Con el advenimiento de la era de la posverdad, las definiciones habituales de activismo urbano han estado clamando por una actualización. Cubriendo distintos territorios y medios, este trabajo se enfoca en sugerir nuevas formas de pensar la arquitectura y su representación digital como medio para el compromiso político. Mi propuesta es que la información del espacio, o más precisamente, la arquitectura, puede ser desplegada para reducir la “incertidumbre” de un mensaje que se encuentra online y puede, por lo tanto, ser usada para su legitimación. Comenzando por Times Square en Nueva York, el contexto de la investigación se extiende a Asia Central y explora los debates contingentes. Al parecer, los actores de la escena política global, tales como China, India y Pakistán, han estado usando el entorno construido de otra potencia global, como los EE. UU., para validar las afirmaciones de unos respecto de los otros. Si bien el emplear entornos urbanos conocidos para legitimar mensajes políticos dista de ser algo nuevo, las campañas que utilizan los espacios públicos y los monumentos de otro país para ganar reputación en casa podrían ser un nuevo terreno para la geopolítica. Esta investigación revela los potenciales resultados de esta correspondencia.
{"title":"ENMARCADO, POR LO TANTO, REAL","authors":"Ecem Ergin","doi":"10.56255/ma.v0i20.480","DOIUrl":"https://doi.org/10.56255/ma.v0i20.480","url":null,"abstract":"Con el advenimiento de la era de la posverdad, las definiciones habituales de activismo urbano han estado clamando por una actualización. Cubriendo distintos territorios y medios, este trabajo se enfoca en sugerir nuevas formas de pensar la arquitectura y su representación digital como medio para el compromiso político. Mi propuesta es que la información del espacio, o más precisamente, la arquitectura, puede ser desplegada para reducir la “incertidumbre” de un mensaje que se encuentra online y puede, por lo tanto, ser usada para su legitimación. Comenzando por Times Square en Nueva York, el contexto de la investigación se extiende a Asia Central y explora los debates contingentes. Al parecer, los actores de la escena política global, tales como China, India y Pakistán, han estado usando el entorno construido de otra potencia global, como los EE. UU., para validar las afirmaciones de unos respecto de los otros. Si bien el emplear entornos urbanos conocidos para legitimar mensajes políticos dista de ser algo nuevo, las campañas que utilizan los espacios públicos y los monumentos de otro país para ganar reputación en casa podrían ser un nuevo terreno para la geopolítica. Esta investigación revela los potenciales resultados de esta correspondencia.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48851998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
“In teaching us a new visual code”, Susan Sontag wrote more than forty years ago, “photographs alter and enlarge our notions of what is worth looking at and what we have a right to observe” (Sontag, 1977, p. 3). Since the publication of Sontag’s `Plato’s Cave ́, the most radical change in this visual code has been the pace and breadth of its reach. We carry image-making and image-sharing devices in a pocket. We can easily upload a photograph to a search engine and call up millions of images based on visual or conceptual similarity. But even with the leveling of tools for making and distributing images, Sontag’s empowering `ethics of seeing ́ is today a territory in dispute. Millions of image-makers and instant sharing capabilities are met by algorithmic filter-bubbles and widespread misinformation campaigns. The sheer quantity of image circulation did not amount to improved visibility, let alone mutual understanding. After 18-O (18 October) in Chile and the Covid-19 pandemic, it became clear that any discussion on representation should address the unrealized promise of the `ethics of images ́. This implies not forgetting that, as Gayatri Spivak proposes, whenever we use the word ‘representation’ we are compounding its two meanings: to ‘re-present’ as in art or philosophy, and to ‘speak for’ as in politics (1988, p. 275). Architects are familiar with images that ‘do’ things for us: renders pre-visualize, orthographic projections measure, collages hint at experiences of space. Architectural drawings can be translated, as Robin Evans (1997) put it, into buildings and urban plans. But what is architecture’s relationship to other kinds of images, those which were never meant to become buildings? This issue of Materia Arquitectura was a call to explore the agency of images in the construction of realities, the imposition of borders and the narration of stories that are political. Not only because their object is the polis, but because they alter our relationship with the built environment and consequently, the way in which we understand, imagine and shape, as a society, the common territory that is at the base of the exercise of public power.
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Interview conducted by Stephannie Fell Contrerasat The Bartlett School of Architecture (March 10th, 2020) and via Zoom (April 14th, 2020) Mario Carpo is Reyner Banham Professor of Architectural History and Theory at The Bartlett School of Architecture. He specializes in history of architectural theory and history of cultural technologies, focusing on the early modern period and contemporary digital design theory. He is the author of The Second Digital Turn (MIT Press, 2017), The Alphabet and the Algorithm (MIT Press, 2011), and Architecture in the Age of Printing (MIT Press, 2001), among other books.
{"title":"The Rise and Fall of Visual Paradigms: An Interview with Mario Carpo","authors":"Stephannie Fell Contreras","doi":"10.56255/ma.v0i20.477","DOIUrl":"https://doi.org/10.56255/ma.v0i20.477","url":null,"abstract":"Interview conducted by Stephannie Fell Contrerasat The Bartlett School of Architecture (March 10th, 2020) and via Zoom (April 14th, 2020) \u0000Mario Carpo is Reyner Banham Professor of Architectural History and Theory at The Bartlett School of Architecture. He specializes in history of architectural theory and history of cultural technologies, focusing on the early modern period and contemporary digital design theory. He is the author of The Second Digital Turn (MIT Press, 2017), The Alphabet and the Algorithm (MIT Press, 2011), and Architecture in the Age of Printing (MIT Press, 2001), among other books.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44710847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Entrevista realizada por Stephannie Fell Contrerasen The Bartlett School of Architecture (10 de marzo, 2020) y a través de Zoom (14 de abril, 2020) Mario Carpo es Reyner Banham Professor de Historia y Teoría de la Arquitectura en The Bartlett School of Architecture. Especializado en historia de la teoría arquitectónica e historia de las tecnologías culturales, se ha enfocado en el periodo moderno temprano y la teoría del diseño digital contemporáneo. Es autor de The Second Digital Turn (MIT Press, 2017), The Alphabet and the Algorithm (MIT Press, 2011) y Architecture in the Age of Printing (MIT Press, 2001), entre otros libros.
Stephannie Fell contrerasin The Bartlett School of Architecture(2020年3月10日)和Zoom(2020年4月14日)Mario Carpo是Bartlett School of Architecture的Reyner Banham建筑历史和理论教授。他专注于建筑理论的历史和文化技术史，专注于早期现代和当代数字设计理论。他著有《第二次数字转变》(麻省理工学院出版社，2017)、《字母表与算法》(麻省理工学院出版社，2011)和《印刷时代的建筑》(麻省理工学院出版社，2001)等书。
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Hacia el final de los años sesenta, el taller de arquitectura experimentó un giro “conceptual” que unos cincuenta años más tarde se convertiría, insospechadamente, en el modelo de los actuales espacios de los start-up, las “incubadoras de negocios” y los think-tank que han surgido de los capitales de riesgo y las economías asociadas al crowdfunding. Este artículo destaca cinco rasgos del ambiente del taller de arquitectura post-sesenta, rasgos que lo convierten en un tipo específico de generador creativo: disciplina, interacción social, notación, multimedios y crítica. Tradicionalmente, los arquitectos han restado el trabajo del taller. Ramas de la economía más expertas en relaciones públicas han descubierto la burbuja creativa de los arquitectos. Por lo tanto, estos necesitan despertar y reclamar como propias las herramientas con- ceptuales que han desarrollado durante décadas. La falsa modestia no debería seguir mostrándose como una virtud. Abstract_ Somewhere around the late 60's, the architectural studio underwent a 'conceptual' turn which, some fifty years later, would unknowingly become the model for the now fashionable 'start-up', 'business incubator' and 'think-tank' spaces that have sprung up from the venture capital and crowdfunding economies. This article highlights five of the features of the post 60's architectural studio environment, which make it into a specific kind of creative generator: discipline, social interaction, notation, multi-media and critique. Architects have traditionally played down the disciplinary knowhow and compound expertise that they have mastered for a long time, and that has shaped the work environment of the studio. With the discovery of their creative bubble by more PR-savvy branches of the economy, architects need to wake up and lay claim to the conceptual tools that they have developed over many decades. False modesty should no longer parade as a virtue.
1960年代接近尾声,亲身体验了一把“概念”构架车间,五十岁以后,insospechadamente会成为创业公司的现有空间模型,业务“孵化器”和涌现出来的think-tank crowdfunding有关的风险资本和经济。这篇文章强调了60年后建筑工作室环境的五个特征，这些特征使它成为一种特定类型的创造性创造者:纪律、社会互动、符号、多媒体和批评。传统上，建筑师忽略了车间的工作。更擅长公共关系的经济学分支发现了建筑师的创意泡沫。因此，他们需要觉醒，并声称他们几十年来开发的认知工具是他们自己的。虚假的谦虚不应该再被证明是一种美德。在20世纪60年代末的某个时候，建筑工作室经历了一个“概念”转变，在大约50年后，它将成为现在时尚的“初创企业”、“商业孵化器”和“智库”空间的模式，这些空间是从风险投资和众筹经济中涌现出来的。这篇文章强调了后60年代建筑工作室环境的五个特点，这使它成为一种特定的创造性产生者:纪律、社会互动、符号、多媒体和批评。建筑师传统上发挥了他们长期拥有的学科知识和综合专业知识，这塑造了工作室的工作环境。With the discovery of their creative泡沫by more PR-savvy的of the economy,建筑师需要醒来up and lay claim to the tools that they have发达的概念对许多decades。假谦虚不应该再作为美德游行了。
{"title":"Espacio de teoría el taller de arquitectura","authors":"Suiza Lausana","doi":"10.56255/ma.v0i17.391","DOIUrl":"https://doi.org/10.56255/ma.v0i17.391","url":null,"abstract":"\u0000 \u0000 \u0000Hacia el final de los años sesenta, el taller de arquitectura experimentó un giro “conceptual” que unos cincuenta años más tarde se convertiría, insospechadamente, en el modelo de los actuales espacios de los start-up, las “incubadoras de negocios” y los think-tank que han surgido de los capitales de riesgo y las economías asociadas al crowdfunding. Este artículo destaca cinco rasgos del ambiente del taller de arquitectura post-sesenta, rasgos que lo convierten en un tipo específico de generador creativo: disciplina, interacción social, notación, multimedios y crítica. Tradicionalmente, los arquitectos han restado el trabajo del taller. Ramas de la economía más expertas en relaciones públicas han descubierto la burbuja creativa de los arquitectos. Por lo tanto, estos necesitan despertar y reclamar como propias las herramientas con- ceptuales que han desarrollado durante décadas. La falsa modestia no debería seguir mostrándose como una virtud. \u0000 \u0000 \u0000 \u0000Abstract_ \u0000Somewhere around the late 60's, the architectural studio underwent a 'conceptual' turn which, some fifty years later, would unknowingly become the model for the now fashionable 'start-up', 'business incubator' and 'think-tank' spaces that have sprung up from the venture capital and crowdfunding economies. This article highlights five of the features of the post 60's architectural studio environment, which make it into a specific kind of creative generator: discipline, social interaction, notation, multi-media and critique. Architects have traditionally played down the disciplinary knowhow and compound expertise that they have mastered for a long time, and that has shaped the work environment of the studio. With the discovery of their creative bubble by more PR-savvy branches of the economy, architects need to wake up and lay claim to the conceptual tools that they have developed over many decades. False modesty should no longer parade as a virtue. \u0000 \u0000 \u0000 \u0000 \u0000 \u0000","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43523701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper shows the work of the 'Cosmopolitan Workshop', which is part of the Arts and Study Abroad Program (ASAP) at Tokyo University of the Arts. ASAP encourages interdisciplinarity and practical design research strategies out of the studio, the university, and the country. Especially, the Cosmopolitan Workshop explores a way for understanding and conceiving the complex connections between humans and the environment of the city, while focusing on King’s Cross redevelopment area in London. Drawing on ideas by the French philosopher Henri Lefebvre, and with reference to Bernard Tschumi, the participants in the Cosmopolitan Workshop aimed to describe a series of ordinary 'direct actions'as 'rhythmanalysis' of humans, architecture, and space, through the assumption that this not only proposes different readings of spatial function, but also configures ambiguous relationships between “every being, every entity and every body, both living and non-living”. With the support of Central Saint Martins (University of the Arts London) and the Architectural Association Schoolof Architecture, the participants attempted to document human actions in everyday life that would expand the perception of time in urban space, while strategically examining the city’s perimeter and its relation to urban rhythms and events.
{"title":"The Polyrhythmic-scape of the City","authors":"Tamao Hashimoto","doi":"10.56255/ma.v0i17.389","DOIUrl":"https://doi.org/10.56255/ma.v0i17.389","url":null,"abstract":"This paper shows the work of the 'Cosmopolitan Workshop', which is part of the Arts and Study Abroad Program (ASAP) at Tokyo University of the Arts. ASAP encourages interdisciplinarity and practical design research strategies out of \u0000the studio, the university, and the country. Especially, the Cosmopolitan Workshop explores a way for understanding and conceiving the complex connections between humans and the environment of the city, while focusing on King’s Cross redevelopment area in London. Drawing on ideas by the French philosopher Henri Lefebvre, and with reference to Bernard Tschumi, the participants in the Cosmopolitan Workshop aimed to describe a \u0000series of ordinary 'direct actions'as 'rhythmanalysis' of humans, architecture, and space, through the assumption that this not only proposes different readings of spatial function, but also configures ambiguous relationships between \u0000 \u0000 \u0000 \u0000“every being, every entity and every body, both living and non-living”. With the support of Central Saint Martins (University of the Arts London) and the Architectural Association Schoolof Architecture, the participants attempted to document human actions in everyday life that would expand \u0000the perception of time in urban space, while strategically examining the city’s perimeter and its relation to urban rhythms and events. \u0000 \u0000 \u0000","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44092911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper presents a critique to the traditional business model followed by many architecture studios who utilize the ‘architectural competition’ as a format for developing new ideas and innovation. The abundant competition calls, implying free labour, that architectural competitions facilitate has become a mechanism to coerce architectural innovation towards the benefit of a ruling elite. The Plethora Project studio has attempted since 2011 to hybridize the practice of architecture with forms of entertainment in order to allow cultural engagement and ultimately communicate the challenges that architecture faces not only from a perspective of technological progress but from one of social progress as well. To do so, the medium of video games has been selected to communicate complex systems of interdependence, inviting a new audience of non- architects to participate in the construction of knowledge and discourse by understanding complex webs of interdependence that link material resources, knowledge, labour andaccess. The studio sits at the intersection between an architectural firm and a gaming studio with social interest. This implies the necessity for innovation in economic strategies that enable the autonomy of ideas and the development of non-conventional projects.
{"title":"Infrastructure for recombination: The work and ethos of Plethora Project","authors":"J. Sánchez","doi":"10.56255/ma.v0i17.388","DOIUrl":"https://doi.org/10.56255/ma.v0i17.388","url":null,"abstract":"This paper presents a critique to the traditional business model followed by many architecture studios who utilize the ‘architectural competition’ as a format for developing new ideas and innovation. The abundant competition calls, implying free labour, that architectural competitions facilitate has become a mechanism to coerce architectural innovation towards the benefit of a ruling elite. The Plethora Project studio has attempted since 2011 to hybridize the practice of architecture with forms of entertainment in order \u0000to allow cultural engagement and ultimately communicate the challenges that architecture faces not only from a perspective of technological progress but from one of social progress as well. To do so, the medium of video games has been selected to communicate complex systems of interdependence, inviting a new audience of non- architects to participate in the construction of knowledge and discourse by understanding complex webs of interdependence that link material resources, knowledge, labour andaccess. The studio sits at the intersection \u0000 \u0000 \u0000 \u0000between an architectural firm and a gaming studio with social interest. This implies the necessity for innovation in economic strategies that enable the autonomy of ideas and the development of non-conventional projects. \u0000 \u0000 \u0000","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42688408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
En 1982, Alejandro de la Sota escribe “Por una arquitectura lógica”, un manifiesto encubierto en el que describe el proceso de producción arquitectónica como una secuencia de razonamientos eficientes a modo de preceptos que desembocan de manera casi irrevocable en “Arquitectura”. Esta idea, trasladada a la producción de arquitectura contemporánea más allá de la eficiencia productiva ligada a la arquitectura comercial, se reclama en ciertas prácticas actuales que abogan por una especie de “pragmatismo crea- tivo” alejado de la corriente de los noventa y presente en prácticas como las de OMA, MVRDV o Alejandro Zaera Polo. En contraposición, se explora una re-conceptualización de la idea de eficiencia ligada a la producción de arquitectura, para lo cual se examinan los modos operativos de Estudio Herreros, Office KGDVS y Lacaton & Vassal, los que exploran conceptos como “eficiencia creativa”, “eficiencia necesaria” o “eficiencia de comportamiento”, en conexión con la “Arquitectura lógica” que de la Sota defendiera en su manifiesto de 1982. Abstract_ In 1982, Alejandro de la Sota writes 'For a logical architecture', an undercover manifesto in which he describes the process of architectural production as a sequence of efficient reasonings in the form of precepts that almost irrevocably result in 'Architecture'. This notion, transferred to contemporary architectural production beyond the productive efficiency associated with commercial architecture, is demanded in certain current practices that advocate a sort of 'creative pragmatism' removed from the trends of the 90’s of practices like those of OMA, MVRDV or Alejandro Zaera Polo. Opposed to this, a re-conceptualization of the notion of efficiency associated with the production of architecture is explored. The operative modes of Estudio Herreros, Office KGDVS and Lacaton & Vassal are examined, exploring concepts like 'creative efficiency', 'necessary efficiency' or 'behaviour efficiency', somehow connecting back to the 'Logical Architecture' argued by de la Sota in his 1982 manifesto.
1982年，亚历杭德罗·德拉索塔(Alejandro de la Sota)写了《Por una arquitectura logica》(Por una arquitectura logica)，这是一份秘密宣言，他在宣言中将建筑生产过程描述为一系列有效的推理，作为一种规则，几乎不可逆转地导致了“建筑”。这个想法,转入生产当代建筑超出生产效率与商业架构,用于某些现行做法,主张一种“求实创造了-我住在遥远的1990年代的潮流和本组织等做法,MVRDV或亚历山大Zaera Polo。相比之下,探讨一个re-conceptualización概念架构与生产效率,进而探讨了研究的操作模式的铁匠,Office KGDVS和Lacaton & Vassal创造性探索新概念,如“效率”、“必要的效率”或“效率”的行为,在“逻辑架构”的连接保护在1982年宣言的杰克。1982年，Alejandro de la Sota写了“For a logical architecture”，这是一份秘密宣言，他在其中描述了建筑生产的过程，作为一系列有效的理由，以规则的形式，几乎不可逆转地导致了“architecture”。这一概念被转移到与商业建筑相关的生产效率之外的当代建筑生产中，在一些当前的实践中需要提倡一种“创造性实用主义”，这种“创造性实用主义”是从90年代OMA、MVRDV或Alejandro Zaera Polo等实践的趋势中删除的。与此相反，本文探讨了与建筑生产相关的效率概念的重新概念化。研究了Estudio Herreros、Office KGDVS和Lacaton & Vassal的运作模式，探讨了诸如“创造性效率”、“必要效率”或“行为效率”等概念，在某种程度上与de la Sota在其1982年宣言中提出的“逻辑架构”相联系。
{"title":"WHEN ROUTINE BITES HARD","authors":"Esteban de Backer Gutiérrez","doi":"10.56255/ma.v0i17.393","DOIUrl":"https://doi.org/10.56255/ma.v0i17.393","url":null,"abstract":"En 1982, Alejandro de la Sota escribe “Por una arquitectura lógica”, un manifiesto encubierto en el que describe el proceso de producción arquitectónica como una secuencia de razonamientos eficientes a modo de preceptos que desembocan de manera casi irrevocable en “Arquitectura”. Esta idea, trasladada a la producción de arquitectura contemporánea más allá de la eficiencia productiva ligada a la arquitectura comercial, se reclama en ciertas prácticas actuales que abogan por una especie de “pragmatismo crea- tivo” alejado de la corriente de los noventa y presente en prácticas como las de OMA, MVRDV o Alejandro Zaera Polo. En contraposición, se explora una re-conceptualización de la idea de eficiencia ligada a la producción de arquitectura, para lo cual se examinan los modos operativos de Estudio Herreros, Office KGDVS y Lacaton & Vassal, los que exploran conceptos como “eficiencia creativa”, “eficiencia necesaria” o “eficiencia de comportamiento”, en conexión con la “Arquitectura lógica” que de la Sota defendiera en su manifiesto de 1982. \u0000Abstract_ \u0000In 1982, Alejandro de la Sota writes 'For a logical architecture', an undercover manifesto in which he describes the process of architectural production as a sequence of efficient reasonings in the form of precepts that almost irrevocably result in 'Architecture'. This notion, transferred to contemporary architectural production beyond the productive efficiency associated with commercial architecture, is demanded in certain current practices that advocate a sort of 'creative pragmatism' removed from the trends of the 90’s of practices like those of OMA, MVRDV or Alejandro Zaera Polo. Opposed to this, a re-conceptualization of the notion of efficiency associated with the production of architecture is explored. The operative modes of Estudio Herreros, Office KGDVS and Lacaton & Vassal are examined, exploring concepts like 'creative efficiency', 'necessary efficiency' or 'behaviour efficiency', somehow connecting back to the 'Logical Architecture' argued by de la Sota in his 1982 manifesto.","PeriodicalId":29681,"journal":{"name":"Materia Arquitectura","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47904340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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