget. Tanken är att eleverna allt eftersom de utforskar och lär känna sin skola också lär sig hitta, inte bara till sina klassrum eller toaletterna, utan också till spännande vrår och rumsligheter som skapas i mellanrummen. Det blir en kontrast mellan rummen; där aktiviteten är styrd av lärare och läroplanen, och ytorna i mellan där aktiviteten inte är styrd utan skapas av eleverna själva. This project is grounded in a question about how a school building in itself can stimulate learning and curiousity. There are many ways of which this can be executed, but this project focuses on spatial design. Inspiration comes mostly from environmental design in games and from the architect Herman Hertzberger and his book "Space and Learning". The building consists of a program for middle school and junior high school, and is distributed in a way that makes orientation intentionally hard. The rooms are placed as cubes with massive or partly massive walls. They are connected by a glass facade, and the space between becomes place for interesting spatialities. Another method for creating stimulation and curiousity is sightlines. They are horizontal: in the shape of glass walls, and vertical: by openings in the floor structure. The idea is that the students, by exploring and getting to know their school, also learns to find not only their classrooms or lavatories, but also those nooks and crannies that is formed in the in between space. There becomes a contrast between the rooms: where the activities are ruled by teachers and the curriculum, and the in between spaces: where the activity is free and formed by the students themselves.

Herman Hertzberger pertenece a ese grupo de arquitectos que, desde comienzos del siglo XX hasta nuestros días, han entendido el binomio arquitectura–pedagogía como indisoluble, como dos disciplinas complementarias en el proceso de aprendizaje que recrean un modelo de sociedad y, por ende, del espacio donde esta se desarrolla. Hertzberger entiende la arquitectura como instrumento pedagógico y como oportunidad esencial para la configuración de un espacio de relación. Su obra nos desvela una preocupación máxima por el usuario, por los valores colectivos, en un entendimiento de la arquitectura como soporte de libertad, cuyo antecedente inmediato fue el ideario de su maestro Aldo van Eyck. Pero es en su arquitectura escolar donde esto se observa de forma más radical. A través de los numerosos proyectos realizados vinculados a la educación, se recorren todas las etapas de aprendizaje del hombre desde la infancia hasta la universidad, en los cuales se desarrolla un amplio repertorio de estrategias proyectuales vinculadas a la Escuela Activa como modelo de aprendizaje y más concretamente al Método Montessori. Su dilatada obra vinculada a la enseñanza le permite ensayar en todos los registros posibles la idea de un edificio como ciudad, difuminando los límites entre espacios privados y públicos en todas las escalas entre la escuela y su entorno, en un recorrido que va del aula a la ciudad. Herman Hertzberger belongs to a group of architects that understand the architecture-pedagogy binomial as indissoluble. Ever since the beginning of the 20th Century, they have embraced the complementarity of these two disciplines in the educational world, and have revealed the way architecture and pedagogy collaborate through the recreation of a model for society and therefore influence the place where education takes place. In this context, Hertzberger understands architecture as a pedagogical tool as well as an opportunity for the configuration of a space for interaction. Hertzberger´s work confirms a commitment with the child as the centre of the learning process. Moreover, the architect demonstrates major interest in collective values, together with an understanding of architecture as a basis-foundation for freedom. His direct precedents are the ideas of his teacher, Aldo van Eyck. However, it is in his educational architecture where these can be radically observed. The numerous projects that he has designed cover all the phases of the educational process: from those of early childhood to university studies. In these projects he has developed a wide repertoire of design strategies linked to the Active school and the Montessori Method. His extensive work allows him to try out the full scope of the idea of a building being like a city, by blurring the limits between public and private space, the school and its environment, in a journey that crosses from the classroom to the city.

Esneklik, önceden tahmin edilemeyen olası değişimler karşısında yapının bu değişimleri karşılayabilmesini sağlayan bir tasarım yaklaşımıdır. Günümüzde teknolojik gelişmeler, eğitim sistemlerinde yaşanan hızlı değişimler gibi nedenler eğitim felsefelerinin ve bunlara bağlı olarak öğrenme çevrelerinin değişebilir olmasını, yaşanabilecek değişimlere uyum sağlayabilmesini gerekli hale getirmiştir. Bu durum eğitim yapılarının organizasyonunda esneklik kavramının önemini daha da arttırmaktadır. Eğitim yapıları konusunda kuramsal ve uygulama alanında yapılan araştırmalar okullarda fiziksel çevrenin önemini ortaya koyar niteliktedir. Yapılan çalışmaların çoğu eğitim ortamlarının eğitim verimliliği üzerindeki etkisini vurgulamaktadır. Eğitim yapıları konusunda önemli çalışmalar yapan Prof. Dr. Herman Hertzberger, 1960'lı yıllardan itibaren ürettiği okul ve konut projelerinde kullanıcıyı öne çıkararak, kullanıcının mekanla ilişkisinde aradan çekilme taraftarı olmuştur. Hertzberger tasarladığı okul projelerinde açık uçlu çözümler ve kullanıcıyı merkeze alan bir tasarım yaklaşımı benimseyerek mimar ile kullanıcının birbirini yorumlaması ve birbiriyle iletişim kurarak varlık göstermesini sağlamış ve bu sayede esnek çözümler üretmiştir. Bu çalışma kapsamında Herman Hertzberger' in okul yapılarındaki tasarım yaklaşımı esneklik bağlamında irdelenmiş ve esnek tasarım anlayışı doğrultusunda oluşturulan okulların analizleri ile yeni tasarımlara ışık tutacak çıkarımlar yapılmıştır.

En los sesenta, el debate acerca de la ciudad gira en torno a la crítica del modelo funcional desarrollado durante la primera mitad del siglo XX. El Team 10, uno de los grupos más críticos, defiende una revisión de las formas urbanas tradicionales para dar respuesta a los problemas de falta de identidad y de desarraigo. Herman Hertzberger, vinculado al Team 10 a través de Aldo van Eyck y Jaap Bakema, plantea un modelo arquitectónico que toma la ciudad tradicional y sus relaciones como referencia. La representación de una ciudad como un paisaje en Centraal Beheer, por medio del uso de ciertos mecanismos compositivos, permite su percepción como un verdadero espacio urbano. El uso social que se promueve vincula la obra de Hertzberger con la ideología de la Internacional Situacionista, consiguiéndose a través de la ‘deriva’ no sólo incentivar su apreciación como una ciudad, sino también forzar al usuario a tomar una actitud activa que le permita reafirmarse en el lugar. Por medio del presente artículo se pretende analizar los mecanismos de proyecto que introducen la realidad del paisaje urbano en Centraal Beheer así como las consecuencias de su implantación sobre los usuarios. Este estudio se apoya en una selección de textos, fotografías y croquis inéditos pertenecientes a distintas fases del proyecto, que contextualizan Centraal Beheer en torno al concepto del paisaje urbano y demuestran la reciprocidad entre las ideas generadoras y el objeto construido. In the sixties, the discussion about city is centred on the critique of the functional model developed during the first half of the twentieth century. Team 10, one of the most critical groups against this model, defends a revision of the traditional urban forms to give response to the lack of identity and the uprootedness problems. Herman Hertzberger, linked to Team 10 through Aldo van Eyck and Jaap Bakema, develops an architectural model that takes the traditional city and its relationships as reference. The representation of a city as a landscape in Centraal Beheer, by using certain compositional mechanisms, allows its understanding as a real urban space. The social use that is promoted links Hertzberger’s works with the International Situationist ideology, achieving through the ‘drifting’ not only to encourage the city’s image, but also to force the user to have an active attitude that permits his reaffirmation in the site. The aim of the present article is to analyse the project mechanisms that introduce the reality of urban landscape in Centraal Beheer as well as the consequences of their implementation on the users. This study is supported by a selection of texts, photographs and unpublished sketches corresponding to diverse phases of the project that set Centraal Beheer in a context around the urban landscape concept and demonstrate the reciprocity between the generating ideas and the built object.

[EN] The concrete block fi rst saw the light of day around the middle of the nineteenth century, when it began to be produced both in Great Britain and the United States. Although the fi rst patents for solid blocks date back to the beginnings of this century, the fi rst hollow blocks did not appear until 1850, when they began to be produced by Englishman Joseph Gibbs.1 Other patents followed in quick succession, mostly involving isolated experiments that never became standardised or entered into mass production. The evolution of this new material did not really take off until the arrival of other technologies such as Portland cement at the turn of the century., [ES] El bloque hueco de hormigón nace a mediados del siglo XIX como una alternativa económica al sillar de piedra natural. Con tan humilde origen, el bloque se ennoblece poco a poco de la mano de célebres arquitectos como Frank Lloyd Wright, primero, o Louis I. Kahn, Aldo van Eyck y Herman Hertzberger, después. El presente artículo recorre el camino que dignifica el bloque de hormigón desde su inicial carácter imitativo hasta su normalización constructiva; para atribuirle finalmente, reducido ya a su forma esencial, funciones relevantes e incluso simbólicas.

This paper has been developed as part of the research activities linked to the contract funded by the Spanish Ministry of Science, Innovation and Universities within the project Smart Architectural and Archeological Heritage. Instrumentos y Estrategias de Innovación para la Integración de la Gestión Patrimonial, Turística y Paisajística (HAR2016-79757-R). In the sixties, the journal Forum voor Architectuur en Daarmee Verbonden Kunsten becomes the media employed by the Dutch wing of Team 10 to lecture on and spread the new architectural theories developed after the dissolution of C.I.A.M. Aldo van Eyck and Jaap Bakema head the editorial board in between 1959 and 1967. The editorial approach gravitates towards the themes defended by these young architects in the last meetings of the International Congresses of Modern Architecture, accompanied by the analysis of works of architecture that, in the editorial board’s opinion, give a correct response to the epoch’s needs. Moreover, the permeability and cross-sectional nature of the content, bring the editors’ board closer to the European architectural, cultural and artistic avant-garde. Thus, it is appreciated that similar theoretical assumptions than the ones that gave support to the different revolts that happened in Paris, London and Amsterdam between 1966 and 1968 underlie in great part of the journal’s writings. Its content is aligned parallel to the revolutionary phenomenon, contributing to some degree to it. Herman Hertzberger, a young architect who worked for years as a part of the editorial board, was highly influenced by the contents of the journal. His later dedication to education as professor at Delft University of Technology, and his association with Dutch Structuralism as well, turn him a key figure to study, because of the determining role of Forum’s acquired knowledge in his future professional activity. The proposed study pretends, first, to accentuate the content of Forum voor Architectuur en Daarmee Verbonden journal where the approach to the avant-gardes is produced, reflecting on the impact it had on the imagery of Herman Hertzberger based on his diverse contributions to the journal. Furthermore, it is aimed to stress the role of the cross-sectional nature architectural magazines in the transmission and contribution to the cultural and artistic avant-garde in the Sixties. Innovación para la Integración de la Gestión Patrimonial, Turística y Paisajística (HAR2016-79757-R) info:eu-repo/semantics/publishedVersion