Ana del Cid Mendoza
Arquitecta por la UGR (2009) y Doctora por el Programa Expresión Gráfica, Cartografía y Proyecto Urbano de la UGR (2015). Investigadora contratada por la UGR por resolución de la convocatoria de selección de personal investigador doctor de la Secretaría General de Universidades, Investigación y Tecnología de la Junta de Andalucía (2021-2024). Miembro del Grupo HUM-603: Estudios de las Mujeres (2021), y anteriormente del Grupo HUM-813: Arquitectura y Cultura Contemporánea (2011-2020). Beneficiaria del Programa de Formación de Profesorado Universitario del MECD en el Área de Composición Arquitectónica de la UGR (2011-2015). Visiting Scholar en la Università degli Studi Roma Tre (2013) y Columbia University (2014). Investigadora Posdoctoral de la UGR en el Departamento de Construcciones Arquitectónicas (2016) y en el Dipartimento di Architettura de la Università degli Studi Roma Tre (2017-2019). Principales líneas de investigación: imagen de la ciudad y la arquitectura en la cartografía, el cine y la literatura, arquitectura social italiana de los 50, arquitectas andaluzas. Docente de Historia de la Arquitectura, Historia Urbana y Composición Arquitectónica en la ETS de Arquitectura de Granada (2011-2022). Miembro del comité de redacción de las revistas académicas "SOBRE" (UGR), "LC. Revue de Recherches sur Le Corbusier" (UPV y Fondation Le Corbusier) y "MDCCC1800" (Università Ca' Foscari Venezia). Miembro de la comisión organizadora de los congresos Cultura y Ciudad. Fundadora en 2020 de Polimnia Correctores, donde ejerce como revisora de estilo y ortotipografía.
Supervisors: Juan Calatrava Escobar (Universidad de Granada), Maria Margarita Segarra Lagunes (Università degli Studi Roma Tre), Adele Fiadino (Università degli Studi "G. d'Annunzio" Chieti - Pescara), and Cándida Martínez López (Universidad de Granada)
Supervisors: Juan Calatrava Escobar (Universidad de Granada), Maria Margarita Segarra Lagunes (Università degli Studi Roma Tre), Adele Fiadino (Università degli Studi "G. d'Annunzio" Chieti - Pescara), and Cándida Martínez López (Universidad de Granada)
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In the mid-eighteenth century the confluence of Enlightenment scientificism and modernizing demands of the States gave rise to a radical turn in the cartographic representation of territories and cities. A intelligentsia composed by scientists, engineers, geographers, surveyors, etc. produced in less than fifty years many examples of this new way of looking at the world that embodied perfectly the Kantian Sapere Aude! This article attempts to outline, through the analysis of some paradigmatic cases, the nature of Enlightenment urban maps as a product of the requirement of a certain knowledge of the environment physiognomy, and as the cartographic expression of the ideas of progress, public happiness, and wealth of the nation, as well as the utopic face of Enlightenment thinking.
Pier Paolo Pasolini turned the habitat of the Roman lumpenproletariat of the 50s and 60s into a central argument of his work. His varied and extensive production –not only his films and scripts, or his novels and poems, but also his interviews and articles– deserves to be considered part of an interdisciplinary, open, and articulated history of Rome (like the Pasolinian dynamics itself). Accordingly, this paper tackles an analysis of Viaggio per Roma e dintorni (1958), an article that Pasolini wrote for the magazine Vie Nuove, repeatedly overshadowed despite being one of the clearest and most descriptive writings of the author about the marginal Rome that he knew firsthand. This paper concludes with a series of cartographic compositions in which text, cinema, and urban form are intertwined to visualize that city “unknown to the tourist, ignored by the right-thinking, non-existent on maps”.
This essay reviews and connects different events, urban constructions and historical cartographies concerning New York in the chronological framework defined by 1783, the year of the signing of the Treaty of Paris –ending the War of the American Revolution–, and 1811, when the Commissioners’ Plan established the urban planning model to make the city a metropolis on a par with the great European capitals. During this brief but intense period –not as studied as it is sometimes thought– the material and immaterial (the physical and identity) foundations of the current New York were laid. This work focuses on the active and important contribution that two disciplines, architecture and cartography, made to the mentioned process.
Among the large and widely studied cartographic heritage related to the American Revolution, there is a map that is a unique case because, in addition to its inherent characteristics, it has been virtually ignored for more than two centuries. The map, known as British Headquarters Map, is a representation of all Manhattan prepared by the British Army in 1782, when the fantastic natural landscape of the island had barely been transformed beyond the occupied land by a sparsely extended New York. This paper means to abound in the true dimension of this map as an historic object and a scientific knowledge source.
Romanticism encouraged a fascination with "the Oriental" and legitimized a biased interest in Arab culture that was the basis of many artistic expressions. Also in the cartography of the time, the so-called 19th century Orientalism left its mark. Its influence was felt through two simultaneous, complementary processes with important effects on urban planning, architecture and heritage conservation. On the one hand, the renewed and partial interest in Islam caused an explosion of authentic topographical and architectural surveys, and detailed floor plans of many previously neglected Arab monuments. On the other hand, cartography worked –as it had in many other circumstances throughout history– as an instrument for the survival of urban images, in this case, "Orientalized" and mythologized. This essay reviews briefly the imaginary of Granada and the Alhambra built by cartography and other related artistic manifestations under the influence of Orientalism.
This paper proposes an approach to the architectural parameters that defined the identity of the interventions developed under the piano Fanfani or piano INA-Casa, from the study of the residential complexes which were executed in Rome during the first seven years of the plan. The analysis will focus on the comparison between the guidelines and schemes recommended by the Technical Office of the plan and two housing models tested simultaneously and finally turned to hallmarks of the quartieri romani INA-Casa from the early 50's: the residential tower, which was tried out in the neighborhoods Valco San Paolo, Tiburtino and Tuscolano II, and the courtyard house, which was the basis of the continuous residential fabric of the unità d'abitazione orizzontale.
Cartographic representations are not simply passive and mimetic descriptions of a territory, but communication instruments, elaborated though formal and cultural codes, whose essential aim is to pass on polysemic information to an observer. Maps and plans build ideas that end up crystallizing in the collective imaginary and intervening actively in the configuration of the territory they represent. New York City has an extraordinary cartographic heritage made up of nautical charts, perspective views, topographic maps and cadastral, tourist or detail plans, made by different agents and motifs from the first decades of the 16th century. This work uses some of these examples to try –according to many studies of the last decades– to reveal the contribution of cartographic documents to the spiritual construction of cities, as catalysts and transmitters of some strategies and mechanisms that build urban identity.
Social housing was one of the greatest challenges faced by Spanish architects in the middle of the 20th century. Despite the general lack of resources and the public and private speculation of the moment, the proposals of these architects show the modern architectural principles and the commitment to preserve minimum standards of habitability that guarantee the welfare of the people. In fact, in the context of recent years, the recovery of social districts built during this period has been considered a valid and sustainable alternative to the failed model of extensive urban growth. All these premises lead us to tackle the study of a vast residential development built in the early 60's, in the popular Sector Sur of the city of Cordoba, conducted by Rafael de La-Hoz Arderius. With the rationality and the composition clearness that characterize his works, in this project De La-Hoz put the results of a lengthy and thorough research on social housing into practice; this results were setting out in Cordoba in 1961 and later published in the journal Arquitectura (Madrid, 1962). Therefore, this survey begins with the analysis of the original project carried out by De La-Hoz for the Sector Sur and the study of other primary sources related to it. In addition, attending to disciplinary matters that remain in effect –sustainability and comfort in contemporary social housing projects– and other reflections that emerged subsequently in the professional field –as the need or not to define a specific methodology for the restoration of modern architecture–, it seems convenient also to tackle in our study the recent history of this residential development and the analysis of its current conditions. For this reason, an inherent part of this work is dedicated to the comprehensive restoration of the district, carried out between 2004 and 2015, in accordance with the IV Plan Andaluz de Vivienda y Suelo (2003-2007). Thus, the need to increase the patrimonial consideration of the less emblematic modern architecture, the social nature of the proposal, the quality and balance of Rafael de La-Hoz’s original design and the recognition of the restoration carried out on the complex during the recent years proof the relevance of this survey about the Grupo Sector Sur.
The island of Manhattan has been the heart of the metropolitan paradigm and it was the financial and cultural center of the world for a long period during the 20th century. This dual status made its own images to multiply and disseminate widely for decades outshining any other city in this issue. However, proliferation and disclosure of images about the universally known as "Big Apple" is not a recent phenomenon, triggered when New York reached to be the economic and cultural capital after the II World War, as one might think, but it has been constant since the beginning of the colonization of the island, with the first nautical charts where its harbor was depicted. New York has an extraordinary cartographic heritage whose protagonist is Manhattan. This work tries to make known the extensive range of charts, maps, plans and panoramic views developed from the early 16th century, when European explorers motivated the founding of a city at the southern tip of the island, until the early 19th century, when the Commissioners’ Plan laid the base for an overwhelming urban growth. A journey through space and time is proposed using several cartographic representations of Manhattan whose reading caused a reverse process of its development direction (from paper to reality): a process in which abstract lines on maps materialized and participated actively in the construction of the New York capital.
After World War II, the so-called Piano INA-Casa was the first Italian program to tackle the pressing problem of housing with a state framework. The also known as Piano Fanfani promoted between 1949 and 1963 dozens of working class neighborhoods scattered throughout the country and in which almost half of the architects then registered in the national professional registers worked. These residential complexes, although very heterogeneous among themselves, constitute a product of Italian modernity, and many of them, in addition, have an excellent quality that still keeps them as references for researchers and professionals. This work is a brief summary about the conception, institutional functioning, and urban and architectural parameters of one of the most solid and widespread experiences of social housing in postwar Europe.
The irruption of modern tourism in the last decades of the 19th century caused, in many cities, the appearance of urban maps specifically conceived for a function and a user that until now did not exist. That romantic character who liked the leisurely journey –according to the tempo of a simultaneous internal journey– was replaced by the figure of the tourist, a traveler still eager for culture but more prosaic and, of course, much more rushed. In accordance with its character, this new traveler demanded an information medium about the cities to visit that was more direct, more intuitive and, above all, more practical. At the end of the century, Granada achieved to give its own cartographic response to the tourist requirements –still very far from being those of the current mass phenomenon– with its first city map expressly designed for use by visitors, the Plano de Granada por Ramón González Sevilla y Juan de Dios Bertuchi, about whom this study is about.
Commentary on the book Obras maestras: Livio Vacchini (Barcelona: Editorial Gustavo Gili, 2009). The work is integrated into a compilation of bibliographic commentaries, promoted by the Biblioteca de la ETS de Arquitectura (Universidad de Granada) and aimed primarily at students and professionals in the field of architecture.
Cities are living organisms put into crisis daily. Interrelating past and present events and even venturing a hypothetical future could mitigate the conflict between the modern and the historical city. The research carried out by the author sought to tackle the study of this complex phenomenon, the contemporary city, through its morphology, attending to its successive spatial mutations and the political, economic and cultural circumstances that led to them. For this, cartographic drawing was experimented –made by an architect and with the functions of an architectural drawing– as a research tool. Although the historical data of a city like Granada are sufficiently known and little can be added without being a professional historian, it was possible to contribute another type of knowledge: a personalized cartographic material that accompanies the traditional written account, and facilitates immediate and intuitive understanding of the complex morphological evolution of the city. The mechanisms of analysis and transcription of data from different sources to a single map make up the cartographic reinterpretation process to which the title of this text refers.
Esta tesis doctoral es el resultado de una investigación sobre la estrecha relación que existe entre la evolución histórica de dos ciudades, Granada y Nueva York –ejemplos de dos modelos de dinámicas urbanas completamente distintos–, y el modo en que ambas ciudades destilaron paralelamente a su proceso de “creación y puesta en marcha” una determinada representación, una cierta imagen de sí mismas, que se plasmó sobre todo –aunque no exclusivamente (a lo largo del trabajo quedará clara la importancia de otro tipo de cristalizaciones del imaginario, tales como vistas pictóricas o representaciones literarias)– en documentos cartográficos, es decir, en mapas y planos.
This thesis is the result of an investigation into the close relationship that exists between the historical evolution of two cities, Granada and New York –examples of two completely different models of urban dynamics– and the way in which both cities distilled parallel to their process of “creation and start-up” a certain representation, a certain image of themselves, that was captured above all –although not exclusively (throughout the work the importance of other types of imaginary crystallizations will become clear, such as pictorial views or literary representations)– in cartographic documents, that is, in maps.
Eight texts by Edgar Allan Poe that have the common denominator of including a landscape reflection have been gathered in this anthology. It consists of five stories, two theoretical writings and a review. To this has been added the writing Essay on American Scenery by the American painter Thomas Cole.
Ten studies are gathered in this book and constitute a representation of the multiplicity of lines of research currently open from the area of knowledge of Architectural Composition. The evolution of studies on the history and theory of architecture in recent decades has greatly expanded the potential range of research in these fields. This collective publication aims to echo this rich scientific debate, so that you can find reflections and new visions on topics such as the urban and architectural history of Granada, the Alhambra, contemporary architecture, current and historical problems of heritage, the debate on the landscape, the drawing of architecture, or the relations between architecture and literature. All this raised from the aim of achieving a close link between research on and teaching in Architecture.
This is a compilation of twenty-six articles prepared by researchers in the field of architecture and urban planning.
In the mid-eighteenth century the confluence of Enlightenment scientificism and modernizing demands of the States gave rise to a radical turn in the cartographic representation of territories and cities. A intelligentsia composed by scientists, engineers, geographers, surveyors, etc. produced in less than fifty years many examples of this new way of looking at the world that embodied perfectly the Kantian Sapere Aude! This article attempts to outline, through the analysis of some paradigmatic cases, the nature of Enlightenment urban maps as a product of the requirement of a certain knowledge of the environment physiognomy, and as the cartographic expression of the ideas of progress, public happiness, and wealth of the nation, as well as the utopic face of Enlightenment thinking.
Pier Paolo Pasolini turned the habitat of the Roman lumpenproletariat of the 50s and 60s into a central argument of his work. His varied and extensive production –not only his films and scripts, or his novels and poems, but also his interviews and articles– deserves to be considered part of an interdisciplinary, open, and articulated history of Rome (like the Pasolinian dynamics itself). Accordingly, this paper tackles an analysis of Viaggio per Roma e dintorni (1958), an article that Pasolini wrote for the magazine Vie Nuove, repeatedly overshadowed despite being one of the clearest and most descriptive writings of the author about the marginal Rome that he knew firsthand. This paper concludes with a series of cartographic compositions in which text, cinema, and urban form are intertwined to visualize that city “unknown to the tourist, ignored by the right-thinking, non-existent on maps”.
This essay reviews and connects different events, urban constructions and historical cartographies concerning New York in the chronological framework defined by 1783, the year of the signing of the Treaty of Paris –ending the War of the American Revolution–, and 1811, when the Commissioners’ Plan established the urban planning model to make the city a metropolis on a par with the great European capitals. During this brief but intense period –not as studied as it is sometimes thought– the material and immaterial (the physical and identity) foundations of the current New York were laid. This work focuses on the active and important contribution that two disciplines, architecture and cartography, made to the mentioned process.
Among the large and widely studied cartographic heritage related to the American Revolution, there is a map that is a unique case because, in addition to its inherent characteristics, it has been virtually ignored for more than two centuries. The map, known as British Headquarters Map, is a representation of all Manhattan prepared by the British Army in 1782, when the fantastic natural landscape of the island had barely been transformed beyond the occupied land by a sparsely extended New York. This paper means to abound in the true dimension of this map as an historic object and a scientific knowledge source.
Romanticism encouraged a fascination with "the Oriental" and legitimized a biased interest in Arab culture that was the basis of many artistic expressions. Also in the cartography of the time, the so-called 19th century Orientalism left its mark. Its influence was felt through two simultaneous, complementary processes with important effects on urban planning, architecture and heritage conservation. On the one hand, the renewed and partial interest in Islam caused an explosion of authentic topographical and architectural surveys, and detailed floor plans of many previously neglected Arab monuments. On the other hand, cartography worked –as it had in many other circumstances throughout history– as an instrument for the survival of urban images, in this case, "Orientalized" and mythologized. This essay reviews briefly the imaginary of Granada and the Alhambra built by cartography and other related artistic manifestations under the influence of Orientalism.
This paper proposes an approach to the architectural parameters that defined the identity of the interventions developed under the piano Fanfani or piano INA-Casa, from the study of the residential complexes which were executed in Rome during the first seven years of the plan. The analysis will focus on the comparison between the guidelines and schemes recommended by the Technical Office of the plan and two housing models tested simultaneously and finally turned to hallmarks of the quartieri romani INA-Casa from the early 50's: the residential tower, which was tried out in the neighborhoods Valco San Paolo, Tiburtino and Tuscolano II, and the courtyard house, which was the basis of the continuous residential fabric of the unità d'abitazione orizzontale.
Cartographic representations are not simply passive and mimetic descriptions of a territory, but communication instruments, elaborated though formal and cultural codes, whose essential aim is to pass on polysemic information to an observer. Maps and plans build ideas that end up crystallizing in the collective imaginary and intervening actively in the configuration of the territory they represent. New York City has an extraordinary cartographic heritage made up of nautical charts, perspective views, topographic maps and cadastral, tourist or detail plans, made by different agents and motifs from the first decades of the 16th century. This work uses some of these examples to try –according to many studies of the last decades– to reveal the contribution of cartographic documents to the spiritual construction of cities, as catalysts and transmitters of some strategies and mechanisms that build urban identity.
Social housing was one of the greatest challenges faced by Spanish architects in the middle of the 20th century. Despite the general lack of resources and the public and private speculation of the moment, the proposals of these architects show the modern architectural principles and the commitment to preserve minimum standards of habitability that guarantee the welfare of the people. In fact, in the context of recent years, the recovery of social districts built during this period has been considered a valid and sustainable alternative to the failed model of extensive urban growth. All these premises lead us to tackle the study of a vast residential development built in the early 60's, in the popular Sector Sur of the city of Cordoba, conducted by Rafael de La-Hoz Arderius. With the rationality and the composition clearness that characterize his works, in this project De La-Hoz put the results of a lengthy and thorough research on social housing into practice; this results were setting out in Cordoba in 1961 and later published in the journal Arquitectura (Madrid, 1962). Therefore, this survey begins with the analysis of the original project carried out by De La-Hoz for the Sector Sur and the study of other primary sources related to it. In addition, attending to disciplinary matters that remain in effect –sustainability and comfort in contemporary social housing projects– and other reflections that emerged subsequently in the professional field –as the need or not to define a specific methodology for the restoration of modern architecture–, it seems convenient also to tackle in our study the recent history of this residential development and the analysis of its current conditions. For this reason, an inherent part of this work is dedicated to the comprehensive restoration of the district, carried out between 2004 and 2015, in accordance with the IV Plan Andaluz de Vivienda y Suelo (2003-2007). Thus, the need to increase the patrimonial consideration of the less emblematic modern architecture, the social nature of the proposal, the quality and balance of Rafael de La-Hoz’s original design and the recognition of the restoration carried out on the complex during the recent years proof the relevance of this survey about the Grupo Sector Sur.
The island of Manhattan has been the heart of the metropolitan paradigm and it was the financial and cultural center of the world for a long period during the 20th century. This dual status made its own images to multiply and disseminate widely for decades outshining any other city in this issue. However, proliferation and disclosure of images about the universally known as "Big Apple" is not a recent phenomenon, triggered when New York reached to be the economic and cultural capital after the II World War, as one might think, but it has been constant since the beginning of the colonization of the island, with the first nautical charts where its harbor was depicted. New York has an extraordinary cartographic heritage whose protagonist is Manhattan. This work tries to make known the extensive range of charts, maps, plans and panoramic views developed from the early 16th century, when European explorers motivated the founding of a city at the southern tip of the island, until the early 19th century, when the Commissioners’ Plan laid the base for an overwhelming urban growth. A journey through space and time is proposed using several cartographic representations of Manhattan whose reading caused a reverse process of its development direction (from paper to reality): a process in which abstract lines on maps materialized and participated actively in the construction of the New York capital.
After World War II, the so-called Piano INA-Casa was the first Italian program to tackle the pressing problem of housing with a state framework. The also known as Piano Fanfani promoted between 1949 and 1963 dozens of working class neighborhoods scattered throughout the country and in which almost half of the architects then registered in the national professional registers worked. These residential complexes, although very heterogeneous among themselves, constitute a product of Italian modernity, and many of them, in addition, have an excellent quality that still keeps them as references for researchers and professionals. This work is a brief summary about the conception, institutional functioning, and urban and architectural parameters of one of the most solid and widespread experiences of social housing in postwar Europe.
The irruption of modern tourism in the last decades of the 19th century caused, in many cities, the appearance of urban maps specifically conceived for a function and a user that until now did not exist. That romantic character who liked the leisurely journey –according to the tempo of a simultaneous internal journey– was replaced by the figure of the tourist, a traveler still eager for culture but more prosaic and, of course, much more rushed. In accordance with its character, this new traveler demanded an information medium about the cities to visit that was more direct, more intuitive and, above all, more practical. At the end of the century, Granada achieved to give its own cartographic response to the tourist requirements –still very far from being those of the current mass phenomenon– with its first city map expressly designed for use by visitors, the Plano de Granada por Ramón González Sevilla y Juan de Dios Bertuchi, about whom this study is about.
Commentary on the book Obras maestras: Livio Vacchini (Barcelona: Editorial Gustavo Gili, 2009). The work is integrated into a compilation of bibliographic commentaries, promoted by the Biblioteca de la ETS de Arquitectura (Universidad de Granada) and aimed primarily at students and professionals in the field of architecture.
Cities are living organisms put into crisis daily. Interrelating past and present events and even venturing a hypothetical future could mitigate the conflict between the modern and the historical city. The research carried out by the author sought to tackle the study of this complex phenomenon, the contemporary city, through its morphology, attending to its successive spatial mutations and the political, economic and cultural circumstances that led to them. For this, cartographic drawing was experimented –made by an architect and with the functions of an architectural drawing– as a research tool. Although the historical data of a city like Granada are sufficiently known and little can be added without being a professional historian, it was possible to contribute another type of knowledge: a personalized cartographic material that accompanies the traditional written account, and facilitates immediate and intuitive understanding of the complex morphological evolution of the city. The mechanisms of analysis and transcription of data from different sources to a single map make up the cartographic reinterpretation process to which the title of this text refers.
Esta tesis doctoral es el resultado de una investigación sobre la estrecha relación que existe entre la evolución histórica de dos ciudades, Granada y Nueva York –ejemplos de dos modelos de dinámicas urbanas completamente distintos–, y el modo en que ambas ciudades destilaron paralelamente a su proceso de “creación y puesta en marcha” una determinada representación, una cierta imagen de sí mismas, que se plasmó sobre todo –aunque no exclusivamente (a lo largo del trabajo quedará clara la importancia de otro tipo de cristalizaciones del imaginario, tales como vistas pictóricas o representaciones literarias)– en documentos cartográficos, es decir, en mapas y planos.
This thesis is the result of an investigation into the close relationship that exists between the historical evolution of two cities, Granada and New York –examples of two completely different models of urban dynamics– and the way in which both cities distilled parallel to their process of “creation and start-up” a certain representation, a certain image of themselves, that was captured above all –although not exclusively (throughout the work the importance of other types of imaginary crystallizations will become clear, such as pictorial views or literary representations)– in cartographic documents, that is, in maps.
Eight texts by Edgar Allan Poe that have the common denominator of including a landscape reflection have been gathered in this anthology. It consists of five stories, two theoretical writings and a review. To this has been added the writing Essay on American Scenery by the American painter Thomas Cole.
Ten studies are gathered in this book and constitute a representation of the multiplicity of lines of research currently open from the area of knowledge of Architectural Composition. The evolution of studies on the history and theory of architecture in recent decades has greatly expanded the potential range of research in these fields. This collective publication aims to echo this rich scientific debate, so that you can find reflections and new visions on topics such as the urban and architectural history of Granada, the Alhambra, contemporary architecture, current and historical problems of heritage, the debate on the landscape, the drawing of architecture, or the relations between architecture and literature. All this raised from the aim of achieving a close link between research on and teaching in Architecture.
This is a compilation of twenty-six articles prepared by researchers in the field of architecture and urban planning.