Based on the book “Modernity again: Architecture in Asturias 1950-1965”, by Fernando Nanclares and Nieves Ruiz -awarded with the Prize of the Architect’s Association of Asturias-, the exhibition “A golden age: Architecture in Asturias 1950-1965” shows a new interpretation on the golden age of modern Asturian architecture, developed during the fifties and the first part of the sixties. During these years, the modern spirit and the avant-garde ideas that had already given excellent results during the times of the Second Spanish Republic (1931 – 1939) emerged again.
“A golden age: Architecture in Asturias 1950-1965”
April 4 – May 21, 2017
Fine Arts Museum of Asturias, Modern Wing
1 Alfonso II el Casto Square, Oviedo
The recovery of that modernity, after the parenthesis of the Spanish Civil War and the period of autarchy, is not literal, as there is no strict stylistic continuity. There is no longer a demand for innovation but rather for revision, for an adaptation to a socio-economic and cultural reality that had changed. It is the moment of a new sensibility that shows itself in this period’s fine arts, music and cinema.
The renovation task of the architecture in Asturias during the fifties was carried out by a heterogenous group of architects of different age and academic background who approached their work from a strictly professional vision and with great creative freedom. Among them are Ignacio Álvarez Castelao, Juan Manuel del Busto González, Joaquín Cores Uría, Miguel Díaz Negrete, Julio Galán Gómez, José Gómez del Collado, Federico Somolinos Cuesta, Juan Vallaure Fernández-Peña and Joaquín Vaquero Palacios.
The exhibition located in the temporary exhibition rooms of the new museum of the Fine Arts is structured in 6 sections and comprises 105 panels, 52 original documents, 15 pieces of furniture, 8 works of art and 1 short documentary, allowing the visitor to bring together a latent collective imagination, which becomes evident throughout the exhibitions works, which is none other than that of the architecture itself, which we see day by day.
All of them produce a brilliant, colorful architecture, indebted to the new abstraction that made its way into modernity, conveying a feeling of optimism, a certain lightness and nonchalance, especially when compared to what will be done in the followin decades: an architecture filled with insecurity and political-social concerns, strongly pressured by consumerist development.