{"title":"La mujer digital","authors":"Tatiana Poggi","doi":"10.14198/I2.2016.5.08","DOIUrl":"https://doi.org/10.14198/I2.2016.5.08","url":null,"abstract":"","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"2 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":"127128812","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 analysis of the urban public space from a perceptual dimension has traditionally been used to recognise its uniqueness and to identify which of its physical qualities promote activity and livability. This approach is particularly relevant in transformed urban settings. The perceived image of a space allows an assessment of the extent to which the social dynamics have been modified since its regeneration. Under this premise, the aim of this paper is to study urban life after the transformation of Calle San Francisco, in Alicante, Spain, into a recreational and thematic space characterised by giant mushrooms. In order to accomplish this objective, three indicators of public life were evaluated: the building’s economic activities before and after the intervention; the social use of the new space and the resulting public image —or perceived image—. A hybrid methodology is used which combines data collected from field work with data retrieved from technological sources —the social network Instagram and the web service Google Street View—. The overall results demonstrated that the use of both offline and online data enables confirmation, complementation and questioning of the partial results obtained from each method. Thus, it was evidenced that not only has the physical identity of Calle San Francisco been substantially modified, but also, its collective image in relation to the rest of the city. All in all, this research proves the relevance of understanding the complexity of today’s physical and virtual social relations resulting from the transformation of an urban setting.
传统上,从感知维度对城市公共空间进行分析,以识别其独特性,并确定其哪些物理特性促进了活动和宜居性。这种方法尤其适用于转型后的城市环境。空间的感知图像允许评估自其再生以来社会动态被修改的程度。在此前提下,本文的目的是研究西班牙阿利坎特的Calle San Francisco改造成以巨型蘑菇为特征的休闲和主题空间后的城市生活。为了实现这一目标,对公共生活的三个指标进行了评估:建筑在干预前后的经济活动;新空间的社会使用以及由此产生的公众形象——或感知形象——。采用了一种混合方法,将从实地工作收集的数据与从技术来源(社交网络Instagram和网络服务谷歌街景)检索的数据相结合。总体结果表明,使用离线和在线数据可以对每种方法获得的部分结果进行确认,补充和质疑。因此,有证据表明,不仅Calle San Francisco的物理特征得到了实质性的改变,而且其与城市其他部分的集体形象也得到了实质性的改变。总而言之,这项研究证明了理解城市环境转型所导致的当今物理和虚拟社会关系复杂性的相关性。
{"title":"Percepción y uso social de una transformación urbana a través del social media. Las setas gigantes de la calle San Francisco","authors":"Jesús López Baeza, Leticia Serrano-Estrada, Almudena Nolasco-Cirugeda","doi":"10.14198/I2.2016.5.03","DOIUrl":"https://doi.org/10.14198/I2.2016.5.03","url":null,"abstract":"The analysis of the urban public space from a perceptual dimension has traditionally been used to recognise its uniqueness and to identify which of its physical qualities promote activity and livability. This approach is particularly relevant in transformed urban settings. The perceived image of a space allows an assessment of the extent to which the social dynamics have been modified since its regeneration. Under this premise, the aim of this paper is to study urban life after the transformation of Calle San Francisco, in Alicante, Spain, into a recreational and thematic space characterised by giant mushrooms. In order to accomplish this objective, three indicators of public life were evaluated: the building’s economic activities before and after the intervention; the social use of the new space and the resulting public image —or perceived image—. A hybrid methodology is used which combines data collected from field work with data retrieved from technological sources —the social network Instagram and the web service Google Street View—. The overall results demonstrated that the use of both offline and online data enables confirmation, complementation and questioning of the partial results obtained from each method. Thus, it was evidenced that not only has the physical identity of Calle San Francisco been substantially modified, but also, its collective image in relation to the rest of the city. All in all, this research proves the relevance of understanding the complexity of today’s physical and virtual social relations resulting from the transformation of an urban setting.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"21 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":"127498682","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 is a manual instructions for a form of urbanism aimed at composing a different city. An urbanism that is not understood as a discipline responsible for the planning of the city but as a particular form of inhabiting the city, one that is concerned with urban issues. This is a guide to navigate a difficult line that goes between an unfortunate urban present and an uncertain future. This is a manual intended to instruct challenging and hopeful politics of participation in the city. This is an invocation for a politics of participation that does not reinscribe the already known present but that composes a more just future. A politics of participation aimed at the composition of hopeful urban futures. Politics of participation must create the conditions that allow to create new versions of the city. Experiments in the citynness of the city that challenge us with questions that we did not have while sheding light into futures that we had not imagined. This is a modest manual for producing an experimental version of the city.
{"title":"Componer las ciudades. Instrucciones de uso para un urbanismo de vecindad. Más allá de la participación en el diseño urbano","authors":"Adolfo Estalella","doi":"10.14198/I2.2016.5.06","DOIUrl":"https://doi.org/10.14198/I2.2016.5.06","url":null,"abstract":"This is a manual instructions for a form of urbanism aimed at composing a different city. An urbanism that is not understood as a discipline responsible for the planning of the city but as a particular form of inhabiting the city, one that is concerned with urban issues. This is a guide to navigate a difficult line that goes between an unfortunate urban present and an uncertain future. This is a manual intended to instruct challenging and hopeful politics of participation in the city. This is an invocation for a politics of participation that does not reinscribe the already known present but that composes a more just future. A politics of participation aimed at the composition of hopeful urban futures. Politics of participation must create the conditions that allow to create new versions of the city. Experiments in the citynness of the city that challenge us with questions that we did not have while sheding light into futures that we had not imagined. This is a modest manual for producing an experimental version of the city.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"42 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":"132198448","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}
Within the cultural activities of the 15th Venice Biennale - Architecture Exhibition (2016) figures the program "Time, Space, Existence" to which has been invited the Professor of the University of Alicante Joaquin Alvado Banon with an installation entitled Dynamic Cities . This Assembly fits into the series of exhibitions of the European Cultural Center within the Bembo Palace. It is displayed a model of two dimensions (and a video) with a suitcase opened in all caps, executed with a casting metal and showing the luggage: a total of twelve tables of natural stone of different sizes and formats rectangular of edges curved. The result is a collage of stone pieces pierced by their round holes that fit like pieces of a puzzle over a bar gear. According to the author, this proposal tries to show the instability of the world and, hence, of the cities and societies that inhabit it. He parts of the beginning of the "butterfly effect", which is at the origin of the theories of Chaos, and attempts to establish links between different variables for laying the foundations of innovation and understanding the city as a kinetic, not predictable agency as a mechanism, where the physical form is merely the support activities, energy and information flows. It is a conceptual approach to the city as an ecosystem abstracted into two elements: the vacuums and the dynamic system. The installation express symbolically the interaction between them spaces public and the architectures private as a metaphor of the History of the cities. It is a facility that committed by human beings, defined by its rational condition shown in his emotional condition and who accuse their social condition, condition that is favoured by the cities.
{"title":"Dynamic Cities – Ciudades Dinámicas: Una propuesta simbólica para un mundo caótico","authors":"Andrés Martínez-Medina","doi":"10.14198/I2.2016.5.11","DOIUrl":"https://doi.org/10.14198/I2.2016.5.11","url":null,"abstract":"Within the cultural activities of the 15th Venice Biennale - Architecture Exhibition (2016) figures the program \"Time, Space, Existence\" to which has been invited the Professor of the University of Alicante Joaquin Alvado Banon with an installation entitled Dynamic Cities . This Assembly fits into the series of exhibitions of the European Cultural Center within the Bembo Palace. It is displayed a model of two dimensions (and a video) with a suitcase opened in all caps, executed with a casting metal and showing the luggage: a total of twelve tables of natural stone of different sizes and formats rectangular of edges curved. The result is a collage of stone pieces pierced by their round holes that fit like pieces of a puzzle over a bar gear. According to the author, this proposal tries to show the instability of the world and, hence, of the cities and societies that inhabit it. He parts of the beginning of the \"butterfly effect\", which is at the origin of the theories of Chaos, and attempts to establish links between different variables for laying the foundations of innovation and understanding the city as a kinetic, not predictable agency as a mechanism, where the physical form is merely the support activities, energy and information flows. It is a conceptual approach to the city as an ecosystem abstracted into two elements: the vacuums and the dynamic system. The installation express symbolically the interaction between them spaces public and the architectures private as a metaphor of the History of the cities. It is a facility that committed by human beings, defined by its rational condition shown in his emotional condition and who accuse their social condition, condition that is favoured by the cities.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"52 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":"116229628","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 intent of this article is to explore Levi-Strauss’s mythical thinking and bricolage as valid concepts to explain, at least in part, the relationship between architecture (and its author) and its geographical and cultural context. The goal is to establish a reasonable parallelism between the forms of operation of the primary mind described by Levi-Strauss and the process of designing the architecture of the Finnish architect Reima Pietila. We will go through the example of Dipoli, the most paradigmatical work by Pietila, and his thought as he left it written. First, we analyzed the approach of Raili and Reima Pietila to primitivist elements in both formal and cultural ways, as a means to create and strengthen links between building, territory and society. Later we address the use of language as a tool, in both the creation of knowledge -by the primary mind- and in architectural production -by the architect-. The presence of the author in the composition and his handling of his creative repertoire stand the next sections. Finally, we analyze how Pietila achieve a sense of wholeness through linking his architecture with the environment.
{"title":"Repertorios de Reima Pietilä. El pensamiento salvaje en la construcción de la cosmovisión del arquitecto","authors":"Andrés Rodríguez Muñoz","doi":"10.14198/I2.2016.5.12","DOIUrl":"https://doi.org/10.14198/I2.2016.5.12","url":null,"abstract":"The intent of this article is to explore Levi-Strauss’s mythical thinking and bricolage as valid concepts to explain, at least in part, the relationship between architecture (and its author) and its geographical and cultural context. The goal is to establish a reasonable parallelism between the forms of operation of the primary mind described by Levi-Strauss and the process of designing the architecture of the Finnish architect Reima Pietila. We will go through the example of Dipoli, the most paradigmatical work by Pietila, and his thought as he left it written. First, we analyzed the approach of Raili and Reima Pietila to primitivist elements in both formal and cultural ways, as a means to create and strengthen links between building, territory and society. Later we address the use of language as a tool, in both the creation of knowledge -by the primary mind- and in architectural production -by the architect-. The presence of the author in the composition and his handling of his creative repertoire stand the next sections. Finally, we analyze how Pietila achieve a sense of wholeness through linking his architecture with the environment.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"84 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":"114888287","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}
What role does domesticity play in the commons’ construction? We put on the Stalker suit for a round-trip New York {} new yorks , scale [1:1], present [perpetual, widened], city [spe(cta)cular, front and back]. In the extradisciplinary drift we seek Institutional {} domestic binds. We pass appropriated own rooms of bodies, houses, squares, schools, worlds. We assemble a room with another room with another room, connecting affective practices as emancipatory process. Placing the ingredients on the kitchen table, we grope recipes that promote lines of flight and overflows from the discipline. We explore culinary tools for recording and dissecting unsolicited architectures. We season in projection, weaving image-word-action choral-narrative threads, assembling alterities, absences, paradoxes, fables, dissidences. We cook shared domesticity atlas, round-dissection, an ‘out’ of the academy to intentionally ‘return’ us-Other, blurring daily-technical , subject-object , researcher-researched , foreigner-inhabitant , minor-becoming, be-come-being other worlds. And in that weft and warp of the here-now scraps, as shared coordinates between me and other, architecture and other knowledge boxes are decentralized from the disciplinary framework to become a commons’ reply.
{"title":"La domesticidad compartida. Apuntes para una arquitectura no solicitada en Nueva York o en yorks nuevas","authors":"Verónica Francés Tortosa","doi":"10.14198/I2.2016.5.01","DOIUrl":"https://doi.org/10.14198/I2.2016.5.01","url":null,"abstract":"What role does domesticity play in the commons’ construction? We put on the Stalker suit for a round-trip New York {} new yorks , scale [1:1], present [perpetual, widened], city [spe(cta)cular, front and back]. In the extradisciplinary drift we seek Institutional {} domestic binds. We pass appropriated own rooms of bodies, houses, squares, schools, worlds. We assemble a room with another room with another room, connecting affective practices as emancipatory process. Placing the ingredients on the kitchen table, we grope recipes that promote lines of flight and overflows from the discipline. We explore culinary tools for recording and dissecting unsolicited architectures. We season in projection, weaving image-word-action choral-narrative threads, assembling alterities, absences, paradoxes, fables, dissidences. We cook shared domesticity atlas, round-dissection, an ‘out’ of the academy to intentionally ‘return’ us-Other, blurring daily-technical , subject-object , researcher-researched , foreigner-inhabitant , minor-becoming, be-come-being other worlds. And in that weft and warp of the here-now scraps, as shared coordinates between me and other, architecture and other knowledge boxes are decentralized from the disciplinary framework to become a commons’ reply.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"84 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":"121141860","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}
"I'm pissed off. Tired of men, of diets, of collagens, of liposuctions, of politics, of everything but sex, mate. I am councilwoman for social affairs and both at personal level as well as at professional level I think sex is a deeply social issue. Sexual pleasure is something that everyone should have access to, without prejudices or restrictions ... " The Cannibalistic Councillor (Pedro Almodovar, 2009) The hyper-sexualized imagery of women spread in the 90s, has formed the image of a new femininity and has emerged as the media construction in which self-discipline, diligence and self-demanding work as new technologies of social regulation in line with the neoliberalism project. In this context, using the kitchen as a narrative space, the 2009 short film of Pedro Almodovar, "The Cannibalistic Councillor" makes a mockery of all these principles in a double sense. Firstly, evidencing through the use (or rather consumption) of space the cannibals values that will bring Spain to the crisis manifested openly after 2008, preceded by the housing subprime crisis and public sector management crisis. Secondly, while gutting the perfection that is expected from women, legitimizing the spaces of pleasure and the pleasures of body as engines of a happier society. This article explores how our grotesque protagonist dismantles through this double critique the three postfeminist quintessential elements according to McRobbie: agency, empowerment, and freedom of choice.
{"title":"La concejala antropófoga y otras cuestiones de gusto en la narrativa almodovariana. O de la desregulación social a través de los espacios de placer","authors":"C. Mateo-Cecilia, M. M. Bartual","doi":"10.14198/I2.2016.5.07","DOIUrl":"https://doi.org/10.14198/I2.2016.5.07","url":null,"abstract":"\"I'm pissed off. Tired of men, of diets, of collagens, of liposuctions, of politics, of everything but sex, mate. I am councilwoman for social affairs and both at personal level as well as at professional level I think sex is a deeply social issue. Sexual pleasure is something that everyone should have access to, without prejudices or restrictions ... \" The Cannibalistic Councillor (Pedro Almodovar, 2009) The hyper-sexualized imagery of women spread in the 90s, has formed the image of a new femininity and has emerged as the media construction in which self-discipline, diligence and self-demanding work as new technologies of social regulation in line with the neoliberalism project. In this context, using the kitchen as a narrative space, the 2009 short film of Pedro Almodovar, \"The Cannibalistic Councillor\" makes a mockery of all these principles in a double sense. Firstly, evidencing through the use (or rather consumption) of space the cannibals values that will bring Spain to the crisis manifested openly after 2008, preceded by the housing subprime crisis and public sector management crisis. Secondly, while gutting the perfection that is expected from women, legitimizing the spaces of pleasure and the pleasures of body as engines of a happier society. This article explores how our grotesque protagonist dismantles through this double critique the three postfeminist quintessential elements according to McRobbie: agency, empowerment, and freedom of choice.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"86 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":"133601984","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}
Se trata de un texto de resena de cuatro libros que versan sobre urbanismo y ciudades, por lo que no procede un resumen como si de un articulo se tratara.
这是四本关于城市主义和城市的书的评论文本,所以它不像一篇文章那样进行总结。
{"title":"A propósito de ciudades","authors":"Andrés Martínez-Medina","doi":"10.14198/I2.2016.5.14","DOIUrl":"https://doi.org/10.14198/I2.2016.5.14","url":null,"abstract":"Se trata de un texto de resena de cuatro libros que versan sobre urbanismo y ciudades, por lo que no procede un resumen como si de un articulo se tratara.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128274141","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}
El texto que a continuacion se presenta se corresponde de manera bastante fidedigna con el texto que el autor leyo en el acto de defensa de su tesis doctoral, realizada en la Universidad de Alicante el 14 de junio de 2012. El tribunal estuvo compuesto por Remedios Zafra, Federico Soriano, Jessica Jaques, Miguel Angel Hernandez y Juan Freire. Los directores del trabajo fueron Jose Maria Torres Nadal y Pedro Alberto Cruz. Despues de lo vivido, lo pensado, y lo contado, descubro perplejo al final de esta investigacion que la relevancia de lo que hemos realizado junto con otrxs muchxs en la Universidad de Alicante, radica precisamente en una obsesion infantil por organizar lo prescindible , todo aquello que no nos es requerido para el cumplimiento de nuestras estrictas funciones academicas. O por utilizar otros terminos, descubro con un cierto horror que casi nada de lo que en algun momento nos ha llegado a excitar parece atravesado por los dispositivos maquinicos institucionales .
{"title":"¡...Prescindible organizado!: agenda docente para una formulación afectiva y disidente del proyecto arquitectónico","authors":"Enrique José Nieto Fernández","doi":"10.14198/I2.2016.4.12","DOIUrl":"https://doi.org/10.14198/I2.2016.4.12","url":null,"abstract":"El texto que a continuacion se presenta se corresponde de manera bastante fidedigna con el texto que el autor leyo en el acto de defensa de su tesis doctoral, realizada en la Universidad de Alicante el 14 de junio de 2012. El tribunal estuvo compuesto por Remedios Zafra, Federico Soriano, Jessica Jaques, Miguel Angel Hernandez y Juan Freire. Los directores del trabajo fueron Jose Maria Torres Nadal y Pedro Alberto Cruz. Despues de lo vivido, lo pensado, y lo contado, descubro perplejo al final de esta investigacion que la relevancia de lo que hemos realizado junto con otrxs muchxs en la Universidad de Alicante, radica precisamente en una obsesion infantil por organizar lo prescindible , todo aquello que no nos es requerido para el cumplimiento de nuestras estrictas funciones academicas. O por utilizar otros terminos, descubro con un cierto horror que casi nada de lo que en algun momento nos ha llegado a excitar parece atravesado por los dispositivos maquinicos institucionales .","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126876020","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}
El Armario es el espacio donde somos nosotros mismos. Es lo contrario de lo que se espera que seamos en el espacio publico. En el guardamos las mascaras que usamos en el exterior. Contiene tanto nuestro material biologico como nuestro material socialmente producido. No es un espacio metaforico, sino un espacio que siempre llevamos con nosotros mismos y que solo se abre cuando el contexto nos lo permite. Cada persona puede tener un tipo de armario. Mas grande o mas pequeno, mas fijo o mas transportable, mas cerrado o mas abierto. No obstante, el uso y el contenido que cada uno puede hacer de su armario viene condicionado por los espacios que atraviesa a lo largo de su vida. Si el contenido “per se” no es aceptado por estos espacios exteriores, quizas ese armario nunca se atrevera a abrirse y a posibilitar la realizacion afectiva de su propietario. Este proyecto nace motivado por todos aquellos armarios que resisten y que tratan de buscar un espacio en el que poder abrirse. Se desarrolla mediante dos campos de trabajo: una cartografia fragmentada –ejercicios para intentar definir una ecologia afectiva– y una investigacion propositiva –diez escenarios materiales–. Ambos campos de trabajo son simultaneos y permanecen en proceso, susceptibles de seguir desarrollandose. No obstante, los dos tratan de articular la aplicacion de una ecologia afectiva a la arquitectura como metodo de trabajo para la critica y la proposicion de espacios afectivos. La cartografia fragmentada se basa en conocer, descubrir y catalogar –que no desvelar– diversos agentes humanos y diversas tecnologias – dispositivos tecnoafectivos – que consiguen desmontar la normativa de ciertos espacios. Sus esfuerzos alcanzan satisfacciones afectivas que no serian aceptadas en el contexto espacial y social dominante. Estas personas, comunidades y tecnologias pueden abrir un debate y generar unas ensenanzas aplicables a las propuestas arquitectonicas. El objetivo es evitar la opresion sobre las minorias o los “outsiders” del contexto donde nos encontremos. La serie de kits tecnoafectivos se centra en crear n escenarios, narrados en n capitulos –en este momento y en este contexto seran diez– con la intencion de construir una critica hacia algun tipo de opresion afectiva ligada a la arquitectura. Las propuestas buscan potenciar las “desviaciones” antinormativas para conseguir la realizacion sentimental y corporal de uno o mas agentes humanos. 10 historias afectivas, 10 propuestas arquitectonicas, 10 desafios a lo normativo, 10 reivindicaciones contra el control, 10 debates sociales, 10 espacios queer, 10 institucionalizaciones, 10 multi-performatividades, 10 intentos de libertad, 10 esfuerzos por la igualdad. Podemos llamarlos de diferentes formas. Tambien podemos leer cada propuesta de forma aislada o de forma conectada al resto. Pero todas tienen el mismo objetivo: abrir el armario. Palabras clave: Ecologia Afectiva, cartografia fragmentada, dispositivos tecnoafectivos, outsiders, kits tecnoa
{"title":"El armario. Una serie de kits tecnoafectivos","authors":"David Gil Delgado","doi":"10.14198/I2.2016.4.08","DOIUrl":"https://doi.org/10.14198/I2.2016.4.08","url":null,"abstract":"El Armario es el espacio donde somos nosotros mismos. Es lo contrario de lo que se espera que seamos en el espacio publico. En el guardamos las mascaras que usamos en el exterior. Contiene tanto nuestro material biologico como nuestro material socialmente producido. No es un espacio metaforico, sino un espacio que siempre llevamos con nosotros mismos y que solo se abre cuando el contexto nos lo permite. Cada persona puede tener un tipo de armario. Mas grande o mas pequeno, mas fijo o mas transportable, mas cerrado o mas abierto. No obstante, el uso y el contenido que cada uno puede hacer de su armario viene condicionado por los espacios que atraviesa a lo largo de su vida. Si el contenido “per se” no es aceptado por estos espacios exteriores, quizas ese armario nunca se atrevera a abrirse y a posibilitar la realizacion afectiva de su propietario. Este proyecto nace motivado por todos aquellos armarios que resisten y que tratan de buscar un espacio en el que poder abrirse. Se desarrolla mediante dos campos de trabajo: una cartografia fragmentada –ejercicios para intentar definir una ecologia afectiva– y una investigacion propositiva –diez escenarios materiales–. Ambos campos de trabajo son simultaneos y permanecen en proceso, susceptibles de seguir desarrollandose. No obstante, los dos tratan de articular la aplicacion de una ecologia afectiva a la arquitectura como metodo de trabajo para la critica y la proposicion de espacios afectivos. La cartografia fragmentada se basa en conocer, descubrir y catalogar –que no desvelar– diversos agentes humanos y diversas tecnologias – dispositivos tecnoafectivos – que consiguen desmontar la normativa de ciertos espacios. Sus esfuerzos alcanzan satisfacciones afectivas que no serian aceptadas en el contexto espacial y social dominante. Estas personas, comunidades y tecnologias pueden abrir un debate y generar unas ensenanzas aplicables a las propuestas arquitectonicas. El objetivo es evitar la opresion sobre las minorias o los “outsiders” del contexto donde nos encontremos. La serie de kits tecnoafectivos se centra en crear n escenarios, narrados en n capitulos –en este momento y en este contexto seran diez– con la intencion de construir una critica hacia algun tipo de opresion afectiva ligada a la arquitectura. Las propuestas buscan potenciar las “desviaciones” antinormativas para conseguir la realizacion sentimental y corporal de uno o mas agentes humanos. 10 historias afectivas, 10 propuestas arquitectonicas, 10 desafios a lo normativo, 10 reivindicaciones contra el control, 10 debates sociales, 10 espacios queer, 10 institucionalizaciones, 10 multi-performatividades, 10 intentos de libertad, 10 esfuerzos por la igualdad. Podemos llamarlos de diferentes formas. Tambien podemos leer cada propuesta de forma aislada o de forma conectada al resto. Pero todas tienen el mismo objetivo: abrir el armario. Palabras clave: Ecologia Afectiva, cartografia fragmentada, dispositivos tecnoafectivos, outsiders, kits tecnoa","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"56 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132418473","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}