Pub Date : 2020-12-30DOI: 10.20868/cpa.2020.10.4574
Lluís J. Liñán
The aggregator is one of the defining formats of the World Wide Web. A few lines of code automatically filter out the infinite flow of data that travels through an optical fiber cable at any given time, identifying certain packages of information that are visually transferred to the graphical interface of any internet user. In the first aggregators of the web, devoted to filtering news, the interface transferred headlines and brief extracts of content published in multiple media around specific markers. Whether “war,” “economy” or “Christina Aguilera,” the markers could be as variable as they were expansive, demonstrating this filtering format’s capacity to absorb. These markers were the witnesses of a new form of light editing1 that, rather than outlining the contents, sought to encourage constant updating of it. The aggregator’s end goal was to introduce into the market of attention any new information package captured by the web, and to shift to the users the responsibility of assessing its relevance and deciding on its accessibility.2 Thus, if Google, in its foundation, set out to organize and make available all the information in the world,3 its first aggregator, Google News [Fig. 01], defined the operations that would serve to do this: the comparison of diverse sources, the repetition of terms, the inventory of headlines, the re-tagging of news and the subtraction of content.4
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Pub Date : 2020-12-30DOI: 10.20868/cpa.2020.10.4575
Eva Gil Lopesino
ResumenEsta investigación interdisciplinar explora el enorme impacto del desarrollo de los computadores digitales y las tecnologías de la computación en la formación, representación y recepción de la arquitectura a partir de mediados del siglo XX. Este artículo se centra en el vínculo entre arquitectura y computación, específicamente, en el materializado a través de los espacios arquitectónicos generados literalmente por ambas disciplinas: el dispositivo tecnológico ‘edificio’ y el dispositivo tecnológico ‘computador’. Al inicio de la investigación se describen los dispositivos tecnológicos (computadores) pertenecientes a las pre-generaciones de computadores (dispositivos electromecánicos y electrónicos) y a la Primera Generación de la Computación (dispositivos digitales), según la genealogía propuesta por el ingeniero electrónico estadounidense Gordon Bell, en 1980, y por el comisario Paul E. Ceruzzi, en 2003. Se estudia, en concreto, uno de los tres computadores digitales más importantes desarrollados en EE.UU., perteneciente a la Primera Generación: el Whirlwind I o WWI, un mainframe desarrollado en el Campus del Massachusetts Institute of Technology (MIT) entre 1945 y 1956 por Jay W. Forrester y su equipo. Este caso de estudio es uno de los primeros ejemplos de la arquitectura de la computación: Es un dispositivo tecnológico (edificio y computador) que constituye un espacio que se habita y se recorre. Este ejemplo sirve de punto de partida para el análisis del nacimiento de la era digital de la computación y el desarrollo de la arquitectura moderna, que coincidieron en el tiempo y evolucionaron en paralelo. Es en estos espacios de los primeros computadores digitales donde se vislumbran una serie de características que pudieron influir o ser influidos por las arquitecturas que se estaban desarrollando en la disciplina puramente arquitectónica en este mismo periodo. Unos espacios que, pese a no estar recogidos habitualmente entre los que configuran el relato de la arquitectura moderna, deberían ser incluidos en el mismo ya que en ellos se ensayan, en un campo alternativo, cuestiones que de otro modo se estaban desarrollando en los espacios de la modernidad.AbstractThis interdisciplinary research explores the enormous impact that digital computing technologies have had on how architecture has been formed, as represented and received since the mid-20th century. It focuses on the link between architecture and computing, particularly as materialised through architectural spaces generated literally by both disciplines: the technological device building and the technological device computer. Our research begins by describing technological devices (computers) belonging to the pre-generations of computers (electromechanical and electronic devices) and to the First Generation of Computing (digital devices), according to the genealogy proposed by the American electrical engineer Gordon Bell in 1980 and the curator Paul E. Ceruzzi in 2003. Specifically, i
这个跨学科的研究探索了数字计算机和计算机技术的发展对20世纪中期以来建筑的形成、表现和接受的巨大影响。本文着重于建筑和计算之间的联系，特别是通过两个学科字面上产生的建筑空间实现的联系:技术设备“建筑”和技术设备“计算机”。研究之初所述技术设备(电脑)属于计算机pre-generaciones(电动机械式和电子设备)和第一代计算(数字设备),根据族谱,提议由美国电子工程师戈登贝尔,在1980年,由Paul e . Ceruzzi专员,2003年。它特别研究了美国开发的三台最重要的数字计算机之一，属于第一代:Whirlwind I或WWI，这是1945年至1956年由Jay W. Forrester和他的团队在麻省理工学院(MIT)校园开发的大型机。这个案例研究是计算架构的第一个例子:它是一种技术设备(建筑和计算机)，构成了一个居住和旅行的空间。这个例子为分析数字计算时代的诞生和现代建筑的发展提供了起点，这两者在时间上是一致的，并并行发展。正是在第一批数字计算机的这些空间中，我们看到了一系列可能影响或被同一时期在纯建筑学科中发展的建筑的特征。这些空间，尽管通常不包括在那些塑造现代建筑故事的空间中，但应该包括在其中，因为它们在另一个领域中排练，在现代性空间中发展的问题。本跨学科研究探讨了自20世纪中期以来，数字计算技术对建筑如何形成、表现和接受的巨大影响。它专注于建筑和计算之间的联系，特别是通过两个学科产生的建筑空间实现的:技术设备建造和技术设备计算机。Our研究开始by describing技术设备(计算机)非to the pre-generations of计算机(electromechanical and electronic devices) and to the First Generation of Computing (digital devices)、to the genealogy 1980 - by the American索赔工程师戈登贝尔in and the curator Paul e . Ceruzzi in 2003。= =地理= =根据美国人口普查局的数据，该镇总面积为，其中土地和(1.1%)水。它属于第一代:“Whirlwind I”或“WWI”是由Jay W. Forrester和他的团队在1945年至1956年期间在麻省理工学院(MIT)校园开发的一台主机。This case study is one of the first《computational biology architecture: It is a技术设备(building and computer)构成space which is both inhabited和travelled through。This例如《as a starting point in the analysis of the生育of the digital是of computing and the development of modern architecture, both of which恰逢in time and如火如荼in并行。这些数字spaces of the first计算机提供the first glimpse of a number of分离器所需要影响and be influenced by the architectures质证和in the purely architectural纪律at the time。虽然这些空间通常不包括在现代建筑的叙事中，但它们应该包括在其中，因为它们被用来尝试在现代空间中发展的问题。
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Pub Date : 2020-12-30DOI: 10.20868/cpa.2020.10.4576
Salvador Haddadi
The concept of biological hybridisation was first introduced by Aristotle, who theorised about the origin of certain animal species as a result of cross-breeding2. He also observed the tendency toward ‘hybrid sterility’, or the infertility of species as a consequence of genetic cross3. In the 18th and 19th centuries, the geneticists Kolreuter and Mendel laid the biological and mathematical foundations for the hybridisation of forms of life. Kolreuter also discovered ‘hybrid vigour’ or ‘heterosis’, defined as “[...] the tendency of cross-breeding to produce an animal or plant with a greater hardiness and capacity for growth than either of the parents.”4
{"title":"The hybrid building concept. Topological characterisation as a project resource","authors":"Salvador Haddadi","doi":"10.20868/cpa.2020.10.4576","DOIUrl":"https://doi.org/10.20868/cpa.2020.10.4576","url":null,"abstract":"The concept of biological hybridisation was first introduced by Aristotle, who theorised about the origin of certain animal species as a result of cross-breeding2. He also observed the tendency toward ‘hybrid sterility’, or the infertility of species as a consequence of genetic cross3. In the 18th and 19th centuries, the geneticists Kolreuter and Mendel laid the biological and mathematical foundations for the hybridisation of forms of life. Kolreuter also discovered ‘hybrid vigour’ or ‘heterosis’, defined as “[...] the tendency of cross-breeding to produce an animal or plant with a greater hardiness and capacity for growth than either of the parents.”4","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":"46999491","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.2020.10.4571
Javier de Esteban Garbayo
Public intimacy. Architecture and the visual arts
公众亲密。建筑和视觉艺术
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Pub Date : 2019-12-30DOI: 10.20868/cpa.2019.9.4551
Zaida García-Requejo, Pablo Rodríguez Rodríguez, María del Pilar Salazar Lozano
On November 19, 1953, the Chicago Daily Tribune published an article on Mies’s proposal for the city’s new Convention Center.1 The following month, Engineering News-Record magazine gave more details of on the project, pointing out, among other things, that Mies had taken Frank Kornacker on board as structural engineer.2 However, not all the literature on this project explains its evolution as well as the involvement of the team that took part in it. In trying to establish a chronology of the literature that has been written on Mies’s work in the course of the past century, we can find that the project for a Convention Hall is included in the monograph published by the exBauhäuser Max Bill in 1955. Afterwards, the reprint of the catalog that had been edited by Philip Johnson in 1947, along with the biographies produced by the likes of Ludwig Hilberseimer, Arthur Drexler, and Werner Blaser, or by some of their students at the Illinois Institute of Technology (IIT) in Chicago, such as James A. Speyer, describe the project as the best of Mies’s attempts to reduce architecture to pure structure: “It is a terminal statement of the clear span building. It transcends its structural and utilitarian basis (...) it illustrates perfectly that aphorism of Viollet-le-Duc, the father of structural rationalism, “any form that is not dictated by the structure should be postponed.”3
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Pub Date : 2019-12-30DOI: 10.20868/cpa.2019.9.4540
Rafael García García
ResumenEn la trama estructural de la fábrica Clesa se aprecia una llamativa irregularidad modular que contrasta con la mayor uniformidad de los otros proyectos coetáneos de Alejandro de la Sota. De su análisis se desprende que existen importantes variaciones dimensionales en sus modulaciones, lo que la aparta en gran medida de la regularidad esperable, máxime teniendo en cuenta que se trata de una edificación industrial. En este trabajo se tratan de explicar los condicionantes que pudieron llevar a la configuración final realizada para dicha trama y, así mismo, el proceso de cambios seguido desde su anteproyecto. De igual forma, se explora la repercusión que las modificaciones efectuadas en la modulación pudieran tener en la definición de los elementos más expresivos y característicos de su sistema de cubiertas. En su posible esclarecimiento se ha mostrado necesaria una comparación con el panorama de soluciones estructurales y constructivas de las cubiertas de arquitectura industrial contemporáneas a la fábrica. Así mismo, cuestiones como la agrupación modular en números pares o impares de tramos resultan mostrar una acusada relevancia en el proceso seguido.AbstractThe striking modular irregularity of theClesa dairy plant’s structural grid strikes a contrast with the uniformity of other contemporary projects of Alejandro de la Sota. Analysis of the building shows important dimensional variations in its modulations that distance it from the maximum regularity expected, especially for an industrial building. This paper tries to explain the conditions that might have led to the final configuration of the modular grid, as well as the series of changes that were made on the preliminary design. Similarly, we explore the impact that the modifications on the modulation could have had on the definition of the more expressive and characteristic elements of the roofing system. It proved necessary to compare the building with an array of contemporary structural and constructive solutions of industrial architecture roofs. Likewise, issues such as the modular grouping in odd or even numbers of sections proved to be very relevant to the process followed.
总结了Clesa工厂的结构结构，可以看到一个引人注目的不规则的模块化，与Alejandro de la Sota同时代的其他项目更大的一致性形成对比。从他们的分析中可以看出，在其调制中存在着重要的尺寸变化，这在很大程度上偏离了预期的规律性，特别是考虑到它是一个工业建筑。在这项工作中，我们试图解释可能导致该地块最终配置的条件，以及自其初稿以来所遵循的变化过程。同样，它探讨了调制的变化可能对其屋顶系统中最具表现力和特色元素的定义产生的影响。在可能的澄清中，有必要将其与工厂当代工业建筑屋顶的结构和建设性解决方案进行比较。此外，像偶数或奇数的模组这样的问题在接下来的过程中显示出显著的相关性。= =地理= =根据美国人口普查，这个县的面积为，其中土地面积为，其中土地面积为。对建筑的分析表明，它的调制在维度上有很大的变化，这使得它与预期的最大规规性保持距离，特别是对于工业建筑。这篇论文试图解释可能导致模块化网格最终配置的条件，以及对初步设计所做的一系列更改。同样，我们探讨了调制的变化可能对屋面系统中最具表现力和特色元素的定义产生的影响。= =地理= =根据美国人口普查，该镇的总面积为，其中土地和(3.064平方公里)水。类似地，将模块分组为奇数甚至若干节的问题证明与所遵循的进程非常相关。
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Pub Date : 2019-12-30DOI: 10.20868/cpa.2019.9.4555
Eric Arentsen Morales
The model is based on a strong constructivist approach (even though the term was coined later), and was not systematized until Schön formulated his interpretation in the 1980s. Based on Dewey’s postulates2 on active learning, he described the design studio as an educational model for reflection in action3 in his book ‘Educating the Reflective Practitioner’, thus inserting the teachinglearning processes historically developed by architects and designers into contemporary education theories.
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Pub Date : 2019-12-30DOI: 10.20868/cpa.2019.9.4557
Julio César Moreno Moreno
Concrete and Culture: a material history
混凝土与文化:一部物质历史
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Pub Date : 2019-12-30DOI: 10.20868/cpa.2019.9.4546
Gonzalo Vaíllo
Since the early 2010s, Graham Harman’s Object-oriented Ontology (OOO) has drawn significant attention to architecture, whose influenced areas have reconfigured its methods, principles, and value systems around discourses centered on reality in itself, autonomy, and aesthetics. This means that architecture and its projects are specific ‘realities’ in their own right that transcends any epistemological consideration. Besides, each reality can manifest itself in multiple ways through its ‘qualities’ – some known, and most unknown. However, each of these manifestations (or their sum) is incomplete in the fullness of its reality. In this double condition of a unitary reality surrounded by multiple features/profiles, the (architectural) object emerges as an ambiguous entity for the senses and the intellect, given that it can never be objectively defined because it can never be fully apprehended. Faced with the impossibility of an ontological knowledge of the project, contemporary architects attached to OOO have explored various aesthetic regimes to instill multiple understandings in the audience1.
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Pub Date : 2012-12-18DOI: 10.7480/OVERHOLLAND.2013.12-13.1697
Gabriel Carrascal Aguirre
Abstract “All perceiving is also thinking, all reasoning is also intuition, all observation is also invention” Rudolph Arnheim Among the places found inside contemporary cities, a certain kind of space exists, the importance of which is often overlooked, even by those who are charged with creating them. This could be explained by the fact that, singularly, these spaces do not have a specific location, since they are in essence symbolic or conceptual in character. I am referring to our way of graphically representing our environment: maps. As will soon be explained, the map in itself is a place that substitutes the reality that it represents. It is a surrogate space that operates fundamentally through analogy and abstraction. The production and use of this type of space carries important implications in the configuration of our physical environment at any scale, be it that of a project, a city or the land. The transformative capacity of cartographic activity will be comparable here to project design, refuting the usual conception about both as having essentially different natures; project design is usually seen as being dynamic in character and tinged with specific actions leading to a transformation of the environment over time, while maps are reduced to being a static projection of an existing physical reality onto a smaller surface. The fundamental idea behind putting maps and projects on the same level rests on the fact that any form of spatial representation entails an exercise of acting upon the represented object.
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