Estudi d'Arquitectura Josep Blesa

30/08/2026

(Art contemporani)
Kelly Boesch' interview by Open Assembly.
My conclusion: Every generation of artists around the world creates a new semiotic language from what already exists.

Welcome to the Transform Work podcast.In this episode, John Winso...

22/08/2026

Glass-reinforced concrete (GRC) is a composite material consisting of a cementitious matrix reinforced with alkali-resistant glass fibers. It is a versatile material that can be used in a wide range of architectural applications, including:

*Cladding:* GRC can be used to create lightweight, durable, and aesthetically pleasing cladding panels for buildings and other structures. It is available in a wide range of colors and finishes, and can be molded into complex shapes and designs.
*Structural elements:* GRC can also be used to create structural elements, such as beams, columns, and slabs. It is particularly well-suited for applications where high strength and lightweight construction are required.
*Decorative elements:* GRC can also be used to create decorative elements, such as sculptures, fountains, and planters. It is a durable and versatile material that can be used to create a wide range of effects.

Some of the advantages of using GRC in architecture include:

*Durability:* GRC is a very durable material that is resistant to weather, fire, and chemicals. It is also low-maintenance and requires minimal upkeep.
*Strength:* GRC is a very strong material that has a high strength-to-weight ratio. This makes it ideal for applications where lightweight construction is required.
*Versatility:* GRC is a very versatile material that can be used in a wide range of applications. It can be molded into complex shapes and designs, and is available in a wide range of colors and finishes.
*Aesthetics:* GRC can create a very aesthetically pleasing finish for buildings and other structures. It can be used to create a variety of effects, from smooth and sleek to textured and rustic.

Some examples of the use of GRC components in architecture include:

The facade of the Louvre Abu Dhabi museum is made up of 8,000 GRC panels.
The Millennium Bridge in London is a pedestrian bridge that uses GRC panels for its deck.
The Guggenheim Museum Bilbao in Spain has a distinctive facade that is made up of GRC panels.
The Lotus Temple in Delhi, India is a Baha'i House of Worship that has a dome made of GRC.

GRC is a relatively new material in the world of architecture, but it has quickly become popular due to its many advantages. It is a durable, strong, versatile, and aesthetically pleasing material that can be used in a wide range of applications.

GRC is a game changer for ArchitectureGlass-reinforced concrete ...

21/08/2026

APROFUNDIMENT HISTÒRIC I L'ACTUALITAT SOBTADA DEL PLA CERDÀ 150 ANYS DESPRÉS DE LA MORT DEL CREADOR MUNDIAL DE LA URBANISTICA HUI MATEIX.

Un segle i mig després, molts dels seus principis continuen vigents, però també s’han perdut alguns dels elements essencials del projecte.

20/08/2026

Bon article d'en Jordi Goula. Però cal agafar-lo amb agulles d'estendre. Personalment incidiria més en "rehabilitar i actualitzar" allò que ja tenim construït. Construir sobre el que hi ha construït. Tornar a les "alegries" del segle XIX i a les bombolles dels 1960-2010 no és tampoc el camí.
https://www.vilaweb.cat/noticies/si-no-construim-no-tindrem-habitatges-senten-oi/

“El diagnòstic és clar: la demanda d’habitatge protegit és molt superior a la nova oferta que es genera ara mateix. Si per cada habitatge protegit començat hi ha gairebé trenta-cinc sol·licituds inscrites, el problema no és únicament de regulació, sinó també de capacitat real de const...

09/08/2026

Una altre desastre. Amagant la informació que la jornalista estava informant-nos. Som en uns temps en què tot allò en què creiem durant el segle XX és en deconstrucció. Quan John Ruskin preconitzà que les obres d'art serien respectades en plena era victoriana no podria imaginar que la seua ben estimada Venècia un segle i tres quarts després fóra en venda. Llegiu-li "Les Pedres de Venècia"/ "The Stones of Venice", publicada entre 1851 i 1853. Pobre Massimiliano/Maximilian Fuksas !

Work has begun on the demolition of the never-opened Rike Concert Hall in Tbilisi, which was designed by Italian practice Studio Fuksas.

05/08/2026

A photographic report about work process of Nature Interpretation Center.

26/07/2026

When I was an architecture student at the Escola Superior d'Arquitectura de València during the 1980s, the design studio course was organized into workshops, which were further subdivided into groups of about ten students. My group instigated a minor 'pedagogical revolution' focused on the urban analysis of neighborhoods in Berlin, London, Paris, and Venice, as well as the distinctive urban fragments that shaped these spaces and those of World's Fairs, such as Barcelona in 1929. We sought to bypass the traditional requirement of presenting these analyses drawn in a rigid, academic manner on tracing or drafting paper, as AutoCAD and similar digital tools were entirely beyond our horizon at the time. Instead, we wanted to work on papers taped directly onto blackboards or easels to foster collective debate. We refused to comply with the faculty's instructions, declining to submit the analyses in the format requested by the professorial board (Ros, Noguera, Blat, Tatay, etc.). Consequently, despite having passed the second and third trimesters, our failure in the first trimester led to a collective failing grade for the entire group.Our approach was not entirely unprecedented; it mirrored the standard practice at the Architectural Association School of Architecture in London. At the time, the AA was the breeding ground for the global avant-garde figures who would dominate the architectural landscape from the 1990s almost to the present day, including Peter Cook, Rem Koolhaas, Zaha Hadid, and Bernard Tschumi. Retrospectively, looking back from a distance of forty years, this conflict appears to have been a struggle between the prevailing academicism of Postmodernism—rooted in the 1960s theories of Aldo Rossi and Giorgio Grassi from the Milan School—and Anglo-Saxon creative experimentalism. This reflection came to mind upon reading this article in the Washington Post: https://www.washingtonpost.com/world/2026/07/24/japan-schools-art-blackboards-chalk-graffiti/cf710392-87c7-11f1-9cec-0fb26676f07e_story.html

28/06/2026

https://www.dezeen.com/2026/06/18/hotel-attraction-renders-gaudi-centenary/?utm_medium=email&utm_campaign=Daily%20Dezeen&utm_content=Daily%20Dezeen+CID_7a2f86f0ad10206b4b746ae7691d4ba9&utm_source=Dezeen%20Mail&utm_term=Gauds

Thierry Lechanteur has transformed a speculative design by Antoni Gaudí for a supertall hotel in New York into a series of digital renders.

24/06/2026

https://www.vilaweb.cat/noticies/yves-lacoste-la-mort-del-geograf-combatent-que-va-reinventar-la-geopolitica/

Aquest cap de setmana –enmig de les convulsions a Ormuz, potser l’exemple més clar del poder polític de la geografia d’aquests darrers anys–, Yves Lacoste va morir a casa seua, a Bourg-la-Reine, al sud de París, acompanyat dels seus dos fills. Tenia noranta-sis anys, i amb ell desapareix ...

15/06/2026

Cinc mobles dissenyats per n'Antoni Gaudí. No recorde amb certesa en quin museu d'Europa o d'Estats Units dedicat al disseny de mobles vaig veure que hi havien aquests models gaudians reproduïts.
A més a més, de cert mobiliari urbà com el fanal-làmpada de la Plaça reial que crec que fou el seu primer disseny urbà i molta gent desconeix.

For our Gaudí Centenary series, we have rounded up five of the architect's striking furniture pieces, which he designed alongside buildings.