Jose Soteras Mauri and Lorenzo Garcia-Barbon played a privileged role in the hierarchy of the Barcelona architectural scene in the 50’s and 60’s. They both developed a prolific work, mostly omitted by the specialized post-francoist critics. Their public designs were mainly characterized by the expressive use of structural elements. Thus, this form generative system settles back the typological ... [Show full abstract] questions. It has been selected three public building works, all three were characterized by the relation in between statics, geometry and interior space.
The first case of study, the XXXV Eucharistic Congress Major Altar was developed in Barcelona in 1952. This design starts a new structural experimentation process based on counterweights and tensor systems. The second case is the Barcelona Municipal Sports Arena ( 1954-1955). It was solved through a triple articulated arch system. This structural and spatial system was pragmatically developed to solve the tight construction schedule. Meanwhile, they were developing together with Francisco Mitjans the Camp Nou tribune canopy. Its structure was again characterized by a counterbalance and tensors static system. On his own, Soteras designed the San Pio x Church in the Congreso Eucaristico neighbourhood in Barcelona. This spin off work explores a nerved vault structure. Final case of study is Madrid Sports Arena ( 1955- 1960). It was built together again by Soteras and Garcia-Barbon. This work combines all the previous structural systems, tensors, counterweights and arches. Thus, it could be detected a structural solution process of continuity and change. In an austere economic period, this defines an evolutionary sequence where form and statics geometry intertwine in a new spatial richness.