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La mujer digital 数字女性
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.08
Tatiana Poggi
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引用次数: 0
Percepción y uso social de una transformación urbana a través del social media. Las setas gigantes de la calle San Francisco 通过社交媒体对城市转型的感知和社会使用。旧金山街的巨型蘑菇
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.03
Jesús López Baeza, Leticia Serrano-Estrada, Almudena Nolasco-Cirugeda
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。
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引用次数: 8
Componer las ciudades. Instrucciones de uso para un urbanismo de vecindad. Más allá de la participación en el diseño urbano 组成城市。社区规划的使用说明。超越参与城市设计
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.06
Adolfo Estalella
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.
这是一份旨在构成一个不同城市的城市主义形式的手册。城市主义不被理解为一门负责城市规划的学科,而是一种居住在城市的特殊形式,一种关注城市问题的城市主义。这是一本在不幸的城市现状和不确定的未来之间艰难前行的指南。这是一本旨在指导具有挑战性和充满希望的城市参与政治的手册。这是对一种参与政治的呼吁,这种政治不会重新定义已知的现在,而是构成一个更公正的未来。一种旨在构成充满希望的城市未来的参与政治。参与政治必须创造条件,允许创造城市的新版本。在城市中进行的实验,用我们从未有过的问题挑战我们,同时照亮我们从未想象过的未来。这是一本制作实验性城市的简易手册。
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引用次数: 1
Dynamic Cities – Ciudades Dinámicas: Una propuesta simbólica para un mundo caótico 动态城市:一个混乱世界的象征性提议
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.11
Andrés Martínez-Medina
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.
在第15届威尼斯双年展-建筑展(2016)的文化活动中,阿利坎特大学教授Joaquin Alvado Banon邀请了“时间,空间,存在”项目,并以装置作品“动态城市”为主题。本博宫内的欧洲文化中心举办了一系列展览,这次会议正好与之相适应。它展示了一个二维模型(和一个视频),其中一个手提箱打开了所有的盖子,用铸造金属制作,并展示了行李:共有12个不同尺寸和格式的天然石材桌子,矩形的边缘弯曲。结果是一幅拼贴画,上面的石头被圆孔刺穿,就像一个谜题的碎片在一个酒吧的齿轮上。根据作者的说法,这个提议试图展示世界的不稳定性,因此,城市和居住在其中的社会的不稳定性。他从混沌理论的起源“蝴蝶效应”开始,试图建立不同变量之间的联系,为创新奠定基础,并将城市理解为一个动态的、不可预测的机构,作为一种机制,其中物理形式只是支持活动、能量和信息流。这是一种概念性的方法,将城市作为一个生态系统抽象为两个元素:真空和动态系统。这个装置象征性地表达了公共空间和私人建筑之间的相互作用,隐喻了城市的历史。这是一种由人类犯下的罪行,由其理性状态所定义,表现在他的情感状态中,他指责他们的社会状态,这种状态受到城市的青睐。
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引用次数: 0
Repertorios de Reima Pietilä. El pensamiento salvaje en la construcción de la cosmovisión del arquitecto Reima pietila的曲目。建筑师世界观建构中的野性思维
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.12
Andrés Rodríguez Muñoz
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.
本文的目的是探索列维-斯特劳斯的神话思维和拼凑作为有效的概念来解释,至少部分地,建筑(及其作者)与其地理和文化背景之间的关系。其目标是在列维-施特劳斯所描述的初级思维的运作形式和芬兰建筑师Reima Pietila的建筑设计过程之间建立合理的平行关系。我们将以《狄波利》为例,这是皮蒂拉最典型的作品,以及他在写作时的思想。首先,我们分析了Raili和Reima Pietila在形式和文化方面的原始主义元素,作为一种创造和加强建筑、领土和社会之间联系的手段。随后,我们将讨论语言作为一种工具的使用,无论是在知识的创造中,还是在建筑的生产中,都是由建筑师来完成的。作者在作品中的存在和他对创作曲目的处理将在接下来的章节中介绍。最后,我们分析了Pietila如何通过将他的建筑与环境联系起来来实现一种整体性。
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引用次数: 0
La domesticidad compartida. Apuntes para una arquitectura no solicitada en Nueva York o en yorks nuevas 共享的家庭。纽约或新约克的一个不受欢迎的建筑笔记
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.01
Verónica Francés Tortosa
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.
家庭生活在公地建构中扮演什么角色?我们穿上潜行者套装往返纽约{}纽约,比例[1:1],现在[永久的,扩大的],城市[特殊的(cta)眼,正面和背面]。在纪律之外的漂移中,我们寻求制度上的国内约束。我们经过自己的房间,房子,广场,学校,世界。我们将一个房间与另一个房间组合在一起,将情感实践作为解放过程连接起来。把食材放在厨房的桌子上,我们摸索那些能促进飞行线和从纪律中溢出的食谱。我们探索烹饪工具来记录和剖析未经请求的架构。我们在投射中变换,编织图像-语言-行动-合唱-叙事的线索,集合变化、缺失、悖论、寓言、异议。我们分享了家庭生活图谱,进行了圆形解剖,并“走出”学院,有意地“回归”我们-他者,模糊了日常技术、主体-客体、研究者-被研究、外国人-居民、未成年人-成为、成为-成为其他世界。在“此时此地”碎片的经纬中,作为我和他人之间的共享坐标,建筑和其他知识盒子从学科框架中分散开来,成为一种共同的回应。
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引用次数: 0
La concejala antropófoga y otras cuestiones de gusto en la narrativa almodovariana. O de la desregulación social a través de los espacios de placer 阿尔莫多瓦叙事中的恐人议员和其他品味问题。或者通过快乐空间放松社会管制
Pub Date : 2016-12-31 DOI: 10.14198/I2.2016.5.07
C. Mateo-Cecilia, M. M. Bartual
"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.
“我很生气。厌倦了男人,厌倦了饮食,厌倦了胶原蛋白,厌倦了吸脂,厌倦了政治,厌倦了一切,唯独没有性,伙计。我是负责社会事务的女议员,无论是在个人层面还是在专业层面,我认为性是一个深刻的社会问题。性快感是每个人都应该获得的东西,没有偏见或限制……”(Pedro Almodovar, 2009) 90年代传播的女性超性化形象,形成了一种新的女性气质的形象,并以自律、勤奋和自我要求的工作作为符合新自由主义计划的社会调节新技术的媒介建构而出现。在这种背景下,佩德罗·阿莫多瓦(Pedro Almodovar) 2009年的短片《食人议员》(the Cannibalistic council)将厨房作为一个叙事空间,从双重意义上嘲弄了所有这些原则。首先,通过空间的使用(或者更确切地说,是消费)来证明食人者的价值观,这种价值观将在2008年之后将西班牙带入危机,在此之前是住房次贷危机和公共部门管理危机。其次,在破坏女性所期望的完美的同时,将快乐的空间和身体的快乐合法化,作为一个更幸福的社会的引擎。这篇文章探讨了我们怪诞的主人公是如何通过这种双重批判来拆解麦克罗比认为的三个后女权主义的典型元素:能动性、赋权和选择自由。
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引用次数: 0
A propósito de ciudades 关于城市
Pub Date : 2016-12-01 DOI: 10.14198/I2.2016.5.14
Andrés Martínez-Medina
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。
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引用次数: 0
¡...Prescindible organizado!: agenda docente para una formulación afectiva y disidente del proyecto arquitectónico ¡...不必要的安排!:建筑项目的情感和异议制定的教学议程
Pub Date : 2016-06-30 DOI: 10.14198/I2.2016.4.12
Enrique José Nieto Fernández
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 .
以下文本与作者2012年6月14日在阿利坎特大学为他的博士论文辩护时阅读的文本相当准确。法庭由雷麦黛丝·扎夫拉、费德里科·索里亚诺、杰西卡·贾克斯、米格尔·安吉尔·埃尔南德斯和胡安·弗莱雷组成。这项工作的负责人是何塞·玛丽亚·托雷斯纳达尔和佩德罗·阿尔贝托·克鲁兹。后生活的,我要给他,告诉他,我发现困惑什么前因后果调查结束了与otrxs muchxs利大学,就是恰好在一个困扰儿童组织无关紧要的东西,一切我不能我们所需的是遵守严格academicas功能。或者用其他术语来说,我带着某种恐惧发现,在任何时候,几乎没有任何曾经让我们兴奋过的东西,似乎都是由机构机器安排的。
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引用次数: 2
El armario. Una serie de kits tecnoafectivos 壁橱里。一系列的技术情感套件
Pub Date : 2016-06-30 DOI: 10.14198/I2.2016.4.08
David Gil Delgado
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
衣柜是我们做自己的地方。这与我们在公共空间的期望相反。我们把我们在外面使用的面具放在里面。它包含了我们的生物材料和社会生产的材料。它不是一个隐喻的空间,而是一个我们总是随身携带的空间,只有在环境允许的情况下才会打开。每个人都可以有自己的衣柜。可大可小,可固定可移动,可封闭可开放。然而,每个人对衣橱的使用和内容都受到其一生中所经历的空间的制约。如果内容“本身”不被这些外部空间接受,也许衣柜永远不敢打开,让主人的情感实现。这个项目的灵感来自于所有那些抵制并试图寻找一个可以打开的空间的橱柜。它是通过两个工作领域发展起来的:一个是碎片化的制图学——试图定义情感生态的练习——另一个是目的性的研究——十个物质场景。这两个工作领域是同时进行的,并仍在进行中,可能会进一步发展。然而,这两种方法都试图阐明情感生态在建筑中的应用,作为一种批评和情感空间命题的工作方法。碎片化的制图学是基于了解、发现和编目——而不是揭示——不同的人类代理人和不同的技术——技术情感设备——成功地打破了某些空间的规则。他们的努力获得了情感上的满足,这在盛行的空间和社会环境中是不被接受的。这些人、社区和技术可以开启一场辩论,并产生适用于建筑方案的教训。其目的是避免对少数民族或我们所处环境的“局外人”的压迫。技术情感套件系列专注于创造n个场景,在n个章节中叙述——在这个时候,在这个背景下将是10个——目的是建立对与建筑相关的某种情感压迫的批判。这些建议旨在加强反规范的“偏差”,以实现一个或多个人类代理人的情感和身体实现。10个情感故事,10个建筑建议,10个规范挑战,10个反对控制的主张,10个社会辩论,10个酷儿空间,10个制度化,10个多重表演,10个自由的尝试,10个平等的努力。我们可以用不同的方式称呼它们。我们也可以单独阅读每个提案,也可以与其他提案相关联。但它们都有相同的目标:打开衣柜。关键词:情感生态学,碎片化制图,技术情感装置,局外人,技术情感套件,反规范偏差,压迫,酷儿空间。
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引用次数: 0
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[i2]: Investigación e Innovación en Arquitectura y Territorio
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