[EN] Modern architecture in Valencia and some of its most important figures, have not been given to know in depth in the specialized literature. This Thesis aims to be a first approach to the work of one of these architects, Mauro Lleó Serret (1914- 2001) who left a great heritage but due to proximity, due to ignorance, or for not having recognized its value has been often undervalued. While it's true that his work begins in the era of autarchy, with formal expressions inspired by solutions of the past, he will soon be interested in architecture that is being done outside of Spain, of the great Masters as Mies, and will begin to incorporate details of it in their work. Thus, seven of his projects mark the passage to modernity in terms of compositional, technical and materials solutions. These will be two orders for the "Federación Sindical de Agricultores Arroceros de España": the project for the pavilion at the 1st International Fair of the field for the Rice National Cooperative in the Casa de Campo of Madrid (1953) and the project of rice factory in Sueca (1954), three industrial projects: project for a bottling plant of "Coca Cola" (1958) and the building for the metal fabrications factory FLEX (1961) , both in Quart de Poblet and the project for the S.E.A.T. branch in Valencia (1965), and finally two educational projects: the project of school in Valencia for the religious Institute of Purity (1962-1964) and the project of a building for Social Institute of Women (1966). Drawings, photographs of buildings in its current state, interviews with their users or the personal archive of the architect, among others, have been light, in addition to the possibility of a work of comprehensive analysis of certain works, to an approach to his career in the field of building from 1940 until 1976. This work doesn't forget neither the important contribution made by Mauro Lleó Serret in the field of urban planning and rehabilitation, but focuses on its role as an architect of buildings that did arouse the concern of the modern in Valencia. / [ES] La arquitectura moderna en Valencia y algunas de sus figuras más relevantes, no han sido dadas a conocer en profundidad en la bibliografía especializada. Esta Tesis pretende ser un primer acercamiento a la obra de uno de estos arquitectos, Mauro Lleó Serret (1914-2001) que dejó un gran patrimonio construido pero que, por cercanía, por desconocimiento, o por no haber reconocido su valor ha quedado en muchas ocasiones infravalorado. Si bien es verdad que su obra se inicia en la época de la autarquía, con manifestaciones formales inspiradas en soluciones del pasado, pronto pasará a interesarse por la arquitectura que se está haciendo fuera de España, la de los grandes maestros como Mies, y empezará a incorporar detalles de la misma en su trabajo. Así pues, siete de sus proyectos marcarán el paso hacia la modernidad en cuanto a soluciones compositivas, técnicas y materiales. Estos serán dos encargos para la Federación Sindical de Agricultores Arroceros de España: el proyecto de pabellón en la I Feria Internacional del campo para la Cooperativa Nacional del arroz en la Casa de Campo de Madrid (1953) y el Proyecto de factoría arrocera en Sueca (1954), tres proyectos industriales: el Proyecto de planta de embotellar "Coca-Cola" (1958) y el de edificio para fábrica de transformados metálicos FLEX (1961), ambos en Quart de Poblet y el Proyecto de filial de S.E.A.T. en Valencia (1965), y por último dos proyectos docentes: el proyecto de Colegio de Enseñanza en Valencia para el Instituto Religioso de la Pureza (1962-1964) y el Proyecto de edificio para Instituto Social de la Mujer (1966). Planos, fotografías de los edificios en su estado actual, entrevistas con sus usuarios o el archivo personal del arquitecto, entre otros, han dado luz, además de a la posibilidad de un trabajo de análisis exhaustivo de determinadas obras, a una aproximación a su trayectoria profesional en el campo de la edificación desde 1940 hasta 1976. Este trabajo no olvida tampoco la importante contribución de Mauro Lleó Serret en el campo del urbanismo y la rehabilitación, pero se centra en su papel como arquitecto de edificios que hicieron despertar la inquietud de lo moderno en Valencia. / [CA] L' arquitectura moderna a València i algunes de les seues figures més rellevants, no s'han donat a conéixer amb profunditat a la bibliografia especialitzada. Aquesta Tesi pretén ser un primer apropament a l'obra d'un d'aquests arquitectes, Mauro Lleó Serret (1914-2001) que va deixar un gran patrimoni construït però que, per proximitat, per desconeixement o per no haver reconegut el seu valor ha quedat moltes vegades infravalorat. Si bé és veritat que la seua obra s'inicia a l'època de l'autarquia, amb manifestacions formals inspirades en solucions del passat, prompte passarà a interessar-se per l'arquitectura que s'està fent fora d'Espanya, la dels grans Mestres com Mies, i començarà a incorporar detalls de la mateixa al seu treball. Així doncs, set dels seus projectes marcaran el pas cap a la modernitat quant a solucions compositives, tècniques i materials. Aquests seran dos encàrrecs per a la "Federación Sindical de Agricultores Arroceros de España": el projecte de pavelló en la I Fira Internacional del camp per a la Cooperativa Nacional de l'arròç a la Casa de Campo de Madrid (1953) i el Projecte de factoria arrocera a Sueca (1954), tres projectes industrials: el Projecte de planta d'embotellar "Coca-Cola" (1958) i l'edifici per a fàbrica de transformats metàl·lics FLEX (1961), els dos a Quart de Poblet i el Projecte de filial de S.E.A.T. a València (1965), i per últim dos projectes docents: el Projecte de Col·legi d'Ensenyament a València per a l'Institut Religiós de la Puresa (1962-1964) i el Projecte d'edifici per a Institut Social de la Dona (1966). Plànols, fotografies dels edificis al seu estat actual, entrevistes amb els seus usuaris o l'arxiu personal de l'arquitecte, entre d'altres, han donat llum, a més de a la possibilitat d'un treball d'anàlisis exhaustiu de determinades obres, a una aproximació de la seua trajectòria professional al camp de l'edificació des de 1940 fins a 1976. Aquest treball no oblida tampoc la important contribució de Mauro Lleó Serret al camp de l'urbanisme i la rehabilitació, però es centra amb el seu paper com arquitecte d'edificis que feren despertar la inquietud del modern a València. / Martinez Gregori, C. (2015). De la autarquía a la modernidad: la obra de Mauro LLeó [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/54136

[pt] O Movimento Moderno da arquitetura afirmou-se nas primeiras décadas do século XX como proposta de ruptura radical com o passado, desejando instaurar uma nova estética afinada com o espírito da era industrial. Sem desconsiderar as profundas transformações que a nova linguagem operou na arquitetura, este trabalho busca investigar os possíveis diálogos entre obras modernas e a tradição clássica, tendo em vista edifícios de arquitetos brasileiros. A discussão insere-se no debate recente da historiografia brasileira, que busca abordar a arquitetura moderna sob seus múltipos aspectos, valorizando as qualidades ambivalentes que tornam as obras mais complexas e interessantes, como já vem fazendo há mais tempo a crítica internacional, sobretudo com as interpretações que apontam para as relações de Le Corbusier com a tradição clássica. Dentre as obras destacadas na análise estão a sede do Ministério da Educação e Saúde do Rio de Janeiro (1936), de Lucio Costa e equipe, com consultoria de Le Corbusier; os palácios de Brasília de Oscar Niemeyer (Alvorada, Planalto e Supremo Tribunal Federal, 1957-58); e o edifício da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (1962-69), de Vilanova Artigas. A escolha de exemplos representativos e ao mesmo tempo variados da produção brasileira permite compreender as diversas formas com que a arquitetura moderna se relacionou com a tradição clássica, especialmente nos momentos em que desejou corporificar nos edifícios os ideais emblemáticos de seu tempo histórico. / [en] The Modern Movement in Architecture gained ground in the first decades of the 20th Century as a proposal of radical rupture with the past, willing to establish a new aesthetic in tune with the spirit of the industrial era. Not wanting to disregard the deep changes which the new language produced in architecture, this dissertation aims to investigate the possible dialogues between modern works and classical tradition, having in mind buildings of Brazilian architects. The discussion is inserted in the recent debate of Brazilian historiography, which intends to approach the modern architecture taking into account its multiple aspects, highlighting ambivalent qualities which make the works more complex and interesting, as the international critic has been showing for some time, especially with the interpretation that points to the relations between Le Corbusier and the classical tradition. Among the works distinguished in this analysis are the headquarters building of Ministério da Educação e Saúde do Rio de Janeiro (Education and Health Department of Rio de Janeiro, 1936), by Lucio Costa and his team, with consultancy of Le Corbusier; the palaces of Brasília by Oscar Niemeyer (Alvorada, Planalto and Supreme Federal Court, 1957-58) 1957-58) Court and the building of the FAU/USP (College of Architecture and Urbanism of São (College of Architecture and Urbanism of São Paulo University, 1962- 69), by Vilanova Artigas. The choice of representative and, at the same time, varied examples of the Brazilian production allows us to understand the different forms with which the Modern Architecture has established relations with the classical tradition, especially when it aimed to embody in the buildings the emblematic ideals of its historical time.

El propósito de este estudio es abordar el concepto de espacio y, en particular, su desocupación, a través de tres obras: Caja Vacía/Metafísica de Jorge Oteiza, Who´s afraid of red, yellow and blue de Barnett Newman y el Pabellón de Alemania de Ludwig Mies van der Rohe. El discurso se construye a través de un transitar sobre la banda de Moebius y en su vaivén y en su doblez aparecen y desparecen imágenes, ideas y textos sobre los que fluye la voluntad de construir una interpretación nueva sobre el objeto descrito. Martin Heidegger, Gilles Deleuze y Gaston Bachelard son los tres sostenes teóricos de esta estructura. Y más cerca y más lejos de este texto siempre se mantiene la difícil tarea de entender cuál es la forma de habitar y de ser (Ich bin) del hombre en la tierra. / The purpose of this study is to address the concept of space and, in particular, its disoccupation through three different pieces of work: Empty/Metaphysical Box by Jorge Oteiza, Who´s afraid of red, yellow and blue by Barnett Newman and German Pavilion by Ludwig Mies van der Rohe. The discourse is constructed through a move on the Moebius band, its swing and double apparition and disappearance of images, ideas and texts which build a new interpretation of the subject matter. Martin Heidegger, Gilles Deleuze and Gaston Bachelard are the three theorists of this structure. The difficult task of understanding what is the way of living and being of man (Ich bin) on earth always remains what is closer and further away from this text.

ARCHITECTURE The centre and entrance point for atrection a relx is terace with pool, with corridor to cafe and skylights that leads to reception. Around this atrium, there is a ramp, rising up. Pools are not see n ko the screens are individual attractions, atmosphere. The height change of each pool, sauna and whether this involves physical effort is rewarded with open views to the surroundings and relax themselves. Entering the building through a covered, but bright bay, passage is a continuation of the street fishing. Thus the very end of the reception side. Thus eliminate the problem of a parcel which is like a scene out of town. Layout In the passages suggest leaving the car park, Kafe-bar with a simple menu and fresh multifunctional workshop, creative playground. It is known fact, that in the old spa locations to find valuable pieces of pottery, small painting and sculpture and other artifacts that speak of links with the vivacious work, relax, relax with a manual and spiritual. This room will also serve as a nursery for parents resting in the spa, in the specified date and time. Upon entering the spa itself, the reception with high ceilings and skylights from the terrace, the visitor to the issue of changing rooms with bathroom facilities. Consequently, the choice whether to receive the attractions, or go down to the fitness center or gym. Another option is to move the spa itself. In the direction from the top down it is pliable dough, the blood will get the opposite route, in which the visitor shall issue a physical effort. 2np In addition to coffee for guests only and exit to the terrace, and massage booths are located. Much of the area occupied by the technical room, spa bath as well as administration. On the next floor guest vystkytne a larger foyer, drinking KURO room and swimming and first aid. Glass facades can be glanced only in forests of the Riviera, but the atrium, with an outdoor terrace and heated swimming pool at all times. Foyer is the actual beginning of the journey. The first ramp is rising just from my father. All the dark hallway, followed by a bright and translucent glass facades. The key is just a wall bordering the ramps and a few additional columns for the perimeter of the building. About half a meter above (and always rises only about 500 mm, the gradient of 1:16 to 8 meters length), the visitor gets to the first pool. Sunny southern facade is designed as a double, at this point is the greenhouse, it is no wonder that the first two pools are linked to breathing, inhalation, nature herbs. The hall (+7400) is glass mat glass sanitary unit consisting of two toilets, toilets for disabled people and installation bay. On one front wall of the shower. This element is repeated, the cabin is only 2.6 meters high (sv room is 3.65 meters), it was acting to hinder lightweight and transparent. On the left side counterclockwise overcomes next ramp stages. Pools are right to counter a výrivý. In this part of the facade facing the street catchment area, the intersection of fishing and of 8 m of pools have already seen the two interface Brno: Petrov and Špilberk. There is also a visitor gets to escape-connecting staircase. Possibility of shortening the path to the sauna is right here. The following pool of options in turn draws the double facade. Studenúuvodu make cold, shielded, north-facing environment. Hot pool at a height level of hygiene cab ...