Numerous investigations have been carried out on the Bauhaus that have demonstrated the repercussion that the work developed by the German school through some of its members has had on the history of design and architecture; however, few of them have deepened the knowledge that Spanish architects had about their advances in furniture in the interwar period. The present research seeks, through the analysis of the contents of the periodical Spanish architecture publications published between 1918 and 1936, to identify the references that the Spanish architects of the moment were able to know about the theory and work of the directors, teachers, and students of the Bauhaus in relation to the furniture and the interior. As a conclusion to this study, the aim is to define the penetration process of these proposals in Spain.

In the 1920s the architect takes on a special role in the furniture scene. Faced with the need to equip their works with standard furniture, appropriate to the new architecture, he finds in the interior a field for the development of their work. It is precisely in the performance of their work as architects that the new types of furniture emerge: standard pieces that, paradoxically, are born from integral architectural projects. It is then when the written media of the time presented a debate, both outside and within Spain, about the limits of the architectural project and the role of the architect in the design of furniture. In this context, several Spanish architects, such as C. Arniches and M. Dominguez, L.M. Feduchi, L. Gutierrez Soto, and J.M. Aizpurua and J.Labayen, contribute their visions from a theoretical point of view, but also through their built work, constituting themselves as examples of this phenomenon that gave rise to integral architectural works and standard pieces in the same project. By analyzing the contents of Spanish architectural magazines of the time and other specialized writings, this article aims to shed light on the role of the architectural project as an impulse for the development of modern standard furniture.

Bernard Rudofsky dedicó buena parte de su vida a explorar una manera de habitar personal y plena, lo que tuvo su reflejo en las numerosas exposiciones y publicaciones que alumbró. Y parte de ese proceso de investigación fue vertido en los diversos intentos de construir una casa para sí mismo y su mujer Berta, y que concluyeron con la construcción de `La Casa' en Frigiliana a principios de los años setenta. La presente investigación revela por vez primera las vicisitudes que rodearon el hallazgo del lugar y su posterior adquisición por parte del matrimonio a través del testimonio de Rudofsky anotado en uno de sus diarios personales. El artículo reconstruye con detalle la peripecia del matrimonio en España en 1969 al cotejar y extraer la información manuscrita en las 144 páginas de las que se compone este documento, información que no ha sido tratada con anterioridad. El episodio encierra un interés triple: en primer lugar, el del registro histórico de este suceso singular y el importante papel jugado por esta construcción en clave biográfica; en segundo lugar, el del encuentro del arquitecto extranjero con la España de la época ¿y que por tanto permite evocar a lo que pudieron enfrentarse algunos otros casos semejantes; por último, cabe destacar la singularidad de un proceso de proyecto que incluye el lugar en un estadio intermedio y que precisamente pone de relieve la intensa relación existente en este caso entre la casa, el entorno, el habitante y diseñador, y el habitar.

In a Europe that became a territory of ideological dispute in the fifties,propaganda campaigns would play a decisive role. The well-known American economic relief plan -The Marshall Plan- would also launch an ambitious program of exposition. Given the general devastation conditions of the Old Continent, the model of itinerant exhibition,in which continent and content are moved together from one place to another, emerged as a propaganda system of enormous efficiency and greater capacity for impact. A practice that had been rehearsed before in the American country itself, but that would be developed with superior intensity by Peter G. Harnden, the main actor and designer of these propaganda campaigns. The text that follows tries to describe the episode, in order to shed its particularities because, and as the article concludes, some of the features that define the phenomenon will accompany some of the most notable practices of the discipline throughout the subsequent decade.

El premio Pritzker de Arquitectura es el galardón más importante que puede recibir un arquitecto. Este libro compila, por primera vez y traducidos al español, los discursos de aceptación de todos los premiados, precedidos de las comunicaciones del jurado, desde 1979 hasta 2015. El discurso de agradecimiento puede parecer un género menor, pero posee la virtud del mensaje elemental y comprensible a una audiencia diversa. A la vez que las obvias y conmovedoras expresiones de gratitud, se deslizan muchas otras ideas y explicaciones sobre la arquitectura que otorgan una especial luminosidad a un momento de gran intensidad emocional.