Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4835
M. P. Moreno Moreno
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4821
Noemí Gómez Lobo, Diego Martín Sánchez
ResumenContar una historia (monogatari) sobre la cocina japonesa conlleva inevitablemente una reflexión sobre la tipología arquitectónica más célebre del país: la casa unifamiliar. Después de la Segunda Guerra Mundial, la vivienda unifamiliar se convirtió en la unidad básica que conformó el paisaje urbano japonés. El rápido crecimiento económico dio lugar a un claro patrón no sólo en el mercado de la vivienda, sino también en la composición familiar. Influenciados por modelos occidentales, los roles de género convencionales se encarnaron en el hombre asalariado (salaryman), relacionado con los centros corporativos, y el ama de casa a tiempo completo (sengyō shufu), asociada al espacio doméstico. Entre todas las piezas habitacionales, la cocina era la más clara en su premisa: el lugar donde la mujer cocina. Esta construcción social estaba codificada en su articulación espacial, ya que solía estar aislada del resto de las habitaciones, posicionada en el fondo de la casa. Las arquitectas y arquitectos japoneses han desafiado estas convenciones mediante diseños de casas radicales, a menudo elogiadas por su pequeñez, blancura y ligereza. Sin embargo, resulta necesario ir más allá de esta ‘fetichización’ para evaluar estas propuestas conforme a las relaciones que plantean. Sus atrevidos diseños no sólo son innovadores en términos formales, sino que van más allá, subvirtiendo las nociones normativas de domesticidad y sugiriendo diversas ‘performatividades’ en la arquitectura. La cocina es a menudo el lugar donde la experimentación es más evidente, materializando ingeniosos conceptos en los modos de habitar. Las cuestiones relativas a la tecnología, la economía y, sobre todo, el género se despliegan en este lugar de trabajo doméstico. Conectada o aislada, visible u oculta, la cocina cristaliza las relaciones de poder a través de acciones arquitectónicas. Desde una perspectiva crítica de género, este artículo aborda las casas japonesas desde el siglo XX hasta la actualidad, mostrando diversas estrategias y exponiendo aquellos principios arquitectónicos y convenciones sociales contra los que se rebelan. Estas casas fomentan la creación de realidades alternativas, trastocando las ideas preconcebidas de lo que es una cocina, una casa o una familia.AbstractTelling a story (monogatari) about the Japanese kitchen inevitably entails reflecting on the most celebrated architectural typology in the country, the detached house. After World War II, it became the basic unit that shaped the Japanese urban landscape. Rapid economic growth resulted in a clear pattern not only in the housing market but also in family composition. Influenced by western models, conventional gender roles were embodied in the breadwinner (salaryman), related to corporate centers, and the full-time homemaker (sengyō shufu), associated with the domestic space. Among all the rooms, the kitchen was the clearest in its premise: the place where the wife cooks. This gender construct was encoded in i
{"title":"Daidokoro Monogatari: historias de la casa japonesa desde la cocina","authors":"Noemí Gómez Lobo, Diego Martín Sánchez","doi":"10.20868/cpa.2021.11.4821","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4821","url":null,"abstract":"ResumenContar una historia (monogatari) sobre la cocina japonesa conlleva inevitablemente una reflexión sobre la tipología arquitectónica más célebre del país: la casa unifamiliar. Después de la Segunda Guerra Mundial, la vivienda unifamiliar se convirtió en la unidad básica que conformó el paisaje urbano japonés. El rápido crecimiento económico dio lugar a un claro patrón no sólo en el mercado de la vivienda, sino también en la composición familiar. Influenciados por modelos occidentales, los roles de género convencionales se encarnaron en el hombre asalariado (salaryman), relacionado con los centros corporativos, y el ama de casa a tiempo completo (sengyō shufu), asociada al espacio doméstico. Entre todas las piezas habitacionales, la cocina era la más clara en su premisa: el lugar donde la mujer cocina. Esta construcción social estaba codificada en su articulación espacial, ya que solía estar aislada del resto de las habitaciones, posicionada en el fondo de la casa. Las arquitectas y arquitectos japoneses han desafiado estas convenciones mediante diseños de casas radicales, a menudo elogiadas por su pequeñez, blancura y ligereza. Sin embargo, resulta necesario ir más allá de esta ‘fetichización’ para evaluar estas propuestas conforme a las relaciones que plantean. Sus atrevidos diseños no sólo son innovadores en términos formales, sino que van más allá, subvirtiendo las nociones normativas de domesticidad y sugiriendo diversas ‘performatividades’ en la arquitectura. La cocina es a menudo el lugar donde la experimentación es más evidente, materializando ingeniosos conceptos en los modos de habitar. Las cuestiones relativas a la tecnología, la economía y, sobre todo, el género se despliegan en este lugar de trabajo doméstico. Conectada o aislada, visible u oculta, la cocina cristaliza las relaciones de poder a través de acciones arquitectónicas. Desde una perspectiva crítica de género, este artículo aborda las casas japonesas desde el siglo XX hasta la actualidad, mostrando diversas estrategias y exponiendo aquellos principios arquitectónicos y convenciones sociales contra los que se rebelan. Estas casas fomentan la creación de realidades alternativas, trastocando las ideas preconcebidas de lo que es una cocina, una casa o una familia.AbstractTelling a story (monogatari) about the Japanese kitchen inevitably entails reflecting on the most celebrated architectural typology in the country, the detached house. After World War II, it became the basic unit that shaped the Japanese urban landscape. Rapid economic growth resulted in a clear pattern not only in the housing market but also in family composition. Influenced by western models, conventional gender roles were embodied in the breadwinner (salaryman), related to corporate centers, and the full-time homemaker (sengyō shufu), associated with the domestic space. Among all the rooms, the kitchen was the clearest in its premise: the place where the wife cooks. This gender construct was encoded in i","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48087103","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}
Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4833
Jesús Lazcano López
AbstractFor the construction of the Overlook Hotel (The Shining, 1980) Stanley Kubrick recreates, at Elstree Studios in London, 1:1 scale replicas of different fragments of hotels, motels, and vacation resorts scattered throughout the United States. Through a meticulous work of observing photographs and making models, sets of the different areas that make up the hotel are built. Kubrick composes an architecture that emerges from a fragmentary, constructed and assembled body which, through the narrative possibilities offered by the Steadicam and montage, is transformed into a seemingly unitary filmic space. The hotel is rendered as a plausible architecture; however, it is full of paradoxes, external references, subtexts, and spatial impossibilities—which emerge with an attentive viewing of the film—through a persistent subversion of the logics of space. Using models, photographs, and interviews, and comparing them with the film, plans of the different areas of the Overlook Hotel are drawn up with the aim of reflecting on the intention of their possible assembly. They are also drawn with the aim of reflecting on the existing link between the narrative structure of the film, based on intertwining times and spaces, and the way in which the sets come together on screen. Through an analysis based on architectural expression, the article will study some of these spatial inconsistencies to speculate on a possible interpretation of the film in which architecture plays a central role from its conception, not only due to the importance of its sets during the production and filming stages, but also on an iconographic and narrative level.
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Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4825
María Pura Moreno Moreno
ResumenEn el libro Construir y habitar. Una ética para la ciudad (2019) Richard Sennet relataba cómo conversando sobre la ciudad con Jane Jacobs, la activista norteamericana le planteó la sugerente cuestión “¿…entonces tú qué harías?”. Un interrogante referido a plantear cómo coordinar los conceptos diferenciados de ville, entendida como la materialidad física de lo urbano, y el de cité relativo a las percepciones, comportamientos y creencias de la población habitante. La cuestión pretendía indagar sobre las posibilidades de pautar cuál era la relación directa entre la forma material del entorno urbano y los aspectos relativos a lo social -a la poliscomo ciudadanía, justicia, cohesión, o buen habitar. Y también sobre qué planteamientos asumir en términos de espacialidad, materialidad, trazados o infraestructura para modelar una ville capaz de producir una mejor cité. Richard Sennett, en este nuevo texto, pretende dar respuestas a Jane Jacobs gracias a la cooperación de las disciplinas de la arquitectura y el urbanismo expuestas por el investigador Pablo Sendra. Una aportación que complementa aspectos sociológicos y políticos con el pragmatismo de exponer recursos concretos del ámbito del proyecto urbano; tales como infraestructuras abiertas y flexibles capaces de dar una solución a esa deseada sinergia entre villey cité. La sincronía del discurso teórico y la realidad material del proyecto, junto a su concreción en experimentos urbanos analizados, son los dos valores más interesantes y destacables del libro. El aterrizaje al grafismo real y pragmático de un plano, asociado a especificar qué sucede en capas invisibles como el debajo y el encima de la cota cero en la sección del territorio de la ciudad, y cuales son sus flujos, merecen una atenta lectura. E invitan a investigar a través de la estrecha colaboración entre disciplinas -antropología, sociología, geografía, etc.-difíciles de obviar en cualquier proyecto urbano.AbstractIn the book Building and Dwelling. Ethics for the City (2019), Richard Sennett recounted how, when talking about the city with Jane Jacobs, the influential North American journalist, author, theorist, and activist posed the suggestive question: “So what would you do?”. A question aimed at making one think about how to coordinate the different concepts of the ville, understood as the physical materiality of what is urban, and the cité, what we take to be the perceptions, behaviors, and beliefs of urban inhabitants. The question sought to investigate the possibilities of establishing the direct relationship between the material form of the urban environment and the aspects related to the social—to the polis, such as citizenship, justice, cohesion, or living well. Besides this, it also served to consider what approaches to take in terms of spatiality, materiality, layouts, or infrastructure and thus model an urban environment capable of producing a better cité. Richard Sennett, in this new text, attempts to offer answers to J
总结《建筑与居住》一书。理查德·塞内特(Richard Sennet)讲述了这位美国活动家在与简·雅各布斯(Jane Jacobs)谈论这座城市时，如何提出了一个暗示性的问题:“那么你会怎么做?”这个问题涉及如何协调ville的不同概念，被理解为城市的物理物质性，以及cite的不同概念，涉及居民的感知、行为和信仰。这个问题的目的是研究在城市环境的物质形式和社会方面(如公民身份、正义、凝聚力或良好的居住)之间建立直接关系的可能性。以及在空间、物质性、布局或基础设施方面采取哪些方法来塑造一个能够产生更好的cite的城市。Richard Sennett，在这个新文本中，试图通过研究人员Pablo Sendra展示的建筑和城市主义学科的合作来回答Jane Jacobs。这一贡献补充了社会学和政治方面的实用主义，揭示了城市项目领域的具体资源;例如开放和灵活的基础设施，能够为villey cite之间所需的协同提供解决方案。理论话语和项目的物质现实的同步，以及它在分析的城市实验中的具体化，是本书中最有趣和最突出的两个价值。从这个意义上说，它是一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式，一种艺术形式。他们邀请人们通过人类学、社会学、地理学等学科之间的密切合作进行研究，这些学科在任何城市项目中都难以忽视。他的父亲是一名律师，母亲是一名律师。《城市伦理》(2019)，理查德·塞内特(Richard Sennett)在与有影响力的北美记者、作家、理论家和活动家简·雅各布斯(Jane Jacobs)谈论城市时，讲述了一个具有暗示意义的问题:“那么你想做什么?”问题在making one think about how to回转不同概念《ville,不言而喻,as the physical materiality of what is urban, and the cite, what we take to be the perceptions behaviors, and计划署of urban inhabitants。该问题旨在探讨在城市环境的物质形式与城邦的社会方面(如公民身份、正义、凝聚力或良好生活)之间建立直接关系的可能性。除此之外，它还有助于考虑在空间、物质、布局或基础设施方面采取什么办法，从而建立一个能够产生更好城市的城市环境。Richard Sennett in this new text,任何to offer问答to雅各布斯’问题,with the help to the合作between the约束of architecture and urban planning,介绍了by Pablo Sendra先生。这一贡献补充了社会学和政治方面，同时揭示了城市规划中特定资源的实用主义，例如开放和灵活的基础设施，能够为城市和城市之间所期望的协同作用提供解决方案。The synchronicity of The理论discourse and The project’s reality,材料在一起with its materialization in The urban experiments analyzed, are The two most interesting and remarkable价值观of The book。The real and pragmatic graphic查阅of a计划,支持针对隐形发生layers,如那些以下和在level zero in The section of The city’s territory and how they flow, deserve a careful阅读。ideas邀请你与人类学或社会学等学科密切合作进行研究，这些学科在任何城市项目中都不应被忽视。
{"title":"Menos yo, más otros. A propósito de diseñar el desorden. Experimentos y disrupciones en la ciudad, de Pablo Sendra y Richard Sennett","authors":"María Pura Moreno Moreno","doi":"10.20868/cpa.2021.11.4825","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4825","url":null,"abstract":"ResumenEn el libro Construir y habitar. Una ética para la ciudad (2019) Richard Sennet relataba cómo conversando sobre la ciudad con Jane Jacobs, la activista norteamericana le planteó la sugerente cuestión “¿…entonces tú qué harías?”. Un interrogante referido a plantear cómo coordinar los conceptos diferenciados de ville, entendida como la materialidad física de lo urbano, y el de cité relativo a las percepciones, comportamientos y creencias de la población habitante. La cuestión pretendía indagar sobre las posibilidades de pautar cuál era la relación directa entre la forma material del entorno urbano y los aspectos relativos a lo social -a la poliscomo ciudadanía, justicia, cohesión, o buen habitar. Y también sobre qué planteamientos asumir en términos de espacialidad, materialidad, trazados o infraestructura para modelar una ville capaz de producir una mejor cité. Richard Sennett, en este nuevo texto, pretende dar respuestas a Jane Jacobs gracias a la cooperación de las disciplinas de la arquitectura y el urbanismo expuestas por el investigador Pablo Sendra. Una aportación que complementa aspectos sociológicos y políticos con el pragmatismo de exponer recursos concretos del ámbito del proyecto urbano; tales como infraestructuras abiertas y flexibles capaces de dar una solución a esa deseada sinergia entre villey cité. La sincronía del discurso teórico y la realidad material del proyecto, junto a su concreción en experimentos urbanos analizados, son los dos valores más interesantes y destacables del libro. El aterrizaje al grafismo real y pragmático de un plano, asociado a especificar qué sucede en capas invisibles como el debajo y el encima de la cota cero en la sección del territorio de la ciudad, y cuales son sus flujos, merecen una atenta lectura. E invitan a investigar a través de la estrecha colaboración entre disciplinas -antropología, sociología, geografía, etc.-difíciles de obviar en cualquier proyecto urbano.AbstractIn the book Building and Dwelling. Ethics for the City (2019), Richard Sennett recounted how, when talking about the city with Jane Jacobs, the influential North American journalist, author, theorist, and activist posed the suggestive question: “So what would you do?”. A question aimed at making one think about how to coordinate the different concepts of the ville, understood as the physical materiality of what is urban, and the cité, what we take to be the perceptions, behaviors, and beliefs of urban inhabitants. The question sought to investigate the possibilities of establishing the direct relationship between the material form of the urban environment and the aspects related to the social—to the polis, such as citizenship, justice, cohesion, or living well. Besides this, it also served to consider what approaches to take in terms of spatiality, materiality, layouts, or infrastructure and thus model an urban environment capable of producing a better cité. Richard Sennett, in this new text, attempts to offer answers to J","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43743820","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}
Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4824
Esteban Salcedo Sánchez
ResumenA mediados de los años setenta, en Madrid, es posible identificar una serie de experiencias que fueron más allá de la práctica arquitectónica tradicional, de los dominios establecidos de la academia y de la dinámica habitual de las actividades editoriales e institucionales. Las galerías de arte, con sus publicaciones, comisarios, coleccionistas, críticos y visitantes, resultaron un escenario prolífico para una red informal de agentes e instituciones que, a través de la programación de eventos de diversos formatos, instituyeron una mediación activa en la formación crítica de la ciudadanía. El seminario “Nuevos Comportamientos Artísticos”, celebrado en el Instituto Alemán de Madrid a lo largo de 1974, fue uno de estos acontecimientos. Su galería resultó ser pionera en la muestra de prácticas vinculadas al arte y al diseño, que promovían abiertamente su expansión hacia otros campos del conocimiento amparadas en una interpretación local de lo que se bautizó en España como “arte de concepto”. La acción ‘Encuesta a 24 galerías de Arte de Madrid’ con la que el colectivo multidisciplinar Grup de Treball (GdT) contribuyó en dicho seminario, sirve aquí para ilustrar la activación de esta red de galerías como un ‘contra-proyecto’. Un acto de diseño, apoyándose en la definición que Peter Eisenman hace de la ‘Arquitectura Conceptual’, que trasciende a lo artístico y lo contestatario para ofrecer una alternativa. La exposición de la encuesta y el conjunto de datos que se extraen de ella, acumulan los valores de lenguaje, interfaz, plataforma y medio necesarios para redefinir el marco de relaciones entre sus participantes y conformar en su asociación una comunidad con la capacidad de ser un Museo. Una institución inmaterial, fragmentaria y heterogénea que cuestiona las relaciones convencionales entre el arte, la ciudadanía y el mercado.AbstractIn the mid-1970s in Madrid, it’s possible to identify a series of experiences that went beyond traditional architectural practice, the established domains of academia and the usual dynamics of editorial and institutional activities. The art galleries, with their publications, curators, collectors, critics and visitors, proved to be a prolific setting for an informal network of agents and institutions that, through programming events of various formats, instituted an active mediation in the critical formation of the citizenry. The seminar “Nuevos Comportamientos Artísticos” (“New Artistic Behaviors”), held at the Madrid’s German Institute in 1974, was one of these events. Its gallery proved to be a pioneer in the exhibition of practices linked to art and design, which openly promoted their expansion into other fields of knowledge based on a local interpretation of what was noticed in Spain as “conceptual art”. The action “Survey of 24 art galleries in Madrid,” was the contribution to the seminar of the multidisciplinary collective Grup de Treball (GdT), and serves here to illustrate the activation of this network of
回顾70年代中期，在马德里，我们可以确定一系列超越传统建筑实践的经验，学院的既定领域，以及编辑和机构活动的通常动态。艺术画廊及其出版物、策展人、收藏家、评论家和参观者成为一个由代理人和机构组成的非正式网络的多产舞台，通过各种形式的活动安排，在公民的批判性形成中建立了积极的调解。1974年在马德里的德国研究所举行的“新艺术行为”研讨会就是这样一项活动。他的画廊被证明是与艺术和设计相关的实践展示的先驱，这公开促进了他向其他知识领域的扩展，支持了在西班牙被称为“概念艺术”的当地解释。多学科团体Treball group (GdT)参与的“马德里24家艺术画廊调查”行动，在这里说明了这个画廊网络作为一个“反项目”的激活。这是一种设计行为，基于Peter Eisenman对“概念建筑”的定义，它超越了艺术和抗议，提供了一种替代。调查的曝光和从中提取的数据集，积累了必要的语言、界面、平台和媒介的价值，以重新定义参与者之间的关系框架，并在他们的协会中形成一个有能力成为博物馆的社区。一个非物质的、支离破碎的、异质的机构，质疑艺术、公民和市场之间的传统关系。抽象20世纪70年代中期在马德里，我们可以确定一系列超越传统建筑实践的经验、学术界的既定领域以及编辑和机构活动的通常动态。美术馆及其出版物、策展人、收藏家、评论家和参观者证明是一个多产的机构和机构非正式网络的环境，通过各种形式的活动安排，在公民的批判性形成中建立了积极的中介作用。1974年在马德里德国研究所举办的“新艺术行为”研讨会就是其中之一。它的画廊被证明是展示与艺术和设计有关的实践的先驱，这些实践公开促进了它们扩展到其他知识领域，基于对西班牙所谓的“概念艺术”的当地解释。“马德里24家艺术画廊的调查”行动是对Treball多学科集体小组(GdT)研讨会的贡献，并在这里说明了这个画廊网络作为一个“反项目”的激活。《设计法案》，基于Peter Eisenman对“概念建筑”的定义，超越了艺术和争议，提供了一种替代方案。调查的答案展览积累了语言、界面、平台和媒介的价值，这是重新定义调查参与者之间关系框架所必需的。该协会聚集了一个有能力成为博物馆的社区:一个非物质化、碎片化和异质性的机构，挑战了艺术、公民和市场之间的传统关系。
{"title":"24 galerías, un museo: la encuesta como instrumento de diseño","authors":"Esteban Salcedo Sánchez","doi":"10.20868/cpa.2021.11.4824","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4824","url":null,"abstract":"ResumenA mediados de los años setenta, en Madrid, es posible identificar una serie de experiencias que fueron más allá de la práctica arquitectónica tradicional, de los dominios establecidos de la academia y de la dinámica habitual de las actividades editoriales e institucionales. Las galerías de arte, con sus publicaciones, comisarios, coleccionistas, críticos y visitantes, resultaron un escenario prolífico para una red informal de agentes e instituciones que, a través de la programación de eventos de diversos formatos, instituyeron una mediación activa en la formación crítica de la ciudadanía. El seminario “Nuevos Comportamientos Artísticos”, celebrado en el Instituto Alemán de Madrid a lo largo de 1974, fue uno de estos acontecimientos. Su galería resultó ser pionera en la muestra de prácticas vinculadas al arte y al diseño, que promovían abiertamente su expansión hacia otros campos del conocimiento amparadas en una interpretación local de lo que se bautizó en España como “arte de concepto”. La acción ‘Encuesta a 24 galerías de Arte de Madrid’ con la que el colectivo multidisciplinar Grup de Treball (GdT) contribuyó en dicho seminario, sirve aquí para ilustrar la activación de esta red de galerías como un ‘contra-proyecto’. Un acto de diseño, apoyándose en la definición que Peter Eisenman hace de la ‘Arquitectura Conceptual’, que trasciende a lo artístico y lo contestatario para ofrecer una alternativa. La exposición de la encuesta y el conjunto de datos que se extraen de ella, acumulan los valores de lenguaje, interfaz, plataforma y medio necesarios para redefinir el marco de relaciones entre sus participantes y conformar en su asociación una comunidad con la capacidad de ser un Museo. Una institución inmaterial, fragmentaria y heterogénea que cuestiona las relaciones convencionales entre el arte, la ciudadanía y el mercado.AbstractIn the mid-1970s in Madrid, it’s possible to identify a series of experiences that went beyond traditional architectural practice, the established domains of academia and the usual dynamics of editorial and institutional activities. The art galleries, with their publications, curators, collectors, critics and visitors, proved to be a prolific setting for an informal network of agents and institutions that, through programming events of various formats, instituted an active mediation in the critical formation of the citizenry. The seminar “Nuevos Comportamientos Artísticos” (“New Artistic Behaviors”), held at the Madrid’s German Institute in 1974, was one of these events. Its gallery proved to be a pioneer in the exhibition of practices linked to art and design, which openly promoted their expansion into other fields of knowledge based on a local interpretation of what was noticed in Spain as “conceptual art”. The action “Survey of 24 art galleries in Madrid,” was the contribution to the seminar of the multidisciplinary collective Grup de Treball (GdT), and serves here to illustrate the activation of this network of","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47918109","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}
Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4828
Luz Carruthers
ResumenEsta investigación propone estudiar la intersección entre la arquitectura del s. XXI y la infraestructura, entendida como hecho físico y concepto abstracto, a través de la noción de espacio infraestructura. Desde la década del 60’, la definición de infraestructura se ha desplazado hacia una versión más conceptual, moviéndose entre distintas disciplinas, desde las ingenierías a las humanidades. En la actualidad, a su condición material como sistema urbano se le superpone su potencialidad como herramienta transdisciplinar capaz de explicar fenómenos económicos, sociológicos y políticos. Su doble condición material-conceptual y su capacidad de operar a múltiples escalas obligan a ampliar una vez más el significado de infraestructura, abriendo paso al concepto de espacio infraestructura. La hipótesis de este artículo es que el espacio infraestructura es un dispositivo práctico y teórico extraído de las lógicas infraestructurales, que se consolida como herramienta de proyecto en la arquitectura contemporánea. Esta arquitectura ya no busca reproducir el modelo infraestructural, sino sus lógicas, lo cual le da libertad para aplicarlas en el proyecto, con independencia de la escala y el programa del que se ocupe. Para demostrarlo se postularán los conceptos de infraestructura y espacio infraestructura, los cuáles serán contrastados con una serie de obras de arquitectura con el fin de exponer las estrategias proyectuales específicas que surgen de esta relación, dando como resultado el espacio infraestructura. AbstractThe purpose of this research is to study the intersection between 21st century architecture and infrastructure, understood as a physical fact as well as an abstract concept, through the notion of Infrastructure Space. Since the 1960s, the definition of infrastructure has been changed towards a conceptual version, moving among different disciplines, from Engineering to Humanities. At present, its material condition as an urban system is overwritten with its potentiality, as a transdisciplinary tool, which can explain economic, political, sociological and urban phenomena. Its double material-conceptual condition and its capacity to operate in multiple scales oblige us to expand once again the meaning of infrastructure, opening up to the concept of infrastructure space. This paper hypothesis relies on the fact that infrastructure space is a practical and theoretical device, extracted from infrastructural logics, which is consolidated as a design instrument in contemporary architecture. This new architecture seeks no longer to reproduce the infrastructural model but its logic. This allows us to apply them in the project with independence with respect to the scale and the program involved. To prove this, two concepts of infrastructure and infrastructure space will be postulated, which will be compared to several architectural works in order to show specific project strategies derived from this relation, resulting in infrastructure space.
{"title":"Infrastructure space: lógicas operativas en la práctica arquitectónica del siglo XXI","authors":"Luz Carruthers","doi":"10.20868/cpa.2021.11.4828","DOIUrl":"https://doi.org/10.20868/cpa.2021.11.4828","url":null,"abstract":"ResumenEsta investigación propone estudiar la intersección entre la arquitectura del s. XXI y la infraestructura, entendida como hecho físico y concepto abstracto, a través de la noción de espacio infraestructura. Desde la década del 60’, la definición de infraestructura se ha desplazado hacia una versión más conceptual, moviéndose entre distintas disciplinas, desde las ingenierías a las humanidades. En la actualidad, a su condición material como sistema urbano se le superpone su potencialidad como herramienta transdisciplinar capaz de explicar fenómenos económicos, sociológicos y políticos. Su doble condición material-conceptual y su capacidad de operar a múltiples escalas obligan a ampliar una vez más el significado de infraestructura, abriendo paso al concepto de espacio infraestructura. La hipótesis de este artículo es que el espacio infraestructura es un dispositivo práctico y teórico extraído de las lógicas infraestructurales, que se consolida como herramienta de proyecto en la arquitectura contemporánea. Esta arquitectura ya no busca reproducir el modelo infraestructural, sino sus lógicas, lo cual le da libertad para aplicarlas en el proyecto, con independencia de la escala y el programa del que se ocupe. Para demostrarlo se postularán los conceptos de infraestructura y espacio infraestructura, los cuáles serán contrastados con una serie de obras de arquitectura con el fin de exponer las estrategias proyectuales específicas que surgen de esta relación, dando como resultado el espacio infraestructura. AbstractThe purpose of this research is to study the intersection between 21st century architecture and infrastructure, understood as a physical fact as well as an abstract concept, through the notion of Infrastructure Space. Since the 1960s, the definition of infrastructure has been changed towards a conceptual version, moving among different disciplines, from Engineering to Humanities. At present, its material condition as an urban system is overwritten with its potentiality, as a transdisciplinary tool, which can explain economic, political, sociological and urban phenomena. Its double material-conceptual condition and its capacity to operate in multiple scales oblige us to expand once again the meaning of infrastructure, opening up to the concept of infrastructure space. This paper hypothesis relies on the fact that infrastructure space is a practical and theoretical device, extracted from infrastructural logics, which is consolidated as a design instrument in contemporary architecture. This new architecture seeks no longer to reproduce the infrastructural model but its logic. This allows us to apply them in the project with independence with respect to the scale and the program involved. To prove this, two concepts of infrastructure and infrastructure space will be postulated, which will be compared to several architectural works in order to show specific project strategies derived from this relation, resulting in infrastructure space.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49424314","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}
Pub Date : 2021-12-27DOI: 10.20868/cpa.2021.11.4838
Luz Carruthers
AbstractThe purpose of this research is to study the intersection between 21st century architecture and infrastructure, understood as a physical fact as well as an abstract concept, through the notion of Infrastructure Space. Since the 1960s, the definition of infrastructure has been changed towards a conceptual version, moving among different disciplines, from Engineering to Humanities. At present, its material condition as an urban system is overwritten with its potentiality, as a transdisciplinary tool, which can explain economic, political, sociological and urban phenomena. Its double material-conceptual condition and its capacity to operate in multiple scales oblige us to expand once again the meaning of infrastructure, opening up to the concept of infrastructure space. This paper hypothesis relies on the fact that infrastructure space is a practical and theoretical device, extracted from infrastructural logics, which is consolidated as a design instrument in contemporary architecture. This new architecture seeks no longer to reproduce the infrastructural model but its logic. This allows us to apply them in the project with independence with respect to the scale and the program involved. To prove this, two concepts of infrastructure and infrastructure space will be postulated, which will be compared to several architectural works in order to show specific project strategies derived from this relation, resulting in infrastructure space.
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Pub Date : 2020-12-30DOI: 10.20868/cpa.2020.10.4564
José Manuel de Andrés Moncayo
ResumenEntre 1881 y 1883 Arturo Soria y Mata publicó una serie de artículos de temática urbana en el diario El Progreso en los que exponía los rudimentos de su teoría urbana y esbozaba su propuesta de Ciudad Lineal. En estos primeros escritos de Soria subyace una visión orgánica de los fenómenos urbanos que integra los procesos de consumo de materia y energía necesarios para el desarrollo de la vida urbana en un concepto a la vez único y complejo de ciudad. El desarrollo de esta metáfora orgánica conlleva para Soria y Mata el reconocimiento del metabolismo urbano como lugar de oportunidad y proyecto para la mejora de las condiciones de vida. El paralelismo entre organismo urbano y cuerpo humano es la clave de esta metodología operativa mediante la que el autor concibe avanzados sistemas de abastecimiento, comunicaciones o recogida de deshechos basados en el potencial de las nuevas tecnologías para organizar y mejorar las ciudades de su tiempo. De esta visión nacerá su propuesta definitiva de crecimiento urbano, la Ciudad Lineal, llamada a establecer una red residencial que conectará los núcleos de las ciudades existentes preservados como centros de negocios y disfrute. El pensamiento orgánico de Soria es un antecedente histórico relevante para la consolidación de una ecología urbana. Su estudio y reivindicación aspira a reconciliar los retos y aspiraciones urbanas contemporáneas con un capítulo menospreciado de los fundamentos del urbanismo moderno.AbstractBetween 1881 and 1883, Arturo Soria y Mata published a series of articles on urban issues in the newspaper El Progreso, in which he exposed the roots of his urban theory and outlined his proposal for a Linear City. In these first writings, the organic vision of the urban phenomena developed by Soria integrates the processes of consumption of matter and energy necessary for urban life in a concept of the city that is both unique and complex. The development of this organic metaphor entails the recognition of urban metabolism as an opportunity for improving living conditions. The parallelism between the urban organism and the human body is the key of this operational methodology, through which the author conceives advanced supply, communications or waste collection systems based on the potential of new technologies to organize and improve the cities of his time. It was from this vision that his definitive proposal for urban growth was born, the Linear City, which was fated to establish a residential network that connected the core of the existing cities, preserved as business and leisure centers. Soria’s organic thinking is an important historical precedent to the consolidation of an urban ecology. The purpose of studying and advocating it is to reconcile contemporary urban challenges and aspirations with an underrated chapter of the foundations of modern urban theory.
1881年至1883年间，Arturo Soria y Mata在el Progreso报纸上发表了一系列关于城市主题的文章，在这些文章中，他阐述了他的城市理论的基础，并概述了他的线性城市建议。索里亚的这些早期作品是对城市现象的有机愿景的基础，将城市生活发展所需的物质和能源消耗过程整合到一个既独特又复杂的城市概念中。对于Soria y Mata来说，这个有机隐喻的发展意味着城市新陈代谢是一个机会和改善生活条件的项目。城市有机体和人体之间的平行性是这种操作方法的关键，作者通过这种操作方法构想先进的供应、通信或废物收集系统，基于新技术的潜力来组织和改善他那个时代的城市。从这个愿景中诞生了他对城市增长的最终建议，线性城市，呼吁建立一个住宅网络，连接现有城市的核心，作为商业和享受中心。索里亚的有机思维是巩固城市生态的相关历史先例。它的研究和主张旨在调和当代城市的挑战和愿望与现代城市主义基础的一个被低估的章节。1881年至1883年间，Arturo Soria y Mata在El Progreso报纸上发表了一系列关于城市问题的文章，在这些文章中，他阐述了他的城市理论的根源，并概述了他对线性城市的建议。在这第一篇文章中，索里亚对城市现象的有机看法将城市生活所必需的物质和能源消耗过程整合到一个既独特又复杂的城市概念中。The development of this有机negritude entails The recognition of urban metabolism as an opportunity for改善生活条件。城市有机体与人体之间的相似之处是这一操作方法的关键，作者利用新技术的潜力构想先进的供应、通信或废物收集系统，以组织和改善当时的城市。从这个观点出发，他的城市发展的明确建议诞生了，线性城市，它的目的是建立一个住宅网络，连接现有城市的核心，作为商业和休闲中心。索里的有机thinking is an important历史precedent to the consolidation of an urban生态。研究和宣传它的目的是使当代城市的挑战和愿望与现代城市理论基础的一个不足的章节相协调。
{"title":"El lenguaje orgánico de Arturo Soria: antecedente de una ecología de la ciudad = The organic language of Arturo Soria: the antecedent of ecological urban planning","authors":"José Manuel de Andrés Moncayo","doi":"10.20868/cpa.2020.10.4564","DOIUrl":"https://doi.org/10.20868/cpa.2020.10.4564","url":null,"abstract":"ResumenEntre 1881 y 1883 Arturo Soria y Mata publicó una serie de artículos de temática urbana en el diario El Progreso en los que exponía los rudimentos de su teoría urbana y esbozaba su propuesta de Ciudad Lineal. En estos primeros escritos de Soria subyace una visión orgánica de los fenómenos urbanos que integra los procesos de consumo de materia y energía necesarios para el desarrollo de la vida urbana en un concepto a la vez único y complejo de ciudad. El desarrollo de esta metáfora orgánica conlleva para Soria y Mata el reconocimiento del metabolismo urbano como lugar de oportunidad y proyecto para la mejora de las condiciones de vida. El paralelismo entre organismo urbano y cuerpo humano es la clave de esta metodología operativa mediante la que el autor concibe avanzados sistemas de abastecimiento, comunicaciones o recogida de deshechos basados en el potencial de las nuevas tecnologías para organizar y mejorar las ciudades de su tiempo. De esta visión nacerá su propuesta definitiva de crecimiento urbano, la Ciudad Lineal, llamada a establecer una red residencial que conectará los núcleos de las ciudades existentes preservados como centros de negocios y disfrute. El pensamiento orgánico de Soria es un antecedente histórico relevante para la consolidación de una ecología urbana. Su estudio y reivindicación aspira a reconciliar los retos y aspiraciones urbanas contemporáneas con un capítulo menospreciado de los fundamentos del urbanismo moderno.AbstractBetween 1881 and 1883, Arturo Soria y Mata published a series of articles on urban issues in the newspaper El Progreso, in which he exposed the roots of his urban theory and outlined his proposal for a Linear City. In these first writings, the organic vision of the urban phenomena developed by Soria integrates the processes of consumption of matter and energy necessary for urban life in a concept of the city that is both unique and complex. The development of this organic metaphor entails the recognition of urban metabolism as an opportunity for improving living conditions. The parallelism between the urban organism and the human body is the key of this operational methodology, through which the author conceives advanced supply, communications or waste collection systems based on the potential of new technologies to organize and improve the cities of his time. It was from this vision that his definitive proposal for urban growth was born, the Linear City, which was fated to establish a residential network that connected the core of the existing cities, preserved as business and leisure centers. Soria’s organic thinking is an important historical precedent to the consolidation of an urban ecology. The purpose of studying and advocating it is to reconcile contemporary urban challenges and aspirations with an underrated chapter of the foundations of modern urban theory.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43048204","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}
Pub Date : 2020-12-30DOI: 10.20868/cpa.2020.10.4577
Alejandro Jesús González Cruz, Nicolás Maruri González de Mendoza, Rafael Pina Lupiáñez
With number 218 begins the tenth and last series of CIRCO, titled “Los límites de lo urbano”. An essay published in 2016 under the title “MUSAC, seis pasajes”, written jointly by Luis Moreno Mansilla and Emilio Tuñón and signed by them in 2010, a reminder that it was published in the first issue of the journal Cuadernos de Proyectos Arquitectónicos2. The text is a reflection, written a decade later, on the methodological process of one of the most important built projects of their career, the Museum of Contemporary Art of Castilla y León (MUSAC), winner of the Mies van der Rohe award in 2007. The article is structured in three parts: “life as transformation”, “transformation as a project technique”, and “the unexpected as recognition of life”. It runs through a diagram-map3 of six research territories, with discontinuous limits, around three concentric circles (selection, transformation, and project). Each territory starts up paths of exploration, crossing the concentric circles, using selected concepts and transformation tools. The existence of these approaches – the personal, the intellectual, the geometric and material, the historical, the artistic and social, and the natural4 – makes it possible to address the process of project creation from a methodology and variables other than the assumptions of modernity (function, context, technique). The article runs through the threads that weave the narrative, built by the architects to justify the project, transcending the concrete reality of the museum itself, to delve into theoretical and technical reflections on the origin of the architectural form, using critical analysis of the MUSAC’s visible geometry and comparing it with a selection of relatable past, present and future projects, in an effort to reveal a hidden realhypothetical real process5.
编号218开始了CIRCO的第十个也是最后一个系列，标题为“Los límites de lo urbano”。2016年发表的一篇题为“MUSAC，seis pasajes”的文章，由路易斯·莫雷诺·曼西拉和埃米利奥·图尼翁共同撰写，并于2010年签署，提醒人们这篇文章发表在《Cuadernos de Proyectos Arquitectónicos2》杂志的第一期上。这篇文章是十年后写的，反映了他们职业生涯中最重要的建筑项目之一，卡斯蒂利亚-莱昂当代艺术博物馆（MUSAC）的方法论过程，该博物馆于2007年获得了密斯·范德罗奖。文章分为三个部分：“作为转换的生活”、“作为项目技术的转换”和“作为对生活认识的意外”。它围绕着三个同心圆（选择、转换和项目），通过六个研究领域的图表3，具有不连续的限制。每个领域都使用选定的概念和转换工具，跨越同心圆，开始探索之路。这些方法的存在——个人的、知识的、几何的和物质的、历史的、艺术的和社会的以及自然的4——使我们有可能从一种方法论和变量来处理项目创作的过程，而不是现代性的假设（功能、语境、技术）。这篇文章贯穿了建筑师为证明该项目的合理性而构建的叙事线索，超越了博物馆本身的具体现实，深入探讨了对建筑形式起源的理论和技术思考，对博物馆可见的几何结构进行了批判性分析，并将其与一系列相关的过去、现在和未来项目进行了比较，以揭示隐藏的真实假设真实过程5。
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Pub Date : 2020-12-30DOI: 10.20868/cpa.2020.10.4572
Javier García–Germán
During the last two decades, in the context of a growing awareness of the environment and climate change, architecture has explored the design opportunities opened up by the fields of thermodynamics and ecology. However, this new sensibility has been approached primarily from a technical point of view and has focused on quantifying the thermodynamic performance of buildings, overlooking the equally important cultural aspects of this endeavor. Beyond the quantitative and performance-oriented approaches that have prevailed in recent years1, any committed attempt to connect climate, atmosphere, and architecture must also focus on finding the connections between a climate-based understanding of architecture and the everyday life of its users. Contrary to the parametric approaches that have dominated thermodynamic architecture during the last decade, it is also necessary to find architectural tools for connecting climate and ordinary life.
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