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Rem Koolhaas y Rafael Moneo son dos ejemplos de arquitectos que respaldan su práctica con teoría fundamentada en la investigación en torno al proyecto y la formatividad del objeto arquitectónico. Tomando como referencia el proyecto de la torre entre las calles 22 y 23 de OMA y los laboratorios de la Universidad de Columbia de Moneo, ambos para Manhattan, el objetivo es discernir los parámetros discursivos desde los que actúan ambos arquitectos y que plasman en sus escritos, mostrando métodos y campos de conocimiento desde los que desarrollan sus argumentos. La hipótesis que se demuestra es que el manhattanismo, la especulación teórica que desarrolla Koolhaas en Delirious New York (2004), proporciona referencias formales al proyecto, mientras que las claves teóricas que se desvelan en el proyecto de Moneo, se encuentran en sus textos Inquietud teórica y estrategia proyectual… (2004b) y Sobre la arbitrariedad en arquitectura (2005). Dichos escritos funcionan como subtextos de los proyectos. Del análisis en paralelo de los dos proyectos se concluye que el manhattanismo, teoría según la cual la arquitectura de los rascacielos de Manhattan se basa en parámetros pragmáticos y una envolvente de programas múltiples, se traduce en la torre de OMA en un programa icónico que, en su intento de ilustrar la teoría, entra incluso en contradicciones con esta. Por otro lado, el proyecto de Moneo resulta también una suerte de interpretación de parámetros pragmáticos de la situación encontrada y, sin embargo, se demuestra que la forma en absoluto carece de artisticidad y atributos que pertenecen al mundo subjetivo y fundamentos teóricos recurrentes del autor.

The Spanish Republican exiles in the United States have been forgotten in two senses: by Spanish historiography and by American historiography. This article aims to contribute to the reparation of this oblivion by exposing the work of recovery and transnational dissemination of the Golden Age theater carried out by the refugees who worked in the Spanish departments of Barnard College and Columbia University in New York. Systematic mining of the Barnard Bulletin and the Revista Hispánica Moderna, as well as exploration of the documentation preserved in the archives of these institutions, demonstrates that this collective, following in the wake of pre-Civil War cultural initiatives such as La Barraca, staged at least fifty-two productions of Golden Age theater between 1939 and 1975. The analysis of the documentation also illustrates that these productions, far from being aimed solely at university students, were enthusiastically supported by different sectors of the area's population (institutes, diplomats, refugees, Hispanic economic elites). Finally, the study concludes that female refugees were the main promoters of this theatrical enterprise. [ABSTRACT FROM AUTHOR]

This study explores the life experiences and empowerment of five emblematic undocumented Mexican domestic workers in New York City (NYC). Employing identity as a conceptual framework, we delve into the intricate aspects of the participants' lives, utilizing narrative inquiry and feminist methodologies to analyze the dynamics between their performative identities and the prevailing ideologies concerning undocumented immigrants. The narratives unveil feelings of rejection and exclusion among the participants in NYC. Additionally, the focus is on their efforts to challenge societal norms, resist dominant ideologies, and devise strategies for resistance. All five participants express a sense of empowerment derived from their experiences, enabling them to reconstruct their past and present themselves as resilient, proactive individuals, activists, and proficient English speakers. Ultimately, the findings demonstrate how the participants assert their narrative identities, reclaiming their subjectivities and subverting patriarchal norms by transcending conventional societal roles. [ABSTRACT FROM AUTHOR]

Copyright of Revista Internacional de Historia de la Comunicación (RIHC) is the property of Revista Internacional de Historia de la Comunicacion, Editorial Universidad de Sevilla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of VAD: Veredes, Arquitectura y Divulgación is the property of Alberto Alonso Oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Como hicieron Robert Venturi, Denise Scott Brown y Steven Izenour con Las Vegas; John Willson utiliza lo existente y su singularidad como hilo conductor. Abraza la realidad en lugar de negarla, y utiliza lo imprevisible como metodología de trabajo. Lo hace preguntándose en cada episodio sobre una temática concreta. En el segundo capítulo de la primera temporada (2020) de su serie documental How to… que se titula “¿Cómo montar un andamio?” se pregunta sobre la cantidad de andamios que hay en Nueva York y las causas de que esto sea así. Explica que en 1979 hubo un accidente donde una persona falleció a consecuencia de un desprendimiento de una fachada. Esta desgracia, tuvo como respuesta la aprobación de la Ordenanza municipal número 10 en 1980, y que, en 1998, se promulgara la Ley Local 11 que afecta aproximadamente a 16.000 edificios en toda la ciudad. En la teoría, un edificio con andamios está siendo inspeccionado o reparado activamente. En la práctica, en Nueva York, 285 andamios llevan “activos” más de 5 años. ¿Cómo se ha llegado a esta situación? ¿Qué efectos tiene esta materialización? El presente artículo propone dar respuestas a estas cuestiones.

Copyright of Cincinnati Romance Review is the property of University of Cincinnati, Department of Romance Languages & Literatures and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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El artículo explora las relaciones que se establecen entre proyecto museístico, colección y espacio a partir de tres ejemplos de museo bajo la misma firma: The Solomon R. Guggenheim Foundation. Analizar y comparar sus tres proyectos de Nueva York, Venecia y Bilbao como espacios destinados a la exposición de arte moderno y contemporáneo puede ayudarnos a entender las relaciones que, a partir de la segunda mitad del siglo XX y hasta la actualidad, se generan entre contenedor, contenido, espacio y colección, y su consideración de monumento contemporáneo.

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Copyright of Journal of Planning Education & Research is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Planning Education & Research is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nueva York se presenta como un caso de estudio ideal para los análisis de distritos culturales, pues a lo largo de todo el siglo xx las galerías de arte, entre otras instituciones, localizadas en la ciudad han conformado clústeres activos y muy representativos. En consecuencia, este artículo se propone analizar cuáles fueron y cómo se distribuyeron, tanto a nivel espacial como temporal, las distintas galerías neoyorquinas a lo largo del siglo xx desde una perspectiva macroscópica, observando las dinámicas de origen, desarrollo y desaparición de los clústeres galerísticos neoyorquinos, elucidando cuáles fueron sus principales focos.

The article focuses on the mobilization carried out by tenants living in a rent-stabilized building in NYC's Lower East Side. Their action was a central part of a large and successful struggle against the landlord, blocking his continuous attempts at eviction. The main research question is: what are the reasons of the success of this action? In other words: what has tipped the balance in favor of the tenants in a conflict in which the landlord clearly had stronger economic, political and power resources? The article argues that this success was highly based on the intersection of three main elements: the specific resources of the tenants, the organizational resources of the territory and the institutional and legal configurations. Moreover, the study considers these three levels closely interconnected and mutually influencing each other. Based on the direct observation of the mobilization, on semi-structured interviews and on biographical sources, the article aims to contribute to the understanding of the multifaceted dimensions of the fight against evictions. The article also aims to contribute, theoretically and methodologically, to a relational and interactionist approach both for the study of social movements and of gentrification and to strength the dialogue between the two fields. [ABSTRACT FROM AUTHOR]

Copyright of Revista Proyecto, Progreso, Arquitectura is the property of Proyecto, Progreso, Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article looks at Todd Haynes' Wonderstruck and explores the ways in which New York, as a cinematic city, is reshaped in the film through the eyes of children. Given the rich intertextual links that can be traced in Wonderstruck, the article situates the cinematic New York alluded to by the film--the city of the late 20s and the 70s--as a metropolis characterised by alienation. The child's gaze, in its unregulated and sensorial way of looking at the world, is argued to transform this image of an alienated New York into a rehumanised version of the city. Drawing on textual analysis, the article contends that New York is thus mapped, both literal and metaphorically, as a living entity and a place defined by the subjective experience of its people. In this process, the film negotiates the constructive links between urbanity and sense of place. [ABSTRACT FROM AUTHOR]

Las arquitecturas del juego infantil proponen nuevos usos del espacio público urbano. La intervención del arquitecto neoyorquino Richard Dattner con su “Adventure playground” (1967) en Central Park, crea un entorno de juego infantil desde la anarquía formal en la que los niños pueden imaginar modos propios de jugar. La propuesta de arquitecturas elementales que fomentan la aventura en los niños se oponía a la apatía heredada del diseño institucionalizado conservador. Unas estructuras enlazadas por un muro de hormigón ligeramente serpenteante definen espacios de estancia y juego creando una separación natural del ámbito de los niños y de los adultos. La concatenación de formas icónicas de juego infantil pretende coreografiar las experiencias personales de aprendizaje del niño. El proyecto de Dattner es la expresión arquitectónica de un programa de juegos audaz. Representa la actitud rebelde de los jóvenes arquitectos de ideología avanzada. Simboliza el cambio radical de pensamiento sobre el diseño del parque público infantil. Considera la necesidad de hacer partícipe a la comunidad en la fase de proyecto y también es una contribución a los movimientos de vanguardia artística que revindicaban el objeto específico de expresión mínima.

Este artículo se acerca a la literatura cubana del exilio y, en concreto, a la obra poética de las escritoras Nivaria Tejera (1929-2016) y Magali Alabau (1945). Tras plantearse un recorrido por diversas construcciones teóricas y reflexiones en torno a esta temática, a partir de autores como María Zambrano o Edward Said, entre otros, el trabajo se centra en el análisis de dos textos poéticos de cada una de estas escritoras, indagando en la construcción del espacio y, específicamente, de las ciudades de París (Tejera) y de Nueva York (Alabau) que aparece en estos textos. La tesis del artículo es la de concebir el exilio como un espacio singular, al que se refería Zambrano como “espacio sin lugar”.

Woody Allen is one of the directors who have worked the most the city on his filmography. New York City is an icon that defines his work. In order to know what the image he has projected of New York is, his urban work has been analyzed in a transversal way. The process consisted of breaking down the feature films into sequences and selecting those fragments of New York urban content. These sequences were analyzed from various perspectives: visual, oral, and narrative. The interpretation of the results leads to the conception of a coherent New York urban identity tale that goes through different stages in the director's filmography. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Hispánicos is the property of Wroclaw University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Rafael Orozco, profesor de lingüística española en la Universidad Estatal de Louisiana, EE.UU., es autor de este interesante volumen dedicado al estudio de las variables sociolingüísticas del español hablado en Colombia y en las comunidades colombianas en el extranjero. El estudio se centra en la variante costeña hablada en la ciudad de Barranquilla y la variante colombiana hablada en la ciudad de Nueva York. Este análisis comparativo hace parte de una investigación sociolingüística más amplia sobre el español de Colombia en los EE.UU. y se publica con motivo de los 100 años de la fundación del primer enclave colombiano en la ciudad de Nueva York.

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El presente artículo analiza la representación de la ciudad de Nueva York en la literatura vasca. Enmarcado dentro de los estudios imagológicos, se investiga cómo se ha transformado la imagen de la ciudad en diferentes obras de la literatura vasca a lo largo del siglo XX y principios del XXI. Para ello, se han tenido en cuenta aquellas obras donde la presencia de la ciudad es especialmente marcada, a saber, el poema Amerika de Emeterio Arrese, 110. Street-eko geltokia de Iñaki Zabaleta, New York New York y New Yorkeko kronika beltza, de Gotzon Garate, Piano gainean gosaltzen de Harkaitz Cano, Bilbao-New York-Bilbao de Kirmen Uribe y After Bansky de Eric Dicharry. Nueva York ha sido representada básicamente de dos formas harto dispares en la literatura vasca; por un lado, como imagotipo ideológico en Arrese, Zabaleta y Garate, y por otro, como imagotipo utópico en Cano, Uribe y Dicharry.

La soprano María Barrientos (*1884; †1946) fue una de las artistas españolas con mayor proyección internacional durante el primer tercio del siglo XX. A pesar de que al final de su vida se dedicó a la canción de concierto, María Barrientos estuvo vinculada a la ópera hasta la década de 1920, perteneciendo a las compañías más relevantes de la época y actuando en los principales teatros. En el presente trabajo ofrecemos un acercamiento a su debut en la Metropolitan Opera House de Nueva York, acaecido en el año 1916. La selección de este evento como objeto de estudio se debe a que significa la presentación musical de la diva española en uno de los espacios operísticos más relevantes y el punto inicial de su carrera norteamericana, caracterizada por las ovaciones del público, la aprobación de la crítica y un lugar destacado en la industria discográfica, tal como demuestran las fuentes hemerográficas consultadas.

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Copyright of VLC Arquitectura is the property of VLC Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Goya is the property of Fundacion Lazaro Galdiano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

New York City gathers one the highest concentrations of historic buildings built between 1860 to 1940 in the world, being one of the hubs for the modem architecture heritage. These buildings, some of them among the tallest, were built with design systems, materials and construction techniques which are no longer in use. The role of the preservation engineer combines the knowledge of the historic structures and buildings with the modem techniques of structural analysis and design. With the goal to maintain, adapt, and restore in the most respectful and efficient way the buildings which shapes the soul of New York City. This article aims to present the work of the preservation engineer with an introduction of the typology of the historic buildings most often found in the city, as well as exposing a brief regarding the restoration projects, the professionals, the goals, the funding, etc. Lastly two case studies ate exposed.

Reseña: «“Se conoce que usted es ‘Moderna’”: lecturas de la mujer moderna en la colonia hispana de Nueva York (1920-1940)» (2018), de María Teresa Vera-Rojas

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Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)