espanolPostproduccion es un termino extraido de la industria audiovisual que alude a todas las operaciones realizadas sobre un material YA grabado o existente: musica, fotografias, videos, peliculas, pinturas, etc. Tiene mayoritariamente un caracter entropico, de liberacion continua e irreversible de energias y nuevos productos reprogramados que revisan productos ya anteriormente reprogramados, y asi de manera sucesiva hasta el infinito. ?Podriamos imaginar una postproduccion de sentido contrario? ?Una postproduccion cuyo esfuerzo tienda a cero? ?Y si ahora preferimos seguir postproduciendo pero haciendolo desde (casi) nada? Si extrapolamos esta otra acepcion directamente hacia la practica arquitectonica, estariamos reivindicando una forma explicita de eficacia donde la manera de proceder (la mejor opcion, la mas sostenible) puede ser precisamente ‘no hacer’ o ‘hacer muy poco’. Una semejanza que nos emparentaria con Bartleby, el personaje de Herman Melville y su celebre frase: “preferiria no hacerlo”. EnglishPostproduction is a technical term from the audiovisual vocabulary used in television, film and video. It refers to the set of processes applied to recorded material. It mainly has an entropic character, which means a continuous and irreversible release of energy and new reprogrammed products, reviewing previously reprogrammed ones in an infinite process. Could we imagine a postproduction towards the opposite direction? A postproduction whose effort tends to zero? What if we now prefer to continue being postproductive but doing it through (almost) nothing? Extrapolating this other meaning directly into architectural practice, we would be reclaiming an explicit form of efficacy where the way of acting (the best choice, the most sustainable) can be ‘doing nothing’ or ‘doing almost nothing’. Something that will connect us to Bartleby, Herman Melville's character and his famous quotation: “I would prefer not to”.
西班牙后期制作是音像产业的一个术语，指的是对已经录制或存在的材料进行的所有操作:音乐、照片、视频、电影、绘画等。它主要具有熵的特征，连续和不可逆的能量释放和重新编程的新产品，修改已经重新编程的产品，因此连续无限。我们能想象一个相反方向的后期制作吗?一个努力为零的后期制作?如果我们现在更喜欢继续后期制作，但(几乎)从零开始呢?如果我们将这一另一种含义直接推断到建筑实践中，我们将主张一种明确的效率形式，在这种形式中，前进的方式(最好的、最可持续的选择)可能恰恰是“不做”或“做得很少”。这让我们想起了巴特比，赫尔曼·梅尔维尔(Herman Melville)饰演的角色，以及他那句名言:“我宁愿不这样做。”英语后期制作是电视、电影和视频中使用的视听词汇的技术术语。它指的是一套适用于记录材料的程序。它主要具有一个热力学特性，这意味着能量的连续和不可知的释放和新的重新编程产品，在一个无限的过程中重新编程。我们能想象一个相反方向的后期制作吗?谁的努力趋向于零?如果我们现在更喜欢继续做后期生产，但几乎什么都不做呢?通过将这一其他意义直接推断到建筑实践中，我们将重新获得一种明确的效率形式，即行为方式(最佳选择、最可持续)可以是“什么都不做”或“几乎什么都不做”。东西that will connect us to Bartleby,赫尔曼·梅尔维尔的查阅以及他cedefop quotation:“I prefer not to会”。
{"title":"Postproduciendo (casi) nada","authors":"José Manuel López Ujaque","doi":"10.14198/I2.2016.4.02","DOIUrl":"https://doi.org/10.14198/I2.2016.4.02","url":null,"abstract":"espanolPostproduccion es un termino extraido de la industria audiovisual que alude a todas las operaciones realizadas sobre un material YA grabado o existente: musica, fotografias, videos, peliculas, pinturas, etc. Tiene mayoritariamente un caracter entropico, de liberacion continua e irreversible de energias y nuevos productos reprogramados que revisan productos ya anteriormente reprogramados, y asi de manera sucesiva hasta el infinito. ?Podriamos imaginar una postproduccion de sentido contrario? ?Una postproduccion cuyo esfuerzo tienda a cero? ?Y si ahora preferimos seguir postproduciendo pero haciendolo desde (casi) nada? Si extrapolamos esta otra acepcion directamente hacia la practica arquitectonica, estariamos reivindicando una forma explicita de eficacia donde la manera de proceder (la mejor opcion, la mas sostenible) puede ser precisamente ‘no hacer’ o ‘hacer muy poco’. Una semejanza que nos emparentaria con Bartleby, el personaje de Herman Melville y su celebre frase: “preferiria no hacerlo”. EnglishPostproduction is a technical term from the audiovisual vocabulary used in television, film and video. It refers to the set of processes applied to recorded material. It mainly has an entropic character, which means a continuous and irreversible release of energy and new reprogrammed products, reviewing previously reprogrammed ones in an infinite process. Could we imagine a postproduction towards the opposite direction? A postproduction whose effort tends to zero? What if we now prefer to continue being postproductive but doing it through (almost) nothing? Extrapolating this other meaning directly into architectural practice, we would be reclaiming an explicit form of efficacy where the way of acting (the best choice, the most sustainable) can be ‘doing nothing’ or ‘doing almost nothing’. Something that will connect us to Bartleby, Herman Melville's character and his famous quotation: “I would prefer not to”.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"28 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":"125972100","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}
By the course of some stories we pretend to test a theory about the connection between art and life, that stands for the relation among spaces, the continuity of art and places, and the narrative intertwining of different artistic practices. We try to register the connection, in both senses, between places and projects, an invisible but real link. Every writer follows human traces among things, the demonstration of a theory about still lifes through our tools, analogy and contrast. This is also the task of art and that was the definition of the origin itself of painting by Plinio, the effort to keep the company of the loved person drawing the shadow on a surface. Art pieces, as architectural projects, should be lines connecting our tables and spaces, our minds and matter, human beings and our world.
{"title":"Enlaces. Relatos sobre la conexión de tiempos y lugares","authors":"Á. M. García-Posada","doi":"10.14198/I2.2016.4.01","DOIUrl":"https://doi.org/10.14198/I2.2016.4.01","url":null,"abstract":"By the course of some stories we pretend to test a theory about the connection between art and life, that stands for the relation among spaces, the continuity of art and places, and the narrative intertwining of different artistic practices. We try to register the connection, in both senses, between places and projects, an invisible but real link. Every writer follows human traces among things, the demonstration of a theory about still lifes through our tools, analogy and contrast. This is also the task of art and that was the definition of the origin itself of painting by Plinio, the effort to keep the company of the loved person drawing the shadow on a surface. Art pieces, as architectural projects, should be lines connecting our tables and spaces, our minds and matter, human beings and our world.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"38 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":"123671551","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 research aims to focus on understanding the space from the point of view of the link between the body and the complex and unstable environment it inhabits. On the one hand, the body with its relationships, actions and affections, stand as the key tool for understanding the dynamics of contemporary spatial production. On the other hand, the inclusion of human scale makes the great stories to vanish in an array of several sensitive bonds that re-humanize architecture and pay attention to the feelings of each person. Thus, it is revealed a narration that places the body as the main character, a body that fluctuates between sub-mission, violence and harmonious relations with other bodies and space. As a case study, the most abject and violent construction has been chosen: the Auschwitz concentration camp; in order to re-think it from the inmates’ affections and to question ourselves the contemporary relationships and actions, which according to the philosopher Michael Foucault they are moving to different surveillance and invisible violence ways. This line of enquire is based on a multitude of cartographies, as an instrument of knowledge, to show architectural narrations through the body. The objective is both to analyse past situations and to think about new spatial opportunities.
{"title":"Narraciones espaciales desde el cuerpo. Una aproximación arquitectónica a las relaciones de sumisión, violencia y armonía","authors":"Víctor Manuel Cano Ciborro","doi":"10.14198/I2.2016.4.04","DOIUrl":"https://doi.org/10.14198/I2.2016.4.04","url":null,"abstract":"This research aims to focus on understanding the space from the point of view of the link between the body and the complex and unstable environment it inhabits. On the one hand, the body with its relationships, actions and affections, stand as the key tool for understanding the dynamics of contemporary spatial production. On the other hand, the inclusion of human scale makes the great stories to vanish in an array of several sensitive bonds that re-humanize architecture and pay attention to the feelings of each person. Thus, it is revealed a narration that places the body as the main character, a body that fluctuates between sub-mission, violence and harmonious relations with other bodies and space. As a case study, the most abject and violent construction has been chosen: the Auschwitz concentration camp; in order to re-think it from the inmates’ affections and to question ourselves the contemporary relationships and actions, which according to the philosopher Michael Foucault they are moving to different surveillance and invisible violence ways. This line of enquire is based on a multitude of cartographies, as an instrument of knowledge, to show architectural narrations through the body. The objective is both to analyse past situations and to think about new spatial opportunities.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"27 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":"124534726","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}
La vida no empieza en el Proyecto Final de Carrera, de arquitectura o de cualquier otra disciplina, porque antes, como estudiantes, hay vida y puede ser muy intensa. Pero desde luego un PFC puede ser un momento clave en el desarrollo posterior de la profesion. A mi debio pasarme eso. En las siguientes paginas extraigo partes del PFC que realice hace cinco anos y trazo conexiones con algunos de los trabajos, de las formas de ser arquitecta y de habitar territorios, que he vivido posteriormente. Mi interes al hacer esto es profundizar un poco mas en lo que pueden ser practicas arquitectonicas desde mundos rurales, desde perspectivas de ecologia politica feminista y desde el deseo de poesia. Son puntos de vista en los que me he situado, motor de los trabajos de prueba y error a continuacion expuestos. Y son puntos de vista perifericos, en los bordes de la disciplina arquitectonica (principalmente los dos primeros). Si este documento tuviera que formularse en clave de pregunta seria: ?Cuales son los procesos y resultados de proyectar arquitectura desde aqui? Tratare de responder definiendo estos bordes.
{"title":"Del PFC a hoy","authors":"M. G. Javaloyes","doi":"10.14198/I2.2016.4.09","DOIUrl":"https://doi.org/10.14198/I2.2016.4.09","url":null,"abstract":"La vida no empieza en el Proyecto Final de Carrera, de arquitectura o de cualquier otra disciplina, porque antes, como estudiantes, hay vida y puede ser muy intensa. Pero desde luego un PFC puede ser un momento clave en el desarrollo posterior de la profesion. A mi debio pasarme eso. En las siguientes paginas extraigo partes del PFC que realice hace cinco anos y trazo conexiones con algunos de los trabajos, de las formas de ser arquitecta y de habitar territorios, que he vivido posteriormente. Mi interes al hacer esto es profundizar un poco mas en lo que pueden ser practicas arquitectonicas desde mundos rurales, desde perspectivas de ecologia politica feminista y desde el deseo de poesia. Son puntos de vista en los que me he situado, motor de los trabajos de prueba y error a continuacion expuestos. Y son puntos de vista perifericos, en los bordes de la disciplina arquitectonica (principalmente los dos primeros). Si este documento tuviera que formularse en clave de pregunta seria: ?Cuales son los procesos y resultados de proyectar arquitectura desde aqui? Tratare de responder definiendo estos bordes.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"81 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":"124893297","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}
An analysis of the stop-motion technique is started because it helps to understand architectural scales where models become future prototypes of building and landscape infrastructures. Stop motion is an animation technique of clay puppets to make a physically manipulated object appears to move on its own in static environments through light, color and sound changes. As same as the stop-motion technique incorporates the best parts of a shooting, architectural models synthesize micro-processes of greater impact- rooms with fluctuations in relative humidity, in temperature, in ventilation and in lighting- by using special effects that are processed in post-production. Several room prototypes are built with fix parameters such as size and camera position and others variable such as materials, light and characters. These settings show a microcosm that gives a sensorial and atmospheric approach. In this way, projects could be places where magic reigns such as the twilight vision of traditional Japanese interiors described by Junichiro Tanizaki who was also linked to ambient conditions and changing moods in his texts and where it is possible to take advantage of the imperfection of handmade models used by Tim Burton which have texture that digital technologies cannot reproduce. The aim is to get a micro-scale for applying in the process that analyzes an intermediate scale where the architecture model needs to be tested by some atmospheric conditions such as a wind tunnel; and, finally, in the macro-scale where weather simulations on a landscape model such as a sector of the coast or the river are the main characters to test future flooding and prepare prevention and security measures.
{"title":"La aplicación de stop-motion en arquitectura: materia y luz","authors":"C. J. Camacho","doi":"10.14198/I2.2016.4.03","DOIUrl":"https://doi.org/10.14198/I2.2016.4.03","url":null,"abstract":"An analysis of the stop-motion technique is started because it helps to understand architectural scales where models become future prototypes of building and landscape infrastructures. Stop motion is an animation technique of clay puppets to make a physically manipulated object appears to move on its own in static environments through light, color and sound changes. As same as the stop-motion technique incorporates the best parts of a shooting, architectural models synthesize micro-processes of greater impact- rooms with fluctuations in relative humidity, in temperature, in ventilation and in lighting- by using special effects that are processed in post-production. Several room prototypes are built with fix parameters such as size and camera position and others variable such as materials, light and characters. These settings show a microcosm that gives a sensorial and atmospheric approach. In this way, projects could be places where magic reigns such as the twilight vision of traditional Japanese interiors described by Junichiro Tanizaki who was also linked to ambient conditions and changing moods in his texts and where it is possible to take advantage of the imperfection of handmade models used by Tim Burton which have texture that digital technologies cannot reproduce. The aim is to get a micro-scale for applying in the process that analyzes an intermediate scale where the architecture model needs to be tested by some atmospheric conditions such as a wind tunnel; and, finally, in the macro-scale where weather simulations on a landscape model such as a sector of the coast or the river are the main characters to test future flooding and prepare prevention and security measures.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"91 12 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":"129875538","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}
Architects and urban planners have traditionally considered social sciences to learn their tools, particularly the ones that allow them to analyse and describe the environments and the people for whom they work. This has led architects to develop better tools of observation and description of the social realm and not only the material one. Nevertheless, most of the times this interdisciplinary approach has identified social sciences, and specially anthropology, with ethnography. This paper departs from the critique of this identification made by anthropologist Tim Ingold and focuses in what he proposes is the core method of anthropology, participant observation. Then it reviews several recent proposals of social scientists who are searching for a non-representational more future oriented discipline. Which is an aim more related to that of architects. This paper tries to imagine how this transdisciplinary practice could look like.
{"title":"An Architecture by means of Anthropology. Beyond learning the tools of social science","authors":"E. Alemany","doi":"10.14198/I2.2016.4.05","DOIUrl":"https://doi.org/10.14198/I2.2016.4.05","url":null,"abstract":"Architects and urban planners have traditionally considered social sciences to learn their tools, particularly the ones that allow them to analyse and describe the environments and the people for whom they work. This has led architects to develop better tools of observation and description of the social realm and not only the material one. Nevertheless, most of the times this interdisciplinary approach has identified social sciences, and specially anthropology, with ethnography. This paper departs from the critique of this identification made by anthropologist Tim Ingold and focuses in what he proposes is the core method of anthropology, participant observation. Then it reviews several recent proposals of social scientists who are searching for a non-representational more future oriented discipline. Which is an aim more related to that of architects. This paper tries to imagine how this transdisciplinary practice could look like.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"74 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":"132135298","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}
Digital fabrication is meant to be a Third Digital Revolution, after those of computation and communication. As happened with the two preceding revolutions, great expectations have arisen around its political virtualities to promote freer and more horizontal production relations and more autonomous individuals. However, as happened before with computation and communication, actual events are showing that these alleged virtualities won't become actual without strong determination, organization and work by social and technical activists. The case of the corporate acquisition of open hardware pioneering company, Makerbot, is discussed as an example and turning point of the initial optimism among the new generation of tech-visionaries. A set of possible strategies to promote a free & open source digital fabrication ecosystem is discussed as a conclusion.
{"title":"Digital Fabrication and Free Culture. One More Minor Becoming","authors":"José Luis Pérez de Lama Halcón","doi":"10.14198/I2.2016.4.06","DOIUrl":"https://doi.org/10.14198/I2.2016.4.06","url":null,"abstract":"Digital fabrication is meant to be a Third Digital Revolution, after those of computation and communication. As happened with the two preceding revolutions, great expectations have arisen around its political virtualities to promote freer and more horizontal production relations and more autonomous individuals. However, as happened before with computation and communication, actual events are showing that these alleged virtualities won't become actual without strong determination, organization and work by social and technical activists. The case of the corporate acquisition of open hardware pioneering company, Makerbot, is discussed as an example and turning point of the initial optimism among the new generation of tech-visionaries. A set of possible strategies to promote a free & open source digital fabrication ecosystem is discussed as a conclusion.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"26 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":"127423457","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":"Estructuras del líder","authors":"Rubén Gómez Radioboy","doi":"10.14198/i2.2016.4.11","DOIUrl":"https://doi.org/10.14198/i2.2016.4.11","url":null,"abstract":"","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"4 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":"129049658","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}
Tretya meshchanskaya es el titulo de la pelicula muda filmada en 1927 y dirigida por el cineasta ruso Abram Matveyevich Room. La traduccion literal, Cama y sofa, alude a dos de los muebles de la pequena vivienda de la calle meshchanskaya, mobiliario donde poder dormir y sonar. En el film, las calles, las plazas de la ciudad de Moscu o el interior de la vivienda, conforman un escenario donde Nikolai, oficial de la construccion, Volodia, oficial de imprenta, y Liudmila, ama de casa, se ganan la vida en la capital Sovietica. La pelicula, mas que el interes que puede causar la historia en si, posibilita entablar relaciones interpretables hoy, desde una opinion, que conforman relaciones entre casa y ciudad propiamente.
{"title":"El cubre de la cama y el sofá en una casa de la calle meshchanskaya. Sobre Viktor Shklovsky y la percepción de los objetos","authors":"Carlos Barberá Pastor","doi":"10.14198/I2.2016.4.07","DOIUrl":"https://doi.org/10.14198/I2.2016.4.07","url":null,"abstract":"Tretya meshchanskaya es el titulo de la pelicula muda filmada en 1927 y dirigida por el cineasta ruso Abram Matveyevich Room. La traduccion literal, Cama y sofa, alude a dos de los muebles de la pequena vivienda de la calle meshchanskaya, mobiliario donde poder dormir y sonar. En el film, las calles, las plazas de la ciudad de Moscu o el interior de la vivienda, conforman un escenario donde Nikolai, oficial de la construccion, Volodia, oficial de imprenta, y Liudmila, ama de casa, se ganan la vida en la capital Sovietica. La pelicula, mas que el interes que puede causar la historia en si, posibilita entablar relaciones interpretables hoy, desde una opinion, que conforman relaciones entre casa y ciudad propiamente.","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"2 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":"117036459","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}
Workshops have become a common practice in the academic world of architecture and in participatory community building. During the workshop implementation, interviews to local residents is one of the fundamental phases. This paper develops a mapping technique to visualize the results of a series of individual structured interviews , taking as study case a workshop realized in a Japanese provincial town (Ichikawamisato) with the aim of revitalizing its urban core. The paper makes a detailed description of the research method and the visualization technique. It also includes a discussion about the generalization of the kind of qualitative research conducted in this study through the concepts of analytic generalization and case-to-case transferability of knowledge .
{"title":"Mapping subjectivities through interviews: A design workshop in a Japanese provincial town","authors":"Gaku Inoue, Moe Kusano, J. Almazán","doi":"10.14198/I2.2015.3.06","DOIUrl":"https://doi.org/10.14198/I2.2015.3.06","url":null,"abstract":"Workshops have become a common practice in the academic world of architecture and in participatory community building. During the workshop implementation, interviews to local residents is one of the fundamental phases. This paper develops a mapping technique to visualize the results of a series of individual structured interviews , taking as study case a workshop realized in a Japanese provincial town (Ichikawamisato) with the aim of revitalizing its urban core. The paper makes a detailed description of the research method and the visualization technique. It also includes a discussion about the generalization of the kind of qualitative research conducted in this study through the concepts of analytic generalization and case-to-case transferability of knowledge .","PeriodicalId":298878,"journal":{"name":"[i2]: Investigación e Innovación en Arquitectura y Territorio","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126061756","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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