José Juan Barba (1964) architect from ETSA Madrid in 1991. Special Mention in the National Finishing University Education Awards 1991. PhD in Architecture ETSAM, 2004. He founded his professional practice in Madrid in 1992 (www.josejuanbarba.com). He is an architecture critic and editor-in-chief of METALOCUS magazine since 1999, and he was advising different NGOs until 1997. He has been a lecturer (in Design, Theory and Criticism, and Urban planning) and guest lecturer at different national and international universities (Roma TRE, Polytechnic Milan, ETSA Madrid, ETSA Barcelona, UNAM Mexico, Univ. Iberoamericana Mexico, University of Thessaly Volos, FA de Montevideo, Washington, Medellin, IE School, U.Alicante, Univ. Europea Madrid, UCJC Madrid, ESARQ-U.I.C. Barcelona,...).
Maître de Conférences IUG-UPMF Grenoble 2013-14. Full assistant Professor, since 2003 up to now at the University of Alcalá School of Architecture, Madrid, Spain. And Jury in competitions as Quaderns editorial magazine (2011), Mies van der Rohe Awards, (2010-2022), Europan13 (2015). He has been invited to participate in the Biennale di Venezia 2016 as part "Spaces of Exception / Spazi d'Eccezione".
He has published several books, the last in 2016, "#positions" and in 2015 "Inventions: New York vs. Rem Koolhaas, Bernard Tschumi, Piranesi " and collaborations on "Spaces of Exception / Spazi d'Eccezione", "La Mansana de la discordia" (2015), "Arquitectura Contemporánea de Japón: Nuevos territorios" (2015)...
- Award. RENOVATION OF SEGURA RIVER ENVIRONMENT, Murcia, Sapin, 2010.
- First Prize, RENOVATION GRAN VÍA, “Delirious Gran Vía”, Madrid, Spain, 2010.
- First Prize, “PANAYIOTI MIXELI Award”. SADAS-PEA, for the Spreading of Knowledge of Architecture Athens, 2005.
- First Prize, “SANTIAGO AMÓN Award," for the Spreading of Knowledge of Architecture. 2000.
- Award, “PIERRE VAGO Award." ICAC -International committee of Art Critics. London, 2005.
- First Prize, C.O.A.M. Madrid, 2000. Shortlisted, World Architecture Festival. Centro de Investigación e Interpretación de los Ríos. Tera, Esla y Orbigo, Barcelona, 2008.
- First Prize. FAD AWARD 07 Ephemeral Interventions. “M.C.ESCHER”. Arquin-Fad. Barcelona, Sapin 2007.
Noguchi, an internationalist, traveled extensively throughout his life. (In his later years he maintained studios both in Japan and New York.) He discovered the impact of large-scale public works in Mexico, earthy ceramics and tranquil gardens in Japan, subtle ink-brush techniques in China, and the purity of marble in Italy. He incorporated all of these impressions into his work, which utilized a wide range of materials, including stainless steel, marble, cast iron, balsa wood, bronze, sheet aluminum, basalt, granite, and water.
Born in Los Angeles, California, to an American mother and a Japanese father, Noguchi lived in Japan until the age of thirteen, when he moved to Indiana. While studying pre-medicine at Columbia University, he took evening sculpture classes on New York’s Lower East Side, mentoring with the sculptor Onorio Ruotolo. He soon left the University to become an academic sculptor.
In 1926, Noguchi saw an exhibition in New York of the work of Constantin Brancusi that profoundly changed his artistic direction. With a John Simon Guggenheim Fellowship, Noguchi went to Paris, and from 1927 to 1929 worked in Brancusi’s studio. Inspired by the older artist’s reductive forms, Noguchi turned to modernism and a kind of abstraction, infusing his highly finished pieces with a lyrical and emotional expressiveness, and with an aura of mystery.
Noguchi’s work was not widely recognized in the United States until 1938, when he completed a large-scale sculpture symbolizing the freedom of the press, which was commissioned for the Associated Press building in Rockefeller Center, New York City. This was the first of what would become numerous celebrated public works worldwide, ranging from playgrounds to plazas, gardens to fountains, all reflecting his belief in the social significance of sculpture.
In 1942, Noguchi set up a studio at 33 MacDougal Alley, in Greenwich Village, having spent much of the 1930s based in New York City but traveling extensively in Asia, Mexico, and Europe.
The Japanese attack on Pearl Harbor and the backlash against Japanese-Americans in the United States had a dramatic personal effect on Noguchi, motivating him to become a political activist. In 1942, he started Nisei Writers and Artists Mobilization for Democracy, a group dedicated to raising awareness of the patriotism of Japanese-Americans. He also asked to be placed in an internment camp in Arizona, where he lived for a brief seven months. Following the War, Noguchi spent a great deal of time in Japan exploring the wrenching issues raised during the previous years. His ideas and feelings are reflected in his works of that period, particularly the delicate slab sculptures included in the 1946 exhibition “Fourteen Americans,” at The Museum of Modern Art, New York.
Noguchi did not belong to any particular movement, but collaborated with artists working in a range of disciplines and schools. He created stage sets as early as 1935 for the dancer/choreographer Martha Graham, beginning a lifelong collaboration; as well as for dancers/choreographers Merce Cunningham, Erick Hawkins, and George Balanchine and composer John Cage. In the 1960s, Noguchi began working with stone carver Masatoshi Izumi on the island of Shikoku, Japan; a collaboration that would also continue for the rest of his life. From 1960 to 1966, he worked on a playground design with the architect Louis Kahn
Whenever given the opportunity to venture into the mass-production of his interior designs, Noguchi seized it. In 1937, he designed a Bakelite intercom for the Zenith Radio Corporation, and in 1947, his glass-topped table was produced by Herman Miller. This design—along with others such as his designs for Akari Light Sculptures which were initially developed in 1951 using traditional Japanese materials—are still being produced today.
In 1985, Noguchi opened The Isamu Noguchi Garden Museum (now known as The Noguchi Museum), in Long Island City, New York. The Museum, established and designed by the artist, marked the culmination of his commitment to public spaces. Located in a 1920s industrial building across the street from where the artist had established a studio in 1960, it has a serene outdoor sculpture garden, and many galleries that display Noguchi’s work, along with photographs and models from his career.
Noguchi’s first retrospective in the United States was in 1968, at the Whitney Museum of American Art in New York City. In 1986, he represented the United States at the Venice Biennale. Noguchi received the Edward MacDowell Medal for Outstanding Lifetime Contribution to the Arts in 1982; the Kyoto Prize in Arts in 1986; the National Medal of Arts in 1987; and the Order of Sacred Treasure from the Japanese government in 1988. He died in New York City in 1988.