Residencia de Estudiantes of Madrid, walls full of avant-garde
27/09/2016.
[7/10] Open House Madrid 2016 [MAD] Spain. 07.10.2016
metalocus, LAURA CENTELLAS
metalocus, LAURA CENTELLAS
With the excuse of Architecture Week, Open House Madrid offers guided tours of the building, the heart of culture in Madrid and that, since 1915, has brought together the most renowned figures of the international cultural scene. Come and discover the changes that both use and its architecture have suffered throughout its history.
Residencia de Estudiantes of Madrid. Exterior view of the Transatlantic Pavilion. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Exterior view of one of the towers of the Transatlantic Pavilion. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Detailes exterior view of one of the accesses to the old laboratories,current exhibition hall. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Exterior view of the Transatlantic Pavilion. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Back view of the Central Pavilion. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. View of the Central Pavilion integrated in the greenery. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. View of the bench courtesy of the Duque de Alba. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. View of the covered gallery located in the Central Pavilion, recovered during the remodelation of the 86. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Detail of the furniture at the gallery of the Central Pavilion, Torres Clavé armchair. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Detail of the furniture at the Central Pavilion. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Interior view of the Assemblu Hall, furnished as a living space. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Interior view of the Assemblu Hall, furnished as a living space. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Detail of the original 20 century piano, still located at the Assembly Hall. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Exterior view of the central pavilion, at the mai facade, well-known for the annual photograph taken of the scholars. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Exterior view of the main facade of the Central Pavilion. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid.Interior of one of the original bedrooms, left to show their original aspect in the Twin Pavillions. Interior view of the Assemblu Hall, furnished as a living space. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. Exterior view of one of the twin Pavilions. At the front, the Oleanders garden. Photograph © Álvaro Lamas/METALOCUS.
Residencia de Estudiantes of Madrid. View of the Transatlantic pavilion, at the back, and the Central Pavilion at the front, in a snowy day. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Esterior view of the Transatlantic Pavilion. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Twin Pavilions from the irrigation ditch. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Entrance to the Residencia de Estudiantes from Pinar Street. At the back, one of the Twin Pavilions containing the residents. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Exterior view of the central pavilion from the Duque de Alba bench. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Interior view of the dinning room at the Central Pavilion. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Interior view of the living-room hall at the Central Pavilion. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid.Interior view of the cafeteria at the Central Pavilion. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Interior view of the library. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Interior view of one of the double bedrooms. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Twin Pavilions from the Residencia de Estudiantes, drawn by José Moreno Villa in 1926 for the magazine 'Residencia'. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. The Residencia de Estudiantes at its final location in 'Poplar Hill', seen from the sports field at the end of the 1920s. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Residencia de Estudiantes of Madrid. Postcard of the Residencia de Estudiantes. View of the Central Pavilion, Laboratories Pavilion and the irigation ditch, in the 1920s. Image from the Residencia de Estudiantes of Madrid Archive, courtesy of Residencia de Estudiantes de Madrid.
Moved in 1915 to the Cerro del Viento [Wind Hill] or 'Poplar Hill' as baptised by the poet, Nobel Prize and ex-alumnus Juan Ramon Jimenez, the Residencia de Estudiantes [Students REsidence] was founded in 1910, following the guidelines of the Institución Libre de Enseñanza but with no actual dependance thereon. La Residencia by the Board for Extension of Studies and Scientific Research, was a public institution that sought to become a cultural space of reference in close connection with the newly opened University of Madrid, and with the aim of regenerating the Spanish society through education and the primacy of science.
To do so, Alberto Jiménez Fraud, who was its director since its inception and until 1936, prompted the opening of a body of laboratories and a library which, despite being spaces that are always present nowadays in every university, used to represent a lack in that fledgling University of San Bernardo street. Furthermore, the philosophy of the entity was completed making its residents, and indirectly the whole society, participant of the interests of the world, both scientific discoveries and the dissemination of literature or humanities.
Needless to say, those same guidelines were also present in the planning and design of its architecture by Francisco Javier de Luque and Antonio Flórez Urdapilleta, whose close ties to the Institución Libre de Enseñanza was guaranteed in addition to the imprint of that philosophy in the construction site. The complex, in simple brick free of any rhetoric, was composed of several bodies: the twin pavilions, occupied entirely by the cells of the students; the central pavilion, where the lower floors where left for the dinning rooms, Assembly Hall ... and the transatlantic pavilion that housed 6 well-equipped laboratories and library in those same plants. Located in an open green environment, with careful attention to the orientation of the pavilions, terraces for sunbathing and equipped with the best sports facilities, guaranteed without any doubt the best hygienist conditions and a superb location. To highlight, the gardens were designed by the prestigious Javier de Winthuysen and Juan Ramon Jimenez, who planted the garden of the Oleanders or poets garden separating the twin pavilions.
Despite the building currently retains its original structure after the works of renovation and reconstruction of the complex in 1986, made by the work of architects Estanislao Pérez Pita and Jerónimo Junquera, has not been the case throughout the life of the building: The gap open during the Civil War in Spain also changed the use of the building, which stopped working as a student residence to absorb the role of police hospital, given the central position that the new extensions of the year 29 by Zuazo and Jansen, gave the place.
After the war, in 1939, the residence had been transferred to the CSIC, who recovered its use, becoming the Residence for Researchers from the National Research Council. This institution would also be the one which, almost 50 years later, proposed to recover its historical value, its name and its role as a cultural center, but redefining the profile of its occupants and some of its functions.
In addition to the new exhibition space, the Archive and the headquarters of the García Lorca Foundation and the Cultural Foundation of the residence itself, all located in the Transatlantic Pavilion (the pavilion that has suffered the most transformations in the architectural field given the deplorable state in which it was), the Central pavilion and the Twins Pavilions retain their use, although guests are nowadays characters still with strong links to international cultural landscape but staying there only for short stays, with the exception of 9 privileged post-graduate students, carefully chosen for their annual stay.
The space is an architectural oasis amid the bustle of the New Ministries of Madrid, as well as a cultural oasis of public access that you will be delighted to discover.
To do so, Alberto Jiménez Fraud, who was its director since its inception and until 1936, prompted the opening of a body of laboratories and a library which, despite being spaces that are always present nowadays in every university, used to represent a lack in that fledgling University of San Bernardo street. Furthermore, the philosophy of the entity was completed making its residents, and indirectly the whole society, participant of the interests of the world, both scientific discoveries and the dissemination of literature or humanities.
Needless to say, those same guidelines were also present in the planning and design of its architecture by Francisco Javier de Luque and Antonio Flórez Urdapilleta, whose close ties to the Institución Libre de Enseñanza was guaranteed in addition to the imprint of that philosophy in the construction site. The complex, in simple brick free of any rhetoric, was composed of several bodies: the twin pavilions, occupied entirely by the cells of the students; the central pavilion, where the lower floors where left for the dinning rooms, Assembly Hall ... and the transatlantic pavilion that housed 6 well-equipped laboratories and library in those same plants. Located in an open green environment, with careful attention to the orientation of the pavilions, terraces for sunbathing and equipped with the best sports facilities, guaranteed without any doubt the best hygienist conditions and a superb location. To highlight, the gardens were designed by the prestigious Javier de Winthuysen and Juan Ramon Jimenez, who planted the garden of the Oleanders or poets garden separating the twin pavilions.
Despite the building currently retains its original structure after the works of renovation and reconstruction of the complex in 1986, made by the work of architects Estanislao Pérez Pita and Jerónimo Junquera, has not been the case throughout the life of the building: The gap open during the Civil War in Spain also changed the use of the building, which stopped working as a student residence to absorb the role of police hospital, given the central position that the new extensions of the year 29 by Zuazo and Jansen, gave the place.
After the war, in 1939, the residence had been transferred to the CSIC, who recovered its use, becoming the Residence for Researchers from the National Research Council. This institution would also be the one which, almost 50 years later, proposed to recover its historical value, its name and its role as a cultural center, but redefining the profile of its occupants and some of its functions.
In addition to the new exhibition space, the Archive and the headquarters of the García Lorca Foundation and the Cultural Foundation of the residence itself, all located in the Transatlantic Pavilion (the pavilion that has suffered the most transformations in the architectural field given the deplorable state in which it was), the Central pavilion and the Twins Pavilions retain their use, although guests are nowadays characters still with strong links to international cultural landscape but staying there only for short stays, with the exception of 9 privileged post-graduate students, carefully chosen for their annual stay.
The space is an architectural oasis amid the bustle of the New Ministries of Madrid, as well as a cultural oasis of public access that you will be delighted to discover.
RESIDENCIA DE ESTUDIANTES.
Where.- 21 Pinar Street. Madrid (Spain).
When.- Sturday 1st October 2016, from 10.00 to 14.00 and from 17.00 to 20.00 h.
Inscription.- No inscription needed.
More information
Architects (1915)
Twin Pavilions and Transatlantic.- Antonio Flórez Urdapilleta.
Central Pavilion Architect.- Francisco Javier de Luque.
Renovation Architects (1986)
Estanislao Pérez Pita and Jerónimo Junquera (1986).
Client
Board for Extension of Studies and Scientific Research.
Venue
21 Pinar Street. Madrid, Spain.
Antonio FLOREZ URDAPILLETA
Antonio Flórez Urdapilleta was born in Vigo in 1887 and died in Madrid in 1941.
Architect, and son of the architect Justino Flórez Llamas, he was was formed at the Institución Libre de Enseñanza, where he was a pupil of Manuel Bartolomé Cossio and fellow of Antonio Machado. He graduated in 1904 from Technical University of Madrid. That same year he won a place as a pensioner at the Academy of Spain in Rome, from where he traveled the rest of Italy, Greece, Turkey and Vienna. Back in Spain he became a professor at the Technical University of Madrid where he became professor of the subject Copy of Ornamental Elements.
In 1911 he won the competition for the construction of Froebel Schools in Pontevedra. In 1913 he designed the new headquarters of the Residencia de Estudiantes. As a member of the Board of Queen Victoria Eugenia he built the Cervantes and Prince of Asturias school groups in Madrid. On the death of Francisco Giner he designed and built the Pantheon of the Institución Libre de Enseñanza at the Madrid Civil Cemetery. Since 1915 he became the conservative architect of the Royal Theatre in Madrid. In 1919 he was appointed Minister of Public Instruction and a year later he became the chief architect of the newly created Technical School Construction Bureau of the Ministry of Public Instruction and Fine Arts, where he made an extraordinary and fruitful work in the field of school architecture that was truncated by the civil war.
Academician of the Real Academia de Bellas Artes de San Fernando in 1932, with a speech dedicated to the teaching of architecture, the years of the civil war were extremely bitter for him since he was removed from the office as chief architect at construcciones Escolares, first by the Government of the Republic in 1937, and then by the government of General Franco in 1939.
Francisco Javier DE LUQUE Y LÓPEZ
Francisco Javier de Luque y López was born in Seville in 1871 and died in Madrid in 1941. He was a Spanish architect. He graduated in Physical and Mathematical Sciences in Seville in 1893 and in Architecture in Madrid in 1899. His main projects include the Cathedral of Mary Immaculate in Vitoria, the building of the Geological and Mining Institute of Spain, the Ministry of Education building (Madrid), the College of Jesus and Mary (Madrid), the Church of the Twelve Apostles (Madrid), the Pavilion 4 at the Residence of the Higher Council for Scientific Research (Residencia de Estudiantes, Madrid), the flag of Spain in the Venice Biennale (1922) and the restoration and completion of the facade of the Cathedral of Seville (Seville, 1921).
Between 1909 and 1914 he lived in Vitoria, where he was an academician of the Real Academia de Bellas Artes of San Fernando de Alava. Later he moved to Madrid, city where he taught at the School of Architecture and where he was a technician of the civilian buildings section of the Ministry of Public Instruction and Fine Arts.
Estanislao PÉREZ PITA
Estanislao Pérez Pita, born on May 23 1943 in Madrid, obtained the title of Architect from the Technical University of Madrid in 1969, working during his first years of career with José Antonio Corrales in Madrid (1968-1969) and with Davies and Brody in New York (1970-1971). From 1973 until his death, he worked in Madrid in partnership with architect Jerónimo Junquera.
His work has been exhibited, among other places, at the Paris Biennale (1985-1986), at the Georges Pompidou, Bordeaux, Amsterdam, Milan and Chicago Center. His particular perception of architecture is reflected in a wide variety of buildings as diverse as offices, homes, remodelations, exhibition halls and sport arenas, being austerity and functionality the main feature of his buildings instead of any prominence or showmanship.
In the years 1977-1980 he directed the magazine Architecture of Madrid. Since 1986 he combined his professional work with teaching at the School of Architecture of Madrid and architecture critic in the newspaper El Pais, for which he worked between 1986 and 1988.
Jerónimo JUNQUERA
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.
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.
