#pedro lahoz

[thesunlounge]

Reviews 205: La llama de Prometeo

Discómanos is a record label and collective of artists operating out of Spain and last year they released a beautiful compilation entitled La llama de Prometeo: La puerta de entrada a las Nueves Músicas Españolas. The title translates to “The Flame of Prometheus: The Gateway to the New Spanish Music” and indeed, this collection serves as an adventurous and breathtakingly gorgeous survey of Spain’s space music, new age, and ambient scenes during the late 80s and 90s, with many of the artists here having been associated to Hyades Arts, Grabaciones Accidentales, and Música Sin-Fin. I have to thank Ban Ban Ton Ton for turning me onto this one, for if Dr. Rob hadn’t mentioned the release when writing about his Chilled / January 2019 mix, I might never have come across it. Which is altogether surprising given my fascination with this corner of Spain’s rich musical history as well as the fact the big names such as Finis Africae, Iury Lech, and Suso Saiz all appear. But there are many wonderful artists that are completely new to me as well and in every case, compiler Daniel Nielles has selected tracks that have never before been released on vinyl. The music itself is dreamy and meditative, seeing soundworlds of seaside folk, pastoral new age, heart-melting ambient, and bleary-eyed kosmische all unite for a balearic float on waves made of light. And it’s all tied together by the myth of Prometheus and some beautiful poetry from Daneil, a line of which sums up the spirit of the collection perfectly: “this compilation is a deep scream from modern gods; the flame that is still alive in this new century.”

La llama de Prometeo: La puerta de entrada a las Nuevas Músicas Españolas (Discómanos, 2018) We begin with Suso Sáiz’s “El mar que tendrá el mar” and the sounds of waves crashing to shore. Pastoral piano lullabies are shrouded in fog as bass arpeggios background crystalline leads that splash through sea-foam pools. Then comes the stunningly gorgeous and tear-inducing “Reloj de luna (María)” by Pedro Esteven, where heavenly piano chords hover in the air as heart-melting string orchestrating rain down. Chiming starshine electronics move gently through synthetic layers of violin, viola, and cello…their melodies evoking heartbreak and lost romance as layers of new age space music float the soul. At some point, an operatic angel voice enters, her wordless dreamspells swaying through dark hazes into radiant baths of moonlight while strings, voices, and pianos all surge together to lift the heart towards the sky and atmospheric bass pulses carry everything towards cloudrealms of paradise enchantment. In Finis Africae’s “Olas a Formentera,” joyous whistles fly above seaside reed orchestrations and thumping acoustic bass textures until someone calls out the song’s title, at which point we drop into a sun-soaked balearic folk dance. Riffing string instruments and soloing sitars play to the spirits of the sea and sky, their shuffling magic and waves of propulsive acoustic wonder surfed on by island breeze accordions while guitars solo and double basses thump ecstatically. Elsewhere the mix spaces out, leaving zithers and six-strings to solo softly above pulsing bass movements and sea-shanty reeds while deep and entrancing vocals chant “Formentera” from atop the rocky cliffs of Es Vedra. 

Pianos, marimbas, kalimbas, and other solar idiophones dance beneath starlight bell tapestries in Alberto Garralon’s “Iria Feliz,” while rainforest hand drums hold down an airy groove. Wavering guitar solos alternate with ghostly synth leads that squiggle through a sunrise sky and there are gamelan evocations in the way the interlocking loops of exotic metal generate hallucinogenic polyrhythms, with everything being wrapped around by aquatic organ waves. When the rhythms pull out, we find ourselves in a swooning section of nostalgic beauty, where FM synth fluids cycle around sprightly guitar patterns…everything moving together in a dance of multi-layered rhythms as organs drone out beneath noir-pop atmospheres that recall Angelo Badalamenti. One of the most surprising cuts comes from Juan Veron and Pedro Lahoze. Their “Adventures Flavour” locks ethnological drum explorations and alien hand percussion vocalisms into a hypno-groove that moves beneath wavering chime tapestries. Majestic synths, organs, and pianos climb through sparkling clouds of gold while dripping cosmic liquids coat skronking woodwinds. The ivory melodies are tracked by swelling space pads and ominous brass textures bring airs of exotic funk and Zeuhl prog. All the while, solar melodics skip through rainbow flower fields and the ritualist percussion energies merge with sonic clouds of ceremonial fusion fire.

The B-side opens with “Final sin pauses” by Iury Lech. Deep piano pulsations envelop the spirit in a fog of bass warmth as shadow and light swirl together. A mermaid sings out from oceanic depths with wordless songs of ancient magic…her mellifluous voice backed by ghostly male harmonizations as it all comes together for an aquatic aria of profound beauty. Ivory incantations and mystical voices coalesce and sooth the mind while the mix hisses and breaths with analog warmth and towards the end, the track gives itself over completely to haunted drone clouds built from dark and mysterious oscillations. The esoterica of Pablo Guerrero’s “Dragones negros” follows, with bowed string drones conjuring subterranean spirits. The mix is further adorned by bucolic windchimes while a sensuous and calming voice enters to entrance the mind, its enigmatic stories occasionally receding as harmonious clouds of ambiance swell and glow with a spectral light. The mesmerizing sonic motions are suffused by starshine chime tones and sometimes the vocalist zones out into pure throat singing and passages that resemble yodeling or Sami joiking. The droning voice fluids are backed by submarine clarinets that swim through the ever-present cascades of sparkling metal and the way these haunted woodwinds seem to float on a spectral sea of amorphous new age magic presages by decades one of my favorite songs: Eleventeen Eston’s “I Float, I am Free.” And as swirls of sound build towards slow motion ecstasy, the hypnotizing voice returns to entice the soul back to earthly realms. 

Antonio García’s “Guitarra primitive” features bubbling hand drums soaring beneath the kind of metal-against-guitar string noise associated with GY!BE’s Efrim Menuck. There are shadows of Roy Montgomery and Loren MazzaCane Connors as well in the way the searing waves of droning guitar push the mind towards bliss and as the wailing six-string orchestrations drop away, they are replaced by strange sliding tones..like drops of silver ether moving upwards along the walls of a crystal cavern. The delay fx on the hand drums morph in and out of phase and generate feverish polyrhythms in a way reminiscent of early Popol Vuh and Ash Ra Tempel and the track spends the rest of its time alternating between careening bowed guitar atmospheres and sci-fi sliding fluids until the beats drop away for a coda of pure ambient shimmer. We end with Eliseo Parra’s “Noche tranquil y serena,” which sees the calming beachside field recordings return as waves crash and seabirds sing softly. A zither modulates under aqueous phaser waves while wrapping the mind around with dazzling runs and enchanting ocean romantics. Glistening chime strands decay towards a blood red sunset and a mystical voice calls out above it all, his sliding modalities evoking a mythical Iberian ritualism. As the track progresses, a head nodding downbeat groove emerges and floats on throbbing bass currents while high in the sky, psychedelic string clouds drop subtle waves of strummed starlight and wood flutes harmonize together as they summon shadow spirits from forgotten realms.

(images from my personal copy)

[architectnews]

NIU N70, Spain: Fran Silvestre Arquitectos

NIU N70 Spain, Modern Fran Silvestre Arquitectos Home, Spanish Property Images, Architecture

NIU N70, Spain, by Fran Silvestre Arquitectos

22 September 2021

Design: Fran Silvestre Arquitectos

Location: Spain

NIU N70

Photos by Fernando Guerra

English text, scroll down for Spanish:

Fran Silvestre Arquitectos

NIU N70, Spain

The NIU project arises with the purpose of innovating construction systems to increase precision in the materialization of architecture. Deadlines and certain costs that improve the quality of human environments, making them more sustainable and healthy.

The N70 is the smallest model of the NIU project. The wet areas in which all the facilities are located divides the day zone from the night zone. A new version of a known typology that continues to fascinate us.

Spanish text:

NIU N70 ESPAÑA

El proyecto NIU surge con la finalidad de innovar los sistemas constructivos para aumentar la precisión en la materialización de la arquitectura. Plazos y costes ciertos que mejoran la calidad de los entornos humanos haciéndolos más sostenibles y saludables.

La N70 es el modelo de menor superficie del proyecto NIU. La zona húmeda en la que se ubican todas las instalaciones divide la zona de día de la de noche.

Una nueva versión de un tipo conocido que sigue fascinándonos.

NIU N70, Spain – Building Information

Architecture: Fran Silvestre Arquitectos Location: Spain

PROJECT TEAM: Fran Silvestre | Principal in Charge Rosa Juanes | Principal in Charge Rubén March | Principal in Charge Andrea Baldo | Principal in Charge Gino Brollo | Principal in Charge

NIU TEAM: Alejandra Ugena | Principal in Charge Francisco Moreno | Project management Mauro Díaz | Principal in Charge Héctor Borrás | Principal in Charge Francisco Lahoz | Purchasing Manager Irene Hoyos | Purchasing Manager

INTERIOR DESIGN: Alfaro Hofmann

PHOTOGRAPHY: Fernando Guerra, Fran Silvestre Arquitectos

VIDEO: Jesús Orrico

COLLABORATORS: María Masià | Collaborating Architect Ricardo Candela | Collaborating Architect Pablo Camarasa | Collaborating Architect Carlos Lucas | Collaborating Architect Estefanía Soriano | Collaborating Architect Sevak Asatrián | Collaborating Architect Jose Manuel Arnao | Collaborating Architect Ángel Pérez | Collaborating Architect Miguel Massa | Collaborating Architect Paloma Feng | Collaborating Architect Alicia Simón | Collaborating Industrial Designer Gino Brollo | Collaborating Architect, MArch Arquitectura y Diseño Angelo Brollo | Collaborating Architect, MArch Arquitectura y Diseño Bruno Mespulet | Collaborating Architect, MArch Arquitectura y Diseño Javi Herrero | Collaborating Architect Alba Gonzalez | Collaborating Architect Paco Chinesta | Collaborating Architect Sabrina D’amelio | Collaborating Architect Facundo Castro | Collaborating Architect, MArch Arquitectura y Diseño Sandra Insa | Collaborating Architect Gemma Aparicio | Collaborating Architect

Ana de Pablo | Financial Manager Sara Atienza | Marketing Manager

CONSTRUCTION COMPANY/ DEVELOPER: NIU Architectural

Fran Silvestre Arquitectos

NIU N70 Spain images / information received 250720 from Fran Silvestre Arquitectos

Location: Spain, south west Europe

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Contemporary Spanish Architectural Projects by Fran Silvestre Arquitectos

House Of The Sun, Marbella, Costa del Sol, Andalucia, Southern Spain picture from architects office House of the Sun Marbella

New House in Santa Pola, Baix Vinalopó, Valencian Community, eastern Spain photo : Fernando Guerra, FG + SG New House in Santa Pola

Casa del Acantilado, Calpe, Alicante, Southern Spain photograph : Diego Opazo House on the Cliff

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Spanish Architectural Designs – chronological list

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Spanish Architectural News on e-architect

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Casa Bauzà, Mallorca, south east Spain Design: Miquel Àngel Lacomba photo : Miquel Lacomba Casa Bauzà

Cool Blue Villa in Marbella Design: 123DV Architects photo from architects New Villa in Marbella

‘Casa Los Limoneros’ Home in, San Pedro de Alcántara, Marbella Design: Gus Wüstemann Architects photo by gus wustemann architects Luxury House near Marbella

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Comments / photos for the NIU N70, Spain: Fran Silvestre Arquitectos design page welcome

The post NIU N70, Spain: Fran Silvestre Arquitectos appeared first on e-architect.

[coavna]

Manifiesto a favor de los derechos de sus autores sobre la obra arquitectónica

La finalidad del manifiesto es recabar el apoyo de Escuelas de arquitectura y Colegios de arquitectos con el propósito de presentarlo al proceso participativo, ya abierto, sobre la futura Ley de Arquitectura.

Puedes adherirte al manifiesto enviando un correo a cultura@coavnalava.com

MANIFIESTO 

La arquitectura contemporánea, como el resto de las creaciones contemporáneas, forma parte del sustrato cultural que nos define y caracteriza como sociedad. A lo largo de la historia, como ocurre con las artes escénicas y plásticas, con la música y la literatura, el diseño de producto o industrial, y demás manifestaciones artísticas o creativas, la arquitectura se ha ido transformando como un reflejo de la transformación de la propia sociedad.

El progreso de la arquitectura es, por lo tanto, inherente al progreso de la sociedad.

Así como existe un respeto lógico y razonable por la arquitectura denominada histórica, ha de haberlo también por la arquitectura moderna y contemporánea de calidad. Las circunstancias cada vez más habituales de actuaciones muralísticas sobre los edificios contemporáneos nos hacen pensar que tenemos que encontrar mecanismos pedagógicos, divulgativos y normativos que garanticen la protección, integral o ambiental, de los edificios modernos de interés, independientemente de que estén o no inscritos en un catálogo de protección.

 Según la LPI, artículo 10: 1. Son objeto de propiedad intelectual TODAS LAS CREACIONES ORIGINALES literarias, artísticas o científicas expresadas POR CUALQUIER MEDIO O SOPORTE, tangible o intangible, actualmente conocido o que se invente en el futuro. Más adelante, se cita en el Artículo 14: Contenido y características del derecho moral: Corresponden al autor los siguientes derechos irrenunciables e inalienables: (...) 4.º Exigir el respeto a la integridad de la obra. Por todo lo anterior, cabe interpretar de un modo razonable que un edificio es una creación original y que a sus autores, los arquitectos, les asiste el derecho de propiedad intelectual sobre la obra arquitectónica. Esta idea queda reforzada por lo que estipula el Convenio de Berna.

Así, dentro de la nueva Ley de Arquitectura actualmente en tramitación, las y los firmantes de este manifiesto

 SOLICITAMOS

 - Que en el ámbito educativo (primaria, secundaria, bachillerato) se haga el esfuerzo de divulgar los valores de la arquitectura moderna y contemporánea como un estrato más dentro de la Historia del Arte, donde ocupa un lugar la arquitectura, con las características tecnológicas, compositivas, morfológicas y materiales propias de su tiempo.

 - Que, de igual manera, se haga el esfuerzo de divulgar la arquitectura moderna y contemporánea en aquellos Grados relacionados con la Creación y la Arquitectura, tales como las Facultades de Bellas Artes, las Escuelas de Diseño, y las Escuelas de Artes y Oficios.

 - Que todas aquellas obras de arquitectura que hayan sido merecedoras de algún premio o distinción, o que formen parte de un catálogo sea este público o privado, se reseñen en el propio edificio con un distintivo y con una ficha divulgativa accesible a quien lo solicite, y que esto se haga con cargo a la Administración.

 - Que, en relación con los derechos de autoría de los creadores sobre su obra, se reconozcan los derechos de los arquitectos sobre, al menos, los aspectos singulares o característicos de la obra arquitectónica.

Solicitamos, por lo tanto, que la futura Ley de Arquitectura haga mención expresa a los puntos anteriores.

Ekain Jiménez Valencia, vocal de cultura de la Delegación de Álava del Colegio Oficial de Arquitectos Vasco Navarro.

FIRMANTES

Colegio Oficial de Arquitectos Vasco-Navarro

Colegio Oficial de Arquitectos de Madrid

Colegio Oficial de Arquitectos de Ceuta

Colegio Oficial de Arquitectos de Lanzarote

Colegio Oficial de Arquitectos de Sevilla

Colegio Oficial de Arquitectos de Tenerife, La Gomera y El Hierro

Colegio Oficial de Arquitectos de Jaén

Colegio Oficial de Arquitectos de Córdoba

Colegio Oficial de Arquitectos de León (León, Palencia, Salamanca y Zamora)

Colegio Oficial de Arquitectos de Castilla y León Este (Valladolid, Soria, Segovia, Burgos, Ávila)

Fundación COAR - Fundación Cultural de Arquitectos de La Rioja 

Colegio Oficial de Arquitectos de Murcia

Colegio Oficial de Arquitectos de la Ciudad Autónoma de Melilla

Colegio Oficial de Arquitectos de Cantabria

Colegio Oficial de Arquitectos de Granada

Colegio Oficial de Arquitectos de Málaga

Colegio Oficial de Arquitectos de Ciudad Real

Colegio Oficial de Arquitectos de Castilla-La Mancha

Col.legi Oficial Arquitectes Illes Balears

Arquitectes per l'Arquitectura, asociación de arquitectos catalana, con sede en Barcelona

Grado en Arquitectura de la Universidad San Jorge

Grado en Fundamentos de la Arquitectura de la Universidad Rey Juan Carlos.

Máster Universitario en Arquitectura de la Universidad Rey Juan Carlos.

Escuela de Ingeniería y Arquitectura (EINA) de la Universidad de Zaragoza

Grado en Estudios en Arquitectura, Escuela de Ingeniería y Arquitectura de la Universidad de Zaragoza.

Darío Álvarez Álvarez, Director de la ETS Arquitectura de Valladolid

Miguel A. Alonso del Val, Director de la Escuela de Arquitectura de la Universidad de Navarra

Francisco José Sánchez Medrano. Ph D Arquitecto, Subdirector Escuela de Arquitectura UCAM.

Elvira Carregado Pazos, Secretaria do Colexio de Arquitectos de Galicia, COAG

Juan Pedro Sanz Alarcón, vicedecano del COAMU y profesor de proyectos de la ETSAE de la Universidad Politécnica de Cartagena (UPCT).

José Ignacio Linazasoro, arquitecto.

Paredes Pedrosa Arquitectos (Ignacio Pedrosa y Ángela García de Paredes).

Blanca Lleó. Catedrática ETSAM, Universidad Politécnica de Madrid. Académica. Real Academia Doctores España.

Roberto Ercilla Abaitua, arquitecto

Carlos Pereda Iglesias y Óscar Pérez Silanes (Pereda Pérez arquitectos).

Carlos J. Irisarri, PhD, Profesor Deontología e Historia del Arte y Arquitectura, Escuela de Arquitectura, Ingeniería y Diseño, Universidad Europea.

Dr. Antonio Estepa Rubio, Subdirector Área de Arquitectura y Diseño, Universidad San Jorge

Iñaki Bergera, Profesor Titular Proyectos Arquitectónicos, Coordinador del Grado en Estudios en Arquitectura en la EINA de la Universidad de Zaragoza

José Ramón Hernández Correa, Dr. arquitecto, profesor asociado URJC y divulgador.

David García-Asenjo Llana. Profesor asociado URJC

Koldo Fernández Gaztelu. Profesor Asociado de Proyectos Arquitectónicos en la EINA de la Universidad de Zaragoza.

Rodrigo Almonacid Canseco, Profesor, Departamento de Teoría de la Arquitectura y Proyectos Arquitectónicos, ETSA Valladolid

María Pura Moreno, Dra. arquitecta.

Carlos Garmendia Fernández (CGarmendia Cordero Arquitectos)

Jaume Prat, arquitecto

Luis Franco Lahoz y Mariano Pemán Gavín, arquitectos.

Mónica González Rey + David Landínez González-Valcárcel, arquitectos

Pedro Torrijos León, arquitecto. 

Miquel Lacasta, arquitecto,

y 70 arquitectos más

Seguiremos actualizando la lista 

¡GRACIAS! 

[hspn]

Quirky & chatty

Discussing referees, 5/23/21:

Me: That just reminded me to see who's doing the CL final. This guy? ‘Quirky and chatty’? So is he like the Spanish Pedro Proença [the referee of the 2012 Champions League final]? Brother: Quirky worries me.

The final:

Kevin De Bruyne is whistled for offside, 21st minute:

Brother: Wow, he called that offsides? That was a nice call. Me: Maybe that’s the ‘quirky’ thing about him, he makes actual good calls. Brother: Plus he looks like Enrico Colantoni. Me: Oh my god, he does. I wonder if he’s more Just Shoot Me or Veronica Mars.

Half time:

Me: Did Jorginho just fist bump the ref at the HT whistle? Good thinking, Jorginho. Brother: It was the most important thing he did all half.

Antonio Rüdiger is booked, 57th minute:

Brother: Yeah, that was chest from that angle. This ref is really great. Me: He's giving me Proença vibes. Jorginho is his Lampard.

83rd minute:

Brother: Best buds Jorginho and the ref chatting mid match. Me: Told you Jorginho was this ref's Lampard.

Trophy presentation:

Me: Jorginho super clapping it up for his ref best friend as they go up for their medals. Brother: Give the ref two medals.

Afterward:

Me: Oh my god, the ref is crying. Brother: Why? Happy for Jorginho?