dc.contributor.editor | Jiménez Vicario, Pedro Miguel | es |
dc.contributor.editor | Mestre Martí, María | es |
dc.contributor.editor | Navarro Moreno, David | es |
dc.creator | Amado Lorenzo, Antonio | es |
dc.creator | Arévalo Rodríguez, Federico | es |
dc.creator | Escoda Pastor, Carmen | es |
dc.creator | Berkin, Genco | es |
dc.date.accessioned | 2023-03-21T20:03:22Z | |
dc.date.available | 2023-03-21T20:03:22Z | |
dc.date.issued | 2022 | |
dc.identifier.citation | Amado Lorenzo, A., Arévalo Rodríguez, F., Escoda Pastor, C. y Berkin, G. (2022). Speer: drawing the future of the past. En XIX Congreso Internacional de Expresión Gráfica Arquitectónica (255-264), Cartagena: Universidad Politécnica de Cartagena. | |
dc.identifier.isbn | 978-84-17853-51-8 | es |
dc.identifier.uri | https://hdl.handle.net/11441/143514 | |
dc.description.abstract | For Albert Speer, official architect of the Third Reich, the graphical
representation of architecture played an important role, more than was normal in
his profession. A series of early sketches exchanged with Adolf Hitler have been
preserved as witnesses to the architectural debates between them, forerunners of
major projects implemented by armies of technicians at his service. Moreover,
the dictator and the architect shared another unique interest, a nostalgic attraction
for paintings and engravings depicting ruins of the great ancient empires. This
peculiar interest gradually became an obsession as to how the ruins of the works
they were buildingwould be seen in the future.This is like the funeral arrangements
for a baby being established before it has even been born. This fixation resulted
in idealised perspectives, commissioned by the architect during the construction
of the works, and in other clandestine drawings produced during his captivity in
Spandau prison. The text specifically analyses the role of graphical representation
in the concept of the perception of future ruins through artistic references from the
past, reflections written in his memoirs and drawings by Speer himself. Although
his architectural and urban development work has been extensively analysed, his
drawings have not aroused much interest, despite their importance to him. This
activity also allowed him, during the twenty years he spent in prison, to record
and summarise his memories and lost dreams on paper. | es |
dc.format | application/pdf | es |
dc.format.extent | 10 p. | es |
dc.language.iso | eng | es |
dc.publisher | Universidad Politécnica de Cartagena | es |
dc.relation.ispartof | XIX Congreso Internacional de Expresión Gráfica Arquitectónica (2022), pp. 255-264. | |
dc.rights | Attribution-NonCommercial-NoDerivatives 4.0 Internacional | * |
dc.rights.uri | http://creativecommons.org/licenses/by-nc-nd/4.0/ | * |
dc.subject | Speer, Albert | es |
dc.subject | Ruin drawings | es |
dc.subject | Nazi architecture | es |
dc.title | Speer: drawing the future of the past | es |
dc.type | info:eu-repo/semantics/conferenceObject | es |
dcterms.identifier | https://ror.org/03yxnpp24 | |
dc.type.version | info:eu-repo/semantics/publishedVersion | es |
dc.rights.accessRights | info:eu-repo/semantics/openAccess | es |
dc.contributor.affiliation | Universidad de Sevilla. Departamento de Expresión Gráfica Arquitectónica | es |
dc.relation.publisherversion | https://repositorio.upct.es/handle/10317/11183 | es |
dc.publication.initialPage | 255 | es |
dc.publication.endPage | 264 | es |
dc.eventtitle | XIX Congreso Internacional de Expresión Gráfica Arquitectónica | es |
dc.eventinstitution | Cartagena | es |
dc.relation.publicationplace | Cartagena | es |