The study of contemporary city has evolved during the last decades introducing subjective factors: user’s preferences, behavior and experience, into the traditional morphological description to achieve a complete understanding of an urban public scene. This article analyses the transformation of contemporary public space narratives through mural art. The mural is tattooed onto the facade surface and surrounds the public space scene. Without altering the dimensions of the open public space, this urban art provides a new perception of place. Graphics and images generate new spatial narratives that become part of the urban landscape. Public urban space supports exchange and spontaneous communication of a cross-cutting nature among people in all communities — including intergenerational and multicultural exchanges—. In this spatial context, the urban mural art —"Urban Tattoo" — acts as a symbol of free expression and is available for all to see, providing an additional dimension of communication. This study makes a distinction between art created by individual initiative and art that is institutionally promoted. The art of the individual street artist is daring, spontaneous, genuine, and commonly underlays a specific meta-language only completely understood by insiders; but, at the same time, there is a graphic symbolism that connects easily with the public. By contrast, art that is sponsored by an institution is created with the objective of regenerating bland areas in the urban fabric. The same artistic techniques are used but the artist is constrained by a creative brief which is drafted by the sponsoring organization. Some unexpected consequences have resulted from these novel initiatives that promote the regeneration of urban areas using art to convert urban spaces into an open-air museum.
{"title":"Urban Tattoos for new Landscape narratives. Explorando el papel del arte urbano en el contexto de la ciudad contemporánea.","authors":"Clara García-Mayor","doi":"10.14198/I2.2017.5.04","DOIUrl":"https://doi.org/10.14198/I2.2017.5.04","url":null,"abstract":"The study of contemporary city has evolved during the last decades introducing subjective factors: user’s preferences, behavior and experience, into the traditional morphological description to achieve a complete understanding of an urban public scene. This article analyses the transformation of contemporary public space narratives through mural art. The mural is tattooed onto the facade surface and surrounds the public space scene. Without altering the dimensions of the open public space, this urban art provides a new perception of place. Graphics and images generate new spatial narratives that become part of the urban landscape. Public urban space supports exchange and spontaneous communication of a cross-cutting nature among people in all communities — including intergenerational and multicultural exchanges—. In this spatial context, the urban mural art —\"Urban Tattoo\" — acts as a symbol of free expression and is available for all to see, providing an additional dimension of communication. This study makes a distinction between art created by individual initiative and art that is institutionally promoted. The art of the individual street artist is daring, spontaneous, genuine, and commonly underlays a specific meta-language only completely understood by insiders; but, at the same time, there is a graphic symbolism that connects easily with the public. By contrast, art that is sponsored by an institution is created with the objective of regenerating bland areas in the urban fabric. The same artistic techniques are used but the artist is constrained by a creative brief which is drafted by the sponsoring organization. Some unexpected consequences have resulted from these novel initiatives that promote the regeneration of urban areas using art to convert urban spaces into an open-air museum.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121326409","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 article aims to recognize some of the non-official spatial practices of the Poblenou-22 @ district of Barcelona, pointing out how, similarly to the formally recognized urban mechanisms, they affect and modify the formulation of the identity of the neighborhood, its use and imaginary, building city in fact. To this purpose, approaches of urban studies that broaden the view on the processes that "enact" city are used Through the analogy of the urban as addition of hardware (or built environment) and software (network or relationships that operate in it) the concept of computer bug is explored, as a system error, pointing out the actors activated by it. The transformation of Poblenou-22@ from an industrial to a post-industrial district is the event in which controversies arise, bugs are generated and negotiations between hegemonic and marginal powers appear, activating a series of urbanistic practices of infrastructure appropriation and spatial reinterpretation.
{"title":"Habitando el bug. El urbanismo simultáneo del 22@ y la chatarra en Barcelona","authors":"Daniel Torrego Gómez","doi":"10.14198/I2.2017.6.08","DOIUrl":"https://doi.org/10.14198/I2.2017.6.08","url":null,"abstract":"This article aims to recognize some of the non-official spatial practices of the Poblenou-22 @ district of Barcelona, pointing out how, similarly to the formally recognized urban mechanisms, they affect and modify the formulation of the identity of the neighborhood, its use and imaginary, building city in fact. To this purpose, approaches of urban studies that broaden the view on the processes that \"enact\" city are used Through the analogy of the urban as addition of hardware (or built environment) and software (network or relationships that operate in it) the concept of computer bug is explored, as a system error, pointing out the actors activated by it. The transformation of Poblenou-22@ from an industrial to a post-industrial district is the event in which controversies arise, bugs are generated and negotiations between hegemonic and marginal powers appear, activating a series of urbanistic practices of infrastructure appropriation and spatial reinterpretation.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129356187","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}
After town planning stagnation that the autarchic stage supposed, began the real urban "boom" which doubled the urbanized city of Valencia area. From the radio-concentric structural solution posed by the land-use planning of 1946, the new axes of both, urban development and industrial, were established being the west, Manises-Quart de Poblet-Aldaia, specialized in the metal industry. But the plan was not viable without a network of radial roads that gave the historical paths suitable proportion to their new condition. This is the case of Cami Reial de Castilla that in 1953 was opened to traffic, becoming the new entrance road from Madrid to Valencia and the connection to the Manises airport. A large commercial and industrial axis was created along which large companies given its good communications with the capital of the state would be installed. This is the case of the bottler Coca-Cola (1958), the metal processing factory FLEX (1961) or the subsidiary SEAT (1965), all buildings made by the same architect, Mauro Lleo Serret (1914-2001), that became pioneers of modernity in the city. Bottling plant Coca-Cola, still being debtor in materials of Gutierrez-Soto models, plays in its composition with simple volumes of one or two plants that join successfully linking the program contained. The FLEX factory is an industrial building height that shows in its facade the structural grid that holds it, although still built with concrete, is confirmed as a compositional resource that is approaching the architect to Miesian constructive solutions. Finally, the S.E.A.T. building was a step towards standardized construction and prefabrication, though still distrusts in the solution of its facades built with curtain walls, brise-soleil and metal canopies. Highlighting the exhibition vehicle building, a geodesic sphere of steel and glass.
在经历了专制阶段的城市规划停滞之后，真正的城市“繁荣”开始了，瓦伦西亚地区的城市化程度翻了一番。根据1946年土地利用规划提出的无线电同心结构解决方案，城市发展和工业的新轴线在西部，Manises-Quart de polet - aldaia建立，专门从事金属工业。但是，如果没有放射状道路网络，使历史道路与新条件相适应，这个计划是不可行的。卡斯蒂亚皇家大道(Cami Reial de Castilla)就是一个例子，它于1953年通车，成为从马德里到瓦伦西亚的新入口道路，也是连接马尼塞斯机场的通道。一个巨大的商业和工业轴心被创造出来，沿着这个轴心，与国家首都有良好交通的大公司将被安置。可口可乐装瓶厂(1958年)、金属加工厂FLEX(1961年)或子公司SEAT(1965年)就是这样的例子，所有这些建筑都是由同一位建筑师Mauro Lleo Serret(1914-2001年)设计的，他成为了这座城市现代化的先驱。装瓶厂可口可乐，仍然是古铁雷斯-索托模型材料的债务人，在其组成中发挥了一个或两个工厂的简单体积，它们成功地连接了所包含的程序。FLEX工厂是一座工业建筑的高度，在其立面上显示出支撑它的结构网格，尽管仍然是用混凝土建造的，但它被确认为一种组合资源，正在接近建筑师的密斯建设性解决方案。最后，S.E.A.T.大楼是向标准化建筑和预制迈出的一步，尽管人们仍然对其幕墙、遮阳板和金属檐篷的立面解决方案心存疑虑。突出展示车辆建筑，一个钢和玻璃的测地线球体。
{"title":"La modernidad en Valencia a través de tres obras del arquitecto Mauro Lleó","authors":"C. Gregori","doi":"10.14198/I2.2017.5.06","DOIUrl":"https://doi.org/10.14198/I2.2017.5.06","url":null,"abstract":"After town planning stagnation that the autarchic stage supposed, began the real urban \"boom\" which doubled the urbanized city of Valencia area. From the radio-concentric structural solution posed by the land-use planning of 1946, the new axes of both, urban development and industrial, were established being the west, Manises-Quart de Poblet-Aldaia, specialized in the metal industry. But the plan was not viable without a network of radial roads that gave the historical paths suitable proportion to their new condition. This is the case of Cami Reial de Castilla that in 1953 was opened to traffic, becoming the new entrance road from Madrid to Valencia and the connection to the Manises airport. A large commercial and industrial axis was created along which large companies given its good communications with the capital of the state would be installed. This is the case of the bottler Coca-Cola (1958), the metal processing factory FLEX (1961) or the subsidiary SEAT (1965), all buildings made by the same architect, Mauro Lleo Serret (1914-2001), that became pioneers of modernity in the city. Bottling plant Coca-Cola, still being debtor in materials of Gutierrez-Soto models, plays in its composition with simple volumes of one or two plants that join successfully linking the program contained. The FLEX factory is an industrial building height that shows in its facade the structural grid that holds it, although still built with concrete, is confirmed as a compositional resource that is approaching the architect to Miesian constructive solutions. Finally, the S.E.A.T. building was a step towards standardized construction and prefabrication, though still distrusts in the solution of its facades built with curtain walls, brise-soleil and metal canopies. Highlighting the exhibition vehicle building, a geodesic sphere of steel and glass.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"124 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124652080","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}
The publication of the report The limits of the growth in 1972 meant to enter in an age where the science quantifies the duration of the life in the planet, and it questions the survival of the same one. Therefore, the social raising awareness re-defines the traditional cultural perception of a magnanimous and unlimited Nature for one where the pressure for the survival itself in a limited Nature, marks in an essential way the current view in the 21st century. This article shows this transformation through a simple path, across relevant viewpoints in last 200 years, which relate Nature and survival. It begins symbolically in the work Caspar David Friedrich to finish and to contrast with Eliasson Olafur's artistic reflections. Complementary, it supports to clarify the above mentioned change, with different and known meanings of survival.
{"title":"La condición de supervivencia en la percepción de la Naturaleza","authors":"Antonio Cerezuela Motos","doi":"10.14198/I2.2017.5.02","DOIUrl":"https://doi.org/10.14198/I2.2017.5.02","url":null,"abstract":"The publication of the report The limits of the growth in 1972 meant to enter in an age where the science quantifies the duration of the life in the planet, and it questions the survival of the same one. Therefore, the social raising awareness re-defines the traditional cultural perception of a magnanimous and unlimited Nature for one where the pressure for the survival itself in a limited Nature, marks in an essential way the current view in the 21st century. This article shows this transformation through a simple path, across relevant viewpoints in last 200 years, which relate Nature and survival. It begins symbolically in the work Caspar David Friedrich to finish and to contrast with Eliasson Olafur's artistic reflections. Complementary, it supports to clarify the above mentioned change, with different and known meanings of survival.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116589645","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}
Public Space is an urban element that let us observe, measure, count, analyze and get objective and specific answers. It is the symbol of the city; it is the basis of our socialization, because of that, we are working on it. Some urban design has had little influence on the day to day use that citizens make of it. Therefore, pinpointing the reasons and redesigning accordingly allows connection with the most direct beneficiaries: its citizens. This Research aims to know the influence of urban design on the success of public space, understanding as success a place in full use, full of activity, a social scene where people interact using it regularly and voluntarily. We propose a methodology where the military coastal city of Cartagena works as an urban laboratory, and we analyze the urban areas that have the same conditions and morphology and we compare them. We explore their social and urban context, as well as the people who live there, who are, of course, the protagonists. Results confirm that the design and structure of an old-town public space of a city like Cartagena have less influence than other contextual factors such as the urban, financial, social and historical. This demonstrates the need, from the discipline of architecture and urbanism, to listen more to the citizens because they are the "clients" of the spaces and it is necessary to revert the thought process of Urban spaces towards a design for people.
{"title":"Influencia de los parámetros de diseño en el éxito del espacio público. Hacia una reconversión de los procesos de proyecto pensando en las personas.","authors":"María del Mar Melgarejo Torralba","doi":"10.14198/I2.2017.5.07","DOIUrl":"https://doi.org/10.14198/I2.2017.5.07","url":null,"abstract":"Public Space is an urban element that let us observe, measure, count, analyze and get objective and specific answers. It is the symbol of the city; it is the basis of our socialization, because of that, we are working on it. Some urban design has had little influence on the day to day use that citizens make of it. Therefore, pinpointing the reasons and redesigning accordingly allows connection with the most direct beneficiaries: its citizens. This Research aims to know the influence of urban design on the success of public space, understanding as success a place in full use, full of activity, a social scene where people interact using it regularly and voluntarily. We propose a methodology where the military coastal city of Cartagena works as an urban laboratory, and we analyze the urban areas that have the same conditions and morphology and we compare them. We explore their social and urban context, as well as the people who live there, who are, of course, the protagonists. Results confirm that the design and structure of an old-town public space of a city like Cartagena have less influence than other contextual factors such as the urban, financial, social and historical. This demonstrates the need, from the discipline of architecture and urbanism, to listen more to the citizens because they are the \"clients\" of the spaces and it is necessary to revert the thought process of Urban spaces towards a design for people.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131043407","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 article tackles a real and plural story that is communal, complex and polyphonic: the story of a development process of a cooperative project for the design and collaborative construction of the San Martin del Once communal dinning hall, in Barrio Cultural La Balanza, Distrito de Comas, Lima, Peru. This project is conceived as an agent of change of the urban and social development of the area. In relation to architecture in its project stage, the objective of this work focuses on progress instead of results. The former, due to its variety and wide scope, is understood as the real driving force for the regeneration produced in the physical and human environment. At the same time, it works as a cause of reflection on the actual architect and resident relationship in the absence of the developer. This last point is relevant for both the interdisciplinary research and the knowledge transmission that is the basis of this experience.
本文讲述了一个真实而多元的故事，它是公共的、复杂的、多音的:这是一个合作项目的发展过程，该项目设计和合作建造了位于秘鲁利马Comas区Barrio Cultural La Balanza的San Martin del Once公共餐厅。该项目被认为是该地区城市和社会发展变化的代理人。与项目阶段的建筑相关，这项工作的目标关注于过程而不是结果。前者由于其多样性和广泛的范围，被理解为在自然和人文环境中产生的再生的真正驱动力。同时，在开发商缺席的情况下，它也是对建筑师和居民实际关系的反思。最后一点与跨学科研究和作为这一经验基础的知识传播都有关。
{"title":"Reflexiones sobre un PFC en Lima. Arquitectura y Urbanismo como convivencia y cooperación","authors":"María-Elia Gutiérrez-Mozo","doi":"10.14198/I2.2016.5.10","DOIUrl":"https://doi.org/10.14198/I2.2016.5.10","url":null,"abstract":"This article tackles a real and plural story that is communal, complex and polyphonic: the story of a development process of a cooperative project for the design and collaborative construction of the San Martin del Once communal dinning hall, in Barrio Cultural La Balanza, Distrito de Comas, Lima, Peru. This project is conceived as an agent of change of the urban and social development of the area. In relation to architecture in its project stage, the objective of this work focuses on progress instead of results. The former, due to its variety and wide scope, is understood as the real driving force for the regeneration produced in the physical and human environment. At the same time, it works as a cause of reflection on the actual architect and resident relationship in the absence of the developer. This last point is relevant for both the interdisciplinary research and the knowledge transmission that is the basis of this experience.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123912749","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}
After the analysis of the architectonic production of Kazuyo Sejima and Ryue Nishizawa some recurrent themes can be detected, and an evidence of that can be found in sequences of projects that share some characteristics that are defined as “family relationships”. On the basis of a series of categories: non-hierarchical forms of grouping and compartimentalisation, neutralization of the structure, geometric transformations-topological equivalences and parks , this paper shows the existing relations in between a selection of projects by these Japanese architects. Some graphic visualization techniques are employed concluding in a taxonomic tree. This graphic representation method shows 43 of their analyzed projects, the existing relations in between them and the different recurrent themes discussed.
{"title":"Las familias de SANAA. O cómo Kazuyo Sejima y Ryue Nishizawa responden a sus intereses arquitectónicos mediante secuencias de proyectos","authors":"","doi":"10.14198/I2.2016.5.05","DOIUrl":"https://doi.org/10.14198/I2.2016.5.05","url":null,"abstract":"After the analysis of the architectonic production of Kazuyo Sejima and Ryue Nishizawa some recurrent themes can be detected, and an evidence of that can be found in sequences of projects that share some characteristics that are defined as “family relationships”. On the basis of a series of categories: non-hierarchical forms of grouping and compartimentalisation, neutralization of the structure, geometric transformations-topological equivalences and parks , this paper shows the existing relations in between a selection of projects by these Japanese architects. Some graphic visualization techniques are employed concluding in a taxonomic tree. This graphic representation method shows 43 of their analyzed projects, the existing relations in between them and the different recurrent themes discussed.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127641487","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}
{"title":"De la invasión al barrio","authors":"David Fontcuberta Rubio, P. Pastor","doi":"10.14198/I2.2016.5.09","DOIUrl":"https://doi.org/10.14198/I2.2016.5.09","url":null,"abstract":"","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132275270","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}
Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself.
{"title":"La creatividad que se experiencia","authors":"Tim Ingold","doi":"10.14198/I2.2016.5.13","DOIUrl":"https://doi.org/10.14198/I2.2016.5.13","url":null,"abstract":"Creativity is often portrayed as an X-factor that accounts for the spontaneous generation of the absolutely new. Yet the obsession with novelty implies a focus on final products and a retrospective attribution of their forms to unprecedented ideas in the minds of individuals, at the expense of any recognition of the form-generating potentials of the relations and processes in which persons and things are made and grown. In these processes, practitioners are characteristically called upon to copy the works of past masters. However, though they may be guided by a script or score, every practitioner has to improvise his or her own passage through the array of tasks the performance entails. With examples from music, calligraphy and lace-making, I show that the wellsprings of creativity lie not inside people’s heads, but in their attending upon a world in formation. In this kind of creativity, undergone rather than done, imagination is not so much the capacity to come up with new ideas as the aspirational impulse of a life that is not just lived but led. But where it leads is not yet given. In opening to the unknown — in exposure — imagination leads not by mastery but by submission. Thus the creativity of undergoing, of action without agency, is that of life itself.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125044766","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}
Emergency situations caused by natural disasters or conflicts have the potential to speed adaptation processes to extreme weather situations and innovative building systems through composites and light structural prototypes. Four actors are involved from several points of view in the same matter: the survival. Initially, the first actor begins the project phase with a location plan by using a map that is constantly modified to in-corporate geographical data and meteorological events during his seasonal expeditions. The second actor collects surrounding materials to build an habitat that is able to take on and successfully defy the harsh weather conditions. The third actor creates atmospheres from three different points of view as 3D renders that allow him to show the importance of the weather forecast in the project. Finally, the fourth actor relates the project and he proves how local conditions determine the connection between the initial ideas and the final work. These four actors are all together in Dersu Uzala, Akira Kurosawa’s film, shot in Ussuri taiga in 1976. Nowadays, the project actors are preparing laboratory tests of new materials which can be applied from territorial macro scale with topographic movements in harsh conditions to nanotechnology implemented to composites that use reinforced elements such as carbon fiber or graphene by sewing system instead of stick them, which can be used in marine platforms, airplanes and emergency constructions to improve local environmental conditions. From Dersu Uzala’s film (Akira Kurosawa, 1976) to The Revenant’s film (Alejandro Gonzalez Inarritu, 2015) we can see the need for a more targeted approach to an architecture of survival as the main character of these films does: “As long as you can still grab a breath, you fight”.
{"title":"La adaptación climática mediante la innovación en materiales como un proceso de supervivencia: The Revenant a través del análisis de Dersu Uzala","authors":"C. J. Camacho","doi":"10.14198/i2.2016.5.04","DOIUrl":"https://doi.org/10.14198/i2.2016.5.04","url":null,"abstract":"Emergency situations caused by natural disasters or conflicts have the potential to speed adaptation processes to extreme weather situations and innovative building systems through composites and light structural prototypes. Four actors are involved from several points of view in the same matter: the survival. Initially, the first actor begins the project phase with a location plan by using a map that is constantly modified to in-corporate geographical data and meteorological events during his seasonal expeditions. The second actor collects surrounding materials to build an habitat that is able to take on and successfully defy the harsh weather conditions. The third actor creates atmospheres from three different points of view as 3D renders that allow him to show the importance of the weather forecast in the project. Finally, the fourth actor relates the project and he proves how local conditions determine the connection between the initial ideas and the final work. These four actors are all together in Dersu Uzala, Akira Kurosawa’s film, shot in Ussuri taiga in 1976. Nowadays, the project actors are preparing laboratory tests of new materials which can be applied from territorial macro scale with topographic movements in harsh conditions to nanotechnology implemented to composites that use reinforced elements such as carbon fiber or graphene by sewing system instead of stick them, which can be used in marine platforms, airplanes and emergency constructions to improve local environmental conditions. From Dersu Uzala’s film (Akira Kurosawa, 1976) to The Revenant’s film (Alejandro Gonzalez Inarritu, 2015) we can see the need for a more targeted approach to an architecture of survival as the main character of these films does: “As long as you can still grab a breath, you fight”.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133907523","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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