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Cuadernos de Proyectos Arquitectónicos
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  This is an Open Access Journal Open Access journal
ISSN (Print) 2174-1131
Published by Universidad Politécnica de Madrid Homepage  [10 journals]
  • Índice

    • Authors: Editor Cuadernos de Proyectos Arquitectónicos
      Pages: 2 - 3
      Abstract: Índice
      PubDate: 2021-12-27
       
  • Editorial

    • Authors: Editor Cuaderno de Proyectos Arquitectónicos
      Pages: 4 - 5
      Abstract: Editorial
      PubDate: 2021-12-27
       
  • Daidokoro Monogatari: historias de la casa japonesa desde la cocina

    • Authors: Noemí Gómez Lobo, Diego Martín Sánchez
      Pages: 6 - 19
      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 its spatial articulation, with the kitchen being hidden from the rest of the house and usually occupying a dead-end position. Japanese architects have challenged these conventions through radical house designs, often praised for their smallness, whiteness, and lightness. However, it is necessary to go beyond this ‘fetishization’ to evaluate these proposals for the relationships they pose. Their bold designs are not only ground-breaking in formal terms but go further, subverting normative notions of domesticity and suggesting alternative gender ‘performativities’ in architecture. The kitchen is often the site of the most outstanding experimentation, materializing inventive concepts of living. Questions concerning technology, economy, and above all, gender unfold in this domestic workplace. If connected or isolated, visible or hidden, it materializes power relations through architectural actions. From a critical gender perspective, this article takes Japanese houses from the 20th century to the present day, showing diverse strategies and exposing those architectural principles and social conventions against which they rebel. These houses foster the creation of alternative realities, disrupting preconceived ideas of what is a kitchen, what is a house, or what is a family.

      PubDate: 2021-12-27
       
  • Diario 1969: acerca del relato personal de Bernard Rudofsky sobre el
           descubrimiento de Frigiliana

    • Authors: Héctor García-Diego Villarías, María Villanueva Fernández
      Pages: 20 - 31
      Abstract: ResumenBernard Rudofsky dedicó buena parte de su vida a explorar una manera de habitar personal y plena, lo que tuvo su reflejo en las numerosas exposiciones y publicaciones que alumbró. Y parte de ese proceso de investigación fue vertido en los diversos intentos de construir una casa para sí mismo y su mujer Berta, y que concluyeron con la construcción de ‘La Casa' en Frigiliana a principios de los años setenta. La presente investigación revela por vez primera las vicisitudes que rodearon el hallazgo del lugar y su posterior adquisición por parte del matrimonio a través del testimonio de Rudofsky anotado en uno de sus diarios personales. El artículo reconstruye con detalle la peripecia del matrimonio en España en 1969 al cotejar y extraer la información manuscrita en las 144 páginas de las que se compone este documento, información que no ha sido tratada con anterioridad. El episodio encierra un interés triple: en primer lugar, el del registro histórico de este suceso singular y el importante papel jugado por esta construcción en clave biográfica; en segundo lugar, el del encuentro del arquitecto extranjero con la España de la época —y que por tanto permite evocar a lo que pudieron enfrentarse algunos otros casos semejantes; por último, cabe destacar la singularidad de un proceso de proyecto que incluye el lugar en un estadio intermedio y que precisamente pone de relieve la intensa relación existente en este caso entre la casa, el entorno, el habitante y diseñador, y el habitar.AbstractBernard Rudofsky dedicated a significant part of his life to exploring a personal and fulfilling way of living, which was reflected in the numerous exhibitions and publications that he produced. Part of this research process was funneled into the various attempts to build a house for himself and his wife Berta, which concluded in the early seventies with the construction of La Casa in Frigiliana. This investigation reveals for the first time, from Rudofsky’s own account in one of his diaries, the challenges and mishaps that surrounded the discovery of the place and its subsequent acquisition by the couple. The article is an attempt to comprehensively reconstruct the couple’s ups and downs in Spain in 1969 by extracting and collating handwritten information from 144 pages of his diaries; information that has not been previously looked into. This article has a three-fold focus: firstly, that of the historical record of this unique event and the important role played by this construction in a biographical key; secondly, that of the meeting of the foreign architect with the Spain of the time, which allows us to imagine what other similar cases may have faced; finally, it is worth highlighting the uniqueness of a project process that includes the place in an intermediate stage and that highlights the intense relationship that exists in this particular case between the house, the environment, the user and designer, and living there.

      PubDate: 2021-12-27
       
  • El ‘yate’ elevado a ‘paquebote’. Historia del Real Club Náutico
           de San Sebastián más allá del mito ‘lecorbuseriano’, 1905-1929

    • Authors: Miguel Ángel Ruano Hernansanz
      Pages: 32 - 45
      Abstract: ResumenLa ampliación de 1929 del Real Club Náutico de San Sebastián, obra de Joquín Labayen y José Manuel Aizpurúa, fue prontamente catalogada como una obra bajo la influencia del ‘paquebot-style’ de Le Corbusier, a pesar de que sus autores nunca manifestaron dicha influencia. Una investigación de la historia del edificio, a través de las tres principales reformas que sufrió en 1905, 1916 y 1929, reveló que todas ellas se habían producido buscando la misma similitud naval que persiguieron los arquitectos donostiarras en 1929, decisión que provino en todas las ocasiones, de la juntas directivas del club. Bajo ese contexto, quedaría encajada la carta en la que Aizpurúa confesó a Giedion que el proyecto fue elegido por parecerse a un barco. La incomprensión de los proyectos anteriores se debió a la descontextualización que se realizaba en su comparación con los paquebotes, tipología de barco con la que, ni por tamaño, ni por contexto temporal, se les podía identificar, como sí pudo hacerse con la reforma de 1929. El modelo de barco de los edificios de 1905 y 1916, correspondió a las ‘goletas’, tipología de barco más pequeño, ligero, de vela, y además, usado para competiciones marítimas. Los elementos que tuvieron estos edificios, como el mástil, lumbreras, o tambuchones, considerados hasta ahora como ‘decorativos’, eran en realidad elementos ‘configuradores’ de esa tipología naval. La ampliación del espectro de influencia de Aizpurúa por José Ángel Sanz Esquide primero, y la delimitación prácticamente al proyecto del edificio del Real Club Náutico de la inspiración en las ideas de Le Corbusier por José Ángel Medina Murua después, lleva a plantear si esa intensa, pero anecdótica, influencia lecorbuseriana realmente se llegó a producir o únicamente fue una figuración, de gran calidad pero sin mayores pretensiones teóricas, siguiendo la tradición histórica del club. AbstractThe 1929 extension of the Real Club Náutico de San Sebastián (San Sebastian Royal Yacht Club), the work of Joquín Labayen and José Manuel Aizpurúa, was quickly labelled as a work influenced by Le Corbusier’s style paquebot, despite the fact that its authors never acknowledged this influence. Research into the history of the building, including the three main reforms it underwent in 1905, 1916 and 1929, revealed that all the reforms had sought the same naval appearance that the Donostia architects pursued in 1929, and that this decision had, on each occasion, come from the club’s board of directors. Indeed, Aizpurúa confessed to Giedion in a letter that the project was chosen because it resembled a ship. The previous projects were misunderstood because they were compared, out of context, with ocean liners; they were neither of the right size nor from the right period to be identified with this type of ship, whereas the 1929 refurbishment was. The ship model of the 1905 and 1916 buildings was the ‘schooner’, a smaller, lighter, sailing ship used for maritime competitions. Elements of these buildings which had so far been considered ‘decorative’, such as the mast, portholes, or hatches, were in fact defining features of this naval typology. First José Ángel Sanz Esquide broadened the spectrum of Aizpurúa’s influence, and later José Ángel Medina Murua practically delimited the inspiration of the Real Club Náutico building project to the ideas of Le Corbusier. But we might ask whether this intense, but anecdotal, Lecorbusierian influence really took place, or whether it was just the brainchild of the club’s historical tradition, of significant quality but without greater theoretical pretensions.
      PubDate: 2021-12-27
       
  • 24 galerías, un museo: la encuesta como instrumento de diseño

    • Authors: Esteban Salcedo Sánchez
      Pages: 46 - 55
      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 galleries as a ‘counter-project’. An act of design, based on Peter Eisenman’s definition of ‘Conceptual Architecture’, that transcends art and controversies to offer an alternative. The exhibition of the survey’s answers accumulated the values of language, interface, platform and medium necessary to redefine the framework of relations between its participants. Whose association gathered a community with the capacity to be a Museum: a dematerialized, fragmented and heterogeneous institution that challenged conventional relationship between art, citizenry and the market.
      PubDate: 2021-12-27
       
  • El espacio fílmico del Hotel Overlook en The Shining a través de
           sus decorados

    • Authors: Jesús Lazcano López
      Pages: 56 - 67
      Abstract: ResumenPara la construcción del Hotel Overlook (The Shining ,1980), Stanley Kubrick recurre a la reproducción de réplicas a escala 1:1 en los estudios Elstree de Londres de diferentes fragmentos de hoteles, moteles y resorts de vacaciones esparcidos por Estados Unidos. Mediante un trabajo minucioso de observación de fotografías y elaboración de maquetas se construyen unos decorados de los diferentes ámbitos que conforman el hotel. Kubrick compone una arquitectura que surge de un cuerpo fragmentario, construido y ensamblado que, mediante las posibilidades narrativas que ofrecen la steadicam y el montaje cinematográfico, se transforma en un espacio fílmico aparentemente unitario. El hotel se muestra como una arquitectura verosímil que, sin embargo, está repleta de paradojas, de referencias externas, de subtextos y de imposibilidades espaciales, pues al observar detenidamente la película se encuentran múltiples puntos que subvierten la lógica del espacio. A través de maquetas, fotografías y entrevistas, y su confrontación con la película, se elaboran planos de los diferentes ámbitos del Overlook con el objetivo de abrir un campo de reflexión sobre la intención de su posible ensamblaje. También sobre la relación que existe entre la estructura narrativa de la película, basada en tiempos y espacios que se entrelazan y la manera en que los decorados se unen entre sí, en la pantalla. Mediante un análisis basado en la expresión arquitectónica, el artículo estudia algunas de estas incongruencias espaciales para especular sobre una posible interpretación de la película en la que la arquitectura juega un papel nuclear desde su concepción, no sólo por la importancia de sus decorados en el desarrollo, sino también a un nivel iconográfico y narrativo.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.   
      PubDate: 2021-12-27
       
  • Infrastructure space: lógicas operativas en la práctica
           arquitectónica del siglo XXI

    • Authors: Luz Carruthers
      Pages: 68 - 77
      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. The 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.
      PubDate: 2021-12-27
       
  • 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
      Pages: 80 - 83
      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 Jacobs’ question, with the help to the cooperation between the disciplines of architecture and urban planning, presented by researcher Pablo Sendra. A contribution that complements sociological and political dimensions with the pragmatism of revealing particular resources from urban planning, such as open and flexible infrastructures, capable of providing a solution to this desired synergy between ville and cité. The synchronicity of the theoretical discourse and the project’s material reality, together with its materialization in the urban experiments analyzed, are the two most interesting and remarkable values of the book. The real and pragmatic graphic character of a plan, associated with specifying what happens in invisible layers, such as those below and above level zero in the section of the city’s territory, and how they flow, deserve a careful reading. The ideas invite you to investigate in close collaboration with disciplines such as anthropology or sociology, which should not be ignored in any urban project.
      PubDate: 2021-12-27
       
  • The architect´s brain. Neuroscience, creativity and architecture, de
           Harry Francis Mallgrave

    • Authors: Aida González Llavona
      Pages: 84 - 87
      Abstract: ResumenLos partidarios de la ‘arquitectura de los sentidos’, de la ‘arquitectura de la experiencia’, están de enhorabuena. Aunque a partir de la segunda mitad del siglo XX y de la mano de la crisis del racionalismo funcionalista moderno, el organicismo comenzó a recuperar alas, impulso y vigencia, lo cierto es que en la clásica y aún vigente confrontación entre lo racional y lo sensorial, el primero –el racionalismo– ha contado con el respaldo de la objetividad científica mientras el segundo –lo sensorial– ha sido víctima de su supuesto relativismo, ambigüedad y en muchas ocasiones impronta romántico sensiblera: la ciencia siempre ha sido el mejor aval para legitimar propuestas y teorías. Ocurre que, los avances de la neurociencia, que estudia el cerebro, (los mayores a finales de siglo XX y en las dos primeras décadas de este siglo XXI), otorgan cada vez más preeminencia a los aspectos emotivos y perceptivos que a los racionales y abstractos; cuestión ésta que ha revolucionado muchas disciplinas como la psicología y afectado a algunos de los discursos arquitectónicos, como el de Harry Francis Mallgrave. La reciente obra del arquitecto, académico, editor y distinguido profesor emérito en el Illinois Institute of Technology, se ha focalizado en la relación de las ciencias y humanidades contemporáneas con el pensamiento arquitectónico.Proponents of the ‘architecture of the senses’ or of the ‘architecture of experience’ are in luck. Despite the fact that from the second half of the twentieth century, hand in hand with the crisis of modern functionalist rationalism, ‘organicism’ began to recover wings, momentum, and validity, the truth is that in this classic and ongoing confrontation between the rational and the sensory, the former—rationalism—has been supported by scientific objectivity, while the latter—the sensory—has been a victim of its alleged relativism and ambiguity, and on many occasions, sentimental romantic imprint: science has always been the best guarantee to legitimize proposals and theories. Yet it so happens that advances of neuroscience, which studies the brain, (the greatest at the end of the twentieth century and in the first two decades of this twenty-first century), give more and more prominence to the emotional and perceptive aspects than to rational and abstract ones. This issue has revolutionized disciplines such as psychology and affected certain architectural discourses, such as that of Harry Francis Mallgrave. The recent work of the architect, scholar, editor, and distinguished professor emeritus at the Illinois Institute of Technology, has focused on the relationship between contemporary science and humanities and architectural thought.
      PubDate: 2021-12-27
       
  • Daidokoro Monogatari: Stories of the Japanese house from the kitchen

    • Authors: Noemí Gómez Lobo, Diego Martín Sánchez
      Pages: 89 - 92
      Abstract: 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 its spatial articulation, with the kitchen being hidden from the rest of the house and usually occupying a dead-end position. Japanese architects have challenged these conventions through radical house designs, often praised for their smallness, whiteness, and lightness. However, it is necessary to go beyond this ‘fetishization’ to evaluate these proposals for the relationships they pose. Their bold designs are not only ground-breaking in formal terms but go further, subverting normative notions of domesticity and suggesting alternative gender ‘performativities’ in architecture. The kitchen is often the site of the most outstanding experimentation, materializing inventive concepts of living. Questions concerning technology, economy, and above all, gender unfold in this domestic workplace. If connected or isolated, visible or hidden, it materializes power relations through architectural actions. From a critical gender perspective, this article takes Japanese houses from the 20th century to the present day, showing diverse strategies and exposing those architectural principles and social conventions against which they rebel. These houses foster the creation of alternative realities, disrupting preconceived ideas of what is a kitchen, what is a house, or what is a family

      PubDate: 2021-12-27
       
  • Diary 1969: Bernard Rudofsky’s personal account of his discovery of
           Frigiliana

    • Authors: Héctor García-Diego Villarías, María Villanueva Fernández
      Pages: 92 - 95
      Abstract: AbstractBernard Rudofsky dedicated a significant part of his life to exploring a personal and fulfilling way of living, which was reflected in the numerous exhibitions and publications that he produced. Part of this research process was funneled into the various attempts to build a house for himself and his wife Berta, which concluded in the early seventies with the construction of La Casa in Frigiliana. This investigation reveals for the first time, from Rudofsky’s own account in one of his diaries, the challenges and mishaps that surrounded the discovery of the place and its subsequent acquisition by the couple. The article is an attempt to comprehensively reconstruct the couple’s ups and downs in Spain in 1969 by extracting and collating handwritten information from 144 pages of his diaries; information that has not been previously looked into. This article has a three-fold focus: firstly, that of the historical record of this unique event and the important role played by this construction in a biographical key; secondly, that of the meeting of the foreign architect with the Spain of the time, which allows us to imagine what other similar cases may have faced; finally, it is worth highlighting the uniqueness of a project process that includes the place in an intermediate stage and that highlights the intense relationship that exists in this particular case between the house, the environment, the user and designer, and living there.
      PubDate: 2021-12-27
       
  • The ‘yacht’ elevated to ‘ocean liner’1. History of the Real Club
           Náutico de San Sebastián beyond the Lecorbuserian myth, 1905–1929

    • Authors: Miguel Ángel Ruano Hernansanz
      Pages: 96 - 99
      Abstract: AbstractThe 1929 extension of the Real Club Náutico de San Sebastián (San Sebastian Royal Yacht Club), the work of Joquín Labayen and José Manuel Aizpurúa, was quickly labelled as a work influenced by Le Corbusier’s style paquebot, despite the fact that its authors never acknowledged this influence. Research into the history of the building, including the three main reforms it underwent in 1905, 1916 and 1929, revealed that all the reforms had sought the same naval appearance that the Donostia architects pursued in 1929, and that this decision had, on each occasion, come from the club’s board of directors. Indeed, Aizpurúa confessed to Giedion in a letter that the project was chosen because it resembled a ship. The previous projects were misunderstood because they were compared, out of context, with ocean liners; they were neither of the right size nor from the right period to be identified with this type of ship, whereas the 1929 refurbishment was. The ship model of the 1905 and 1916 buildings was the ‘schooner’, a smaller, lighter, sailing ship used for maritime competitions. Elements of these buildings which had so far been considered ‘decorative’, such as the mast, portholes, or hatches, were in fact defining features of this naval typology. First José Ángel Sanz Esquide broadened the spectrum of Aizpurúa’s influence, and later José Ángel Medina Murua practically delimited the inspiration of the Real Club Náutico building project to the ideas of Le Corbusier. But we might ask whether this intense, but anecdotal, Lecorbusierian influence really took place, or whether it was just the brainchild of the club’s historical tradition, of significant quality but without greater theoretical pretensions.
      PubDate: 2021-12-27
       
  • 24 Galleries, a museum: The Survey as a Design Tool

    • Authors: Esteban Salcedo Sánchez
      Pages: 99 - 101
      Abstract: Abstract In 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 galleries as a ‘counter-project’. An act of design, based on Peter Eisenman’s definition of ‘Conceptual Architecture’, that transcends art and controversies to offer an alternative. The exhibition of the survey’s answers accumulated the values of language, interface, platform and medium necessary to redefine the framework of relations between its participants. Whose association gathered a community with the capacity to be a Museum: a dematerialized, fragmented and heterogeneous institution that challenged conventional relationship between art, citizenry and the market.  
      PubDate: 2021-12-27
       
  • The filmic space of the Overlook Hotel in the Shining through the sets

    • Authors: Jesús Lazcano López
      Pages: 102 - 105
      Abstract: 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.     
      PubDate: 2021-12-27
       
  • Infrastructure Space: Architectural Practice and Operational Logics in the
           21st Century

    • Authors: Luz Carruthers
      Pages: 105 - 108
      Abstract: The 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.
      PubDate: 2021-12-27
       
  • Less Me, More Others. On Designing Disorder: Experiments and Disruptions
           in the City, by Pablo Sendra and Richard Sennett

    • Authors: María Pura Moreno Moreno
      Pages: 109 - 110
      Abstract: Abstract In 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
      Jacobs’ question, with the help to the cooperation between the disciplines of architecture and urban planning, presented by researcher Pablo Sendra. A contribution that complements sociological and political dimensions with the pragmatism of revealing particular resources from urban planning, such as open and flexible infrastructures, capable of providing a solution to this desired synergy between ville and cité. The synchronicity of the theoretical discourse and the project’s material reality, together with its materialization in the urban experiments analyzed, are the two most interesting and remarkable values of the book. The real and pragmatic graphic character of a plan, associated with specifying what happens in invisible layers, such as those below and above level zero in the section of the city’s territory, and how they flow, deserve a careful reading. The ideas invite you to investigate in close collaboration with disciplines such as anthropology or sociology, which should not be ignored in any urban project.  
      PubDate: 2021-12-27
       
  • The Architect’s Brain. Neuroscience, Creativity and Architecture

    • Authors: Aida González Llavona
      Pages: 110 - 111
      Abstract: Abstract

      PubDate: 2021-12-27
       
  • Créditos

    • Authors: Editor Cuadernos de Proyectos Arquitectónicos
      Pages: 112 - 113
      Abstract: Créditos
      PubDate: 2021-12-27
       
 
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