The article highlights that the free-standing palaces of the late Italian Renaissance, built by archi­tects of Bramante’s circle, share the same compositional scheme in plan, based on the study of the Vitruvian domus. Starting with the Palace of the Chancellery in Rome, the private palaces’ typology was consolidated during the 16th century. It consists of the articulation of the floor plan throughout two orthogonal axes: a main one clearly inspired by the longitudinal axis of the classical domus and an added second transverse axis, which joins two new and secondary accesses. This spatial organization generates a building divided into four almost autonomous parts, endowed with their own communication elements. Although articulated by a central cortile, it allows independent func­tioning. This typological model should be considered as one of the taxonomies that have so far not been highlighted in the Italian Mannerist architecture of Bramante’s circle.
Págs. 2-15

The Álbum de proyectos by the academic Fornés y Gurrea (ca. 1777-1856) continues the tradition of collections of own designs conceived as models of practical application for architects, that Palladio already begun in the second of his Quattro Libri dell’Architettura. It is however an exceptional case within the Hispanic production, more focused on constructive themes. From a theoretical point of view, the links with the French treatises of the 18th century are clear in Fornés’ work, a debt that also extends to the project composition, with a Palladian-based formal repertoire to which purely neoclassical resources are superimposed, without renouncing the Valencian constructive tradition. This article explores the sources, connections, and cross-references of the Álbum’s projects, a treatise that can be paradoxically described as novel and epigonal. Novel, for being the first in Spain in the form of a compendium of projects; epigonal, because it was published at a time when the decay of academicism has already begun.
Págs. 16-29

Toledo City Hall and Ocaña Fountain, both works related in some way to Juan de Herrera, feature porticoes, of unknown authorship, with a series of brick vaults by slices, that is, with the main plane vertical or slightly pitched and the header face on the intrados, according to a very old craft technique which used no formwork. The article compares the two works on the basis of a precise survey and systematically analyses the brick arrangement, deepening in details that go beyond the mere bond description. It shows that, while those of Toledo present a conventional execution, in those of Ocaña the brick order is exceptionally regular and constant, and that the effort involved is consistent with the classical stone architecture it accompanies. .
Págs. 30-41

This article aims to shed light on a conception and representation often overlooked in architectural discipline historiography. It focuses not only on forms and objects but also on forces and bodies. For this purpose, a fragmentary genealogy of conflicts between schools, traditions, and architects is proposed. This genealogy will reveal how the technical rationality of the drawings at the École Polytechnique de Paris contrasted with the imagery of the École des Beaux-Arts in the eighteenth century. It will also explore how the dogmas of the Enlightenment were challenged by a Mason­ic architecture, seeking bodies and debauchery, as exemplified by the stories of the Marquis de Sade. Additionally, it will delve into how the abstract modernist diagram led by Le Corbusier was disrupted by the atmospheric energies, membranes, and sensitive bodies conceived by Siegfried Ebeling..
Págs. 42-53

In April 1985, architect Giancarlo De Carlo, returning from Argentina to Italy, made a stop in São Paulo, his only visit to Brazil. He gave a lecture to students at a renowned architecture school in São Paulo and granted an interview to some students and young architects. At that time, the Italian architect was already recognized in Latin America, mainly for his editorial work and participation in CIAM and Team X. However, his ideas about modern architecture, participatory design experiences, and interventions in historical Italian cities were not widely known in the Brazilian academic environment and caused a certain impact among the students. The testimony was transcribed in 1985 and published in 1992 in the magazine Óculum under the title «Depoimento de um Arquiteto Italiano - Sobre a Arquitetura do Pós-Guerra (Testimony of an Italian Architect - On Post-War Architecture)». This article presents the transcription of Giancarlo De Carlo’s testimony in Spanish, with a brief introduction.
Págs. 54-63

Mies van der Rohe’s teaching is an inseparable part of his career as an architect. Upon his arrival in the United States, his classes became a laboratory of ideas in which he tested solutions to prob­lems he faced in his office. This research deals with a comparative analysis of the architectural principles proposed by Mies for the university campus of the Illinois Institute of Technology (IIT) and the academic work carried out by graduate students that solves the same functional topic. First, an analysis of the general approaches of the campus project is addressed to, later, focus the study on the buildings intended for student housing. Thus, student David Tamminga’s final master’s project is analyzed in parallel to the three residential blocks designed by Mies for the IIT, seeking to establish connections and influences between his teachings and his architecture..
Págs. 64-73

During his years at the helm of the magazine Chiesa e Quartiere (CH.+Q.), the Italian architect Glauco Gresleri (1930-2016) kept in touch with some Spanish colleagues, although the relationship was never very extensive or intense. After the publication closed in 1968, he began to look for alter­native places from which to disseminate his religious production, and he found the perfect place in Spain: the young magazine ARA (Arte Religioso Actual), directed by the Dominican José Manuel de Aguilar. His association with the architect Silvano Varnier dates precisely from that period. Over time, Gresleri and Varnier would become the studio with the greatest presence in ARA during its twenty-seven years of existence. This text offers a critical analysis of the tandem’s religious work, with special emphasis on their international dissemination through their relationship with the Spanish magazine, a little-known aspect of their trajectory.
Págs. 74-89

Repetition is one of the most powerful and frequent mechanisms used in architecture. Although always present, with notable appearances in the Beaux Arts school and especially in industrial buildings and in the Modern Movement, it is from the second half of the 20th century when architects begin to work with repetitive solutions in a more decisive and conscious way with basic units combined with each other. This article aims to classify and order, in a first approximation, Spanish architectural projects, carried out between the years 1950 and 1980, which have used the repetition of modules or cells as the main project tool. With this, an attempt has been made to understand the processes and rules underlying these systems, through comparative analyzes between the selected examples.
Págs. 90-107

In the last of his Four Books on Architecture, Francisco de Asís Cabrero proposed in the year 3000 an International Institute of Aesthetic Experiences on the island of Vanikoro. It is a utopia, the result of his architectural research shown in each book: the vernacular origin (BI), the classical styles (BII), the «modern crisis» (BIII) and future times (BIV). At the same time, he accumulates his professional experience and the projects of unrealized «commemorative forms». We reviewed the project based on mathematical curves of evolution and the maximum human technology. We also go back through the Four Books looking for the references that allow us to understand the «lay out» of the project. The collective buildings of the avant-garde: the Unité d’Habitation, the Hele module by R. Leoz and the concrete art of M. Bill. Concepts such as «graphical science», «space grids», the «cubic figure» and «form-function inherence» allow us to understand the resulting form. The plants, not developed, are deduced from other realizations of the architect.
Págs. 108-121

In 1986, the Japanese architect Osamu Ishiyama published the book Warau Jutaku (Laughing House), where he humorously aimed to demonstrate that the houses he designed could be built for less than the average price of a typical house at that time. A decade prior, following the advice of his teacher Kenji Kawai, he embarked on a series of trips to the United States, which eventually led to the production of a series of houses through his company Dam Dan. Ishiyama capitalized on the price difference in building materials by industrializing an assembly process through the importation of containers from North America. These experiences in the realm of assembly laid the foundation for what Ishiyama called Akihabara kankaku (Akihabara Sensibility). Inspired by the Akihabara market, the architect envisioned the home as a self-constructed artifact made from readily available components.
Págs. 122-133