Contribution of the creative process learning to the political awareness of students.
The main hypothesis of this paper is that creative processes’ learning can contribute not only to develop the artistic abilities and skills but also in the political consciousness of students.
To elaborate this hypothesis the definition of education and its relation with democracy is explored, together with the most influential educational models and their possible link to the political behavior of citizens. More specifically we turn to the argument that was developed by Rancière creating relation between art and politics to identify different areas of work in learning creative processes. This type of learning is being discussed briefly; raising aware-ness regarding prejudices and questioning ideas, both critical situations in political behavior of citizens.
Finally, the analytic dialogue is proposed as a tool to work in these areas, able to reconstruct a political and artistic dissensus of space.Learning from landscape: Time as an element of renaturalization of the city.
The workshop «Renaturalization of Gran San Blas» is presented as an interdisciplinary teaching project where “time” is a decisive design requirement to work with the landscape in the city. It was carried out during three days in which students from different nationalities -from the University of Saxion (The Netherlands) and from the University Camilo José Cela (Spain)- worked with a digital tool not included in their academic curriculum. The most special condition of the workshop was having to work with a timeline which represents the renaturalization scenarios of the neighborhood and which allowed to create a common interest among students. The factor of time, has been treated from a divergent thinking, making use of different landscape references, and from a convergent thinking, making use of multiple real data offered by the City Council of Madrid. This approach allowed students to achieve their proposals in the short time of the workshop.
More info: https://upcommons.upc.edu/handle/2117/124516Learning through non-determined content in architectural design teaching
Teaching design constitutes the core of architectural education and is cut across by multiple viewpoints, nuances, demands, experiments and influences. Therefore, it is quite difficult to determine its content since it is covered at different levels that are not always easy to explain precisely. The approach of this paper is mainly theoretical, although it is also the result of educational experiments. It examines that content which because of its versatile and non-determined nature constitutes a laboratory for experiments that helps to enrich architectural learning and practice. This content is part of the act of designing and has several pedagogical aims such as avoiding mental block when starting, awakening learner interest in design, inserting critique without forcing it by questioning previous knowledge, promoting creativity, inviting students to experiment with different processes, activating their imagination and in general introducing them to “the act of doing.”City Limits and the Architect's Role
Este artículo presenta una aproximación a la complejidad de los límites urbanos y su potencial en el debate sobre el rol del arquitecto en el diseño y gestión de ciudades contemporáneas. Específicamente, examina el proceso y producción de un curso integrado de Proyectos Arquitectónicos y Urbanos basado en aprendizaje–servicio, enriquecido mediante la oportunidad de colaboración con el promotor de una nueva actuación urbana al límite de Madrid y asociaciones de vecinos de una comunidad colindante. Los estudiantes se benefician de actividades de aprendizaje comprendidas en el convenio entre la universidad y la empresa promotora, incluyendo conferencias y talleres con expertos interdisciplinares. La interacción con el urbanismo participativo mejora sus competencias para comprender la dificultad de aunar en el planeamiento los requisitos empresariales y las necesidades ciudadanas. El impacto es alto en aprendizaje proyectual de los estudiantes, transferencia de conocimiento de la universidad –se publican los resultados– y responsabilidad social corporativa.Working with strangers
“Working with strangers” is an experience of team working between students from different cultural origins, which are invited to work during the course with an unknown partner. It is an exercise that finds out, through the comparison with a totally different culture, the implicit knowledge of learning our own architectural culture. This experience, developed by the UD Soriano from the Architectural School of Madrid in collaboration with other five international universities, goes for ways of working that are external from university. Ways of working that face a challenge of team working with known partners and also with completely unknown ones. The first ones are so common in the way of teaching Architectural Projects subjects; the second ones are strange people foreign to our cultural and intellectual affections that will make us doubt and wonder. University education must address this lack.
More info: https://upcommons.upc.edu/handle/2099/14620
Atlas and topology of error as a productive system in architecture
1- The history of architecture is full of different ways of doing and making decisions, design-wise. There are different approaches when confronting with a theory and a practice. They all seem safe and accurate; however there is a common belief that they aren’t. The history of architecture has always been so chaotic, amusing and plagued with errors like the authors involved in its construction. A search for errors is therefore proposed emerging from the study of the theory of knowledge and logical processes that have guided Science to where we are today, the search for error in Architecture through error in epistemology.
2- In everyday Architecture floor-plan drawings and cross-section ones are “brought together”, traveling within plans in search of references of cross sections, pursuing entrances and exits, bringing along partialities from plan to plan, reading footnotes on plans to interpret what takes place, establishing a dialogue about a project in search of a concept, assembling volumes from documents supplied as floor plans, attempting to comprehend volumetric situations from “2D” drawings or trying to recognize a gravitational assemblage. Situations in which we are aware and others not, where a mental exercise of structural coupling of all the parts that have been read is put in motion, even though these are not really related to each other and yet full of errors. Taking advantage of the trust that is generated from this exchange of information, they sneak in and make their way to the end, preventing us from falling into them.
3- In Architecture one of the most common ways of dealing with a project is through the trial and error method where continuous drawings or models are made, over and over again. In Architecture it is common to rely on persuasion in order to discover something, reiterating the search for a wish. Each of them with modifications of the previous ones, with new possibilities and trials.
García Triviño, Francisco (2014). Atlas y topología del error como un sistema productivo en la arquitectura. Tesis (Doctoral), E.T.S. Arquitectura (UPM) <https://oa.upm.es/view/institution/Arquitectura/>.Hacking Architecture. The error as a mechanism of intrusion into existing architectural systems.
According to Manuel Castells’ position, the importance of information along history has been crucial for society’s control and regulation. Nowadays, in what we call Informational Society, information is furthermore the result of a change in the production model. This control of information triggers a series of mechanisms that are based on the cybernetic society but are extended to other disciplines. Hence the important work of hacking, a silent being who adds value to information as a means and as an end, generates questions and opens new strategies on the game in this new society. Architecture also plays in that field. There are architectural proposals apparently friendly with the preexistenses, but in reality they are agents that transform the interpretation of the existing architectural codes. The hacking acts as a “secret” agent. It’s introduced into the data network, generates a fault in it, distorts and misses the modes of working. In this sense, the hacking has no plan to create a new order, but to destabilize the system through error. It leaves open the possibility of reorganization or construction of a new order. The error as an event and the hacking as a creative exploration (Aceros Guaron) work like an engine that keeps alive the power or the control games established in contemporary architecture. The hacking has avoided the paralysis of architectural information environments; it has worked on putting in a difficult situation established systems. Without define them-selves as hacking, there are cases of architectures that mimic the tactics and procedures of this culture. Lutyens, in early 1900, includes in his houses’s floorplans, elements that destroyed the architectural conventions of the structuring axes. His disruption in the architecture of that period generated different uses that have been predetermined. Something similar happens in some preservation buildings, like the example of OMA in Kohlenwäsche Zollverein, mainly based on the incorporation of an element which enabled a new re-interpretation of the building code. Or more recently, the case of «Office» that through abstract interventions give a new positioning of an established architecture. The position of the hacking architecture confronts with the information. She willfully generates an error to put the system in doubt.La teoría general de la información en la arquitectura: el error en la villa Moller, la casa Track y el Palacio municipal de deportes de Huesca
Contrary to the origins of information theory, error is part of communication. The so-called “Invisible College” (Palo Alto School) has shown how the elimination of error for the purpose of achieving isomorphic messaging is detrimental to communication. This article applies these theories to architecture, using three different case studies to show how errors have been decisive and inseparable from the final message of each project.Architecture in suspension: disruptive practices within the state of exception
In his work State of Exception, the Italian philosopher Giorgio Agamben has recently studied the consequences of the exception becoming the rule. He explains a situation where the law requires the partial exclusion of the legal order so as to preserve its legitimate character. It forms the basis of the so-called «spaces in suspension», where the rule is the exception in the form of the suspension of the legal order, the anomie. In those spaces the act of government is located in a threshold area of ambiguity between general and particular spheres. The transference of Agamben’s concept into architecture is possible. There are physical scenarios where the norm is not a security shield since it is accomplished and questioned at the same time. What type of architecture is responding to those spaces in suspension? Is there a critical attitude boosted by those kinds of architectural practices? The paper approaches the topic through a theoretical contextualization of the idea of the state of exception in architecture. This approach is based on the analysis of some case studies, which are considered as disruptive practices since they are proposing new ways of practising architecture. They utilize strategies such as new interpretations of the law (urban prosthesis, occupation of public spaces), the replacement of the authorities’ duties (occupation of public buildings and empty plots) or the proposal of new teaching practices. Their analysis let the authors define a specific context in architectural practice, which reflects a new paradigm called «architecture in suspension».
Sistema de cierre de dos huecos de paso que comparten una hoja simple
1. Sistema de cierre de dos huecos de paso que comparten una hoja simple abatible caracterizado porque comprende:
A: Dos precercos que se disponen de forma perpendicular, con la singularidad de que el vástago central o la barra compartida es de sección triangular o en forma de cuña, con el fin de tener continuidad estructural y geométrica con las dos caras de los precercos que comparte. El marco a incorporar asume una geometría en forma de cuña e incorpora un remate exterior en forma de chaflán que permite que la hoja especial de la puerta pueda abrir.
B: Hoja de puerta con el canto que va a tener las bisagras en ángulo, de forma que encaje con el chaflán del marco.
C: Tapetas de cierre, que se disponen para que su espesor cierre el hueco que deja la bisagra con el marco de la puerta.
2. Sistema de cierre de dos huecos de paso que comparten una hoja simple abatible, según la reivindicación anterior, que incorpora una manilla de cierre magnético que evita el sentido único de cierre y apertura.