Suchergebnisse

[SPA] A lo largo de los siglos, la existencia de los puntos de descanso que marcaron las carreteras que atravesaban España permitieron el desarrollo de las rutas de viaje. Su inclusión en la cartografía histórica y en los diccionarios geográficos, así como la existencia de una legislación específica, refleja la importancia que tuvieron durante cientos de años. Se llegaron a distinguir como una tipología arquitectónica propia, hasta el punto de ser objeto de un proyecto y la propuesta de examen para el acceso a los títulos de arquitecto o maestro de obras en las diferentes Academias de Bellas Artes que surgieron en España para la regulación del ejercicio de la arquitectura. Los caminos constituyen los elementos que subordinan las cualidades formales de este tipo de arquitectura, cualidades que dependen de su función de hospitalidad y sobre cuya base emergen los elementos que componen estos establecimientos, convirtiéndose en una imagen característica que la distingue del resto. En la actualidad, a pesar de que forman parte de la historia de las comunicaciones y de su valor para ser parte del Patrimonio Cultural y de las obras públicas, estas piezas se encuentran en desuso y muchas de ellas han desaparecido o se hallan en peligro de hacerlo sin que hayan sido documentados cuáles fueron sus aspectos morfológicos, compositivos, constructivos y sus relaciones con la sociedad del momento. ; [ENG] Throughout the centuries, the existence of rest points that marked the roads that crossed Spain allowed the development of travel routes. Its inclusion in historical cartography and in geographical dictionaries, as well as the existence of specific legislation, reflects the importance of the years. They came to be distinguished as an architectural typology of their own, up to the point of view of a project and the examination proposal for access to the titles of architect or master of works in the different Academies of Fine Arts that emerged in Spain for the regulation of exercise of architecture. The roads are elements that are subordinated to the characteristics of this type of architecture, qualities that depend on their entertainment function and based on these establishments, becoming a characteristic image that distinguishes it from the rest. At present, although they are part of the history of communications and their value to be part of the Cultural Heritage and public works, these pieces are in disuse and many of them have disappeared or are in danger of to do it without having been documented what were its morphological, compositional, constructive aspects and its relations with the society of the moment.

[SPA] La ciudad nos explica. Sobre ella proyectamos nuestras convicciones o la falta de ellas, anhelos, cosmovisiones, juicios y prejuicios. Y sin embargo, las ciudades se convierten en esa condición cultural previa de la que no parece posible desembarazarse acabando por condicionar nuestras convicciones o la falta de ellas, nuestros anhelos, etc. Ciertamente son un sustrato cultural ineludible e "invisible". Nuestra contemporaneidad ha generado un tipo de urbe que trascendiendo lo material ha dado lugar a relaciones "des-corporalizadas" y complejas. La calle ha muerto, oímos desde frentes diversos. El espacio público ha superado la vieja geometría física que ya no sirve para registrar los cambios y los flujos que caracterizan nuestra época. Los límites quedaron atrás. Su cartografía no es posible convencionalmente. Frente a la complejidad, pierden vigor las actuaciones políticas y administrativas jerárquicas y simples, propias de tiempos fuertes. No proponemos el abandono de la política y la ciudad, sino el modo de hacer política y ciudad. Se sugiere una gestión de la complejidad y el desorden que coordine lo complejo, no desde la jerarquía sino desde una "super-visión" policontextual y policéntrica. [ENG] The city explains. On it we project our convictions or lack of them, longings, worldviews, judgments and prejudices. And however, the cities become that cultural precondition of which does not seem possible to rid ending with condition our convictions or the lack of them, our longings, etc. They certainly are an inescapable and "invisible" cultural substrate. Our contemporary world has generated a type of city that transcending the material has given rise to without bodies and complex relationships. The street has died, we heard from various fronts. The public space has exceeded the old physical geometry that no longer serves to register changes and flows that characterize our era. The limits were left behind. Your mapping cannot be conventionally. Facing the complexity, political and administrative actions hierarchical and simple, own strong stroke lose force. We not propose abandoning politics and the city, but the way of doing politics and city. Suggested management of complexity and clutter that coordinates complex, not from the hierarchy but from a "super-vision" policontextual and polycentric. ; [ENG] The city explains. On it we project our convictions or lack of them, longings, worldviews, judgments and prejudices. And however, the cities become that cultural precondition of which does not seem possible to rid ending with condition our convictions or the lack of them, our longings, etc. They certainly are an inescapable and "invisible" cultural substrate. Our contemporary world has generated a type of city that transcending the material has given rise to without bodies and complex relationships. The street has died, we heard from various fronts. The public space has exceeded the old physical geometry that no longer serves to register changes and flows that characterize our era. The limits were left behind. Your mapping cannot be conventionally. Facing the complexity, political and administrative actions hierarchical and simple, own strong stroke lose force. We not propose abandoning politics and the city, but the way of doing politics and city. Suggested management of complexity and clutter that coordinates complex, not from the hierarchy but from a "super-vision" policontextual and polycentric.

Archaeology has taught us what our origins are, but frequently it works in an independent way, avoiding any kind of collaboration with other disciplines such as Urban Development. Most often, archaeologists, managed by different government bodies, tend to work independently of urban planners. This system has led to archeologists getting the recognition for their discoveries while at the same time depriving society of the knowledge of the cities origin. As a consequence, urban development cannot fulfill its role. The fact that archeological and urban development projects are carried out separately is the main reason for the absence of any relationship between current town planning in the cities and old and buried urban planning. As a result, society is the loser in a battle in which there are no winners. In Cartagena (Spain), Pedro A. San Martín (1921-2013), an architect, a member of the Department of Fine Arts of the Ministry of Culture, Local commissioner of Archaeological Excavations and Director of the Municipal Archaeological Museum of Cartagena, developed a multi-layered approach (technical and urban) in the pursuit of one central objective: the revaluation of the city in its entirety. He tried to be an architect among archaeologists, learning the methods and ways in which archaeologists worked, and also an archaeologist among architects, trying to explain to them how they had to coordinate their discoveries in order to achieve a viable relationship between the old and the new city in Cartagena. His efforts are a great example of how both disciplines should be combined.

[SPA] Las ventas y posadas constituyen un tipo de arquitectura que ha sido fundamental en la historia de las comunicaciones; su inclusión en la cartografía histórica y en los diccionarios geográficos así como la existencia de una legislación específica sobre estas construcciones reflejan la importancia que tuvieron durante siglos. Una de las supervivientes de las numerosas ventas y posadas levantadas durante siglos a lo largo de la red caminera española es la Casa de Postas de Librilla, cuya construcción fue promovida por la Casa de Alba. A pesar de que la mayoría de estas construcciones son de carácter anónimo, la de Librilla, cuya obra fue ejecutada por arquitectos y maestros de obras, responde a los modelos de parador que se proyectaban en las distintas Academias de Bellas Artes españolas con el fin de obtener el título de arquitecto o de maestro de obras. ; [ENG] Guesthouses and inns constitute a type of architecture that has been fundamental in the history of communications; its inclusion in historical cartography and in geographical dic-tionaries as well as the existence of specific legislation onthese constructions reflect the importance they had for centuries. One of the survivors of the numerous guesthouses and inns raised over the centuries along the Spanish road network is the Casa de Postas of Librilla, whose construction was promoted by the Casa de Alba. Although most of these buildings are anonymous, that of Librilla, whose work was executed by architects and master builders, responds to the parador models that were projected in the different Spanish Academies of Fine Arts in order to obtain the title of architect or master of works.