El conjunto residencial: Santa Águeda. Benicàssim, Castellón. 1964-1975. MBM arquitectos
[EN] The Santa Agueda apartments ensemble is an ambitious touristic project developed in Benicàssim, Castellón, by the MBM studio (Josep Maria Martorell, Oriol Bohigas y David Mackay). Attending to its characteristics, the building can be considered an example of Catalan architecture development bef...
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| Tipo de recurso: | tesis doctoral |
| Fecha de publicación: | 2016 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/60152 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/60152 |
| Access Level: | acceso abierto |
| Palabra clave: | MBM Apartamentos Santa Águeda Arquitectura popular Turismo Realismo PROYECTOS ARQUITECTONICOS |
| Sumario: | [EN] The Santa Agueda apartments ensemble is an ambitious touristic project developed in Benicàssim, Castellón, by the MBM studio (Josep Maria Martorell, Oriol Bohigas y David Mackay). Attending to its characteristics, the building can be considered an example of Catalan architecture development before the stylistic spread generated in the seventies with the "neo-avant-gardes" emergence. Features of English brutalism, Roman neorealism or Milanese neoliberty, can also be recognized in the building, artistic movements which Oriol Bohigas included in his writings under the category realism, so he could establish a relation with other artistic and literary movements of the early seventies. The project comes up with an order related with the well-regarded art critic Tomàs Llorens. The aim was to search a new urban aggregation form suitable for touristic housing, which made a difference from common touristic architecture developed in the sixties. For that reason, the architects took popular architecture as a reference, trying to recover its "psychological habitability", emphasizing common spaces and people traffic areas as places for cohabitation. The attachment of the different individual units attempts to form an image which remains the random and spontaneous aggregation form of popular architecture. Other traditional elements are also used, so inhabitants can recognize them, although the result is far from being the folkloric and superficial reproduction which would become generalized in touristic architecture throughout seventies. The whole ensemble was not built entirely, so many of the aims related to common space were not achieved, and the realized parts tend to be little picturesque. However, the complex keeps on being a critical model in front of the uninspiring touristic construction in the Mediterranean coast. |
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