The Congresses 'The History of Modern Spanish Architecture' are part of a field of research around the discipline in Spain, and fullfill several studies -publications, doctorals dissertations, etc.- drived from the School of Architecture of the University of Navarre. The historical analysis more than a chance for a mere erudition play, is an opportunity to strengthen a contemporary view of architecture. This is the main objective of this enterprise.
Therefore, from 1998, this biannual event has studied different topics such as, 'From Rome to New York: Itineraries of the New Spanish Architecture, 1950-1965', 'The fifties, the Spanish Architecture and its historical commitment', 'Architecture, City and Antiurban Ideology', 'German and Italian Models for Spain in the Postwar Years', and 'North American Architecture, a Driving Force and Mirror of Spanish Architecture at the Beginning of Modernity (1940-1965)'.
The call for this upcoming congress is entitled 'Crossed Glances: exchanges between Latin America and Spain in the Spanish Architecture of the XXth Century' and adresses the influences of Latin American Architecture in the Spanish discipline around the first decades of the century. An influence favoured by the propaganda opposing Franco's regime and the cultural contribution of the exiles´ work, among other things.
It is obvious that the Spanish architects of the fifties had an in-depth and more or less direct knowledge of the writings and works of modern avant-garde leaders throughout Europe and the United States. In any case students from this and the following two decades largely experienced this impact through publications which arrived from Latin America. However, it would be ingenuous to believe that the Latin American influence on Spanish architecture of the period is subject to the limits of the printed word. Not only did the poverty of fifties Spanish society find part of its salvation in the intensive help it received from some of its old colonies; in addition, Spanish architects found models and working guidelines in their architecture, amongst other things, architecture which was both "familiar" and highly attractive, offering a revised and more up close version of European and North American modernity.
Such a natural influence was favoured by the propaganda opposing Franco's regime. This propaganda extolling and disseminating the cultural contribution of the exiles´ work also attracted Spanish professionals' attention to Latin American architecture of the time as a whole. Some famous works by Moreno Barberá, Gustavo Gili, Pfeiffer amongst others are not simply a small sign of their scope but support the inarguable levels of ambition and brilliance. Knowledge of this intense and passionate meeting of minds is still largely pending. Yet a detailed study cannot be deferred. It is a further ingredient in our recent history, the analysis of which is without a doubt indispensable in shaping the immediate future.
A) The Latinamerican influences.
B) The Spanish architecture and architects in the exile.
C) The role of the Latinamerican editorials.