Estructuras en bruto: el Museo de Bellas Artes de Caracas y el Sesc Pompeia
[EN] This essay intends to make a comparative analysis of the second extension to the Caracas Museum of Fine Arts, MBAC (1966-76), by Carlos Raúl Villanueva, and the wellness complex of the SESC Pompeia Cultural and Recreational Center (1982-86), by Lina Bo Bardi, to investigate how perimeter load-b...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:riunet.upv.es:10251/199770 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/199770 |
| Access Level: | acceso abierto |
| Palabra clave: | Concrete Carlos Raúl Villanueva Lina Bo Bardi Caracas Museum of Fine Arts SESC Pompeia Museo de Bellas Artes de Caracas Hormigón |
| Sumario: | [EN] This essay intends to make a comparative analysis of the second extension to the Caracas Museum of Fine Arts, MBAC (1966-76), by Carlos Raúl Villanueva, and the wellness complex of the SESC Pompeia Cultural and Recreational Center (1982-86), by Lina Bo Bardi, to investigate how perimeter load-bearing walls and reticular slabs made of reinforced concrete are used as a structural solution for architecture of unique sizes for special purposes that was developed in Latin America in the second half of the 20th century. As well as examining the work of Villanueva and Bo Bardi and suggesting possible parallels between the architecture of Venezuela and Brazil during this period, this study also aims to show that the modern tradition is an inclusive and expansive system and that concrete can be used to form distinctive features to achieve specific functional characterizations. |
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