Zoe Zenghelis and the graphic representation of the tourist project
Rem Koolhaas closes Delirious New York (1978) with an appendix developed together with the rest of the members of Office for Metropolitan Architecture (OMA). It includes the projects for Sphynx Hotel, a compact and tall building occupying two blocks between Broadway and Seventh Avenue, and Welfare P...
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Format: | Article in Journal/Newspaper |
Language: | Spanish |
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Instituto de Investigaciones Feministas
2022
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Online Access: | https://revistas.ucm.es/index.php/INFE/article/view/84012 |
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ftunicmadridrev:oai:ojs.pkp.sfu.ca:article/84012 |
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Universidad Complutense de Madrid (UCM): Revistas Científicas Complutenses |
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Spanish |
topic |
women in architecture women painters Zoe Zenghelis postmodern architecture architecture and tourism architectural drawing mujeres en la arquitectura pintoras arquitectura posmoderna arquitectura y turismo dibujo arquitectónico |
spellingShingle |
women in architecture women painters Zoe Zenghelis postmodern architecture architecture and tourism architectural drawing mujeres en la arquitectura pintoras arquitectura posmoderna arquitectura y turismo dibujo arquitectónico Sebastián Sebastián, María Zoe Zenghelis and the graphic representation of the tourist project |
topic_facet |
women in architecture women painters Zoe Zenghelis postmodern architecture architecture and tourism architectural drawing mujeres en la arquitectura pintoras arquitectura posmoderna arquitectura y turismo dibujo arquitectónico |
description |
Rem Koolhaas closes Delirious New York (1978) with an appendix developed together with the rest of the members of Office for Metropolitan Architecture (OMA). It includes the projects for Sphynx Hotel, a compact and tall building occupying two blocks between Broadway and Seventh Avenue, and Welfare Palace Hotel, a conglomeration of towers close to the limit of Roosevelt Island. In 1981, the team formed by Elia Zenghelis, Ron Steiner, Elia Veneris y Zoe Zenghelis, as the Greek section of OMA, presents the project for the Therma tourist complex in the bay of Gera (Lesvos, Greece). It is formed by pure geometric volumes distributed all around an olive grove next to the sea. In both cases, Zoe Zenghelis is in charge of the graphic representation and she creates very powerful images. They are usually bird’s eye views characterised by a peculiar use of colour. They move from a kind of aggressive colouring, which lies on the first ones in consonance with the provocative text, to the soft and poetical hues, which recall the calm of the Mediterranean coastline. Beginning with the analysis of the two projects and their paintings, the paper explores how Zoe Zenghelis deals with the works made for OMA as well as her more personal ones in the context of Postmodern theory. Furthermore, it inspects her role as the author of the depictions and, so, as the responsible for the public presentation of the projects and the creation of an iconic image, connected to her own works, claiming the importance of women in the architecture office. Rem Koolhaas cierra Delirio de Nueva York (1978) con un apéndice firmado conjuntamente con el resto de miembros de Office for Metropolitan Architecture (OMA). En él se incluyen los proyectos del hotel Esfinge, un edificio compacto y de crecimiento en altura pensado para las dos manzanas situadas entre Broadway y la Séptima avenida y el hotel Welfare Palace, un conglomerado de torres cercano al extremo de la isla de Roosevelt. En 1981, el equipo formado por Elia Zenghelis, Ron Steiner, Elia Veneris ... |
format |
Article in Journal/Newspaper |
author |
Sebastián Sebastián, María |
author_facet |
Sebastián Sebastián, María |
author_sort |
Sebastián Sebastián, María |
title |
Zoe Zenghelis and the graphic representation of the tourist project |
title_short |
Zoe Zenghelis and the graphic representation of the tourist project |
title_full |
Zoe Zenghelis and the graphic representation of the tourist project |
title_fullStr |
Zoe Zenghelis and the graphic representation of the tourist project |
title_full_unstemmed |
Zoe Zenghelis and the graphic representation of the tourist project |
title_sort |
zoe zenghelis and the graphic representation of the tourist project |
publisher |
Instituto de Investigaciones Feministas |
publishDate |
2022 |
url |
https://revistas.ucm.es/index.php/INFE/article/view/84012 |
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ENVELOPE(-162.000,-162.000,-79.283,-79.283) ENVELOPE(20.166,20.166,70.157,70.157) ENVELOPE(-64.870,-64.870,-65.897,-65.897) |
geographic |
Roosevelt Island Elia Esfinge |
geographic_facet |
Roosevelt Island Elia Esfinge |
genre |
Roosevelt Island |
genre_facet |
Roosevelt Island |
op_source |
Investigaciones Feministas (Feminist Research); Vol. 13 No. 2 (2022): Monográfico: Mujeres en todas las Ciencias. No más Matildas; 575-585 Investigaciones Feministas; Vol. 13 Núm. 2 (2022): Monográfico: Mujeres en todas las Ciencias. No más Matildas; 575-585 2171-6080 |
op_relation |
https://revistas.ucm.es/index.php/INFE/article/view/84012/4564456569166 Abramov, K. I. (coord.) (2020). Lina Bo Bardi: Habitat. Prestel. Carvalho Ferraz, M. (coord). (1993). Lina Bo Bardi. São Paulo: Empresa das Artes Instituto Lina Bo e P.M. Bardi. De Martino, S., & Wall, A. (1991). House for Zoe Zenghelis, London. Architectural Design, 61 (3-4), 55-59. Heinz, M. (2022). Zoe Zenghelis on Pursuing Creative Freedom. Metropolis. https://metropolismag.com/profiles/zoe-zenghelis-pursuing-creative-freedom/ Jacob, S. (2018). Ada Louise Huxtable Prize. Madelon Vriesendorp. Architectural Review, 243 (1449), 98-99. Jencks, C. (1991), The Language of Postmodern Architecture. Londres: Academy Editions. [1977] Hall, R., & Rutherford, E. (2022). Opportunism. Drawing Matter. https://drawingmatter.org/opportunism/ Hervas y Heras, J. (2015). Las mujeres de la Bauhaus: del espacio a lo bidimensional. Diseño Editorial. Kinnunen, U. (ed.) (2004). Aino Aalto. Jyväskylä: Alvar Aalto Museum. Koolhaas, R. (2018). Delirio de Nueva York. Un manifiesto retroactivo para Manhattan. Gustavo Gili. Lyotard, J. (1998). La condición postmoderna. Cátedra. Mattsson, H. (2016). Revisiting Swedish Postmodernism: Gendered Architecture and Other Stories. Konsthistorisk tidskrift/Journal of Art History, 85(1), 109-125. https://doi.org/10.1080/00233609.2015.1116605 Museum of Modern Art (2022). Hotel Sphinx Project, New York, New York (Axonometric). https://www.moma.org/collection/works/104704 Museum of Modern Art (2022). Zoe Zenghelis. https://www.moma.org/artists/7559 Office for Metropolitan Architecture (2022). OMA. https://www.oma.com/ Otto, E., & Rössler, P. (2019). Bauhaus Women. A Global Perspective. Herbert Press. Painterly Style. Interior Design, March, 26. Puebla Pons, J. (2006). Sobre la innovación expresiva del proyecto contemporáneo. EGA. Expresión Gráfica Arquitectónica, 11, 132-141. https://doi.org/10.4995/ega.2006.10322 Puigjaner, A. (2014). Ciudad sin cocina. El Waldorf Astoria, apartamentos con servicios domésticos colectivos en Nueva York, 1871-1929. Tesis doctoral. Universitat Politècnica de Catalunya, Barcelona. http://www.tdx.cat/handle/10803/279387. Ramírez, J. A. (1999). Aprendiendo de la arquitectura postmoderna. En Valeriano Bozal (ed.): Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Volumen II (pp. 427-433). La Balsa de la Medusa. Reichardt, J. (1985). An Artist in an Architectural Context. Paintings by Zoe Zenghelis. AA Files, 10, 61-65. https://www.jstor.org/stable/29543475 Rossi, A. (2013). La arquitectura de la ciudad. Gustavo Gili. Rodríguez Ortiz, E. (2018). MoMoWo. La creatividad de las mujeres desde el Movimiento Moderno. Hábitat y Sociedad, 11, 249-256. https://doi.org/10.12795/HabitatySociedad.2018.i11.15 Salgado de la Rosa, M. A., Raposo Grau, J. F., & Butragueño Díaz-Guerra, B. (2017). El dibujo de arquitectura como instrumento de crítica. Un recurso posmoderno. EGA. Expresión Gráfica Arquitectónica, 22(31), 54-65. https://doi.org/10.4995/ega.2017.8864 Sánchez de Madariaga, I. (Dir.) (2012). Matilde Ucelay. Una vida en construcción. Ministerio de Fomento. Sánchez de Madariaga, I. (2021). Matilde Ucelay. La primera arquitecta española. Instituto de Arquitectura de Euskadi. Sexton, R. W. (1929). American Apartment Houses, Hotels and Apartments Hotels of Today. Exterior and Interior Photographs and Plans. Architectural Book Publishing Company. Zenghelis, E., Steiner, R., Veneris, E., Zenghelis, Z., Galani, K., Gilles, R., & Wall, A. (1986). Incursione suprematista nel Mediterraneo. Therma Hotel, Baia di Gera, Lesbo. Lotus International, 52, 30-39. Zenghelis, Z. (2021). Two Early Paintings With OMA. Drawing Matter. https://drawingmatter.org/two-early-paintings-with-oma/ Zenghelis, Z. (2022). Zoe Zenghelis. Artist. http://www.zoezenghelis.com/ Ventura Blanch, F. (2020). La relación entre el dibujo y la escritura en la formación como arquitecto (1968-1972) de Rem Koolhaas. EGA. Expresión Gráfica Arquitectónica, 25(40), 254-265. https://doi.org/10.4995/ega.2020.13242 Venturi, R., Scott-Brown, D., & Izenour, C. (2008). Aprendiendo de Las Vegas. El simbolismo olvidado de la forma arquitectónica. Gustavo Gili. . Zoe Zenghelis. Shapes in Space. Academy Editions. https://revistas.ucm.es/index.php/INFE/article/view/84012 |
op_rights |
Derechos de autor 2024 Investigaciones Feministas |
op_doi |
https://doi.org/10.1080/00233609.2015.111660510.4995/ega.2006.1032210.12795/HabitatySociedad.2018.i11.1510.4995/ega.2020.13242 |
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1812180807577501696 |
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ftunicmadridrev:oai:ojs.pkp.sfu.ca:article/84012 2024-10-06T13:52:25+00:00 Zoe Zenghelis and the graphic representation of the tourist project Zoe Zenghelis y la representación gráfica del proyecto turístico Sebastián Sebastián, María 2022-12-22 application/pdf https://revistas.ucm.es/index.php/INFE/article/view/84012 spa spa Instituto de Investigaciones Feministas https://revistas.ucm.es/index.php/INFE/article/view/84012/4564456569166 Abramov, K. I. (coord.) (2020). Lina Bo Bardi: Habitat. Prestel. Carvalho Ferraz, M. (coord). (1993). Lina Bo Bardi. São Paulo: Empresa das Artes Instituto Lina Bo e P.M. Bardi. De Martino, S., & Wall, A. (1991). House for Zoe Zenghelis, London. Architectural Design, 61 (3-4), 55-59. Heinz, M. (2022). Zoe Zenghelis on Pursuing Creative Freedom. Metropolis. https://metropolismag.com/profiles/zoe-zenghelis-pursuing-creative-freedom/ Jacob, S. (2018). Ada Louise Huxtable Prize. Madelon Vriesendorp. Architectural Review, 243 (1449), 98-99. Jencks, C. (1991), The Language of Postmodern Architecture. Londres: Academy Editions. [1977] Hall, R., & Rutherford, E. (2022). Opportunism. Drawing Matter. https://drawingmatter.org/opportunism/ Hervas y Heras, J. (2015). Las mujeres de la Bauhaus: del espacio a lo bidimensional. Diseño Editorial. Kinnunen, U. (ed.) (2004). Aino Aalto. Jyväskylä: Alvar Aalto Museum. Koolhaas, R. (2018). Delirio de Nueva York. Un manifiesto retroactivo para Manhattan. Gustavo Gili. Lyotard, J. (1998). La condición postmoderna. Cátedra. Mattsson, H. (2016). Revisiting Swedish Postmodernism: Gendered Architecture and Other Stories. Konsthistorisk tidskrift/Journal of Art History, 85(1), 109-125. https://doi.org/10.1080/00233609.2015.1116605 Museum of Modern Art (2022). Hotel Sphinx Project, New York, New York (Axonometric). https://www.moma.org/collection/works/104704 Museum of Modern Art (2022). Zoe Zenghelis. https://www.moma.org/artists/7559 Office for Metropolitan Architecture (2022). OMA. https://www.oma.com/ Otto, E., & Rössler, P. (2019). Bauhaus Women. A Global Perspective. Herbert Press. Painterly Style. Interior Design, March, 26. Puebla Pons, J. (2006). Sobre la innovación expresiva del proyecto contemporáneo. EGA. Expresión Gráfica Arquitectónica, 11, 132-141. https://doi.org/10.4995/ega.2006.10322 Puigjaner, A. (2014). Ciudad sin cocina. El Waldorf Astoria, apartamentos con servicios domésticos colectivos en Nueva York, 1871-1929. Tesis doctoral. Universitat Politècnica de Catalunya, Barcelona. http://www.tdx.cat/handle/10803/279387. Ramírez, J. A. (1999). Aprendiendo de la arquitectura postmoderna. En Valeriano Bozal (ed.): Historia de las ideas estéticas y de las teorías artísticas contemporáneas. Volumen II (pp. 427-433). La Balsa de la Medusa. Reichardt, J. (1985). An Artist in an Architectural Context. Paintings by Zoe Zenghelis. AA Files, 10, 61-65. https://www.jstor.org/stable/29543475 Rossi, A. (2013). La arquitectura de la ciudad. Gustavo Gili. Rodríguez Ortiz, E. (2018). MoMoWo. La creatividad de las mujeres desde el Movimiento Moderno. Hábitat y Sociedad, 11, 249-256. https://doi.org/10.12795/HabitatySociedad.2018.i11.15 Salgado de la Rosa, M. A., Raposo Grau, J. F., & Butragueño Díaz-Guerra, B. (2017). El dibujo de arquitectura como instrumento de crítica. Un recurso posmoderno. EGA. Expresión Gráfica Arquitectónica, 22(31), 54-65. https://doi.org/10.4995/ega.2017.8864 Sánchez de Madariaga, I. (Dir.) (2012). Matilde Ucelay. Una vida en construcción. Ministerio de Fomento. Sánchez de Madariaga, I. (2021). Matilde Ucelay. La primera arquitecta española. Instituto de Arquitectura de Euskadi. Sexton, R. W. (1929). American Apartment Houses, Hotels and Apartments Hotels of Today. Exterior and Interior Photographs and Plans. Architectural Book Publishing Company. Zenghelis, E., Steiner, R., Veneris, E., Zenghelis, Z., Galani, K., Gilles, R., & Wall, A. (1986). Incursione suprematista nel Mediterraneo. Therma Hotel, Baia di Gera, Lesbo. Lotus International, 52, 30-39. Zenghelis, Z. (2021). Two Early Paintings With OMA. Drawing Matter. https://drawingmatter.org/two-early-paintings-with-oma/ Zenghelis, Z. (2022). Zoe Zenghelis. Artist. http://www.zoezenghelis.com/ Ventura Blanch, F. (2020). La relación entre el dibujo y la escritura en la formación como arquitecto (1968-1972) de Rem Koolhaas. EGA. Expresión Gráfica Arquitectónica, 25(40), 254-265. https://doi.org/10.4995/ega.2020.13242 Venturi, R., Scott-Brown, D., & Izenour, C. (2008). Aprendiendo de Las Vegas. El simbolismo olvidado de la forma arquitectónica. Gustavo Gili. . Zoe Zenghelis. Shapes in Space. Academy Editions. https://revistas.ucm.es/index.php/INFE/article/view/84012 Derechos de autor 2024 Investigaciones Feministas Investigaciones Feministas (Feminist Research); Vol. 13 No. 2 (2022): Monográfico: Mujeres en todas las Ciencias. No más Matildas; 575-585 Investigaciones Feministas; Vol. 13 Núm. 2 (2022): Monográfico: Mujeres en todas las Ciencias. No más Matildas; 575-585 2171-6080 women in architecture women painters Zoe Zenghelis postmodern architecture architecture and tourism architectural drawing mujeres en la arquitectura pintoras arquitectura posmoderna arquitectura y turismo dibujo arquitectónico info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion 2022 ftunicmadridrev https://doi.org/10.1080/00233609.2015.111660510.4995/ega.2006.1032210.12795/HabitatySociedad.2018.i11.1510.4995/ega.2020.13242 2024-09-24T00:47:25Z Rem Koolhaas closes Delirious New York (1978) with an appendix developed together with the rest of the members of Office for Metropolitan Architecture (OMA). It includes the projects for Sphynx Hotel, a compact and tall building occupying two blocks between Broadway and Seventh Avenue, and Welfare Palace Hotel, a conglomeration of towers close to the limit of Roosevelt Island. In 1981, the team formed by Elia Zenghelis, Ron Steiner, Elia Veneris y Zoe Zenghelis, as the Greek section of OMA, presents the project for the Therma tourist complex in the bay of Gera (Lesvos, Greece). It is formed by pure geometric volumes distributed all around an olive grove next to the sea. In both cases, Zoe Zenghelis is in charge of the graphic representation and she creates very powerful images. They are usually bird’s eye views characterised by a peculiar use of colour. They move from a kind of aggressive colouring, which lies on the first ones in consonance with the provocative text, to the soft and poetical hues, which recall the calm of the Mediterranean coastline. Beginning with the analysis of the two projects and their paintings, the paper explores how Zoe Zenghelis deals with the works made for OMA as well as her more personal ones in the context of Postmodern theory. Furthermore, it inspects her role as the author of the depictions and, so, as the responsible for the public presentation of the projects and the creation of an iconic image, connected to her own works, claiming the importance of women in the architecture office. Rem Koolhaas cierra Delirio de Nueva York (1978) con un apéndice firmado conjuntamente con el resto de miembros de Office for Metropolitan Architecture (OMA). En él se incluyen los proyectos del hotel Esfinge, un edificio compacto y de crecimiento en altura pensado para las dos manzanas situadas entre Broadway y la Séptima avenida y el hotel Welfare Palace, un conglomerado de torres cercano al extremo de la isla de Roosevelt. En 1981, el equipo formado por Elia Zenghelis, Ron Steiner, Elia Veneris ... Article in Journal/Newspaper Roosevelt Island Universidad Complutense de Madrid (UCM): Revistas Científicas Complutenses Roosevelt Island ENVELOPE(-162.000,-162.000,-79.283,-79.283) Elia ENVELOPE(20.166,20.166,70.157,70.157) Esfinge ENVELOPE(-64.870,-64.870,-65.897,-65.897) |