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The graphic heritage is part of an architectural legacy that we must recover, especially in the case of those works that, for various reasons, were not built but were preserved through drawings. Recovering them means reviving them in some way, for which we must imbibe their rules and understand their architecture from their design process. With this desire, we will address the restitution of a series of houses of the modernity, which we will study from their drawings to the subsequent three-dimensional modeling. The new technologies are a fundamental tool that allow us to achieve, not only the establishment of the different version of the houses, but to create a tangible element through its recreation in three dimensions. With this we will be able to understand the project process of those works that were born with the desire to be built. The subsequent analysis will bring up the architecture and, with it, all those ideas that, in addition to being understood through this study, will make us see the trajectory of some of the best-known architects in a different way. Conceiving the drawing of the unbuilt as a heritage to be recovered, allows us to configure the present and, to a large extent, innovate towards the future in our teaching.
Noelia Galvan-Desvaux; Antonio Álvaro-Tordesillas; Marta Alonso-Rodriguez. The Heritage of the Unbuilt: The Value of the Drawing. Springer Series in Design and Innovation 2020, 178 -188.
AMA StyleNoelia Galvan-Desvaux, Antonio Álvaro-Tordesillas, Marta Alonso-Rodriguez. The Heritage of the Unbuilt: The Value of the Drawing. Springer Series in Design and Innovation. 2020; ():178-188.
Chicago/Turabian StyleNoelia Galvan-Desvaux; Antonio Álvaro-Tordesillas; Marta Alonso-Rodriguez. 2020. "The Heritage of the Unbuilt: The Value of the Drawing." Springer Series in Design and Innovation , no. : 178-188.
In 1961 the second contest for the decoration of the apse of Aránzazu was summoned since the winner of the first had died prematurely. The young painter Manuel López-Villaseñor won a second prize. Villaseñor was an educated painter between Renaissance academicism and contemporary informalism that he lived. Painter of great security in the drawing, of firm strokes that always strengthen the silhouettes and lend their stylized figures gravity and autonomy. And painter capable of essentializing the architecture that composes his landscapes from a geometrization of forms, especially influenced by Piero della Francesca. This text briefly narrates his journey as a muralist and explains the sketch he presented to the event; which he ordered around a cross, the panegyric of the Virgin of Aránzazu.
Antonio Álvaro-Tordesillas; Noelia Galvan-Desvaux; Marta Alonso-Rodriguez. Sketch for the Mural of the Aránzazu Basilica, by López-Villaseñor. Springer Series in Design and Innovation 2020, 437 -444.
AMA StyleAntonio Álvaro-Tordesillas, Noelia Galvan-Desvaux, Marta Alonso-Rodriguez. Sketch for the Mural of the Aránzazu Basilica, by López-Villaseñor. Springer Series in Design and Innovation. 2020; ():437-444.
Chicago/Turabian StyleAntonio Álvaro-Tordesillas; Noelia Galvan-Desvaux; Marta Alonso-Rodriguez. 2020. "Sketch for the Mural of the Aránzazu Basilica, by López-Villaseñor." Springer Series in Design and Innovation , no. : 437-444.
Indoor air quality in buildings must be guaranteed for the health and comfort of the occupants. In order to assess the ventilation strategy of a considered room, the parameter of the air change efficiency ( ε a ) can be used. The objective of this work is to provide designers with a graphical tool for a reliable estimate of the value of ε a of a room. The temperature gradient between the outdoor air supply and the indoor air is so low that the ventilation flow can be assumed as isothermal when high-efficiency heat recovery systems are used. By means of charts, the optimal location of the openings for a better ε a can be determined during the design process, in order to subsequently apply them. It is concluded that it is very important to consider the ε a in the case of openings located in facing walls given that its range varies between 40% and 65%. In contrast, its use can be obviated in the case of openings located in non-facing walls, as the value of ε a obtained is close to 50%; this means a perfect mixing air flow pattern, which is the reference value for the estimation of the indoor air quality (IAQ) in the different national regulations.
Alberto Meiss; Miguel Ángel Padilla-Marcos; Irene Poza-Casado; Antonio Álvaro-Tordesillas. A Graphical Tool to Estimate the Air Change Efficiency in Rooms with Heat Recovery Systems. Sustainability 2020, 12, 1031 .
AMA StyleAlberto Meiss, Miguel Ángel Padilla-Marcos, Irene Poza-Casado, Antonio Álvaro-Tordesillas. A Graphical Tool to Estimate the Air Change Efficiency in Rooms with Heat Recovery Systems. Sustainability. 2020; 12 (3):1031.
Chicago/Turabian StyleAlberto Meiss; Miguel Ángel Padilla-Marcos; Irene Poza-Casado; Antonio Álvaro-Tordesillas. 2020. "A Graphical Tool to Estimate the Air Change Efficiency in Rooms with Heat Recovery Systems." Sustainability 12, no. 3: 1031.
The following contribution focuses on the low-cost Shining 3D EinScan-Pro scanner, above all the analysis of its precision and accuracy. The need to prove the functioning of this instrumentation in practical cases (the sculptures by Eduardo Chillida preserved in the Chillida-Leku Museum and along with some artefacts collected in the Archaeological Museum of Sarno), has led to the comparison and validation of the instrument through a methodology necessarily diversified from the guideline VDI/VDE 2634, part 2 and part 3, characteristics to the test the optical 3D measuring systems with planar measurement, which works according to the triangulation principle. In particular, two types of comparisons were made: geometric-formal and metric-dimensional. The first type of analysis was carried out analysing the geometric parameters of the models, suitable for validating the information: dimensional (difference between some main measurements); superficial (total mesh extension) and of the form (that is, the discrepancies returned through a DEM analysis). The second type of analysis, instead, of the metric type, was carried out. The complete results of the various analyses will be presented and critically discussed within this contribution in order to prove the stability and the metric quality of this hand-held EinScan-Pro, following the comparison with medium-high end systems now well established in the field of cultural heritage survey.
S. Morena; S. Barba; A. Álvaro-Tordesillas. SHINING 3D EINSCAN-PRO, APPLICATION AND VALIDATION IN THE FIELD OF CULTURAL HERITAGE, FROM THE CHILLIDA-LEKU MUSEUM TO THE ARCHAEOLOGICAL MUSEUM OF SARNO. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences 2019, XLII-2/W18, 135 -142.
AMA StyleS. Morena, S. Barba, A. Álvaro-Tordesillas. SHINING 3D EINSCAN-PRO, APPLICATION AND VALIDATION IN THE FIELD OF CULTURAL HERITAGE, FROM THE CHILLIDA-LEKU MUSEUM TO THE ARCHAEOLOGICAL MUSEUM OF SARNO. ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences. 2019; XLII-2/W18 ():135-142.
Chicago/Turabian StyleS. Morena; S. Barba; A. Álvaro-Tordesillas. 2019. "SHINING 3D EINSCAN-PRO, APPLICATION AND VALIDATION IN THE FIELD OF CULTURAL HERITAGE, FROM THE CHILLIDA-LEKU MUSEUM TO THE ARCHAEOLOGICAL MUSEUM OF SARNO." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W18, no. : 135-142.
The hasty changes in the curricula that have occurred in recent years in the School of Architecture of XXX have generated some problems in the subject of Descriptive Geometry that have been added to others that had been ongoing for many years. A Teaching Innovation Project (TIP) seeks to provide a solution to the problems raised with new methods of teaching inside and outside the classroom and greater interaction between the students and the professor. This way, geometry is no longer something abstract, unrelated to the professional practice of the architect. Thereby, it is intended to structure a new subject that provides students not only with graphic and spatial techniques but also with teamwork, cooperation, training, sufficiency and autonomy resources that help them in the development of their future career. In order to carry out this new methodology for teaching, a course based on gamification has been designed, which allows the students to focus on the subject from a more playful point of view with the aim of motivating and involving them. Based on a three-year experience of comparative work between the traditional and the proposed systems, the conclusions obtained with regards to the withdrawal rate, academic performance and perception of the teaching method are presented in this paper. The incorporation of techniques based on games had a motivating effect on the students, who discovered a way of learning by playing what they previously perceived as a tedious subject.
Antonio Álvaro-Tordesillas; Marta Alonso-Rodríguez; Irene Poza-Casado; Noelia Galván-Desvaux. Gamification experience in the subject of descriptive geometry for architecture. Educación XX1 2019, 23, 1 .
AMA StyleAntonio Álvaro-Tordesillas, Marta Alonso-Rodríguez, Irene Poza-Casado, Noelia Galván-Desvaux. Gamification experience in the subject of descriptive geometry for architecture. Educación XX1. 2019; 23 (1):1.
Chicago/Turabian StyleAntonio Álvaro-Tordesillas; Marta Alonso-Rodríguez; Irene Poza-Casado; Noelia Galván-Desvaux. 2019. "Gamification experience in the subject of descriptive geometry for architecture." Educación XX1 23, no. 1: 1.
The project that we present develops a mobile application (ArtAlive®) for the generation of augmented reality experiences on museum sculptural objects. The novelty of our application is that we eliminate the markers that other applications need to run. We do this turning the sculptures into their own markers, based on the recognition of anamorphic images of these sculptures: two-dimensional images of three-dimensional objects. So we eliminate the intermediate elements of the process making the experience easier. The aim is to transform the experience of visiting a museum into a more interactive and intuitive experience. The possibility of accessing the information contained in the augmented reality experiences linked specifically to each work, from the comfort of the smartphone, gives the process greater accessibility and flexibility. The recognition of the objects is developed with Vuforia, an augmented reality software development kit (SDK) for mobile devices. ArtAlive® has been registered in the Spanish Intellectual Property Registry, and a possible business model has been defined in a very basic way.
A. Alvaro-Tordesillas; S. Crespo-Aller; S. Barba. ARTALIVE: AN ANDROID APPLICATION FOR AUGMENTED REALITY WITHOUT MARKERS, BASED ON ANAMORPHIC IMAGES. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences 2019, XLII-2/W15, 71 -76.
AMA StyleA. Alvaro-Tordesillas, S. Crespo-Aller, S. Barba. ARTALIVE: AN ANDROID APPLICATION FOR AUGMENTED REALITY WITHOUT MARKERS, BASED ON ANAMORPHIC IMAGES. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences. 2019; XLII-2/W15 ():71-76.
Chicago/Turabian StyleA. Alvaro-Tordesillas; S. Crespo-Aller; S. Barba. 2019. "ARTALIVE: AN ANDROID APPLICATION FOR AUGMENTED REALITY WITHOUT MARKERS, BASED ON ANAMORPHIC IMAGES." The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15, no. : 71-76.
La casa americana de la segunda mitad de los cuarenta, se convirtió en la protagonista de la arquitectura de la época como refugio de la vida del hombre tras la guerra. Para ello, muchos arquitectos, partiendo de las enseñanzas de Wright y de los maestros europeos emigrados, propusieron un espacio doméstico flexible y abierto a su entorno, donde poder reencontrar el contacto con el paisaje. Se trataba de poner de nuevo la casa en relación con la tierra, o así lo entendió Paul Rudolph en las viviendas que ideó para Florida, un entorno que comenzaba a establecerse como lugar vacacional del americano medio. Rudolph utilizó en sus arquitecturas el lugar como un elemento más de proyecto, y así lo muestran sus dibujos. A través de análisis de su grafismo podemos descubrir una serie de elementos que ponen de relieve el espacio en el que se asienta su arquitectura, tratando de recuperar la dimensión poética del paisaje.
Noelia Galván Desvaux; Antonio Alvaro Tordesillas; Marina Jiménez Jiménez. Paul Rudolph: arquitecturas dibujadas en el paisaje de Florida. ZARCH 2018, 100 -113.
AMA StyleNoelia Galván Desvaux, Antonio Alvaro Tordesillas, Marina Jiménez Jiménez. Paul Rudolph: arquitecturas dibujadas en el paisaje de Florida. ZARCH. 2018; (10):100-113.
Chicago/Turabian StyleNoelia Galván Desvaux; Antonio Alvaro Tordesillas; Marina Jiménez Jiménez. 2018. "Paul Rudolph: arquitecturas dibujadas en el paisaje de Florida." ZARCH , no. 10: 100-113.
Rendering in recent times has stopped being a mere instrument to tell a project, becoming an end in itself. By adopting the structural systems of drawing, photography or composition, infographics are transformed into art. There is no longer the limitation of representing an object for its later construction, or its use as an instrument of sale, but they are also reflected as an element halfway between reality and the dream world, trying to convey into the viewer a concrete sensation through its recreation (Iñarra Abad et al. in Rev EGA (21):204–215, 2013). Light processing gives the image a certain kind of poetry that in many cases seems removed from the pictures of the Renaissance. Along with color and perspective, as in the painting mentioned before, these three elements become the great supports of this new craft, which earns more and more unconditional enthusiasts every day. This unbuilt architecture needs the above-mentioned support to be accurately transmitted; the tools of digital representation have become a combination of the old and the new, intermixing techniques that have existed for centuries, such as the use of color, and composition, with the latest technological advances. The representation of spaces is no longer limited to the translation of elements to transmit a project but try to tell a story, to convey an idea through drawing. Supporting this theory of rendering as the creator of atmospheres, the present work pretends to be a compendium of the latest trends in infographics, establishing a parallelism easily recognizable through a comparison with the setting of a series of iconic films of the seventh art. We do not intend with this an analysis of the virtual scenes of these films, but rather to establish a relation between the impressions that provoke in the spectator certain spaces and how these sensations try to be transmitted through an image.
Marta Alonso Rodríguez; Noelia Galván Desvaux; Antonio Álvaro-Tordesillas. Makers of Atmospheres. The Image Beyond the Architecture. Graphic Imprints 2018, 857 -866.
AMA StyleMarta Alonso Rodríguez, Noelia Galván Desvaux, Antonio Álvaro-Tordesillas. Makers of Atmospheres. The Image Beyond the Architecture. Graphic Imprints. 2018; ():857-866.
Chicago/Turabian StyleMarta Alonso Rodríguez; Noelia Galván Desvaux; Antonio Álvaro-Tordesillas. 2018. "Makers of Atmospheres. The Image Beyond the Architecture." Graphic Imprints , no. : 857-866.
In recent years we have been developing in the course of Descriptive Geometry (UVA) some actions to reordering the content corseted and the pedagogical way able to motivate and engage students with the subject. In this paper we explain an exercise that converts the teaching of shade calculation into a playful, rigorous and attractive activity for those, making them feel ownership of their learning, exercise and motivated throughout the process. It is about turning around the classic exercise where he was asked to calculate the shadow resulting from projecting a light on an object. With the strategic use of light, the projected shadows are brought to life and become an artistic object. Now we ask them to design an object that when projecting a spotlight throw a shadow that we call figurative. A shadow whose silhouette is recognizable, specifically a silhouette of a unique and identifiable building. Students thus, carve out using light and shadow, by constructing one or more objects and positioning them in relation to a single source of light. The contents, procedures, etc. which are taught in class are still the same, only now the student feels ownership of his exercise and is engaged in it otherwise; A mode that makes him apprehend the true meaning of teaching shading calculation in Descriptive Geometry, which is none other than to understand what happens in space and how to represent it in two and three dimensions. And with that, anticipate the forms that in the near future will project. The exercise has had magnificent results that have materialized in an exhibition where the pieces designed have been built with a 3d printer, showing in situ the result of all work. An exhibition where what is shown are works that are composed of both a material part (solid objects) and another immaterial (light and shadow). What looks like an erratic group of pieces on a surface, illuminated from the perfect angle, becomes a recognizable order.
Antonio Álvaro-Tordesillas; Marta Alonso-Rodriguez; Noelia Galván Desvaux. The Geometric Cast-Shadows for the Motivation Retrieval. Graphic Imprints 2018, 1131 -1140.
AMA StyleAntonio Álvaro-Tordesillas, Marta Alonso-Rodriguez, Noelia Galván Desvaux. The Geometric Cast-Shadows for the Motivation Retrieval. Graphic Imprints. 2018; ():1131-1140.
Chicago/Turabian StyleAntonio Álvaro-Tordesillas; Marta Alonso-Rodriguez; Noelia Galván Desvaux. 2018. "The Geometric Cast-Shadows for the Motivation Retrieval." Graphic Imprints , no. : 1131-1140.
El artículo estudia las influencias y relaciones urbanísticas y arquitectónicas internacionales para el trazado de los pueblos de colonización españoles, referencias que abarcan desde las reflexiones sobre la ordenación del territorio y los modelos de asentamiento hasta las específicas sobre trazados urbanos y sus interacciones con sus arquitecturas; desde la comprensión de teorías o esquemas urbanos hasta la práctica reproducción de leyes; así como modelos importados como la unidad vecinal o el esquema Radburn norteamericanos, el Plan Territorial israelí, la consideración italiana de condicionantes históricos y culturales, etc., incluso los modos de asentamiento ensayados en la propia España republicana.Además, desde una perspectiva urbanística, se analiza el significado de las respuestas o soluciones dadas en estos poblados a las necesidades de espacio, de vivienda, de ocio y de organización de la vida social.
Antonio Álvaro Tordesillas. Referencias internacionales en los pueblos de colonización españoles. Ciudades 2017, 183 -200.
AMA StyleAntonio Álvaro Tordesillas. Referencias internacionales en los pueblos de colonización españoles. Ciudades. 2017; (13):183-200.
Chicago/Turabian StyleAntonio Álvaro Tordesillas. 2017. "Referencias internacionales en los pueblos de colonización españoles." Ciudades , no. 13: 183-200.
Regardless of the technique employed, that using drawing as an instrument for thought—as an intermediary element between the idea and its concrete realisation—goes beyond the medium itself which has been used to achieve this goal. An issue that we have to face is that of the lack of knowledge or the deficient implementation in the teaching of these new programmes, alongside the scarcity of time and means to work in virtual drawing, understood not just as the end result—to showcase a finished product—but also as a the usage of the domain of these new resources.
Marta Alonso Rodríguez; Noelia Galván Desvaux; Antonio Álvaro Tordesillas. From the Mind to the Paper. New Techniques Applied to Architectural Drawing. Architectural Draughtsmanship 2017, 615 -626.
AMA StyleMarta Alonso Rodríguez, Noelia Galván Desvaux, Antonio Álvaro Tordesillas. From the Mind to the Paper. New Techniques Applied to Architectural Drawing. Architectural Draughtsmanship. 2017; ():615-626.
Chicago/Turabian StyleMarta Alonso Rodríguez; Noelia Galván Desvaux; Antonio Álvaro Tordesillas. 2017. "From the Mind to the Paper. New Techniques Applied to Architectural Drawing." Architectural Draughtsmanship , no. : 615-626.
The last two courses we have introduced in the subject of Descriptive Geometry at the School of Architecture of Valladolid, several changes by a Teaching Innovation Project able to solve some of their deficiencies and to update the subject with three objectives: to involve students in a dynamic way, introduce materials based on new technologies and bring the program to the actual architecture and new tools projection instruments. The present text attempts to explain the methodology and achievement of these goals; and share the experience of two exercises based on techniques such as gaming and cooperatives Aronson’s puzzle, which have been widely accepted and have had excellent results in academic and pedagogical terms.
Antonio Álvaro Tordesillas; Noelia Galván Desvaux; Marta Alonso Rodríguez. Towards a New Descriptive Geometry. A Teaching Innovation Project to the Architecture. Architectural Draughtsmanship 2017, 3 -12.
AMA StyleAntonio Álvaro Tordesillas, Noelia Galván Desvaux, Marta Alonso Rodríguez. Towards a New Descriptive Geometry. A Teaching Innovation Project to the Architecture. Architectural Draughtsmanship. 2017; ():3-12.
Chicago/Turabian StyleAntonio Álvaro Tordesillas; Noelia Galván Desvaux; Marta Alonso Rodríguez. 2017. "Towards a New Descriptive Geometry. A Teaching Innovation Project to the Architecture." Architectural Draughtsmanship , no. : 3-12.
Marta Alonso-Rodriguez; Antonio Alvaro-Tordesillas; Eduardo Carazo-Lefort. Infographic restitution of the historic centre of the Spanish town of Oviedo. Computers, Environment and Urban Systems 2017, 64, 154 -168.
AMA StyleMarta Alonso-Rodriguez, Antonio Alvaro-Tordesillas, Eduardo Carazo-Lefort. Infographic restitution of the historic centre of the Spanish town of Oviedo. Computers, Environment and Urban Systems. 2017; 64 ():154-168.
Chicago/Turabian StyleMarta Alonso-Rodriguez; Antonio Alvaro-Tordesillas; Eduardo Carazo-Lefort. 2017. "Infographic restitution of the historic centre of the Spanish town of Oviedo." Computers, Environment and Urban Systems 64, no. : 154-168.
El estudio de la historia de la representación de la arquitectura en España está aún por escribir. En este ensayo realizamos una primera aproximación al dibujo de los años cuarenta del siglo pasado, tomando como fuente para nuestra investigación las revistas de arquitectura.
Isaac Mendoza Rodríguez; Antonio Álvaro Tordesillas; Carlos Montes Serrano. El dibujo de arquitectura de los años cuarenta en España: un estudio a partir de la Revista Nacional de Arquitectura. EGA Revista de Expresión Gráfica Arquitectónica 2017, 22, 170 -179.
AMA StyleIsaac Mendoza Rodríguez, Antonio Álvaro Tordesillas, Carlos Montes Serrano. El dibujo de arquitectura de los años cuarenta en España: un estudio a partir de la Revista Nacional de Arquitectura. EGA Revista de Expresión Gráfica Arquitectónica. 2017; 22 (29):170-179.
Chicago/Turabian StyleIsaac Mendoza Rodríguez; Antonio Álvaro Tordesillas; Carlos Montes Serrano. 2017. "El dibujo de arquitectura de los años cuarenta en España: un estudio a partir de la Revista Nacional de Arquitectura." EGA Revista de Expresión Gráfica Arquitectónica 22, no. 29: 170-179.
Los continuos avances en los últimos años de equipos de levantamiento tridimensional han aumentado el abanico de posibilidades para el registro, documentación y difusión del patrimonio. Pero, y desde esta hipótesis partimos, aún existen obstáculos para la creación de modelos 3D fotorrealísticos y fidedignos en algunos ámbitos geométricos y radiométricos. Estos aparecen cuando las características de las piezas son adversas para su digitalización, es decir, la geometría del objeto carece de aristas definidas y/o su acabado no permite su registro, bien por su color, uniformidad, reflectancia, etc. Este estudio plantea y presenta resultados de un modelo fotorrealístico aplicado al levantamiento de una escultura de Jorge Oteiza. Obra caracterizada por una geometría y textura desfavorables a las ideales para su digitalización. La solución planteada pasa por una metodología fundamentada en la combinación de técnicas: modelos capturados mediante escáner óptico de triangulación Artec con el apoyo del software fotogramétrico PhotoScan en la fase de texturización.
Borja Molero Alonso; Salvatore Barba; Antonio Álvaro Tordesillas. Documentación del patrimonio cultural. Método basado en la fusión de técnicas fotogramétricas y de escaneado óptico de triangulación. EGA Revista de Expresión Gráfica Arquitectónica 2016, 21, 236 .
AMA StyleBorja Molero Alonso, Salvatore Barba, Antonio Álvaro Tordesillas. Documentación del patrimonio cultural. Método basado en la fusión de técnicas fotogramétricas y de escaneado óptico de triangulación. EGA Revista de Expresión Gráfica Arquitectónica. 2016; 21 (28):236.
Chicago/Turabian StyleBorja Molero Alonso; Salvatore Barba; Antonio Álvaro Tordesillas. 2016. "Documentación del patrimonio cultural. Método basado en la fusión de técnicas fotogramétricas y de escaneado óptico de triangulación." EGA Revista de Expresión Gráfica Arquitectónica 21, no. 28: 236.
Resumen Design of a house for Cheerful Living de 1945, patrocinado por la revista Pencil Points, se enmarca dentro de los concursos patrocinados por revistas y empresas, que trataron de dar forma al ideal de la casa suburbana y al nuevo estilo de vida del americano medio tras la Segunda Guerra Mundial. Se presentaron más de novecientas propuestas, algunas de reconocidos arquitectos, que sirvieron de origen para el desarrollo posterior de la vivienda moderna americana, sentando las bases acerca de la prefabricación, el mobiliario integrado y el ahorro energético, cuestiones cercanas a las que se plantean en la actualidad.
Noelia Galván Desvaux; Eduardo Carazo Lefort; Antonio Álvaro Tordesillas. 'Design of a House for a Cheerful Living' 1945. Ra. Revista de Arquitectura 2015, 17, 65 -76.
AMA StyleNoelia Galván Desvaux, Eduardo Carazo Lefort, Antonio Álvaro Tordesillas. 'Design of a House for a Cheerful Living' 1945. Ra. Revista de Arquitectura. 2015; 17 ():65-76.
Chicago/Turabian StyleNoelia Galván Desvaux; Eduardo Carazo Lefort; Antonio Álvaro Tordesillas. 2015. "'Design of a House for a Cheerful Living' 1945." Ra. Revista de Arquitectura 17, no. : 65-76.
Resumen Los centros de los pueblos levantados por el INC en los años cincuenta y sesenta en España, son uno de los mejores casos donde estudiar la evolución que la arquitectura y el urbanismo de nuestro país estaban experimentando, libres ya del imposible problema sobre el “estilo español”. Fueron el banco de pruebas donde ensayar criterios de diseño más libres y orgánicos, trazados espacialmente más flexibles y articulados entre sí, consecuentes con la historia y el lugar, dimensionados según la medida humana y potenciando la relación recíproca entre sus habitantes... Lugares que, con el transcurso de los años, dibujaron la modernidad.
Antonio Álvaro Tordesillas; Alberto Meiss. El corazón de los pueblos de colonización. BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 2015, 3, 37 .
AMA StyleAntonio Álvaro Tordesillas, Alberto Meiss. El corazón de los pueblos de colonización. BAc Boletín Académico. Revista de investigación y arquitectura contemporánea. 2015; 3 ():37.
Chicago/Turabian StyleAntonio Álvaro Tordesillas; Alberto Meiss. 2015. "El corazón de los pueblos de colonización." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 3, no. : 37.
Despite eminent development of digital range imaging techniques, difficulties persist in the virtualization of objects with poor radiometric information, in other words, objects consisting of homogeneous colours (totally white, black, etc.), repetitive patterns, translucence, or materials with specular reflection. This is the case for much of the Jorge Oteiza’s works, particularly in the sculpture collection of the Museo Fundación Jorge Oteiza (Navarra, Spain). The present study intend to analyse and asses the performance of two digital 3D-modeling methods based on imaging techniques, facing cultural heritage in singular cases, determined by radiometric characteristics as mentioned: Shape from Silhouette and Shape from Stereo. On the other hand, the text proposes the definition of a documentation workflow and presents the results of its application in the collection of sculptures created by Oteiza.
J. García Fernández; Antonio Alvaro Tordesillas; S. Barba. AN APPROACH TO 3D DIGITAL MODELING OF SURFACES WITH POOR TEXTURE BY RANGE IMAGING TECHNIQUES. ‘SHAPE FROM STEREO’ VS. ‘SHAPE FROM SILHOUETTE’ IN DIGITIZING JORGE OTEIZA’S SCULPTURES. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences 2015, XL-5/W4, 25 -29.
AMA StyleJ. García Fernández, Antonio Alvaro Tordesillas, S. Barba. AN APPROACH TO 3D DIGITAL MODELING OF SURFACES WITH POOR TEXTURE BY RANGE IMAGING TECHNIQUES. ‘SHAPE FROM STEREO’ VS. ‘SHAPE FROM SILHOUETTE’ IN DIGITIZING JORGE OTEIZA’S SCULPTURES. The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences. 2015; XL-5/W4 ():25-29.
Chicago/Turabian StyleJ. García Fernández; Antonio Alvaro Tordesillas; S. Barba. 2015. "AN APPROACH TO 3D DIGITAL MODELING OF SURFACES WITH POOR TEXTURE BY RANGE IMAGING TECHNIQUES. ‘SHAPE FROM STEREO’ VS. ‘SHAPE FROM SILHOUETTE’ IN DIGITIZING JORGE OTEIZA’S SCULPTURES." The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XL-5/W4, no. : 25-29.
Con el pretexto de levantar con fidelidad algunas esculturas de Chillida y Oteiza, y contribuir así a su dibujado planimétrico, el autor se cuestiona si el dibujo forma parte del proceso creativo de cada escultor. Por otra parte, la manera en que abordamos el dibujo de las esculturas ya acabadas, nos ayuda a comprender la complejidad, no sólo del pensamiento teórico de sus artífices, sino del rigor que supone un estricto levantamiento arquitectónico.
Antonio Álvarado Tordesillas. DIBUJANDO ESCULTURAS DE CHILLIDA Y OTEIZA. EGA Revista de Expresión Gráfica Arquitectónica 2012, 17, 212-221 .
AMA StyleAntonio Álvarado Tordesillas. DIBUJANDO ESCULTURAS DE CHILLIDA Y OTEIZA. EGA Revista de Expresión Gráfica Arquitectónica. 2012; 17 (19):212-221.
Chicago/Turabian StyleAntonio Álvarado Tordesillas. 2012. "DIBUJANDO ESCULTURAS DE CHILLIDA Y OTEIZA." EGA Revista de Expresión Gráfica Arquitectónica 17, no. 19: 212-221.
El Cristo yacente de Andrea Mantegna supuso un salto hacia delante en la evolución del arte y la pintura del Renacimiento debido a su innovador y transgresor punto de vista. Se presenta en este escrito una nueva puesta en valor de dicha obra partiendo de su análisis geométrico y culminando con su rectificación perspectiva; atendiendo principalmente a la variación de la distancia de observación entre el artista y su modelo.
Antonio Álvaro Tordesillas; Fernando Linares García. LA DISTANCIA QUE ACERCA: RECTIFICACIÓN DEL CRISTO YACENTE DE ANDREA MANTEGNA. EGA Revista de Expresión Gráfica Arquitectónica 2011, 16, 184 -197.
AMA StyleAntonio Álvaro Tordesillas, Fernando Linares García. LA DISTANCIA QUE ACERCA: RECTIFICACIÓN DEL CRISTO YACENTE DE ANDREA MANTEGNA. EGA Revista de Expresión Gráfica Arquitectónica. 2011; 16 (17):184-197.
Chicago/Turabian StyleAntonio Álvaro Tordesillas; Fernando Linares García. 2011. "LA DISTANCIA QUE ACERCA: RECTIFICACIÓN DEL CRISTO YACENTE DE ANDREA MANTEGNA." EGA Revista de Expresión Gráfica Arquitectónica 16, no. 17: 184-197.