The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press

The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press

Throughout the twentieth century, international exhibitions – in any of their forms – becamebrief but significant moments in which architecture was at the center of societal attention.Their ephemeral nature puts the discipline in contact with the direct, immediate disseminationthat characterizes the...

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1. autor: Ruiz Colmenar, Alberto
Format: Online
Język:spa
Wydane: Facultad de Arquitectura, Universidad Nacional Autónoma de México 2020
Dostęp online:https://www.revistas.unam.mx/index.php/bitacora/article/view/72953
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spelling oai:ojs.pkp.sfu.ca:article-729532020-07-29T23:42:25Z The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press El pabellón de la España posible: Bruselas, 1958 y Nueva York, 1964 en la prensa no especializada española Ruiz Colmenar, Alberto International Exhibitions Non-Specialist Press Dissemination Spanish Architecture Twentieth Century exposiciones universales prensa no especializada difusión arquitectura española siglo XX Throughout the twentieth century, international exhibitions – in any of their forms – becamebrief but significant moments in which architecture was at the center of societal attention.Their ephemeral nature puts the discipline in contact with the direct, immediate disseminationthat characterizes the journalistic medium. It is therefore important to analyze how thisrelationship is articulated. This article studies the treatment in the non-specialist Spanish pressof two events that represented architectural watersheds: the country’s participation in Expo58 in Brussels and the 1964 World’s Fair in New York. The pavilions by José Antonio Corralesand Ramón Vázquez Molezún, in the first case, and Javier Carvajal, in the second, symbolizedSpanish architecture’s commitment to modernity following the civil war and, in a way, reflectedsociety’s process of maturation. The press, acting as a public mirror of the country’s realities,expressed the latter’s interests and concerns. In terms of architecture – whose social repercussionscould not be ignored by the non-specialist press – these pavilions gave form to thatdesire for a “possible Spain”: the term Javier Carvajal used to describe his New York project. Durante todo el siglo xx, la celebración de exposiciones internacionales –en cualquiera de sus modalidades–se convirtió en uno de esos breves, aunque significativos, momentos en que la arquitectura secoloca en el foco de interés de la sociedad. Su carácter efímero pone a la disciplina en relación con ladifusión directa e inmediata, características del medio periodístico. En consecuencia, parece pertinenteanalizar cómo se articula esta relación. Para ello, a continuación se estudia el tratamiento que la prensageneralista española otorgó a dos de estos acontecimientos que marcaron un cambio de rumbo enla arquitectura de la época: la participación del país en las exposiciones de Bruselas en 1958 y de NuevaYork en 1964. Los pabellones de José Antonio Corrales y Ramón Vázquez Molezún en un caso, y deJavier Carvajal en el otro, simbolizaron la apuesta por la modernidad de la arquitectura española trasla guerra civil y, en cierto modo, reflejaron el proceso de madurez de su sociedad. La prensa, en su carácterde espejo público de la realidad de un país, terminó por poner de manifiesto los intereses y lasinquietudes de éste. En cuanto a la arquitectura –cuyas repercusiones sociales un medio de difusióngeneralista no pudo dejar de lado–, aquellos pabellones dieron forma al anhelo de esa “España posible”con que Javier Carvajal definía su proyecto para Nueva York. Facultad de Arquitectura, Universidad Nacional Autónoma de México 2020-03-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Investigación application/pdf application/xml https://www.revistas.unam.mx/index.php/bitacora/article/view/72953 10.22201/fa.14058901p.2020.43.72953 Bitacora Arquitectura; No. 43 (2019): Print Media and Architecture; 80-93 Bitácora Arquitectura; Núm. 43 (2019): Medios impresos y arquitectura; 80-93 2594-0856 1405-8901 10.22201/fa.14058901p.2020.43 spa https://www.revistas.unam.mx/index.php/bitacora/article/view/72953/66641 https://www.revistas.unam.mx/index.php/bitacora/article/view/72953/67568 Derechos de autor 2020 Bitácora Arquitectura
institution Universidad Nacional Autónoma de México
collection OJS
language spa
format Online
author Ruiz Colmenar, Alberto
spellingShingle Ruiz Colmenar, Alberto
The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press
author_facet Ruiz Colmenar, Alberto
author_sort Ruiz Colmenar, Alberto
title The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press
title_short The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press
title_full The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press
title_fullStr The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press
title_full_unstemmed The Pavilion of a Possible Spain: Brussels, 1958 and New York, 1964 in Spain’s Non-Specialist Press
title_sort pavilion of a possible spain: brussels, 1958 and new york, 1964 in spain’s non-specialist press
description Throughout the twentieth century, international exhibitions – in any of their forms – becamebrief but significant moments in which architecture was at the center of societal attention.Their ephemeral nature puts the discipline in contact with the direct, immediate disseminationthat characterizes the journalistic medium. It is therefore important to analyze how thisrelationship is articulated. This article studies the treatment in the non-specialist Spanish pressof two events that represented architectural watersheds: the country’s participation in Expo58 in Brussels and the 1964 World’s Fair in New York. The pavilions by José Antonio Corralesand Ramón Vázquez Molezún, in the first case, and Javier Carvajal, in the second, symbolizedSpanish architecture’s commitment to modernity following the civil war and, in a way, reflectedsociety’s process of maturation. The press, acting as a public mirror of the country’s realities,expressed the latter’s interests and concerns. In terms of architecture – whose social repercussionscould not be ignored by the non-specialist press – these pavilions gave form to thatdesire for a “possible Spain”: the term Javier Carvajal used to describe his New York project.
publisher Facultad de Arquitectura, Universidad Nacional Autónoma de México
publishDate 2020
url https://www.revistas.unam.mx/index.php/bitacora/article/view/72953
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