Suchergebnisse

During French colony in Vietnam, the French had immersed and modified their technical and decorational standards to suit the Vietnamese traditional architecture and tropical climate. This evidently proved that was not suitable, and it had a reversed impact by the Vietnamese one. During that time, there was a cultural and architectural influence between Asia and Europe. Hernest Hébrard was the developer, architect, and planner of Indochinese architecture, had been credited for the parallel influence. There were buildings that were designed and built based on the Indochinese architecture, have been preserved and treated as architectural heritage by local government in Ha Noi. This article does not only discuss the interaction of French and Vietnamese architecture reflecting by the Indochinese one, but also analyzes the developing process, the compatibility, and the developmental initiation. ; Au cours de la colonie française au Vietnam, les Français avaient immergé et modifié leurs normes techniques et décoratives en fonction de l'architecture traditionnelle vietnamienne et du climat tropical. Cela prouvait évidemment que l'architecture française traditionnelle qui avait été introduite au Vietnam ne convenait pas, et qu'elle avait un impact inversé par le Vietnam. Pendant ce temps, il y avait une influence culturelle et architecturale entre l'Asie et l'Europe. Hernest Hébrard était le promoteur, l'architecte et le concepteur de l'architecture indochinoise, on lui avait attribué l'influence parallèle. Il y avait des bâtiments qui ont été conçus et construits sur la base de l'architecture indochinoise, ont été préservés et traités comme un patrimoine architectural par le gouvernement local à Hanoi. Cet article ne traite pas seulement de l'interaction de l'architecture française et vietnamienne reflétant celle de l'Indochine, mais analyse également le processus de développement, la compatibilité et l'initiation développementale.During French colony in Vietnam, the French had immersed and modified their technical and decorational standards to suit the Vietnamese traditional architecture and tropical climate. This evidently proved that was not suitable, and it had a reversed impact by the Vietnamese one. During that time, there was a cultural and architectural influence between Asia and Europe. Hernest Hébrard was the developer, architect, and planner of Indochinese architecture, had been credited for the parallel influence. There were buildings that were designed and built based on the Indochinese architecture, have been preserved and treated as architectural heritage by local government in Ha Noi. This article does not only discuss the interaction of French and Vietnamese architecture reflecting by the Indochinese one, but also analyzes the developing process, the compatibility, and the developmental initiation.

El Taller Total -nombre con el que se conoció a la experiencia política pedagógica que se dio en la Facultad de Arquitectura de Córdoba entre 1970 y 1975- fue, probablemente, una de los episodios más ricos y complejos en la historia de las universidades nacionales de Argentina, en donde se superpusieron radicalización política, discusiones disciplinares y debates pedagógicos. Producto de una serie de crisis -universitaria, institucional, social, disciplinar- que se venían gestando desde tiempo atrás, el TT se presenta como un excelente caso para indagar en las relaciones que se dieron entre arquitectura y política en un momento muy particular de la cultura arquitectónica argentina e internacional. En el presente trabajo, nos proponemos indagar en los contornos intelectuales del Taller Total, presentado particular atención a sus debates arquitectónicos y a sus referencias internacionales. En estos, la problemática del ?hábitat? implicó no sólo una redefinición de los límites disciplinares sino que también se pensó como el aporte específico de la arquitectura a los procesos de transformación social, cuestión que nos lleva a considerar esta experiencia desde la problemática del "estiempo" de las neovanguardias. ; The Taller Total -the given name to the political and pedagogical experience held at Cordoba's Faculty of Architecture between 1970 and 1975- was, perhaps, one of the most riches and complexes episodes in the history of Argentinean universities, where it can be fund a overlapping of political radicalization, architectural discussions and pedagogical debates. As a product of a series of long brewing crises involving institutions, politics, society, the university, and the discipline of Architecture itself, the Taller Total is a good case study to enquire the relationships between architecture and politics in a particular moment of the Argentinean and international architectural culture. The aim of the present paper is to query the intellectual outlines of the Taller Total, focusing on its architectural debates and their international references. In those debates, the problematic of "habitat" was thought not only as a redefinition of the disciplinary boundaries but also as a consideration of Architecture's specific contribution to social transformation processes. This brings the necessity to reconsider this experience under the problematic posses by the "untimeliness" of the neo-avant-gards. ; Fil: Malecki, Juan Sebastian. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - Córdoba. Instituto de Humanidades. Universidad Nacional de Córdoba. Instituto de Humanidades; Argentina

Governance architecture is a major source of research to define the principles that can guide the design of a new sustainable contemporary architecture. Traditional architecture and its methods and strategies are somewhat undervalued and often not used in the new architecture. The main objective of the project versus (funded by the European Union, Culture Programme 2007-2013) has therefore been to know and analyse the governance architecture in order to draw its fundamental lessons and principles and explore new ways to integrate these principles into contemporary sustainable construction. In addition, the research project aims to promote European intercultural dialogue, through the establishment of a network of experts and institutions working in this field, with an established research plan and a series of relations and communication strategies. The project has been developed by 5 partners, universities from 4 countries: Escola Superior Gallaecia (Portugal) as project leader, Polytechnic University of Valencia (Spain), CRAterre -Ecole Nationale Supérieure d'Architecture de Grenoble (France), Università degli Studi di Firenze (Italy), and Università degli Studi di Cagliari (Italy). The research project has also involved 6 institutions from 5 countries (Sweden, UK, Czech Republic, Slovenia and Cyprus) and institutional support from 3 international entities: ICOMOS- CIAV (International Scientific Committee for Government Architecture), ICOMOS- ISCEAH (International Scientific Committee on Earth Architectural Heritage) and the European Network for Earth Building. Mileto, C.; Vegas-pez-Manzanares, F.; García Soriano, L.; Cristini, V. (2015). European project versus: lessons from the Governmental Architecture for a sustainable contemporary architecture. Arché. (10): 317-324. http://hdl.handle.net/10251/84769 ; 317 324 10 ; Governance architecture is a major source of research to define the principles that can guide the design of a new sustainable contemporary architecture. Traditional architecture and its methods ...

The paper maintains that an unlimited economic growth has led to an at times irreversible degradation of Man's habitat and that this process persists, thus calling for an urgent reconsideration be it ideological and be it legislative of this patently negative phenomenum. Sheer Productivity and its spin off, aggressive marketing, are wearing out countries and leaving them with a dreary landscape in which technifying objects batten upon the natural original. The paper suggests that a mere admitting that there are ground for concern is no longer enough and that actions of a critical-cum-renewing nature are now the order of the day given the instrumentalizing irracionality with which these societies at risk boast their feats. ; La degradación, a veces irresistible, que ha sufrido y de manera creciente viene soportando el medio natural, requiere de una urgente revisión, tanto ideológica como legislativa, frente a los desvaríos tan negativos a los que conduce un desarrollo ilimitado. El pensamiento productivo y su derivada natural al mercantilismo agresivo están configurando unos paisajes extenuados por una colonización de objetos técnicos que devoran el «paisaje natural». Los motivos de alarma ya evidentes deben ser sustituidos por acciones crítico- renovadoras frente a la irracionalidad instrumental en que estas sociedades consumen sus victorias.

Joze Plecnik must be placed in the history of architecture as a central figure of architectural Modernism. This significance of Plecnik is dictated by the uniqueness of his themes and images both in his civic and in his religious architecture in Vienna, Praque, Ljubljana and elsewhere. Plecnik's religious architecture has a double emplhasis: pubicly, it gives rise to the type of urban church that gave support to the emerging democratic states and to the type of rural church that gave support to nationalist, populist piety; privately, it provides expression to the architect's wrestling wiht the problem of mortality. As Plecnik grew older, this latter preocupation translated itself into a subconscious ''compulsion to repeat" or, formally, into a "constructive mania" much closer to traditionalNordic forms than to Classical forms. In all of his religious work, Plecnik synthasized, both metaphorically and metonymically, the contributions of the materials and the craft to the constitution of contemplative (world) and visionary (tradition) forms of the imagination. Since their components can be distinguished but not separated from each other, such forms are at the same time realities and symbols, therefore they cannot be identified with the radical fictions of traditional and Post- modern art. As symbols, Plecnik's tectonic and decorative forms should no~ be considerad arbitrary, linguistic, signs; they are instead natural, as the forms and expressions of life. ; "Los eslavos tenemos una fuerza creadora propia y original; pero para encontrarla hemos de salir de nosotros y pasar siempre por Roma." La arquitectura religiosa de Joze Plecnik (1872-1957) es precisamente una síntesis de formas tectónicas Nórdicas y Mediterráneas; como lo apunta Worringer, tal síntesis es la característica más íntima del Modernismo arquitectónico. Un segundo origen de sus formas hay que situarlo en un progresivo diálogo con la muerte dentro de la espiritualidad personal del arquitecto.

En este artículo se localiza y estudia un centenar de ejemplos de inmuebles de arquitectura doméstica, religiosa y militar con decoración externa de esgrafiados y policromía, que se hicieron en Sanlúcar de Barrameda durante los siglos XVII y XVIII. Sus fuentes de inspiración son identificadas y se establece catálogo de trabajo con los motivos conservados. ; This article locates and studies a hundred examples of housings, religious and military buildings with externa decoration for sgraffito and polychromed, which were made in Sanlucar de Barrameda in the seventeenth and eighteenth centuries. His sources of inspiration are identified and a catalog is established with the conserved motifs.

Anoma Pieris (ed.)Architecture on the Borderline: Boundary Politics and Built SpaceOxon: Routledge, 2019, 288 pages. Softcover. Language: English. 42,33€.ISBN: 978-11-381028-2-8 ; Anoma Pieris (ed.)Architecture on the Borderline: Boundary Politics and Built SpaceOxon: Routledge, 2019, 288 págs. Encuadernación en rústica. Idioma: inglés. 42,33€.ISBN: 978-11-381028-2-8

modernization programs in Latin America; a program which had a huge impact over the cityscape. The functionaland abstract codes form the "International Style" received complete endorsement, particularly in public buildings.However, in many of the architectural works that were intended to simultaneously embody a modern and nationalistagenda, artistic elements from the pre-Columbian past were included. This operation of syncretism, supported onsupposed testimonies from original cultures, was instrumental to legitimize the big leap into development. This paperincludes symbolic interpretations of the hybridization of modern and indigenous languages in the most importantpublic works in Caracas, with special emphasis on the University City and the Eastern Highway, the Simon BolivarCenter, and the Military Circle. All of these projects were infused with a modern language in architecture as well aswith artistic motives recreating Venezuelan indigenous myths and traditions. ; En la Venezuela de la década de 1950, el régimen presidido por el general Marcos Pérez Jiménez echó a andar uno delos programas de modernización de mayor impacto sobre el paisaje urbano del país, caracterizado por la aceptaciónplena de los códigos funcionales y abstractos del llamado "estilo internacional", en particular para edificios de usopúblico. Sin embargo, en muchas de estas obras que intentaban materializar una visión "moderna" –pero nacionalista–del país, se incluyeron, paradójicamente, elementos artísticos inspirados en el pasado prehispánico, en unsincretismo de códigos que, apoyado sobre la base de supuestos testimonios de las culturas originarias, legitimabael "gran salto" hacia el desarrollo. El trabajo elabora una interpretación en términos simbólicos de la hibridaciónde lenguajes –moderno e "indigenista"– presente en algunas de las obras públicas más importantes erigidas en lacapital durante la dictadura, con especial énfasis en los casos de la Ciudad Universitaria-Autopista del Este, el CentroSimón Bolívar y el Círculo Militar, en los cuales coexisten fórmulas de la arquitectura moderna junto con elementosartísticos que "re-crean" mitos y tradiciones de las culturas indígenas venezolanas.

In 1984, the architect Antonio Díaz criticized a way of understanding Architecture and its consequent design practice: discarding the possibility of "invention" in a discipline "that is always part of a culture", maintained that good architecture can only come from constructed reality; a reality that, for Diaz, should be read typologically. This article attempt to understand what this criticism meant and what were the most significant contributions of Diaz to the disciplinary debate that took place between the mid seventies and the eighties in Buenos Aires, taking into account the differences that he maintained with his most immediate interlocutors. To begin to retrace the way in which Diaz understood Architecture and, therefore, the design practice and its teaching, this article looks into the available material production –written and drawn– of the courses that Díaz directed: in La Escuelita –that formation experience that took place between 1977 and 1983 out of the public University–, and in the course he directed in the Architecture Faculty in the new democratic period, that is, from 1984 to 1987, when he decided to settle in Spain. ; En 1984, el arquitecto Antonio Díaz criticaba un modo de entender la Arquitectura y su consecuente práctica proyectual: descartando la posibilidad de "invención" en una disciplina "que siempre forma parte de una cultura", sostenía que la buena arquitectura no puede más que partir de la realidad construida; una realidad que para Díaz debía ser leída en clave tipológica. Este artículo busca entender qué significó esta crítica y cuáles fueron los aportes más significativos de Díaz al debate disciplinar que se dio entre mediados de la década del setenta y los años ochenta en Buenos Aires, atendiendo a las diferencias que mantuvo con sus interlocutores más inmediatos. Para comenzar a desandar el modo en que Díaz entendió la Arquitectura y, por lo tanto, a la práctica proyectual y su enseñanza, se indagará en la producción material disponible –escrita y dibujada– de los talleres que dirigió: en La Escuelita –aquella experiencia de formación alternativa a la Universidad que funcionó entre 1977 y 1983–, y en la cátedra que condujo en la Facultad que se abría con el nuevo período democrático, esto es, desde 1984 hasta 1987, cuando decidió radicarse en España.

Participative architecture starts off the necessity of generating sustained alternative habitat in a democratization of the design processes. In this text a revision of the records is made from the anthropology, the sociology and the current state of the participative architecture in Latin America, making emphasis in its methodologies, processes and types of relationships between architect and community. It is presented, by way of conclusion, a critical panorama of the participative architecture starting from the recognition of three derived main slopes of these relationship types, this way: architect-leader, architect-subordinate and architect-interpreter ; La arquitectura participativa parte de la necesidad de generar alternativas de hábitat sustentadas en una democratización de los procesos de diseño. En este texto se hace una revisión de los antecedentes desde la antropología, la sociología y el estado actual de la arquitectura participativa en Latinoamérica, haciendo énfasis en sus metodologías, procesos y tipos de relaciones entre arquitecto y comunidad. Se presenta, a modo de conclusión, un panorama crítico de la arquitectura participativa a partir del reconocimiento de tres vertientes principales derivadas de estos tipos de relación, así: arquitecto-dirigente, arquitecto-subalterno y arquitecto-intérprete

Participative architecture starts off the necessity of generating sustained alternative habitat in a democratization of the design processes. In this text a revision of the records is made from the anthropology, the sociology and the current state of the participative architecture in Latin America, making emphasis in its methodologies, processes and types of relationships between architect and community. It is presented, by way of conclusion, a critical panorama of the participative architecture starting from the recognition of three derived main slopes of these relationship types, this way: architect-leader, architect-subordinate and architect-interpreter. ; La arquitectura participativa parte de la necesidad de generar alternativas de hábitat sustentadas en una democratización de los procesos de diseño. En este texto se hace una revisión de los antecedentes desde la antropología, la sociología y el estado actual de la arquitectura participativa en Latinoamérica, haciendo énfasis en sus metodologías, procesos y tipos de relaciones entre arquitecto y comunidad. Se presenta, a modo de conclusión, un panorama crítico de la arquitectura participativa a partir del reconocimiento de tres vertientes principales derivadas de estos tipos de relación, así: arquitecto-dirigente, arquitecto-subalterno y arquitecto-intérprete.

ResumenHa sido un importante revulsivo en el ámbito académico de habla anglosajona. Avalado por grades personalidades de la cultura arquitectónica actual, viene calificado por Peter Eisenman en su contraportada como una publicación que, bajo el inocente aspecto de libro de historia de la arquitectura, esconde "un ataque radical a la teoría". Tras este eslogan se esconde una media verdad, porque lo que el libro de Aureli propone es el desmantelamiento de lo que, en los países de habla inglesa, se ha venido en llamar teoría desde los años 80 y sobre todo en los 90, cuando los ámbitos académicos anglosajones han sido tan extraordinariamente permeables a la crítica cultural, la filosofía, la crítica literaria, la geografía o la ciencia, que la arquitectura como tal apenas tenía presencia en los currícula, congresos o publicaciones. Por lo tanto tal ataque lo es hacia la teoría así entendida, presentando en realidad en esa ruptura con un modelo consolidado de escribir teoría ciertos síntomas de continuidad con otra forma de escribir y de hacer arquitectura, que es precisamente la que el libro presenta en su recorrido histórico por una serie de casos. La mayor novedad e interés del libro es que su aparato discursivo proviene enteramente de dos frentes: la historia de la arquitectura (una determinada historia y no cualquiera) y la teoría política, porque la tesis principal del libro es esa posibilidad de re-politizar la forma arquitectónica hoy con el objetivo de superar el estado de agotamiento de la teoría. Al giro pragmático postulado a finales de los 90, y a los discursos post-teóricos y post-políticos que han dominado la academia anglosajona desde aquella fecha, Aureli responde con su propuesta de forma arquitectónica absoluta con una alta dosis de polémica. AbstractThe book The Possibility of an Absolute Architecture has been a major shock to the Anglo-speaking academic environment. Backed by relevant personalities of current architectural culture, the book is described by Peter Eisenman in its back cover as a publication under the innocent appearance of another book on the history of architecture, when in reality it hides "a radical attack on theory." After this slogan lies a half-truth, because what Aureli proposes with the book is the dismantling of what, in English-speaking countries, has been called theory since the 80s and especially in the 90s, when the Anglo-saxon academia has been so extraordinarily permeable to cultural criticism, philosophy, literary criticism, geography or science, that architecture as such had little presence in the curricula, conferences and publications. But what is under attack in this book is theory understood in that way, and what it is actually presented is indeed a break with such consolidated type of theory, still maintaining certain symptoms of continuity with other forms of writing and making architecture, which is precisely what the book introduces in its historical journey through a series of cases. Most novelty and interest of the book is that its discursive apparatus is entirely built up on two methodological sources: the history of architecture (a particular history and not any) and political theory, since the book's main thesis is the possibility of re-politicizing architectural form today with the aim of overcoming the depleted state of recent architectural theory. Responding to the postulate of the pragmatic turn in the late 90s, and to post-theoretical and post-political discourses, which have dominated Anglo-saxon academia since then, Aureli proposes absolute architectural form with a high degree of controversy.

The climate-responsive design was a reality in expansion in the African Sub-Saharan regions since the 1950s. Such is the case of Angola and Mozambique, wide territories of sub-Saharan Africa testifying a significant developing impulse between the end of World War II and the Portuguese democratic revolution of 24th April 1974 which, the following year, led to the political independence of these two on forward African countries. Formal, technological and ideological quests for Modern Movement emerged as a cultural stimulus linked to geographical and climatic specificities, and these promoted new expressions and scales. The adaptation to the local climate was based on architectural programs and solutions developed to exploit the use of open spaces, using circulation galleries and introducing devices to maintain permanent air circulation and to control the admission of direct sunlight. ; El diseño sensible al clima es una realidad en expansión en las regiones subsaharianas de África desde los años 50. Tal es el caso de Angola y Mozambique, amplios territorios del África subsahariana que testimonian un importante impulso de desarrollo entre el final de la Segunda Guerra Mundial y la revolución democrática portuguesa del 24 de abril de 1974 que, al año siguiente, condujo a la independencia política de estos dos países africanos. La búsqueda formal, tecnológica e ideológica del Movimiento Moderno surgió como un estímulo cultural ligado a las especificidades geográficas y climáticas y, éstas, promovieron nuevas expresiones y escalas. La adaptación al clima local se basó en programas y soluciones arquitectónicas desarrolladas para explotar el uso de los espacios abiertos, utilizando galerías de circulación e introduciendo dispositivos para mantener la circulación permanente del aire y controlar la admisión de la luz solar directa. ; The climate-responsive design was a reality in expansion in the African Sub-Saharan regions since the 1950s. Such is the case of Angola and Mozambique, wide territories of sub-Saharan Africa ...

Abstract: The use of digital technology in architecture and art is associated often with the collaboration of interdisciplinary teams in participatory and experimental spaces, especially in the Media Lab model or its variants, such as the City Lab, Living Lab, the New Media Art and even the World Wide Lab. This is a model that combines the premises of the technological and innovation hand advanced users and whose clear precedents are, on the one hand, Russian Constructivism, and decades later the MIT hand Nicholas Negroponte. In the first case, in the Constructivism, there may be mentioned emblematic examples such as the Experimental Laboratory Building Kinetics of Proletkult in Moscow, Workshops Higher Education Arts and Techniques (VKHUTEMAS) founded in 1920, or the Group of Constructivists in Action the Institute of Artistic Culture (1921). The second case, the model Media Lab, Media Laboratory English acronym, translated as "Media Lab", originated in 1985 within the "Group of Architecture and Machines". The group has its immediate precedent in the draft Computer Aided Design (1959-1967), funded to maximize military power and whose director was Douglas T. Ross; it was addressing the man-machine complementary binding and design computationally, with a direct applicability of the technology. This model will be adopted by the architects of the Institute to raise new urban proposals based on component technology and social utopias. Also within the Media Lab, emerged in the late nineties, the term Living Lab hand WJ Mitchell and referred to urban planning using digital tools and with the involvement of the people themselves, albeit with different "degrees of citizen participation". This ever-closer union between man and machine is the direct consequence of the unstoppable digital revolution that is transforming the ways of city planning. Resumen: El uso de tecnología digital en arquitectura y arte va asociado, con frecuencia, a la colaboración de equipos interdisciplinares en espacios participativos y experimentales, especialmente en el modelo Media Lab o sus variantes, como el City Lab, el Living Lab, el New Media Art e incluso el World Wide Lab. Se trata de un modelo que aúna las premisas de lo tecnológico y la innovación, de la mano de usuarios avanzados y cuyos precedentes claros son, por un lado, el Constructivismo ruso, y décadas después el MIT de la mano de Nicholas Negroponte. En el primer caso, dentro del Constructivismo, pueden citarse ejemplos emblemáticos como el Laboratorio Experimental de Construcciones Cinéticas del Proletkult en Moscú, los Talleres de Enseñanza Superior de las Artes y las Técnicas (VKHUTEMAS) fundados en 1920, o el Grupo de Constructivistas en Acción del Instituto de Cultura Artística (1921). El segundo caso, el modelo Media Lab, acrónimo del inglés Media Laboratory, traducido como "Laboratorio de medios de comunicación", tiene su origen en 1985 en el seno del "Grupo de Arquitectura y Máquinas". Dicho grupo tiene su precedente inmediato en el Proyecto de Diseño Asistido por Computador (1959-67), financiado para maximizar el poderío bélico y cuyo director fue Douglas T. Ross; se trataba de abordar la unión complementaria hombre-máquina y el diseño en términos computacionales, con una aplicabilidad directa de la tecnología. Este modelo será adoptado por los arquitectos del Instituto para plantear nuevas propuestas urbanas basadas en la componente tecnológica y en utopías sociales. También en el seno del Media Lab, surge, a finales de los noventa, el término Living Lab de la mano de W. J. Mitchell y referido a planificación urbana mediante herramientas digitales y con la implicación de los propios habitantes, si bien con diferentes "grados de participación ciudadana". Esta unión cada vez más estrecha entre hombre y máquina es la consecuencia directa de la imparable revolución digital que está transformando los modos de planificación de las ciudades. ; Universidad del País Vasco/Euskal Herriko Unibertsitatea.