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Jerónimo Junquera graduated in Technical University of Madrid in 1969 and has developed his professional activity in different fields of architecture and urban design. He founded the studio JUNQUERA architects in 1973 and has been associated with Estanislao Pérez Pita from 1973 to 1998 and Liliana Obal from 2002 to 2006. The JUNQUERA Arquitectos practice has developed,  over more than 30 years since its founding in 1973, projects in different fields of architecture.

In teaching, he has been Professor of Studio class at Technical University of Madrid and other centers as guest lecturer: UIMP, Camuñas Foundation and CEES, besides numerous conferences and seminars. He has been Director of the magazine BODEN between 1974-1976, Director of Architecture Magazine COAM between the years 1977-1980, Founder and Director of the AXA Gallery in the years 1980-1981 and has written numerous articles in journals and newspapers, complementing his work. He is Chairman of the Board of the "Foundation Study" and Chairman of the Board of Directors of the College Study.

He has won awards in prestigious national and international competitions and his work has been published in journals of national and international architecture and exposed repeatedly, both nationally and internationally. His work has been honored with numerous awards, he has been present in virtually all editions of the Biennial of Spanish Architecture and Architecture Exhibition at national and international level. He has won the Prize for Urban Planning and Public Architecture of the City of Madrid in 1985, 1987, 1993, 1999, 2000, 2001, 2002 and 2006, the COAM Prize of the College of Architects of Madrid in 1995 and 2003, Quality, Architecture and Housing Award of the Community of Madrid 2004, the National Prize of Sport Architecture (Center for High Performance Granada) in 1998, the National Award for Rehabilitation of the COE (National Library) in 1995 and The National Award for Housing Quality of the  Ministry of Housing in 2007.

Carlos Arniches Moltó

Carlos Arniches Moltó (Madrid, September 24, 1895-Madrid, October 12, 1958) was a Spanish architect and intellectual of the Generation of '25, co-author of the La Zarzuela Hippodrome in Madrid together with Martín Domínguez, a work in which the Engineer Eduardo Torroja. He was the eldest of the children of the writer Carlos Arniches Barrera.

He studied at the Madrid School of Architecture (1911-1923). He obtained the title of architect in 1923. Working in the studio of Secundino Zuazo, where he met who would become his partner and friend, Martín Domínguez.

His first work, the studio of the painter Daniel Vázquez Díaz (1923), gave a clear sample of his ideas. . That work laid the foundations of what he himself would later imply was "reasonableness". However, the reinterpretation of vernacular architecture was nothing new. His contemporaries Pikionis, Kozma or Lino followed similar lines of research and practice. With this, Arniches connected his concerns with those of the European currents and laid the foundations of Spanish expressionism – see his intervention at the Granja El Henar café, at calle de Alcalá nº 40 –, which he would refine for the rest of his life and in that the plaza as the center of Spanish life was the myth, in contrast to the mountain German.

Refinement and purity of lines marked his work for the Junta de Ampliación de Estudios (1927-1939), which commissioned him to build its new buildings: the Preparatory Section of the Instituto Escuela, the Auditorium and Library on Calle Serrano, the New Pavilion of the Residence for Young Ladies Students, the Nursery School of the School Institute and the National Foundation. In them, with very little means, he reached maximum expressiveness through impeccable technique and production.

His consolidation came when he won, in collaboration with his partner, the Contest of the New Madrid Hippodrome. The project presented reconciled sport with entertainment, using the old theme of the square as a starting point.

After the Civil War he refused to go into exile and faced the harshest professional purge. Only the support of some of his colleagues and friends allowed him to recover. In the beginning, others had to sign his works, but he never lacked clients thanks to his prestige, and he even participated in the relaunched agrarian colonization of the Dictatorship. He made two towns that are among his most complete works, undoubtedly the most important of his postwar period and with which he made clear the coherence of his work: Gévora (Badajoz) and Algallarín (Córdoba). In this final phase of his life he met some young architects, such as José Luis Fernández del Amo, with whom he would maintain a close relationship, which explains the transfer of architectural principles between both generations and the key role of Carlos Arniches as a starting point. of the Spanish Modern Movement.



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