Ana Esteban Maluenda
Ezra Pound wrote: “I have tried to write Paradise.” It could well have been said, with slight modifications, by Juan Daniel Fullaondo at the end of his period as editor of Nueva Forma
, which he used as a platform for his intellectual Eden. In a Spain eager to feel part of the world, after the isolation and falling-behind of the decades following the Civil War, Nueva Forma
was a breath of fresh air in a publishing scene dominated by voices of official institutions.
It is the only magazine of its time that has been the object of several revisions, and even the subject of a monographic exhibition, but there was lack of a text like this study structured around Fullaondo and four others fundamental to constructing the magazine’s discourse, whom the author presents in relation to four themes of Nueva Forma
. Carlos Flores embodies its retrospective vision of modernity; Bruno Zevi, its understanding of organic architecture; Jorge Oteiza, architecture’s ties to art; and Claude Parent, the international view.
The parallel graphic discourse is of interest not only in its presentation of the complex universe that surrounded the publication, but also in how it is organized in three positions within the page; this helps us understand its origins and relevance, even though at times the figure’s size hinders full appreciation of the documents featured. Though it may look like it does, this book is not about magazines, but about the blooming of an architectural culture long in lethargy which Nueva Forma
succeeded in rousing.
Lucía C. Pérez Moreno
Fullaondo y la revista ‘Nueva Forma’
Fund. Museo Jorge Oteiza, Alzuza, 2015
Arquitectura Viva 195