last publication of each author
Bermejo Lorenzo, Carmen y Fernández García, Ana María. “Construcciones y apropiaciones de los espacios funerarios: Los cementerios en las urbes del siglo XXI”. In Apropiación simbólica de los espacios públicos y domésticos, editado por Fernández García, Ana María y Álvarez Martínez, Soledad, 95-123. Gijón: Trea, 2023.
Meléndez Galán, Enrique et al. “Gamificación en humanidades a través del juego Timeline. Presentación del proyecto y primeras valoraciones”. In Modalidades de aprendizaje para la innovación educativa, editado por Villalustre Martínez, Lourdes y Fernández Cueli, Marisol, 245-252. Servicio de Publicaciones de la Universidad de Oviedo, 2023.
Ribeiro dos Santos, Renata. “Voluntades Transgresoras: instalaciones y prácticas culturales originarias; Chavis Mármol. Neo Tameme; y Pedro Lasch. Figuraciones Inversas”. In Antes de América. Fuentes originarias en la cultura moderna, editado por Gutiérrez Viñuales, Fontán del Junco, Manuel y Toledo Gutiérrez, María, 118-122 y 582-593. Ediciones La Bahía, Museo Kaluz y Fundación Juan March, 2023.
Villa Varela, Aida. “The educational spaces of industrialization in Avilés through the Empresa Nacional Siderúrgica S.A. (ENSIDESA). From kindergarten to apprentice schools”. In Apropiación simbólica de los espacios públicos y domésticos: lo privado y lo público, edited by Fernández García, Ana María and Álvarez Martínez, Soledad. Gijón: Trea, 2023.
earlier publications (2021-2022)
- Authors in alphabetical order
- Publications in chronological order from most to least recent
Bargón García, Marina
In VV.AA., El arte que quema (pp. 45-55). Consejería de Cultura, Turismo y deportes. Juntas de Extremadura. Consorcio Museo Vostell Malpartida. Te Wolf Vostell Estate.
Bermejo Lorenzo, María del Carmen
In Res Mobilis, 12(17), 38–70.
Within the set of harbor architectural structures, to which we are dedicating an analysis that has already generated other studies, such as the book Las Lonjas del Cantábrico. Harbors, cities and heritage, in this work we deal with the buildings of the old Works Boards and current Port Authorities of Bilbao and Avilés, responding to one of the objectives set in our current research project Harbor-city relations: Avilés and Bilbao, heritage, architecture and urban evolution.
Norba. Revista Arte, no. 41, (2021): 33-44.
The purpose of this article is to highlight the importance of the contemporary architectural heritage that presides over a good part of the harbor structures of the Cantabrian coast as a defining element, along with the rest of the manmade actions and its infrastructural and technica testimoniesl, of a cultural landscape that still has not had the recognition of the authorities. However, it is an element of identity not only among its citizens but also in the international context. Under these premises we have defined the profile of the main coastal cities of the Bay of Biscay, Avilés, Gijón, Santander and Bilbao, in which the harbor and seafaring traditions coexist with the urban planning presided over by these large cultural containers which are representatives of the best contemporary architecture.
The fish markets or fish auction sale houses are an essential element of the port heritage sparsely attended by the research work up to the present. The book Markets of the bay of Biscay. Harbor, cities and heritage tries to cover this gap through the study of the main ports of Asturias, Cantabria and the Basque Country. In it, after an introductory chapter of fish markets' value as an item of heritage, we deal with the particular analysis of the fish auction sale houses in each port of Avilés, Gijón, Santander and Santurtzi (Bizkaia). In them, we explore the origin of the auctions and its relationship with the societies of fishermen and sailors, their dependence on the transformations of the ports and the changes of location of the fishing docks, the initiatives that drove its first construction, and the successive buildings erected to fulfill this function, as well as the architectural study and follow-up after the loss of their original function: in some cases they have been rehabilitated to serve new purposes, but on others their abandonment has led to the increase of the destruction suffered by the Industrial Heritage.
Castro Cabero, Marina
Benjamín Menéndez (Avilés, 1963) destaca dentro del panorama escultórico asturiano por su contundente y reivindicativo discurso artístico ligado a la memoria e identidad del entorno en el que vive. En el presente artículo se analiza su última instalación presentada en noviembre del año 2022, Oficio, Objeto, Sujeto, una intervención que recoge a través de las distintas piezas expuestas el discurso artístico que el artista avilesino defiende desde su primera instalación en el año 1986 hasta la actualidad. Este discurso y esta muestra en concreto se basa en una defensa y conservación del mundo artesanal, industrial y natural que desaparece dentro de nuestra región, Asturias.
Avilés: Centro de Estudios del Alfoz de Gauzón (CEAG), 2022.
Benjamín Menéndez: a vital artist It constitutes the first academic and global study of the artist from Aviles, placing him in the Asturian panorama of the artistic renewal that took place during the 20th century.
In this research work, biographical aspects are addressed that allow us to explain, from the point of view of discourse, matter and form, the works of this creator from Aviles. It delves into the defense of industrial heritage that Benjamín Menéndez makes in his interventions, as well as his concern for the progressive disappearance of the rural world and the artist's links with nature.
This book is the result of the "Faustina Álvarez García" prize for Master's Final Projects, awarded by Centro de Estudios del Alfoz de Gauzón in 2021.
Domínguez Rodríguez, Rubén
In Res Mobilis, 12(17), 147–163.
El arte y la industria están estrechamente vinculados desde los albores de la industrialización. En Asturias, las promociones fabriles han desarrollado desde el siglo XVIII y hasta la actualidad interesantes intervenciones artísticas en los espacios de trabajo y, además, han propiciado el surgimiento de nuevos materiales e iconografías acordes a los nuevos tiempos. En este estudio se ofrece una aproximación a la obra de Luis Suco-Sánchez a través de cuatro mosaicos de gran formato y temática industrial, realizados a mediados del siglo XX. Obras, todas ellas, presentes en espacios vinculados a la minería y la siderurgia, tales como el Pozo Fondón (Sama, Llangréu/Langreo) y la Escuela de Maestría Industrial (Avilés).
Asturias es una Comunidad íntimamente ligada a los procesos industriales más relevantes que han tenido lugar en España en estos dos últimos siglos.
Este libro es una contribución importante al conocimiento y divulgación de testimonios y referentes de la historia industrial de Asturias. Sus autores, tanto los coordinadores de la obra: Natalia Tielve y Faustino Suárez, como el resto del equipo autoral de textos, imágenes y documentos han realizado un intenso y amplio trabajo de investigación y estudio multidisciplinar aplicado al territorio asturiano, cuyo reflejo es una obra de referencia para todos los ciudadanos interesados en la historia contemporánea de su comunidad.
La publicación nace ligada al proyecto patrimoniuindustrial.com de la productora Freews que acometió un ambicioso proyecto cultural con el binomio imagen-industria realizando piezas audiovisuales con un lenguaje propio sobre enclaves, hitos industriales con textos de historiadores que sirvieron de guía para el proyecto.
Hoy estos historiadores nos presentan en forma de libro sus investigaciones, enriqueciendo y visualizando en forma impresa lo ya visible e imaginado en las piezas audiovisuales.
Un repertorio multidisciplinar de testigos de lo cotidiano de esta Asturias, que olía a humos por todos lados a la vez, de una sociedad donde todavía estaba presente la mixtura de lo rural y lo urbano. Aquella Arcadia feliz que como reflejó Armando Palacio Valdés en La aldea perdida quedó trastornada por los embates de una civilización industrial emergente que perturbaba con sus ruidos, goniómetros, locomotoras, picas y actividad febril, modificando el paisaje, a la vez que conformaron historias personales y colectivas que se funden y confunden en una historia común.
El retrato de un legado, con la descripción del patrimonio industrial de Asturias es la expresión tangible de este proceso de la industrialización asturiana con elementos, equipamientos culturales, instalaciones, conjuntos o paisajes que se alzan como señales relevantes de un paisaje humanizado de lugares con memoria, una consecuencia y herencia de la industrialización.
Los antecedentes del interés y el estudio por el patrimonio industrial asturiano datan de principios de la década de los ochenta del pasado siglo. Las I Jornadas de protección y revalorización del patrimonio industrial, realizadas en Bilbao en diciembre de 1982, se pueden considerar una fecha de visibilización e irrupción de la consideración del patrimonio industrial como nuevo bien cultural. Tuvimos la oportunidad de asistir y participar en un proceso que años después tuvo su correlato en Asturias y en otras comunidades españolas.
Miguel Ángel Álvarez areces
Presidente de INCUNA
actuality.
The National Institute of Industry promoted in Avilés, from 1950, one of its most ambitious companies. The construction of the ENSIDESA steel facilities and the birth of working-class neighborhoods, leaded by Llaranes, led to the creation of new services and equipment available for the "producers" (workers). Within the framework of these paternalistic policies, education played a fundamental role. The great demand for educational spaces allowed the Company to devise and build provisional schools for the towns of Llaranes and the “Francisco Franco” Board of Trustees, studied in this article. Despite their alleged temporality, these small buildings had an attractive functionalist design, executed without forgetting about the aesthetic will of their forms and the creation of friendly spaces for work and recreation.
In Versalles 2022. Avilés: Asociación Sociocultural COMVER, 2022. (Sólo disponible en versión impresa)
Fernández García, Ana María
In Res Mobilis, 12(17), 200–223.
In Arenal. Revista De Historia De Las Mujeres, 30(2), (2023): 417-445.
In Quintana, 22, (2023): 1-24.
This publication is the result of an exhibition and an informative activity El Museo Portátil del Diseño Industrial Español to seek to bring the History of Art closer to the general public through everyday elements which also constitute design milestones.
In the introduction, the evolution of product design is considered as a key discipline to meet the needs of an increasingly dynamic and changing society.
Venice Biennale of Architecture. 18-25. Denmark: Aalborg University, 2021.
Craft Cultural Heritage Project.
The aim of the European Year of Cultural Heritage is to encourage more people to discover and engage with Europe's cultural heritage, and to reinforce a sense of belonging to a common European space.
All over the world a lot of cultural heritage is available, but especially in Europe there is a common cultural heritage worth remembering, discovering (again) and be aware of. In a world where the cultural diversity is increasing, the shared cultural heritage is a tool to promote intercultural understanding and create relations between identities, representations and performances of history, this by connecting higher educational institutions with cultural institutionsand companies to working an interdisciplinary, new and innovative way.
For those reasons and many more, we created the CRAFT, an Erasmus+ Strategic Partnership including six partners in total, representing five European Countries (Denmark, Spain, Portugal, Italy & Slovenia) with interdisciplinary roots. Each country is represented by a higher educational and/or cultural institution or company.
Fernández Martínez, Carla
Santiago de Compostela: Andavira, 2023.
In A Rúa na estructura urbana, 33-34. Universidade do Porto, (2021).
The planned or organic streets are part of the design of the city and its face is shaped and transformed by continued occupation over time. Some streets and arteries, due to the functions they perform, are decisive for understanding the growth of the urban structure and for the identity of the architectural landscape. They have a genesis and a development and as a living organism occupied by residents, the face of the street undergoes transformations and the functions that define its character can change its image. With regard to the celebration of the 500th anniversary of Rua das Flores, in the city of Porto, this colloquium of reflection/study is held on the role of the street in the urban structure.
One of the most important sailor neighborhoods of Galicia was the Moureira, in Pontevedra. The essential harbor of this city is now practically unrecognizable, due to the transformations experienced, above all, from the nineteenth century onwards. Anyway, as it had already happened on many other occasions throughout the Atlantic, the port and the activity that it generated were the engine of its flourishing urbanization. Precisely, in the pages that follow we present a study that, based on the analysis of the graphic documentation preserved, has recovered and analyzed the tangible and intangible history that left few traces in its development.
In La città palinsesto. Cirice. Unviersità degli Studi di Napoli, 2021.
The subject of this volume is the articulated heritage of traces, images, narratives that build the contemporary city. We are talking about urban realities that must be re-read and told in parts, in layers, and backwards, in such a way as to be able to unravel that intricate tangle of overlaps that have occurred over time. They are traces very often still in situ, sometimes hidden, sometimes modified, but also distracted, fragmented, ill-concealed and hidden.
Fuente Corripio, Llara
En el catálogo de la exposición temporal Creators & Keepers. Women weaving Europe.
Publicación dentro del marco del proyecto europeo CULTURALITY.
In Res Mobilis, 12(17), 183–199.
Este trabajo explora el diseño colaborativo entre el neoartesano y carpintero Rafa Martín, afincado y con taller en un entorno rural del occidente asturiano, y el arquitecto Julio Valle, quien colabora a su vez con su hija María en el estudio Valle Arquitectura. A través de sus creaciones podemos percibir en el diseño de interiores y de mobiliario, la incorporación de lo contemporáneo a lo tradicional dando lugar a piezas unitarias y singulares. Asimismo, este trabajo nos permite e invita a profundizar sobre cuestiones de relevancia actual, como la vuelta a los materiales locales y sostenibles o la recuperación de elementos del patrimonio rural, siempre aportando desde una visión novedosa, impulsando nuevos enfoques estéticos y nuevas formas de hacer.
This article explores the chair and its role in society in different cultures from an anthropological perspective, dealing with topics such as the importance of gestures; the act and forms of sitting linked to different geographical locations, genders and social classes; or the chair as a symbolic, functional and artistic element.
This publication is the result of an exhibition and an informative activity El Museo Portátil del Diseño Industrial Español to seek to bring the History of Art closer to the general public through everyday elements which also constitute design milestones.
In the introduction, the evolution of product design is considered as a key discipline to meet the needs of an increasingly dynamic and changing society.
In La soga. Revista Cultural, junio 2023.
This popular article deals with the destruction of heritage as an objective in armed conflicts, as well as its possible restoration.
Meléndez Galán, Enrique
In Res Mobilis, 12(17), 71–111.
El presente escrito tiene como objetivo ahondar en la vertiente más plástica de la obra del arquitecto Joaquín Vaquero Palacios a través del análisis de las vidrieras del cuerpo de escalera realizadas para la Sede Social de Hidroeléctrica del Cantábrico en Oviedo. Esto permitirá abordar el diálogo establecido entre continente y contenido, tan interesante siempre en las obras del arquitecto asturiano en esa idea de “integración” que tantas veces se ha abordado en su historiografía. A través de un análisis de la iconografía empleada en estas vidrieras, así como en otros aspectos plásticos, podremos aproximarnos al interés de este artista por potenciar la semántica de un edificio no solo como representante de una compañía eléctrica, sino como representante de toda una geografía.
In Modalidades de aprendizaje para la innovación educativa, editado por Villalustre Martínez, Lourdes y Fernández Cueli, Marisol, 245-252. Servicio de Publicaciones de la Universidad de Oviedo, 2023.
Libro que tiene como objetivo recopilar experiencias de innovación educativa en diferentes etapas de la escolarización, tanto obligatoria como, sobre todo, superior. Se incorporan un total de 61 experiencias organizadas en seis bloques: competencias transversales, metodologías docentes, objetivos de desarrollo sostenible, tecnologías de la información y la comunicación, transferencia, y tutoría y seguimiento.
In Imágenes Distópicas. Representaciones culturales, 27-43. Madrid: Los Libros de la Catarata, 2022.
What are the limits of the dystopian universe? Faced with the utopian genre, which posed ideal societies that allowed veiled criticism of the political, ideological or social system of various eras (Renaissance, Enlightenment...) to be explored, the concept of dystopia enjoys a special impact today by placing readers and viewers before structures, powers and seemingly ideal situations, which soon reveal a dark or disintegrating face, both on an individual and interpersonal level. From a multidisciplinary perspective, this volume addresses the complexity of the postmodern concept of dystopia and its links with tradition. (Metrópolis, 1984, Un mundo feliz, La naranja mecánica, Fahrenheit 451…). The predominant discourse defends that this anti-utopia imagines life or its possibility in the worst of all possible worlds, generally in alienating totalitarian states devoid of freedom: faced with this undesirable future, readers and viewers rebel against dehumanization, injustice, inequality or the destruction of their identity. This book analyzes dystopian narrative construction in literature and cinema, also identifying the reasons for its contemporary success in literature, visual arts and electronic entertainment (The hunger games, Blade runner, The walking dead, Black mirror, Metro 2033…).
Dystopia and Society: journal of cultural studies, no.1, (2021): 105-117.
The present paper seeks to put the focus on films of dystopian hues in which you can appreciate the destruction of
monumentos o elementos patrimoniales no solo como parte de un espectáculo visual, sino también como símbolo o refuerzo semántico de la trama. Para ello, ahondaremos en las raíces de conceptos como el de iconoclastia que nos permitirán hacer un recorrido por la Historia del Arte y la Historia Reciente mediante el cual se establecerán las bases de otros más complejos como el de “trauma cultural” o “iconoclash”. Así, de la realidad a la ficción, estableceremos paralelismos y buscaremos los enlaces e identificaciones asentados en el inconsciente colectivo que nos permitan entender el poder de la destrucción del patrimonio en el cine.
The present volume collects the results of the second International Conference on Research on landscape, heritage and the city, organized by the Research Group Architecture, History, City and Landscape (ARHCIPAI), attached to the School of Architecture, University of Alcalá, in collaboration with the Design Department of the Habitat at the Science Center of the Design and Construction of the Autonomous University of Aguascalientes (Mexico). Under the motto Approaches to contemporary the urban landscape, are collected paths contributions from researchers and professionals who develop their work in this field, either through theoretical contributions, methodological or design, and that demonstrate the multi-disciplinary fields of study moves in the topic addressed. Consciously has obviated the adjective “historic”, to invite the inclusion of daily scenes that are part of networks of economic and social assets and identity-and that give rise to difficulties of recognition. This fact promotes a vision polyhedral and phenomenological, looking for approaches from the urban heritage, architecture and urbanism, but also from the landscape generated by the collective social imaginary groups, citizen participation, public space and environmental sustainability, which is more than an understanding purely aesthetic monumental-and perceptual-visual concept. The volume is structured in four sections, the urban landscape as culture and heritage: conservation and transformation, the urban landscape as geography and product of the technique, the management of the urban landscape, and the social landscape, which, however, are evidence of multiple interconnections that are trying to build together a vision of the character polyhedral of the urban landscape. The set of texts included in this volume, in addition, reflect the opportunity for universities to promote the conceptual debate and scientific about figures heritage of evolutionary nature, with the aim of raising an exhibition forum, discussion and scientific exchange that may contribute to shed light on the multiple situations inherent to the urban landscape from an integrated approach, open and contemporary, as a fact complex from the point of view of their protection, but also for its constant updating.
In Interventions in the city and the territory. Heritage in all its diversity, the cultural landscape, editado por Méndez Hernán, Vicente y Bazán de Huerta, Moisés, nº 1, 83-95. Cáceres, Extremadura (España): Servicio de Publicaciones de la Universidad de Extremadura, 2021.
This book is the result of the national research project "Cultural Landscapes in the Extremadura south: a view from the Heritage" (HAR2017-87225-P), developed between 2018 and June 2021; it is the third in the series that began in 2011 with the proposal entitled "Between Toledo and Portugal: perspectives and reflections on contemporary around your landscape modeling by the Tagus river" (HAR2010-21835); and we continued in 2015 with "The ownership of a territory: shaping of cultural landscapes between the Tagus and the Guadiana river in Extremadura" (HAR2017-87225-P). In all three cases, the academic framework of reference have been the University and the regional government of Extremadura and the Research group ARPACUR (HUM 012, Art and Heritage of Modern and Contemporary), coordinated by professor Maria del Mar Lozano Bartolozzi. These ten years of research have served to focus from a very broad perspective to the study of the cultural landscape of Extremadura. Fruit of all this are the different sections in which we have structured the book. The first is dedicated to the Interventions in the urban landscape, with works that explore the port of Avilés and Tarragona; the facade of the museum as an interface in the urban landscape; the technology applied to the perception of the same; or the decor that made possible the technique of the tiling in the context of the city. The second part bears the title A multidisciplinary approach to the landscape, and it addresses studies on the new paths of roads in the Extremadura in the EIGHTEENTH century; the road as a vector to interpret the landscape; the fortifications on the defensive line of the river Guadiana; the environments of Azuaga and Alburquerque, and hermitages associated with the water to the south of the river Guadiana. Finally, the book closes with a section dedicated to contemporary Art in the landscape and in the towns of colonization, and includes essays on the agricultural landscape of Sicily in the TWENTIETH century; the architecture and the plastic arts in the churches of the villages of colonization of southern Extremadura; and an analysis of The Cinoja as a private space art in Fregenal de la Sierra.
Pérez Fernández, Lucía
Ribeiro Dos Santos, Renata
In Art in Translation, Taylor and Francis y Routledge. (In press)
In this writing, a brief review of some teaching activities elaborated with geolocation tools, elaborated with the objective of bringing the artistic and cultural environment closer to the students in a creative and collaborative way, is made.
Latin American Research Review, 57, 3, (2022): 80-99.
Focusing on Brazil, this article examines the mechanisms of colonial imposition of the identity and aesthetics hegemonic that led to the invisibility and silencing of stories and knowledge of the groups colonized located in a position marginal. It is proposed that, as a response to this process, marginalized identities using tools inserted in the strategy decolonial —detachment and disobedience— to transgress the normative logic of hegemony in the development of their cultural production. The text analyzes artists, works, actions, and events brazilians recent, which, through their poetic managed to pervert and bring awareness to the epistemology imposed by the coloniality. We are studying proposals transgressive that were leaked in the institutions legitimized, as the works of Rosana Paulino, Denilson Baniwa, or exposure Queermuseu, as well as other born outside the institutional boundaries —the pixação— which, due to its friction with the model of social policy, escapes any imposition of regulatory.
Mulheres artists? Mulheres artists. Goiás: Editorial UFG, 2022. (In press).
Art, the Individual and Society, 33, 3, (2021): 687-703.
The present essay makes a reflection on the representation of works by women artists
of Latin America in collective exhibitions made in Spain. On the basis of data that show
the unequal participation of Latin american artists, men and women in the samples developed
since the end of the 1970s up to the present, it raises a series of questions and
assertions that allow you to understand why works of women artists in Latin America were not
selected to integrate these exposures and, therefore, does not become part of the canon
the History of Latin american Art. To attempt to understand the enormous lagoon caused due
the absence of the artists and the works, looking for answers in the presences: what it means to be
Latin american woman and artist within the art scene hegemonic?, what were the artists
we managed to take part of the “large samples of Latin american”? and what narrative predominated in the
few group exhibitions exclusively devoted to women artists?
The approach to the design of furniture and works of interior design hotel of the architect and designer brazilian Patricia Anastassiadis allows you to glimpse into your production of certain dichotomies —local-global handicrafts-industry and exclusivity-sustainability— that is, fused together, guiding your creations. This article aims to analyze how the fusion of these concepts, seemingly conflicting, gives uniqueness and the contemporary to objects and projects created by Anastassiadis, which allow you to access a space in the crowded world of design today. To support this hypothesis have been selected pieces of furniture created in collaboration with industries Ornare, and Artifact where, the tension between indigenous and international, the relationship of craft processes with industrial technology and the focus on sustainability, occur constantly. All of these elements are translated into a personal form of exclusivity and luxury, underpinned in the interior design of the Hotel Palace Tanager, and Hotel Hilton Barra Rio de Janeiro.
Rodríguez Pérez, Santiago
This paper briefly exposes the development of the new exhibition space of the Ethnographic and History Museum of Grau/Grado, called Grau, villa y mercáu. The contents of this new headquarters focus on the history of the Moscona town, showing pieces and contents related to the daily life of its inhabitants, their economic activities and their social and cultural life.
The museographic discourse has two objectives: on the one hand, to preserve and show the public the commercial and industrial heritage of Grau/Grado, through elements donated by its inhabitants, accompanied by their graphic and oral memory, and on the other, to historically contextualize the activity. commercial and the role of the market as an element of territorial cohesion, projecting this memory into the future in order to enhance local sustainable development.
In the creation of this space, the involvement of the inhabitants of Grau/Grado has been fundamental, thanks to which oral testimonies have been obtained that have made it possible to reconstruct the memory of the community, as well as to gather pieces of special importance. All of this has made it possible to create a cultural resource of and for the community with an alternative discourse, centered on people and their stories.
In Apropiación simbólica de los espacios públicos y domésticos, 287-303. Gijón: Trea, 2023.
The projects of transfer and the dissemination of scientific information now constitute an important part of the activity of the researchers of any discipline. In the present volume will meet a series of works focused on projects of scientific publication that have been developed in different areas and targeted at different sectors of the society, but all of them with an element that articulates: they belong to the field of the Humanities, with special attention to Archaeology. Your pooling aims to show the plurality of approaches that can be taken in the transfer of knowledge in function of the objectives and the degree of involvement in the development of the projects. The thread of the book are the possibilities and strategies in scientific publication that offers the Archaeology, a discipline that has been particularly active in recent years, which has favored both a qualitative theoretical reflection and the implementation of projects that have an important social impact.
Res Mobilis 10, nº 12 (February 15, 2021): 127-53.
The medical topography are papers in which we study the environmental conditions and materials of the territory, with the aim of implementing preventive actions to improve health and hygiene in public. In them, in addition to health issues, it also examines the geography, climate, flora and fauna, urban planning, demography, economics, history, etc, This genre of scientific literature, which had its heyday in the late NINETEENTH century and early TWENTIETH century, is a source of interest for historical research. In the case of asturias is also exceptional, as there were more than fifty works that cover a good part of the territory of the community. From the data we provide on the conditions of life in the rural environment, we provide a brief overview of the situation of the habitat home, their problems and transformations in the early decades of the TWENTIETH century.
Sarriugarte Gomez, Íñigo
In Apropiación simbólica de los espacios públicos y domésticos, 181-211. Gijón: Trea, 2023.
Vegueta. Yearbook of the Faculty of Geography and History, vol 2, no. 1 (2022).
After the Second World War, it was developing the birth of the New York School, where a number of musicians and painters began to develop new guidelines for experimental, which would facilitate the emergence of Abstract Expressionism. Earle Brown (1926-2002), based on the analysis of dripping in the paintings of Jackson Pollock on the basis of spontaneity, randomness and freedom of execution, and interpretation diversified, developed the open form in the patterns of music, where he facilitated the freedom of the interpreter at the time of the musical performance and are articulated proposals laden with a multitude of executions various.
Liño, volume 7, no. 27 (2021).
The publication of a series of manuals theosophical at the end of the NINETEENTH century and early TWENTIETH century on issues so innovative, such as the typology of the forms of thought and respect to the chromatic composition of the concept of the aura, was, for many creators avant-garde the opening of new experimental possibilities. In this sense, some of the proposals of works of Wassily Kandinsky, Theo van Doesburg and František Kupka, among others, can be interpreted as permutations of color from the provision theoretical generated especially the theosophists C. W. Leadbeater and Annie Besant. Without making a translation mimetic of the various conjectures raised in the beliefs of this school of thought is tight, these artists embarked on the planning of new experiential opportunities at the same time that it is held in the validation of a theoretical corpus that justified the practice abstract in a relationship with a network of more spiritual approach.
The swiss artist Emma Kunz (1892-1963) developed a large production of energy patterns, which assumed a closeness visual and symbolic yantras and mandalas. Although we have not found any evidence in this regard, according to the reviewed literature, as well as to the contributions made by the museum of the creator, it is believed that he came to handle the literature of alchemy by Paracelsus and christian texts, as well as written sources of schools airtight. The vast majority of their graphics were developed for therapeutic purposes, in the belief that emitted a wave that could affect the patient or bystander when they beheld.
En Lonjas del Cantábrico. Puerto, ciudad y patrimonio. Gijón: Trea, 2021.
The auction houses or sale of fish are an essential element of the port heritage sparsely attended by the research work up to the present. The book Markets of the bay of Biscay. Port, city and heritage tries to cover this gap through the study of the happened in the main ports of Asturias, Cantabria and the Basque Country. In him, after an introductory chapter of what pose slices as an item of heritage, focuses on the analysis ular of the built in each port of Avilés, Gijón, Santander and Santurtzi (Bizkaia). In them, he explores the origin of lwa market and its relationship with the societies of fishermen and fishermen, their dependence on the transformations port and the changes of location of the fishing docks, the initiatives that drove its first construction, and the successive buildings erected to fulfil this function, as well as the architectural study and follow-up after the loss of the original function, which in some cases have been rehabilitated to play new uses, but on the other have led to the increase of the destruction suffered by the Industrial Heritage.
In 1918 he founded the Spanish Society of Construction Babcock & Wilcox, where you will apply important technological advances for the construction of locomotives, steam boilers, turbines and other industrial equipment. After its closure in 2011, and the demolishing of their ships, a hundred years old, the main vestiges of this company would be the property for its Central Offices (1963-1965) in Bilbao and the building for dining rooms, located in Trapagaran (Bizkaia), designed and built under the direction of architect Alvaro Lebanon in 1963, in what would be an example of rationalist architecture, clearly indebted to the line applicative of Mies Van der Rohe.
Tielve García, Natalia
In Res Mobilis, 12(17), 112–146.
Trabajos de (no) andar por casa. Perspectivas de género para el Patrimonio Industrial TICCIH España. Bizkaiko Foru Aldundia – Diputación Foral de Bizkaia, Bilbao (2022): 118-127.
Trabajos de (no) andar por casa. Perspectivas de género para el Patrimonio Industrial TICCIH España. Bizkaiko Foru Aldundia – Diputación Foral de Bizkaia, Bilbao (2022): 218-227.
Asturias es una Comunidad íntimamente ligada a los procesos industriales más relevantes que han tenido lugar en España en estos dos últimos siglos.
Este libro es una contribución importante al conocimiento y divulgación de testimonios y referentes de la historia industrial de Asturias. Sus autores, tanto los coordinadores de la obra: Natalia Tielve y Faustino Suárez, como el resto del equipo autoral de textos, imágenes y documentos han realizado un intenso y amplio trabajo de investigación y estudio multidisciplinar aplicado al territorio asturiano, cuyo reflejo es una obra de referencia para todos los ciudadanos interesados en la historia contemporánea de su comunidad.
La publicación nace ligada al proyecto patrimoniuindustrial.com de la productora Freews que acometió un ambicioso proyecto cultural con el binomio imagen-industria realizando piezas audiovisuales con un lenguaje propio sobre enclaves, hitos industriales con textos de historiadores que sirvieron de guía para el proyecto.
Hoy estos historiadores nos presentan en forma de libro sus investigaciones, enriqueciendo y visualizando en forma impresa lo ya visible e imaginado en las piezas audiovisuales.
Un repertorio multidisciplinar de testigos de lo cotidiano de esta Asturias, que olía a humos por todos lados a la vez, de una sociedad donde todavía estaba presente la mixtura de lo rural y lo urbano. Aquella Arcadia feliz que como reflejó Armando Palacio Valdés en La aldea perdida quedó trastornada por los embates de una civilización industrial emergente que perturbaba con sus ruidos, goniómetros, locomotoras, picas y actividad febril, modificando el paisaje, a la vez que conformaron historias personales y colectivas que se funden y confunden en una historia común.
El retrato de un legado, con la descripción del patrimonio industrial de Asturias es la expresión tangible de este proceso de la industrialización asturiana con elementos, equipamientos culturales, instalaciones, conjuntos o paisajes que se alzan como señales relevantes de un paisaje humanizado de lugares con memoria, una consecuencia y herencia de la industrialización.
Los antecedentes del interés y el estudio por el patrimonio industrial asturiano datan de principios de la década de los ochenta del pasado siglo. Las I Jornadas de protección y revalorización del patrimonio industrial, realizadas en Bilbao en diciembre de 1982, se pueden considerar una fecha de visibilización e irrupción de la consideración del patrimonio industrial como nuevo bien cultural. Tuvimos la oportunidad de asistir y participar en un proceso que años después tuvo su correlato en Asturias y en otras comunidades españolas.
Artículos de/en los que participa Natalia Tielve García:
-Patrimonio Industrial en Asturias
-Lux mundi: el patrimonio de la electricidad
– Sembrar y explotar: la industria química
– Artefactum: técnica y cultura
CICEES. (In press).
The study of the phenomenon of migration, cultural relations between Spain and America and, in particular, associations migrant English, and the publications linked to it, acquires an undeniable interest to the researcher. The work presented in the book, The press of the Spanish emigration in America. Visions and revisions, coordinated by professors Natalia Tielve García and José Manuel Prieto Fernández del Viso, highlight the topicality of the issue and the plurality of views, approaches, and perspectives of analysis in it converge. Collect a mosaic of studies, plurals in their subject, taking as an object of analysis publications promoted by different groups of Spanish migrants in countries such as Cuba, Argentina or Mexico, contribute to rescue the memory of emigration: works that speak to us of the past and present, of the identity and memory, heritage disappeared, and the legacy recovered.
The auction houses or sale of fish are an essential element of the port heritage sparsely attended by the research work up to the present. The book Markets of the bay of Biscay. Port, city and heritage tries to cover this gap through the study of the happened in the main ports of Asturias, Cantabria and the Basque Country. In him, after an introductory chapter of what pose slices as an item of heritage, focuses on the analysis ular of the built in each port of Avilés, Gijón, Santander and Santurtzi (Bizkaia). In them, he explores the origin of lwa market and its relationship with the societies of fishermen and fishermen, their dependence on the transformations port and the changes of location of the fishing docks, the initiatives that drove its first construction, and the successive buildings erected to fulfil this function, as well as the architectural study and follow-up after the loss of the original function, which in some cases have been rehabilitated to play new uses, but on the other have led to the increase of the destruction suffered by the Industrial Heritage.
Factory of weapons of Trubia, 295-327. Oviedo: Ridea, 2021.
“FABRICA DE ARMAS DE TRUBIA 1794-2019. Actas del ciclo de conferencias con motivo de los 225 años de la Fábrica de Armas de Trubia y 175 de la llegada del general Elorza”.
Abaco, vol. 4, nº110 (2021): 117-125.
The late National Institute of Industry, the flagship of the industrial policy of the franco regime, is behind the implementation in Avilés of two giants of the Industrial Heritage metallurgical, Ensidesa and Endasa. we approach in this work to the national Company of Aluminum, Endasa: from its early settlement in the Estuary of Avilés, in 1947, until you get to the modern complex, productive, raised in the decade of the fifties, with the fortunate intervention of the engineer Carlos Fernández Casado. A living heritage, in which it remains an industrial use that is the best guarantor of their preservation; a heritage threatened, with a future still to be clarified, in which there has been loss, as we will emphasize, that affect both the manufacturing facilities as the town of enterprise.
Villa Varela, Aida
In Res Mobilis, 12(17), 164–182.
En Ensidesa el uso de arquitectura de estilo racionalista es evidente, así como la pretensión de dignificación de la mayoría de las edificaciones levantadas. Dicha voluntad se traduce en la inclusión de diversos elementos artísticos, en su mayoría alusivos al proceso industrial desarrollado en el inmueble al que acompañan. Tanto el empleo del racionalismo arquitectónico como el diseño integral de las edificaciones fue una constante en las industrias nacionales —programa estratégico desarrollado por el franquismo dentro del que se inscribe Ensidesa—.
En el caso de los edificios de Hornos de Fosa y Naves de Laminación la pretensión de integrar las artes como parte del diseño de las naves industriales es más que notable, materializándose en la inclusión de tres murales de influencia neoplasticista en los tímpanos.
In this text we will analyze the changes in the landscape of the estuary of Avilés after the introduction of the Company National Steel S. A. (ENSIDESA) until our days and try to catch a glimpse of the value that is given to many of these remains seem to have the days counted. To do this we will study the pre-configuration of the area and will examine how the various works, both those of infrastructure and the facilities to properly manufacturing and services, have changed the perception of the estuary and the panoramic view of Avilés. With a special interest in how this new configuration of the industrial landscape, indissoluble of the current Village and its cultural heritage, as Aviles could not be understood today without this past becoming less and less close.
Liño, volume 28, no. 28 (2022): 125-134.
This study addresses the construction of a building of care “The pilgrim's hospital” on the part of the Company National Steel SA (ENSIDESA) in Llaranes, Avilés, Spain. In addition to analyzing the architecture of the same within the constructs hospital company, is put in context within the historical period in which it is inscribed, franco, and practices paternalistic business carried out during the dictatorship. This is intended to highlight the problem that leads to this type of construction: accidents and occupational diseases, which pose a high risk to the employees, and on the other, the benefits that this type of propaganda offered to employers.
Liño, vol 27, no. 27 (2021): 196-199.
Security in the estate. International Scientific symposium, KALAM/Foundation EKABA, Madrid, 2019.
Abacusno. 110, Landscapes port and relationships port city in the field atlánticor (2021).
Through this text we will analyze the changes in the landscape of the estuary of Avilés after the introduction of the Company national Steel S. A. (ENSIDESA). To do this we will study the pre-configuration of the area and will examine how the various works, both those of infrastructure and the facilities to properly manufacturing and services, have changed the perception of the estuary and the panoramic view of Avilés. With a special interest in how this new configuration of the landscape is inseparable of the current village and its cultural heritage, as Aviles could not be understood today without this past becoming less and less close.
Las bellas artes today, 481-494. Valencia: Tirant Humanidades, 2021.
This chapter is the study of the doctoral thesis Architecture of the Modern Movement and Industrial Heritage: projects, works, and promotions of the Company National Steel S. A. (E. N. S. I. D. E. S. A.) within the framework of the research group on Scenarios for the arts (EsArt) of the University of Oviedo. Through this we want to offer a new vision on the construction of the Neighbourhood from The Light, in Avilés (Asturias), analyzing the ideas that lead to their genesis and their modification. We believe that the use of the modern language is of particular interest in this case because it allows us to appreciate the versatility of this style, much maligned in the dwellings of this period, but whose plasticity allows the execution of buildings completely different.
To address the study we combine the work of the cabinet with the field-work, which allows us to perform a study of the state of conservation of the buildings, many of which are altered by subsequent interventions, which have been devoid plastically to the buildings, to deny that modern language and using material out of context.
New themes, new looks. The key feature of this volume is, above other values present, the symbiosis between the past as a shared heritage, its present value and its projection toward a future that demand history and memory. The title of this book, in The space at the identity. Heritage and humanities in the TWENTY-first century, shows that there is a sense teleological approaches and new lines of research in the arts.
In the case of this chapter discusses the Resort City of Perlora by framing it within the paternalism social nationalist and comparing it with the paternalismos social other totalitarian regimes in europe. In the study, special emphasis is placed on the employment of the architecture of the Modern Movement and in the buildings occupied by the workers of the National Steel SA (ENSIDESA).
To consult publications prior to the year 2021 agree to the trajectory of each member EsArt in paragraph team.