Person:
Martínez de Guereñu, Laura

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Laura
Last Name
Martínez de Guereñu
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IE University
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IE School of Architecture & Desing
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Architecture and Design
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2016 - 20192
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Start date: 2016 × Has files: true ×

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Now showing 1 - 2 of 2
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    One pavilion eight palaces: The construction of German identity in Barcelona 1929
    (CSIC Consejo Superior de Investigaciones Cientificas, 2019) Martínez de Guereñu, Laura; https://ror.org/02jjdwm75
    This article resolves a historiographical omission,disclosing the forgotten context of the German Pavilion at the 1929 Barcelona International Exposition. Much scholarship has been produced around the myth of a Pavilion that,in spite of its ephemeral existence of eight months,became one of the most important works of the 20th century. However,the formal relationship between the architectural elements of the Pavilion and the design of the 16,000 m2 of German industrial sections distributed in eight Noucentista Palaces had not been explored until now. This article reveals the construction of a consistent sequence linking the Pavilion and the interior of these Palaces,which allowed Mies and Lilly Reich to architecturally express the distinctive identity of Germany through the recovered strength of its industrial fabric. © 2019 CSIC.
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    Bauhäusler on the Franco-Spanish Border
    (The Open Library Of Humanities, 2016-10-26) Martínez de Guereñu, Laura; BBVA Foundation; Fritz Thyssen Foundation; Fundación Rafael del Pino; Harvard University; https://ror.org/02jjdwm75
    This article focuses on the travels of Bauhaus masters and instructors and on the transport of Bauhaus products to Spain in 1929, when the Franco-Spanish border was still culturally permeable. Ludwig Mies van der Rohe and Marcel Breuer introduced their tubular-steel furniture in the Spanish market. Mies and Lilly Reich designed the interiors of all German industrial sections at the Barcelona International Exposition, where the Bauhaus sent objects from its carpentry, metal, and weaving workshops. Josef and Anni Albers traveled to see the exhibition and then went to meet Vassily Kandinsky and Paul Klee, who spent over a month on holiday in the Côte Basque. Albers captured their trip in photo collages, Kandinsky registered his impressions in snapshots, while Klee wrote abundant correspondence and produced drawings. Focusing on the itineraries the Bauhäusler followed, along with the means by which they expressed their travel impressions, this article reveals the effect of travel in their later design attitudes and work. Significant cultural transfers between Germany and Spain took place in a critical moment of European history, suggesting that further developments of these learning experiences might have materialized later on both sides of the border, possibly even reaching across the Atlantic.Fundación BBVA- Convocatoria 2015 de Ayudas a Investigadores y Creadores Culturales Bauhaus, España, América: Intercambios y Transferencias culturales (1928-1975)