Francisco Javier Saenz de Oiza was a pioneer in Spain in his time. His development as an architect and his teachings were marked by a trip that took him to the United States for almost a year. In 1948, shortly after obtaining his degree, he won the Conde de Cartagena scholarship, which allowed him to be trained in a country little known for most of his compatriots at that time. Thanks to the discovery of the letters that he sent monthly to the San Fernando Academy of Fine Arts, it has been possible to reconstruct his trip step by step, the places he visited, the contacts he made, his research topics, and the encountered difficulties. In this way, it is possible to understand its mark, which allows us to obtain lessons to get the most out of the trips that architecture professionals continue to make around the world.

Great Master of Modern Architecture such as Frank Lloyd Wright, Mies van der Rohe and Le Corbusier received not a university education in architecture but practical training through professional practice. In their teaching they always valued the experience they had enjoyed of direct and active contact with the material reality of the environment. A review of their formative experiences, and the way in which they integrated these into their subsequent educational proposals, offers us data for a reflection on pedagogical methodologies in schools of architecture. This is the aim of this article.

En junio de 1955 se publican en Madrid varias críticas en revistas y periódicos sobre una exposición de acuarelas en la galería Biosca. La autora tiene un nombre desconocido: Lois Langhorst; y las acuarelas muestran un marcado e innovador carácter abstracto. Entre los nombres de los artistas que exponían en esta galería apenas aparecen extranjeros. La historia detrás de esta exposición nos lleva a la construcción de las bases estadounidenses en España y de ahí a la trayectoria de una de las arquitectas americanas pioneras en la profesión. Este artículo pretende esclarecer las incógnitas que presenta esta exposición, adentrándonos en la complejidad que tuvo en ese momento el ser arquitecta. Busca sacar a la luz la estancia de Lois Langhorst en España y los contactos que tuvieron tanto ella como su marido, Frederick Langhorst, con la sociedad española del Madrid de mediados de siglo.

During World War II, and even in the years that followed, thousands of American Marines lived in prefabricated semi-cylindrical metal huts that could be dismantled and reused: Quonset Huts. Their singular design and their multiple uses made Quonset Huts an American military design icon. The daring construction system made it possible to manufacture them in the United States and take them across the Atlantic, armed with a comprehensive instruction manual. The Seabees, American Marines posted to Spain to build the Naval Station Rota, set up a provisional camp in 1959 comprising fifty-three Quonset Huts. Assembling them in Spain provided housing for 500 soldiers and they were fitted with all types of facilities for their functions. This text aims to shed light on this unknown case of prefabricated dwellings in our country, contextualising the history of their design, construction and installation, and analysing the repercussion of this constructive experiment in the early days of prefabricated construction in Spain.

From its classical origin, the architectural development of mass arenas has not been part of the main stories in the architectural History. However, its consideration from the discipline's point of view obviously differs from its social permeability, as can be seen through the urban relevance of imperial Rome amphitheaters scattered throughout Europe or in the 20th century popularity these structures have reclaimed through the modern rebirth of the Olympics and the worldwide popularity of sports such as soccer. Leading a unique historical arch, the possibility of bringing together large masses of people in propaganda events, together with the ability to articulate the territory and generate urban facade, made the stadiums again buildings of great interest in the first half of the twentieth century, as had happened in imperial Rome. This text delves into the relationship that the totalitarian governments of Germany, Italy and Spain established with this kind of architecture. The convergence of political and social interests materialized in a series of stadiums promoted by the authorities that were clearly characterized in their formal resolution.

The trips that Spanish architects made to the USA in the 1950s were a major source of the exchange of knowledge and information between the Spanish and American architecture of that Tithe Among Them, we can highlight those done as a complement to the academic formation. Some of the Spanish architects who travelled to the USA entered post-graduate programs in some of the most prestigious schools of architecture. The aim of this article is to provide an overview of the context and circumstances of those trips and to learn more about a few Of them We try to understand whether the Modern Movement was introduced Spain through the academic formation, and same time, try to explain The beginning of the cultural exchange in this field between Spain and the USA.

The Agreements of Madrid were signed in 1953. In them, Spain started to be an ally of the United States of America. In those years, the Spanish public opinion was anti-American because of different reasons. The American Information Services used their available tools to show the population a positive view of their country, in order to obtain the need support to the renovation of the Agreements in a close future. The emigration to America of some of the great Architectural masters and the development of the technology and the industry, placed the USA in a leading role in the architectural field. As they were conscious of it, they used architecture as a political tool, showing in Spain an image of the modern architecture and the American cities really attractive. The aim of this article is to study the role of the American Embassy in Madrid and the entities that directly depended on it in the spreading of the American Modern Architecture in Spain.

In the elaboration of the plans for the military bases, built by Americans and Spaniards in Spain in the 50s, the American military design manuals were used. That was one of the first times the Spanish architects drew plans from constructive catalogues. The architectural friars, the engineering companies and the construction companies adapted this way of working. considerably different from what they were used to do and they learnt the American way of representation. The American plans had a high level of precision, the used their own codes, complicated verification systems, their own symbols, lines and materials and they had the additional difficulty that every text should be both in English and Spanish. This Artículo offers some objective references about a change of methodology process, trying to contribute to the analysis of the relation between the existing architecture and the method it was represented. At the same time, we try to show the repercussions that the work of the Spanish architectural firms together with the Americans had in their change of methodology, especially in the graphic representation of the plans [GRAPHICS] .

The point and the line are simple geometric elements with immense creative capacity. They are the foundations on which the most complex geometries rest and therefore require detailed understanding and attention to achieve full mastery of them. The point and the line are totally connected with the space and the spatial coordinates; the adaptation of the geometric space to the shape facilitates the calculation and the geometric development. They are the basis of geometry, which floods the art world in all its expressions. Painting, sculpture, fashion or music use geometry as a source of inspiration, as an expression of their own being. This article seeks to unify the various existing approaches to reach these basic elements of geometry. Different languages: mathematics, drawing and art and other artistic expressions can define the same geometric object. Our approach is from the point of view of mathematics and contemporary art. Only by knowing these parallel approaches will we be able to master it, understand it and be able to use it freely, at will. This is the path that we seek our first-year Architecture students to follow. They need to master the bases of the form, sometimes very propaedeutic, but without which it would be impossible to establish the later complexity. For this reason, we close this article with three examples of projects carried out by the students, which illustrate the skills acquired and the validity of the method used for integrating knowledge.