Andrés Mignucci
Andrés Mignucci FAIA is a Puerto Rican architect, urbanist, and educator. His work has received recognition for its integration of the disciplines of architecture, urban design, and landscape architecture in the creation of public spaces with a sense of place, human scale, and environmental responsibility. He is a Fellow of the American Institute of Architects, and Henry Klumb Award Laureate, and ACSA Distinguished Professor. He is an Arts and Literary Arts Scholar-in-Residence at the Rockefeller Foundation's Bellagio Center in Italy.
Mignucci studied architecture at the University of Wisconsin-Milwaukee and the Massachusetts Institute of Technology (MIT) receiving a Master of Architecture degree in 1982. From 1983 to 1986 he worked as urban designer with Stephen Carr and Kevin Lynch in Cambridge, Massachusetts.
In 1988, Mignucci returned to Puerto Rico establishing Andrés Mignucci Arquitectos in San Juan. During the past thirty years Mignucci has established a large body of work whose quality has been recognized with over twenty-five international, national and local awards for design excellence. He was awarded the National Architecture Prize in 2001 and 2002. His work has received awards in the American Institute of Architects Puerto Rico Chapter Design Awards, the Puerto Rico Architecture Biennale, the Miami + Beach Architecture Biennale, and the Iberoamerican Architecture Biennale in Madrid, Spain. In 2016, his public space projects were exhibited at the Akademie der Künste in Berlin as part of their Demopolis: the Right to Public Space exhibition.
His publications include Conversations with Form: A Workbook for Students of Architecture (2014), Contexts: the Muñoz Rivera Park and the Puerto Rico Supreme Court (2012), Supports: Housing and City (2009), Painting for a Specific Floor (2009), Arquitectura Contemporánea en Puerto Rico 1976-1992 (1992), and Arquitectura Dominicana 1890-1930 (1990). Mignucci has taught architecture at the University of Puerto Rico, at Arkitekskolen Aarhus in Aarhus, Denmark, the ETSAB in Barcelona, and at Miami University in Oxford, Ohio.
He is principal of Andrés Mignucci Arquitectos in San Juan, Puerto Rico.
www.amignucci.com
Mignucci studied architecture at the University of Wisconsin-Milwaukee and the Massachusetts Institute of Technology (MIT) receiving a Master of Architecture degree in 1982. From 1983 to 1986 he worked as urban designer with Stephen Carr and Kevin Lynch in Cambridge, Massachusetts.
In 1988, Mignucci returned to Puerto Rico establishing Andrés Mignucci Arquitectos in San Juan. During the past thirty years Mignucci has established a large body of work whose quality has been recognized with over twenty-five international, national and local awards for design excellence. He was awarded the National Architecture Prize in 2001 and 2002. His work has received awards in the American Institute of Architects Puerto Rico Chapter Design Awards, the Puerto Rico Architecture Biennale, the Miami + Beach Architecture Biennale, and the Iberoamerican Architecture Biennale in Madrid, Spain. In 2016, his public space projects were exhibited at the Akademie der Künste in Berlin as part of their Demopolis: the Right to Public Space exhibition.
His publications include Conversations with Form: A Workbook for Students of Architecture (2014), Contexts: the Muñoz Rivera Park and the Puerto Rico Supreme Court (2012), Supports: Housing and City (2009), Painting for a Specific Floor (2009), Arquitectura Contemporánea en Puerto Rico 1976-1992 (1992), and Arquitectura Dominicana 1890-1930 (1990). Mignucci has taught architecture at the University of Puerto Rico, at Arkitekskolen Aarhus in Aarhus, Denmark, the ETSAB in Barcelona, and at Miami University in Oxford, Ohio.
He is principal of Andrés Mignucci Arquitectos in San Juan, Puerto Rico.
www.amignucci.com
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Andrés Mignucci
Paper delivered at the 71st Annual International Conference of the Society of Architectural Historians in St. Paul, Minnesota.
Abstract
Manifiesto Antropófago, Oswald de Andrade’s iconic 1928 poem, constitutes a central concept and lens with which to understand and analyze post-colonial cultural production and the role of modern architecture in the definition of Latin American identities. Through his work for the Government of Puerto Rico and the Committee on Design of Public Works, architect Richard Neutra set in motion a process of creative exchange, synthesis, transformation, and invention that became one of the cornerstones of the government's six-year plan for the reconstruction of island, and established modern architecture as the language and image with which to project the development of modern Puerto Rico. The Committee, with Neutra as principal consultant, was created in May 1943 to lead a broad scale public works building program focusing on the island’s three most urgent social needs: housing, education, and health. Abstracting from the lessons of vernacular architecture, the reading of socio-cultural characteristics and geo-climatic forces, together with the economic limitations of the context, Neutra and the members of the Committee tackled the issues of air and mosquito borne diseases, the climatic challenges of the humid tropics, and the exigencies of low-cost building production. To this end, Neutra developed an architecture based on an expandable modular aggregate structure, the incorporation and programming of exterior spaces, and the development of the roof section as a primary design feature. His Puerto Rican work, widely published in Latin America, Europe and the United States, greatly influenced the subsequent development of emerging school and health building types in Latin America, while shaping and refining Neutra’s own architectural language in the following decades. Neutra’s reciprocal anthropophagy, reframed as a process of two-way cultural cannibalism, served as an operative synthesis where his creative incorporation and transformation of otherness shaped not only Puerto Rico’s architectural identity, but also his own.
Arquitectos: Andrés Mignucci Arquitectos
Texto: María Isabel Oliver
Essay on the history and evolution of the Parque Las Américas / Parque Luis Muñoz Marín and the design of a large scale metropolitan park for San Juan, Puerto Rico.
Written in 1992, "Continuidades y Transformaciones en la Arquitectura en Puerto Rico 1976-1992" examines the architecture in the Caribbean island during the decades of the 1970's and 80's. The essay presents a first look at the generational shift between modern and post-modern architecture in Puerto Rico and the passing of the baton between seminal figures like Henry Klumb and Toro y Ferrer to a new generation of young architects including Segundo Cardona, Thomas Marvel and Luis Flores, among others.
Publicado originalmente en Archivos de Arquitectura Antillana, Año 2, Nº 5, septiembre 1997.
Andrés Mignucci
Paper delivered at the 71st Annual International Conference of the Society of Architectural Historians in St. Paul, Minnesota.
Abstract
Manifiesto Antropófago, Oswald de Andrade’s iconic 1928 poem, constitutes a central concept and lens with which to understand and analyze post-colonial cultural production and the role of modern architecture in the definition of Latin American identities. Through his work for the Government of Puerto Rico and the Committee on Design of Public Works, architect Richard Neutra set in motion a process of creative exchange, synthesis, transformation, and invention that became one of the cornerstones of the government's six-year plan for the reconstruction of island, and established modern architecture as the language and image with which to project the development of modern Puerto Rico. The Committee, with Neutra as principal consultant, was created in May 1943 to lead a broad scale public works building program focusing on the island’s three most urgent social needs: housing, education, and health. Abstracting from the lessons of vernacular architecture, the reading of socio-cultural characteristics and geo-climatic forces, together with the economic limitations of the context, Neutra and the members of the Committee tackled the issues of air and mosquito borne diseases, the climatic challenges of the humid tropics, and the exigencies of low-cost building production. To this end, Neutra developed an architecture based on an expandable modular aggregate structure, the incorporation and programming of exterior spaces, and the development of the roof section as a primary design feature. His Puerto Rican work, widely published in Latin America, Europe and the United States, greatly influenced the subsequent development of emerging school and health building types in Latin America, while shaping and refining Neutra’s own architectural language in the following decades. Neutra’s reciprocal anthropophagy, reframed as a process of two-way cultural cannibalism, served as an operative synthesis where his creative incorporation and transformation of otherness shaped not only Puerto Rico’s architectural identity, but also his own.
Arquitectos: Andrés Mignucci Arquitectos
Texto: María Isabel Oliver
Essay on the history and evolution of the Parque Las Américas / Parque Luis Muñoz Marín and the design of a large scale metropolitan park for San Juan, Puerto Rico.
Written in 1992, "Continuidades y Transformaciones en la Arquitectura en Puerto Rico 1976-1992" examines the architecture in the Caribbean island during the decades of the 1970's and 80's. The essay presents a first look at the generational shift between modern and post-modern architecture in Puerto Rico and the passing of the baton between seminal figures like Henry Klumb and Toro y Ferrer to a new generation of young architects including Segundo Cardona, Thomas Marvel and Luis Flores, among others.
Publicado originalmente en Archivos de Arquitectura Antillana, Año 2, Nº 5, septiembre 1997.
The text begins by familiarizing readers with utilizing step-by-step sequences of moves to steer the development of built form and rapidly moves to designs of increasing complexity. These design plays treat a wide-ranging series of topics including structures, patterns, types, systems and other kinds of shared form principles. Conversations with Form is a workbook for honing hands-on skills and tools of the architect’s trade. Beautifully illustrated and focused on practical, usable information, the book provides architectural students with an accessible and useable handbook for their design practice.
Conversations with Form: A Workbook for Students of Architecture
N. John Habraken, Andrés Mignucci & Jonathan Teicher
Routledge, 2014
por Andrés Mignucci. Publicado por La Rama Judicial de Puerto Rico, 2012.
ISBN. 978-0-9885412-0-7
ISBN: 978-0-9885412-1-4
Arquitecto con estudio de diseño en San José, Costa Rica, Stagno es co-director del Instituto de Arquitectura Tropical y co-autor de RESET, un sistema de certificación para edificios sostenibles en la región tropical. Su trabajo ha sido previamente publicado en Bruno Stagno: An Architect in the Tropics y es co-autor de Tropical Architecture Critical Regionalism in the Age of Globalization. Stagno ha sido honrado con el Premio Fondo Príncipe Claus para la Cultura y el Desarrollo, el Premio América y el Premio Nacional de Arquitectura.
Bruno Stagno is internationally recognized as one of the leading proponents of tropical architecture. He has built and written extensively advocating for an architecture that is responsive to its regional context and the environment. This book features twenty of his most significant projects, presenting his work throughout half a century of architectural practice. Profusely illustrated, a foreword by 1987 Nobel Peace Prize winner Óscar Arias and the main text by author Andrés Mignucci, provide the full context of Stagno’s thinking and a critical reflection on the development of his work.
A practicing architect in San José, Costa Rica, Stagno is Director of the Institute for Tropical Architecture and co-author of RESET, a certification system for sustainable buildings in the tropical region. His work has been previously published in Bruno Stagno: An Architect in the Tropics and is a co-author of Tropical Architecture Critical Regionalism in the Age of Globalization. Stagno is the recipient of the Prince Claus Fund for Culture and Development Award, the Premio América, and the National Architecture Prize.
Resúmen
El Centro de Estudiantes de Henry Klumb en la Universidad de Puerto Rico. El edificio moderno y la sociedad contemporánea
Andrés Mignucci y María Isabel Oliver
Resumen
La conservación de la arquitectura moderna así como el interés en su preservación y restauración, ha dado lugar a la progresiva ampliación del concepto de patrimonio. A pesar de los importantes esfuerzos de difusión y concientización por diversas instituciones patrimoniales de alcance internacional en los últimos años, la arquitectura moderna sigue siendo el blanco de procesos negligentes que han resultado en el abandono y degradación de sus edificios, demoliciones injustificadas y alteraciones inapropiadas.
Este es el caso del Centro de Estudiantes de la Universidad de Puerto Rico, originalmente construido en 1958 y concebido como parte del plan maestro de la ciudad universitaria en Río Piedras, diseñado por el arquitecto alemán Henry Klumb, discípulo de Frank Lloyd Wright.
Por años, esta obra arquitectónica fue invisibilizada por improvisaciones constructivas y rehabilitaciones desarticuladas por parte de los departamentos de mantenimiento y planificación física de la institución e incluso, los mismos usuarios. Esta intervención propone estrategias de diseño que retan lo invisible mediante la apropiación, organización y re-invención de lo visible. El nuevo diseño propone develar la arquitectura de Klumb mediante una estrategia dual – la transformación de los núcleos programáticos del edificio y la restauración del espacio fluido que distingue la estructura como una eminentemente moderna, caribeña y tropical.
Su restauración, después de años de abandono redefine este organismo como uno fluido y cambiante, transformando este legado moderno en un marco de sensaciones y experiencias para el usuario.
La re-calibración del edificio del Centro de Estudiantes evidencia que la obra arquitectónica es una antología que no termina nunca. A través de develar lo hasta ahora invisible, se transforma este artefacto histórico en parte de un contexto viviente que encara la problemática de la vigencia, postulando que, a largo plazo, su visibilidad radica en el sentido de relevancia y pertinencia que le asigna la sociedad contemporánea.