The proliferation of images in our contemporary society has given rise to a phenomenon called multiperception. Photography and other media offer a myriad of fragments of everyday reality, which translates into an enriching multiplication of the real world we perceive and dream of individually. The selection of photographs of the Government Pavilion and Paraninfo of the University of Malaga are deliberately shown in reverse, in which details and fragments are presented first in order to offer a more general view of the whole only at the end.

In September 1963 a competition call for the high school Mayor Argentine Nuestra Nuestra Seftora de Lujan was launched to accommodate Argentinian students in the Ciudad Universitaria de Madrid. The winning project was by the married couple Horacio Baliero and Carmen Cordova from Buenos Aires. Their proposal, like the rest of the entries, all from Argentina, was drawn from a few photographs and a site plan, but it was designed from its adaptation to the traces of the site. However, it was during a second stage, and the stay in the Iberian Peninsula, when Baliero and Cordova would end up rediscovering the site and its nature in its physical, social and cultural dimensions. This article proposes to reflect on the site and its inhabited condition through the journey by Baliero and Cordova with the written legacy published decades later by Baliero entitled Arquitectura: la mirada desde el margen (Architecture: the Look from the Margin). The article will show the work by Baliero and Cordova as a crossroads of tangible and intangible, variable and invariable, and illusory and real perceptions, unlike a simple visual or drawn approach. Under this point of view, it will he shown how much of the architects intuition and craft was able to successfully supply a direct experience of the place and how much it was modified after a first idealized and intellectualized vision.

The "Suspended House" research conducted by architect Paul D. Nelson (Chicago 1885-Marseille 1979) is scantly known today, despite its widespread dissemination beginning in 1937 and the considerable impact it generated, in the United States especially. One of the most radical and original studies of contemporary residential practice, it was the precursor of several that followed. The author¿s acknowledged anticipatory and exploratory intention spawned a surprising blend of severe functionalism and visionary humanism, of industrialised housing and the integration of art and architecture, of `useless¿, undefined space versus an exhaustive listing of domestic needs. This first-time account of Nelson¿s tireless attempts for over 40 years to popularise his conclusions includes a number of previously unpublished sketches and speculates on what might have been if plans (inferred from letters found in the archives) to build a full-scale prototype in the MoMA¿s garden in New York in the nineteen sixties had materialised. Nelson¿s rigorous research method may provide valuable insights even today on how to broach any, but especially residential, architectural practice.

Javier Carvajal Ferrer (Barcelona 1926¿Madrid 2013) combines teaching and praxis in such a way that it is impossible to approach his work without taking into account his teachingand, conversely, it is impossible to understand his speechin the classroom if, at the same time, one does not go through his projects. Moreover, for Carvajal, the architectural projectis the specific field of the teacher's researchand the mechanism of efficiency by which the professional must give a coherent response to theory and praxis. This text aims to evoke some of the virtues of his architectural work and the lessons of his work professor, exemplified in two of his most emblematic projects. One, his most praised project, the Spanish Pavilion for the New York World's Fair (1964¿65), which is now fifty years old. The other, the most controversial, the Torre de Valencia in Madrid (1970¿1973). And he did so by researching the rigour and beauty of the plans he himself drew. Both works also illustrate relevant aspects of his own personality that are inevitably imbricated in his feverish activity as an architect and professor, and show how his firm confidence in the quality of projectcontinues to be the best contribution to the evolution of architecture. Authenticity, vocation, will, exigency, precision, rigour, perfection, coherence or illusion, are summaryin one of his famous messages to his students: ¿Dream of the possible¿.

The controversy over the resemblance between Ludwig Mies van der Rohe's Farnsworth House (Plano, IL, 1950) and Philip Johnson's Glass House (New Canaan, CT, 1949) is well known. It has become a modern paradigm and example of architectural allusion and copying or plagiarism. However, no such controversy should arise, at least in terms of its originality, as Philip Johnson published in September 1950 a surprising articlein Architectural Review where he revealed "the sources of his inspiration" and openly acknowledged his debt to the Farnsworth House and, in general, to the architecture of Mies. Recovering other texts by Johnson and reviewing what other authors have written on the subject, we consider how, in the iconoclastic way in which he published the Glass House, he was rather questioning the limits of the originality of the creative process.

This publication accompanies the fortieth anniversary of the construction of the building that houses the School of Architecture of the University of Navarra. It offers a description with the motivated selection of Materials of file (the reproduction of some original plans and of the report of the project of execution) to which two sets of photographs of its current state are inserted. Technical data of the time are added in the form of a file.

The awardPritzker Architecture Prize is the awardmost important prize an architect can receive. This book compiles, for the first time and translated into Spanish, the acceptance speeches of all the prize winners, preceded by the jury's communications, from 1979 to 2015. The speechthank-you speech may seem a minor genre, but it has the virtue of an elementary message that is understandable to a diverse audience. Alongside the obvious and moving expressions of gratitude, many other ideas and explanations of the architecture are included, lending a special luminosity to a moment of great emotional intensity.