Cuadernos de Proyectos Arquitectonicos最新文献

{"title":"The aggregator as a project. The case of BRUTHER","authors":"Lluís J. Liñán","doi":"10.20868/cpa.2020.10.4574","DOIUrl":"https://doi.org/10.20868/cpa.2020.10.4574","url":null,"abstract":"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","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44960085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Whirlwind I: computer architectures as testing grounds for the spaces of modernity","authors":"Eva Gil Lopesino","doi":"10.20868/cpa.2020.10.4575","DOIUrl":"https://doi.org/10.20868/cpa.2020.10.4575","url":null,"abstract":"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","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43716613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"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":null,"pages":null},"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}

{"title":"Public intimacy. Architecture and the visual arts","authors":"Javier de Esteban Garbayo","doi":"10.20868/cpa.2020.10.4571","DOIUrl":"https://doi.org/10.20868/cpa.2020.10.4571","url":null,"abstract":"Public intimacy. Architecture and the visual arts","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46118909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mies’s Convention Hall: Convergence of Teaching and Architecture","authors":"Zaida García-Requejo, Pablo Rodríguez Rodríguez, María del Pilar Salazar Lozano","doi":"10.20868/cpa.2019.9.4551","DOIUrl":"https://doi.org/10.20868/cpa.2019.9.4551","url":null,"abstract":"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","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49261416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ritmos, métrica y cubierta industrial en la fábrica Clesa de Alejandro de la Sota = Rhythms, Metrics, and Industrial Roof in Alejandro de la Sota’s Clesa Dairy Plant","authors":"Rafael García García","doi":"10.20868/cpa.2019.9.4540","DOIUrl":"https://doi.org/10.20868/cpa.2019.9.4540","url":null,"abstract":"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.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67733343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Design Studio beyond Donald Schön´s Traditional Approach","authors":"Eric Arentsen Morales","doi":"10.20868/cpa.2019.9.4555","DOIUrl":"https://doi.org/10.20868/cpa.2019.9.4555","url":null,"abstract":"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.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45843893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Concrete and Culture: a material history","authors":"Julio César Moreno Moreno","doi":"10.20868/cpa.2019.9.4557","DOIUrl":"https://doi.org/10.20868/cpa.2019.9.4557","url":null,"abstract":"Concrete and Culture: a material history","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42735386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Knowable and the Ineffable: an object-oriented reading of Enric Miralles’ design approach","authors":"Gonzalo Vaíllo","doi":"10.20868/cpa.2019.9.4546","DOIUrl":"https://doi.org/10.20868/cpa.2019.9.4546","url":null,"abstract":"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.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45097493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Space of Cartography","authors":"Gabriel Carrascal Aguirre","doi":"10.7480/OVERHOLLAND.2013.12-13.1697","DOIUrl":"https://doi.org/10.7480/OVERHOLLAND.2013.12-13.1697","url":null,"abstract":"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.","PeriodicalId":30317,"journal":{"name":"Cuadernos de Proyectos Arquitectonicos","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355211","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}