This articule aims to address the issue of environmental ideologies in the context of ecological design and the environmental crisis. Atheoretical framework is established in which different trends in ecological or environmental design are studied as environmental ideologies. These ideologies do not seek to "repair" the environment, but rather aim to modify it to make it satisfactory according to certain pre-existing ideas of well-being. This argument is demonstrated through Hume's guillotine, or the is-ought problem, applied to the divide between ecology as a science and ecology as activism. It is then argued that all environmental action requires a value judgement, which ultimately can only be based on ideology. The concept of design is the discussed, and a theoretical model based on Amos Rapoport is proposed, revealing its ideological nature. Finally, the concept of well-being is addressed and incorporated into this theory.
Pp. 10-25

In the first decades of the 20th century, Uruguay underwent an intense process of construction and reaffirmation of a national identity, influenced by strong immigration and he commemoration of the centenary of independence. In this context, heritage, both tangible and intangible, served as symbolic support for the creating of national historical narrative. The first state declarations of National Historic Monuments were made between 1927 and 1937 on colonial fortresses. In this process, architects played a crucial role both technically and politically in heritage conservation. The declarations were based on the historical value and ideological influence of the time, promoting an identity rooted in Hispanic heritage. This article critically analyses the process of patrimonialisation of colonial military fortresses, and how the Uruguayan case is inscribed in the tendency of the time to conserve and re-appropiate the architectural legacy in order to build a national identity.
Pp. 26-43

This article studies the bibliographical legacy in the Escuela T.S. de Arquitectura de Madrid (ETSAM) of the in Huesca born architect Valentín Caderdera, specifically the collection that arrived from the National Library and is included in its inventory from 1941. The study has been carried out with he aim of describing the bibliographical references it contains, studying its relevance from the point of view of knowledge of architecture and other associated arts. To this end, the different subjects contained within the legacy have been described, with special attention to the titles specifically dedicated to architecture, analysing their contents from a theoretical and practical approach to the discipline. Finally, the books in his library were studied in order to understand the significance in Caderera's disciplinary vision. As a result of the research an attempt has been made to understand he importance they may have had for the School, considering their relevance in the opening of a section on Romanticism in the Museum of Architecture promoted by Modesto López Otero.
Pp. 44-61

The great migratory waves experienced by many Latin. American cities at the beginning of the 20th century resulted in the congestion of their cemeteries some decades later. After Wold War II, the high demand for burials, as well as the need to reduce their cost, led to the development of new models of memorials that transferred some ideas about modern architecture and urbanism to the cemetery, This article analyses the contributions of Itala Fulvia Villa for the Chacarita cemetery, Buenos Aires; of Nelson Bayardo for the Urnario del Cementerio Norte, Montevideo, and for the Necrópole Euménica de Santos, Brazil, in order to identify the analogies with modern housing and the challenges but also the design opportunities offered by these spaces of memory.
Pp. 62-71

The Case Study House program was launched with the objective of exploring housing solutions adapted to the new reality of California's post-World War II middle class. This article seeks to determine wither the needs and desires of the youngest members of the family unit were considered in this process or whether, on the contrary, the program was alien to them. The results of a complete typological and functional analysis are offered, oriented to questions strictly related to the family and children's habitat, such as the size and relative position of the bedrrooms, their environmental characteristics, the furniture, and the importance of play as a generator and coloniser of domestic spaces. In addition, the presence of children in the image protected by the program is studied in the drawings and photographs as originally published in Arts & Architecture magazine. The intersection of both analyses offers an unprecedented vision of this well known architectural experiment.
Pp. 72-87

From the 1950s onwards, after a period of profound isolation, Spanish architecture began a progressive incorporation into the international scene. Among other facts the dissemination work carried out by some Spanish architects in foreign architectural journals is noteworthy. In this context, the work of César Ortiz-Echagüe throughout the 1960s was particularly exceptional. During this period he developed an uninterrupted and growing activity as a correspondent, first for the Portuguese magazine Binário and later for the Swiss magazine Werk. The research presented here aims on the basis of articles that appeared under his byline in the magazines, as well as the abundant correspondence with different architects, to shed new light on the informative work of this singular architect and his leadership in a task that involved the collaboration of a significant number of Spanish architects.
Pp. 88-103

Alejandro de la Sota is an essential master of 20th century Spanish architecture. Throughout his work attention to popular construction is revealed as a constant that evolves from almost a literal assimilation of his first achievements, down to the synthesis of its essential elements through abstraction and the use of nivel materials in his latest proposals. From this perspective, the aim of this article is to analyse the influence of popular architecture on his production through the study of original documentation that is preserved from various domestic proposals, some of the unpublished, made by the architect for the Mediterranean environment between the fifties and the eighties. None of them will ever materialize, so they will remain in the architects's imagination as a longed for dram; the dream of inhabiting the Mediterranean.
Pp. 104-123

The first stage of factory construction by architect Curro Inza ended in 1966 with the construction of the first phase of the Segovia Factory. But there is a second stage of industrial projects still unknown and to be studied. After finishing Segovia, he moved the following year to work and teach in Pamplona. And from there he will leave written a series of reflections on how to face the manufacturing project. Reflections that will determine the projects after a second stage that includes the expansion of Segovia and several factories built in Navarra, where the architect develops issues such as an interest in the metallic, the epidermal and light structures with large spans that until now had not been used. These projects serve to understand the complete work of the author since the Navarrese factories are, to this day, a set of unknowns projects, in part because the sudden death of the author limited their dissemination and knowledge.
Pp. 124-139

With the slogan «Ver España no cansa» (which could be translated as Visiting Spain is not tiring), since 1954 and for fourteen editions, writers and artists toured various regions of the country under the framework of the Jornadas Literarias Nacionales (national literature days). The approach of these outings was based on inspiring the literary and artistic production of their production of their participants due to a deep knowledge of the country. In this context, they visited some of the industrial sites resulting from the autarkic projects of the Franco regime, becoming a testimony of the process of territorial transformation of the country. Soon those attending the journeys would go from being mere spectators and narrators of the process to become, in some cases, involved actors. Their gaze which blended a festive and casual attitude with a keen sensitivity to the environment and a deep social concern, provides a multiplicity of overlapping readings that allows to explore in-depth the complexity of this period of Spain's recent history with significant cultural implications in the present day.
Pp. 140-153

The Amsterdam Stock Exchange, designed by Berlage between 1896 and 1903, after a competition prject between 1884 and 1885, was the central building and a major turning point in the work of the Dutch architect. The topic discussed in this article focuses on the decision to base the project on a rigorous modular system, which was carried out in 1898, significantly modifying the previous state of the project. With this premise, the reasons that motivated this change are investigated, paying special attention to the cultural influences and the urban context in which it was designed. The core part is, however, the analysis of the modular system on which, through a thorough work of observation, its novelty and importante are revealed, beyond the triangle pattern reflected in the drawings of its elevations. In an almost crystalline form, the entire building in its three-dimensionality turned out to be an exact framework that took as its starting point a laborious work of fitting the modulation of its plan. Above it, the system of proportions based on the Egyptian triangle found multiple resonances not only in the elevations but also in its main spaces.
Pp. 154-172