Sinergias entre pintura y arquitectura en el aprendizaje de Paul Nelson:“Maison Suspendue”

  1. María Pura Moreno Moreno 1
  2. Juan Pedro Sanz Alarcón 1
  1. 1 Universidad Politécnica de Cartagena

    Universidad Politécnica de Cartagena

    Cartagena, España


EGA: revista de expresión gráfica arquitectónica

ISSN: 1133-6137

Year of publication: 2015

Issue: 26

Pages: 170-179

Type: Article

DOI: 10.4995/EGA.2015.4050 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: EGA: revista de expresión gráfica arquitectónica

Sustainable development goals


Painting and drawing frame the creative process of Paul Nelson, and in that context, this paper analyzes the graphic design of the project of the “Maison Suspendue” (1936-1938). The pictorial fact is a reflection mechanism capable of explaining underlying concepts to the architecture as fluency and spatial continuity. In the 20’s his paintings reflected George Braque’s influence in the cubist search of the incorporation of time in the two-dimensional plane and the representation of reality away from the apparent. Nevertheless, in the decade of the 30, the cosmologies of Miró, Arp, Calder and Leger, with the relations of floating spots of colour in the emptiness, will be present in his investigations as he is moving from painting to an innovative architecture that tries to respond to modern man inhabitance within the frame of the School of Paris in its light tectonic trend.

Bibliographic References

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  • – RILEY, Terence, 1990. The filter of reason: work of Paul Nelson. New York: Rizzoli
  • – FRAMPTON, Kenneth, 1990. Paul Nelson and the School of París en Riley, Terence, 1990. The filter of reason: work of Paul Nelson. New York: Rizzoli pp. 10-17
  • – SEVERO, Donato, 2013. Paul Nelson. París: Éditions du patrimonie. Centre des monuments nationaux.
  • – SOSA DíAZ-SAAVEDRA, José Antonio. Una nube en una jaula. La maison suspendue de Paul Nelson. Arquitectura Coam, nº 328, pp. 20-27.