The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
The article proposes the incorporation of new architectural vocabulary into urban planning and composition. In another section it calls for a design revision of housing from a mobile and spatial point of view, while criticizing all symbolism derived from the straight line because it constrains invention. The proposal is to establish new relations in composition that analyze internal rhythms with regard to the periphery.
Neste artigo, Gyula Kosice equaciona a incorporação de um novo vocabulário arquitetônico para o traçado e o planejamento das cidades. Ele convida o leitor a fazer uma revisão habitacional do ponto de vista móvel e espacial, criticando qualquer simbolismo advindo da linha reta, pois esta, em sua opinião, freia a invenção. Na sua proposta há o estabelecimento de novas relações na composição, com a intenção de objetivar os ritmos internos visando a periferia.
The magazine Arte Madí Universal [Universal Madí Art] was published from 1947 to June 1954. Gyula Kosice served as editor, while its collaborators included: Rhod Rothfuss, Diyi Laañ, H.-J. Koellreutter, Masami Kuni, Valdo Wellington, Alberto Sartorio, Alberto Hidalgo, M. G. de la Fuente, among others. The first issue published the Manifeisto de la Escuela [the School Manifesto].
Gyula Kosice (né Fernando Fallik) (1924–2016) was born in Kosice (currently Slovakia). He developed his art in Argentina, where he spent his working life. He was co-editor of Arturo magazine and was also a member of the Madí Group. Kosice incorporated into his work the use of new materials such as Plexiglas, glass, and neon gas tubes. He was also interested in kinetic art and incorporated the use of water to motion.
This document was selected because it testifies to Madí art group’s proposal with regard to the treatment of architectural space. By the same token, this document foreshadows Kosice’s proposal for the Ciudad Hidroespacial [Hydrospatial City], realized in 1972.