#josep torres clavé

[elarafritzenwalden]

'Casa Bloc', housing complex in Passeig de Torras i Bages Sant Andreu - Barcelona, Catalonia, Spain; 1931-36

GATCPAC - Josep Lluís Sert, Joan Baptista Subirana, Josep Torres Clavé (photography by Arxiu Mas)

see map | more information 1, 2, 3, 4 | + video 1, 2

via “2c Construccion” 15-16 (1980)

[veredes]

Destrucciones bestiales | José Ramón Hernández Correa

A veces asistimos atónitos al zafio y bárbaro “espectáculo” de fanáticos completamente imbéciles y bestiales destruyendo obras de arte milenarias. Los seres humanos de todo el mundo, impotentes, lloramos de rabia y de indignación ante las inconcebibles salvajadas que son capaces de cometer estos borricos, que se sienten iluminados por algo o alguien.

No podemos concebir que nadie, tenga la ideología que tenga, pretenda lo que pretenda o esgrima los motivos que quiera esgrimir, pueda acabar impunemente con unas obras que han hecho otros seres humanos que se encontraban en el extremo opuesto del magma social: En la cumbre de la sensibilidad, de la cultura, del talento, mientras que estos zopencos están en la sima de la zafiedad y de la crueldad, y del mierdasequismo más deleznable y despreciable.

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[architectuul]

FIG Friends!

You have probably noticed a shared contend on Architectuul’s social media created by FIG projects. The architects Fabrizio Gallanti and Francisca Insulza are exploring boundaries between architecture, urban research, visual arts and promoting interdisciplinary initiatives. 

As curators of Forgotten Masterpieces they were examine the Indoor University - Canadian Welfare And Modern Architecture. 

Lethbridge University Hall (1968-1969) by Arthur Erickson. | Photo via University of Lethbridge

The FIG projects has already in 2003 traced the spawn and spread of the first SARS epidemics and published it in a series of maps in Domus. Strongly tied to a series of specific spaces the mapping revealed the link between space, globalization and disease. 

Their contemporary approach towards space and architecture is visible also in the contribution at the 14th Venice Biennial in the research project on alternative forms of education in architecture Radical Pedagogies, lead by Beatriz Colomina at the School of Architecture of Princeton University.

For the Ofhouses they curated a selection of summer houses Vista Mare, where they exposed the salient features of vernacular architecture from the Mediterranean, which generate new modern ways of life.

Garraf Weeked Houses (1935) by Josep Lluis Ser Sert and Josep Torres Clavé

Porto Cheli House (1967) by Atelier 66 (Dimitri and Susana Atonakakis)

Fernandez & Riera Vacation Houses (1969) in Corse by Roland Simounet

Casa Hartley in Costa Paradiso, Sardinia (1970) by Alberto Ponis

Can Lis in Mallorca (1971) by Jørn Utzon

[jepsolell]

🪑¡Llegó el momento! Ya podéis ver con perspectiva unas sillas que sólo os mostramos un perfil: se trata de un conjunto de dos sillones y sofá de los años 50-60 realizadas siguiendo métodos tradicionales. Nuestros expertos en artes decorativassituan este conjunto, por sus características, en Navarra, y creen que el maestro sillero quiso basarse en modelos racionalistas tan en voga en ese momento. Josep Torres Clavé, Josep LLuís Sert, J.A. Coderch...son muchos los arquitectos a quien nos remite el estilo de esta sillería, y pensamos tal vez también en ese Cadaqués progresista y avanzado de interiores de Lanfranco Bombelli y Peter Harnden. - 📌¿Te gustan?, estarán disponibles en nuesto catalogo online a partir de este miércoles. - 🪑It's time to...! Now you can see in perspective some chairs posted some days ago: it's a set of two armchairs and a sofa from the 50-60s following traditional methods. Our experts in decorative arts locate this set, due to its characteristics, in Navarra, and they believe that the master chairman wanted to base himself on rationalist models so in vogue at that time. Josep Torres Clavé, Josep LLuís Sert, J.A. Coderch ... there are many architects to whom the style of this seating refers us, and perhaps we also think of that progressive and advanced Cadaqués of interiors by Lanfranco Bombelli and Peter Harnden. - 📌Do you like them? They will be available in our online catalog from this Wednesday. (en Subarna) https://www.instagram.com/p/CFsKz1JH42R/?igshid=14zhi9btzok15

[deestijl]

Casas de fin de semana en la costa del Garraf, Barcelona, 1935. Arquitectos: Josep Lluís Sert y Josep Torres Clavé. Fotógrafa: Margaret Michaelis

[iwannaremember]

Josep Lluís Sert + Josep Torres Clavé - Casa Fin de Semana, Costa del Garraf, Barcelona

[archeyesmagazine]

© Steve de Vriendt

Completed in 1963, La Ricarda, or Casa Gomis designed by Spanish architect Antoni Bonet i Castellana is one of the critical midcentury buildings in Spain. Located by the Mediterranean Sea in El Prat de Llobregat, a town 10 miles southwest of Barcelona, the house was commissioned by Ricardo Gomis and Inés Bertrand in 1949.

La Ricarda House Technical Information

Architects: Antoni Bonet i Castellana

Location: El Prat de Llobregat, Barcelona, Spain

Remodelation: Fernando Álvarez Prozorovch y Jordi Roig

Topics: Spanish Houses, Modernism, 

Design Year: 1949

Project Year: 1953 – 1963

Drawings and Photographs: © Steve de Vriendt

The house was built thinking even about the smallest details. I remember that several ceramic tiles from Cucurny were selected as pavement and they made us step on them with our shoes wet and dry to check which tiles showed the dirt less.1

– Beatriz Gomis Bertrand (daughter of the clients)

La Ricarda House Photographs

© Steve de Vriendt

© Steve de Vriendt

© Steve de Vriendt

© Steve de Vriendt

© Steve de Vriendt

Text by Fernando Alvarez and Jordi Roig

Barcelona-born architect Antonio Bonet Castellana, who had trained with Le Corbusier and Josep Lluís Sert, designed the house while living in Buenos Aires, where he had emigrated from Paris after the start of the Spanish Civil War.

Working closely with the clients via letters, Bonet designed every aspect of the building, from the overall organization to the materials, interior details, and furniture. The result was a spacious and harmonious house defined by an 8.8m x 8.8m grid of thin metal pillars and vaults, with connected but distinct areas for the different uses. The house was also designed with its natural surroundings in mind, blurring inside and outside, and paying particular attention to the nearby pines, dunes, and water.

At the beginning of 1950, the Gomis Bertrand family receives the first design for the house, which proposed an elevated platform over a grid of pilotis, a large platform topped by an expansive “butterfly” roof and considerable terraces connected by ramps, from which you could oversee the landscape. After reviewing this initial idea, the clients asked the architect to reduce the dimensions of the house and to strengthen the connection with the landscape of the site, defined by the presence of a forest of pinus pines and dunes. In May of 1953, Bonet travels to Barcelona and presents a second proposal that shows a radical change in the approach to the surroundings and the technical-formal aspects of the house. While the first project suggested a floating, durable, and autonomous image, the second project proposed a house that expanded horizontally over a sizeable elevated platform, but also closely connected to the surrounding landscape.

Above the platform, about 2.1 meters (6.9 feet) elevated from the natural ground, Bonet proposed a square grid of 8.82 meters x 8.82 meters (29 feet x 29 feet) that organized both the covered areas as well as the exterior areas. With that simple move, the architect was able to not only separate the house from the humidity of the coastal ground and dominate the views but also create an exterior space that is complementary and inseparable from the interior one, subject to the same geometric rules.

During the construction of the house (1957-1963), Bonet continued to revise the technical aspects of the project, introducing small modifications, such as the connection to the independent pavilion, the final location for the pool, and other changes, always conforming to the general modular order. A base plan and a model created by the builder (Emilio Bofill, father of Ricardo and Anna Bofill) were the documents that demonstrate this remarkable work in progress.

The roof of the house has twelve modules defined by a vault made out of concrete and ceramic tiles supported by four slender steel columns that are spread out according to the two main axes. The sequence of living room-dining room-kitchen defines the program facing south while the bedroom wing, the garage, and service area define the axis sea-forest. Finally, the independent pavilion houses the main bedroom.

La Ricarda, Gomis House Floor Plan

Floor Plan | © Antoni Bonet i Castellana

Elevation and Sections | © Antoni Bonet i Castellana

Construction details | © Antoni Bonet i Castellana

La Ricarda, Gomis House Image Gallery

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About Antoni Bonet i Castellana

Antoni Bonet i Castellana (1913-1989) was a Spanish architect from Catalonia, designer, and urban planner. He began his career with Josep Lluís Sert and Josep Torres Clavé and was a member of GATCPAC. He is best remembered as one of the designers of the “BKF” Butterfly chair, as part of the Austral Group, in Buenos Aires, Argentina, in 1938, along with partners Juan Kurchan and Jorge Ferrari Hardoy. Source: Wikipedia

Other works from Antonio Bonet  

Memories by Beatriz Gomis Bertrand (b. 1949) La Ricarda, What This House is For Me published in mas context

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La Ricarda House or Casa Gomis / Antoni Bonet i Castellana #spanisharchitecture #houses #antoniobonet Completed in 1963, La Ricarda, or Casa Gomis designed by Spanish architect Antoni Bonet i Castellana is one of the critical midcentury buildings in Spain.

[roni-rabbi-stuff-blog]

Constructed during the Second Spanish Republic in Barcelona by architects Josep Lluís Sert, Josep Torres Clavé and Joan Baptista Subirana,

[ibizasestatesandarchitectur-blog]

Josep Lluis Sert i López (Barcelona 1902 -1983) is considered one of the most important architects of the 20th century and was one of the introducers of modern architecture in Spain. He was a son of a bourgeois Catalan family of textile industrialists, but socially committed and with democratic ideals.

In 1923 he entered the School of Architecture of Barcelona and was critical of the teaching methods of that time. Therefore, together with Josep Torres Clavé he founded the Association of Students of the School (1926), the embryo of the future GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture). Sert finished his studies in 1929 and moved to Paris, where he worked in the architectuire firm of Le Corbusier. From then on both of them maintained a close professional and academic relationship.

In 1930, Sert and Torres Clavé promoted the foundation of GATCPAC and in 1932 the GATEPAC (Group of Spanish Architects and Technicians for the Progress of Contemporary Architecture). In its first board of directors were the architects Rodríguez Arias, Illescas, Churruca and Alzamora, and later Subirana, A. Bonet and others joined aswell. This was the introductory group in the State of the modern movement of architecture, “the Nouveau Spirit” and the rationalistic and avant-garde tendencies. This group also edited the magazine A.C. (Documents of Contemporary Activity), published between 1931 and 1937, which constituted a platform of knowledge of the artistic expressions and diffusion of the new tendencies, aswell as architecture and urbanism, photography, visual and decorative arts, literature, gardening and furniture. GATEPAC has also been involved in the improvement of other areas, with proposals such as the construction of schools, the reduction of illiteracy and basically the modernization of the Spanish education system. 

https://www.kelosa.com/blog/en/architects/josep-lluis-sert-and-the-gatepac-group/

[ofhouses]

338. Josep Lluis Sert & Josep Torres Clavé /// El Garraf Weeked Houses /// Sitges, Barcelona, Spain) /// 1932-35

OfHouses guest curated by FIG projects: “The houses are masterful exercises in restraint, allowing flexibility for the uses and celebrating the landscape from the terrace.“ (Photos: © Estate of Margaret Michaelis-Sachs. Source: AC. Documentos de Actividad Contemporánea, número 19 / 1935, pp. 32-42.)

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Colección completa de la revista AC. Documentos de actividad contemporánea (1931-37)

[b22-design]

Casa del Garraf - Barcelona - 1935

Josep Lluís Sert & Josep Torres Clavé

[deestijl]

Casa del Garraf. TipoA. Exterior. Arquitectos Josep Lluis Sert y Josep Torres Clavé. Photo Margaret Michaelis

[archeyesmagazine]

© Finques Frigola

The iconographic Raventos house designed by Catalan architect Antoni Bonet Castellana, perhaps best known for designing the iconic B.K.F butterfly chair with Juan Kurchan and Jorge Ferrari Hardoy, was built between 1973 and 1974 and is one of the latest domestic proposals of the architect.

Raventos House Technical Information

Architects: Antonio Bonet Castellana

Location: Calella de Palafrugell, Gerona, Spain

Material: Reinforced Concrete

Typology: Residential Architecture / House

Scale: 2 stories

Gross Area: 770 m2

Plot Size: 3100 m2

Project Year: 1973 – 1973

Photographs: © Finques Frigola

Raventos Villa Photographs

© Finques Frigola

© Finques Frigola

© Finques Frigola

© Finques Frigola

© Finques Frigola

© Finques Frigola

RAVENTOS HOUSE ARTICLE

The modernist residence is located in the beautiful landscape of Costa Brava and is perched above and into a rocky outcrop. From the road, one can only see the silhouette of the upper floor where the house features a semi-circular design marked by strong concrete cantilevering volumes with arches carved into them.

These arches continue inside, where they manifest as a series of vaulted ceilings in the main living space. The vaults built in reinforced concrete rest on large concrete beams allowing transversal views inside the space. The succession of vaults encompasses three separate seating areas and a dining space partitioned by a partial wall, all arranged to face walls of glass and clerestory windows that frame the coastal views. 

The house hosts seven bedrooms located on the lower level which seem to be embedded into the earth. By using stone on the façade, the architect camouflages the bedrooms and emphasizes the level above. Each room has sliding glass doors framed by geometric cutouts into the thick stone exterior wall that opens onto the sea views.

Project Floor Plan

© Antonio Bonet Castellana

© Antonio Bonet Castellana

About Antonio Bonet

Antonio Bonet i Castellana was a Spanish architect from Catalonia. He began his career with Josep Lluís Sert and Josep Torres Clavé. 

He is best remembered as one of the designers of the “BKF” Butterfly chair, as part of the Austral Group, in Buenos Aires, Argentina in 1938, along with partners Juan Kurchan and Jorge Ferrari Hardoy.

Raventos House Image Gallery

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Works from Antonio Bonet 

Sources:

Fernando Álvarez y Jordi Roig: Antoni Bonet Castellana 1913-1989, Actar ISBN 84-89698-13-9

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  Raventos House in Calella by Antonio Bonet Castellana The iconographic Raventos house designed by Catalan architect Antoni Bonet Castellana, perhaps best known for designing the…