Papers by Aitor Goitia Cruz
Springer series in design and innovation, 2024
Adolf Loos is probably the twentieth-century architect whose works have been most represented gra... more Adolf Loos is probably the twentieth-century architect whose works have been most represented graphically by others to make known and disseminate his work, whose projects have been repeatedly drawn, and whose buildings, most notably his residential buildings, have been most modelled and analysed. Three-dimensional drawings predominate and are often axonometric, a particularly suitable medium to help us understand and explain the tight spatial sequences of Loos’s architecture. Very little research, however, has considered the drawings made by the architect himself in the design of his works. Did he use similar resources as a design mechanism? What systems of representation did he use? Determining the answers to these questions requires acceptance of Loos’s own views on drawing and a cautious approach to the limited collection of his surviving original drawings. The works in the collection of the Albertina Museum reveal a clear preference for two-dimensional representations of a project, with three-dimensional approaches used to supplement them, marginally even in the case of axonometric drawing. That runs contrary to the predominant use of axonometric projection in subsequent studies of the architect’s legacy.
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Graphic Horizons, 2024
Adolf Loos is probably the twentieth-century architect whose works have been most represented gra... more Adolf Loos is probably the twentieth-century architect whose works have been most represented graphically by others to make known and disseminate his work, whose projects have been repeatedly drawn, and whose buildings, most notably his residential buildings, have been most modelled and analysed. Three-dimensional drawings predominate and are often axonometric, a particularly suitable medium to help us understand and explain the tight spatial sequences of Loos’s architecture. Very little research, however, has considered the drawings made by the architect himself in the design of his works. Did he use similar resources as a design mechanism? What systems of representation did he use? Determining the answers to these questions requires acceptance of Loos’s own views on drawing and a cautious approach to the limited collection of his surviving original drawings. The works in the collection of the Albertina Museum reveal a clear preference for two-dimensional representations of a project, with three-dimensional approaches used to supplement them, marginally even in the case of axonometric drawing. That runs contrary to the predominant use of axonometric projection in subsequent studies of the architect’s legacy.
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GRAPHIC HORIZONS, 2024
Probablemente Adolf Loos sea el arquitecto del siglo XX que más producción gráfica de terceros ha... more Probablemente Adolf Loos sea el arquitecto del siglo XX que más producción gráfica de terceros ha generado para conocer y divulgar su obra,
recurrentemente estudiada mediante el redibujo de sus proyectos, la construcción de maquetas y la elaboración de análisis complementarios de sus
edificios, especialmente los residenciales. Abundan los dibujos tridimensionales, con acusado protagonismo de la axonometría, particularmente
indicada para comprender y explicar las ajustadas secuencias espaciales de su arquitectura. Son muy escasas, en cambio, las investigaciones
centradas en los dibujos realizados por el propio arquitecto para idear su obra. ¿Se valió de recursos similares como mecanismo de proyecto? ¿Qué
sistemas de representación empleó? ¿Qué importancia tienen los dibujos tridimensionales en su concepción arquitectónica? Aventurar respuestas a
estos interrogantes requiere aceptar las singulares consideraciones de Loos acerca del dibujo y enfrentarse con cautela a la restringida colección de
dibujos originales conservados. Los fondos custodiados en el Museo Albertina permiten entrever una clara preferencia por la representación
bidimensional del proyecto, siendo las aproximaciones tridimensionales de carácter complementario, incluso residual en el caso del dibujo
axonométrico, contrariamente a la mayoritaria presencia de este tipo de proyección en los estudios posteriores sobre el legado del arquitecto.
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This article aspires to stimulate reflection on the contradictions found in a good part of contem... more This article aspires to stimulate reflection on the contradictions found in a good part of contemporary architecture, assigned to a new formalism contributed by computer science applications dissociated from the constructive techniques of its material execution and the experience of its users. Even when the current processes of formal generation suppose an undeniable contribution to the same architectonic conception, we must reclaim a certain critical reflection with respect to those which could be called “failed” architectures.
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Springer series in design and innovation, 2020
The recurring adoption of the Arch of Constantine as the prototype for an honorary monument in th... more The recurring adoption of the Arch of Constantine as the prototype for an honorary monument in the capital of Spain during the reign of Fernando VII was calling for, in our opinion, some clarifications regarding the authorship and scope of two ephemeral architectures built in 1816 and 1829 that were inspired by it. A comparative analysis of their architectural key elements also allows us to guess the different purposes for which Antonio Lopez Aguado and Custodio Moreno drew up their proposals. The repeated attempts of the former reveal a clearly interpretative approach to a commonly accepted model of beauty, while the latter would try to achieve a reliable replica of the Roman original. The methodological application of the graphic parallel has allowed us to lay down the similarities and differences of both designs with respect of the Arch of Constantine, proving to be once again the guarantor of both the formulation of hypotheses and the verification of subsequent results.
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Anales del Instituto de Estudios Madrileños, 2007
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Outstanding draughtsmen have drawn unique visions of great buildings projected by others. Encoura... more Outstanding draughtsmen have drawn unique visions of great buildings projected by others. Encouraged by their example, at the Escuela Politecnica Superior, we have consolidated a satisfactory exercise in which second-year students must face a similar task: to plan and develop a freely-chosen ambitious personal drawing that expounds the significance of a thoroughly studied architectural model. The goal of this paper is to show some of these unique drawings while highlighting their developmental process, which is both extremely challenging and rewarding for the students, who achieve outstanding levels of graphical ability and architectural interpretation.
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Constelaciones, May 1, 2014
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EGA: revista de expresión gráfica arquitectónica, 2010
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Descubrir el arte, 2020
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This article aspires to stimulate reflection on the contradictions found in a good part of contem... more This article aspires to stimulate reflection on the contradictions found in a good part of contemporary architecture, assigned to a new formalism contributed by computer science applications dissociated from the constructive techniques of its material execution and the experience of its users. Even when the current processes of formal generation suppose an undeniable contribution to the same architectonic conception, we must reclaim a certain critical reflection with respect to those which could be called “failed” architectures.
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Springer eBooks, 2022
Unquestionable leitmotiv of all his work, the urban reality provided Nadir Afonso with innumerabl... more Unquestionable leitmotiv of all his work, the urban reality provided Nadir Afonso with innumerable occasions for conceptual and material experimentation with which to give shape to his complex and highly personal interpretations. Beyond the thematic or chronological boundaries with which Afonso’s work has been classified, the constant presence of the city on his thoughts and actions would provide the painter-architect with the keys to capture space and time with singular freshness. A transversal approach to a selection of his works reveals the progressive gestural evolution of his compositions, from the in-depth exploration and reformulation of the chosen theme to the mimetic translation of the intuitions inherent to the previous studies into large-scale final works. A restrained gestural expressiveness, consistent with the leisurely thought on the geometric beauty of the city, will give way to the radical expressiveness of the rapid stroke, common in small formats, to become the true protagonist of a particular production that takes the city as an excuse and the gesture as an argument.
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EGA: revista de expresión gráfica arquitectónica, Nov 18, 2019
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Descubrir el arte, 2020
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Papers by Aitor Goitia Cruz
recurrentemente estudiada mediante el redibujo de sus proyectos, la construcción de maquetas y la elaboración de análisis complementarios de sus
edificios, especialmente los residenciales. Abundan los dibujos tridimensionales, con acusado protagonismo de la axonometría, particularmente
indicada para comprender y explicar las ajustadas secuencias espaciales de su arquitectura. Son muy escasas, en cambio, las investigaciones
centradas en los dibujos realizados por el propio arquitecto para idear su obra. ¿Se valió de recursos similares como mecanismo de proyecto? ¿Qué
sistemas de representación empleó? ¿Qué importancia tienen los dibujos tridimensionales en su concepción arquitectónica? Aventurar respuestas a
estos interrogantes requiere aceptar las singulares consideraciones de Loos acerca del dibujo y enfrentarse con cautela a la restringida colección de
dibujos originales conservados. Los fondos custodiados en el Museo Albertina permiten entrever una clara preferencia por la representación
bidimensional del proyecto, siendo las aproximaciones tridimensionales de carácter complementario, incluso residual en el caso del dibujo
axonométrico, contrariamente a la mayoritaria presencia de este tipo de proyección en los estudios posteriores sobre el legado del arquitecto.
recurrentemente estudiada mediante el redibujo de sus proyectos, la construcción de maquetas y la elaboración de análisis complementarios de sus
edificios, especialmente los residenciales. Abundan los dibujos tridimensionales, con acusado protagonismo de la axonometría, particularmente
indicada para comprender y explicar las ajustadas secuencias espaciales de su arquitectura. Son muy escasas, en cambio, las investigaciones
centradas en los dibujos realizados por el propio arquitecto para idear su obra. ¿Se valió de recursos similares como mecanismo de proyecto? ¿Qué
sistemas de representación empleó? ¿Qué importancia tienen los dibujos tridimensionales en su concepción arquitectónica? Aventurar respuestas a
estos interrogantes requiere aceptar las singulares consideraciones de Loos acerca del dibujo y enfrentarse con cautela a la restringida colección de
dibujos originales conservados. Los fondos custodiados en el Museo Albertina permiten entrever una clara preferencia por la representación
bidimensional del proyecto, siendo las aproximaciones tridimensionales de carácter complementario, incluso residual en el caso del dibujo
axonométrico, contrariamente a la mayoritaria presencia de este tipo de proyección en los estudios posteriores sobre el legado del arquitecto.