Estudo comparativo entre as novas ferramentas digitais utilizadas no desenho à mão livre

This paper makes an analysis on the new technological resources related to architectural drawing that make use of the hand drawing. It tests and evaluates the use of new tools such as tablets (e.g. Wacom Bamboo), graphic tablets (e.g. iPad), tablet/screen hybrids (e.g. Wacom Cintiq) and electronic pens (e.g. Wacom Inkling) in the making of free drawings oriented for the developing of graphic products related to the projective act in architecture and design. The paper makes a comparative e interpretative analysis through the reading of those products.

A linguagem de programação aliada ao desenho na criação de jogos digitais como instrumento de arquitetura patrimonial

This research studies the use of digital games as a playful tool approach of knowledge in architecture heritage. We emphasize the potential of digital games as a tool and importance of digital drawing combined with programming language, the means by which the making of the games became possible. The models developed are based on the properties of historical and cultural interest in the city of São Carlos, Brasil.

O modelo tridimensional físico e seu papel na educação patrimonial

Este artigo versa sobre uma pesquisa integrante do Núcleo de Apoio à Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.ELAC), que desenvolve pesquisas em Linguagem e Representação. Entre as diversas formas de representação em arquitetura, a presente pesquisa traz o modelo tridimensional físico como ferramenta que proporciona maior facilidade de leitura do projeto, sendo mais concreta que os desenhos técnicos. Objetiva-se, assim, destacar a importância do modelo físico como meio de aproximação da população ao patrimônio arquitetônico. Como estudo de caso, foi escolhido o Edifício E1, obra de Ernest Mange e Hélio Duarte. Localizado no campus da USP em São Carlos, é considerado patrimônio da cidade, entretanto, encontra-se praticamente enclausurado no interior do campus, dificultando maior contato da comunidade com o edifício. O projeto do edifício utilizou apenas o desenho como representação, não incluindo nenhum tipo de modelo tridimensional (físico ou digital). A partir de um levantamento das representações gráficas utilizadas pelos projetistas, foi possível fazer uma comparação entre o nível de compreensão do projeto apenas com as peças gráficas dos arquitetos e a partir do modelo físico, produzido pela pesquisadora. Foi realizado um pré-teste em escola pública municipal, despertando o interesse desses alunos pelo edifício em questão.

O uso da maquete física como ferramenta de leitura do patrimônio cultural

O presente artigo vincula-se às pesquisas do Núcleo de Apoio à Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.ELAC), que atua na área de Linguagem e Representação. Diante das diversas formas de representação em arquitetura (desenho, maquete, modelos digitais), nesta pesquisa o modelo tridimensional físico é trazido como ferramenta que proporciona maior facilidade de leitura do projeto e tratado como meio de aproximação da comunidade ao patrimônio arquitetônico, envolvendo, sobretudo, a arquitetura moderna paulista. Como estudo de caso, escolheu-se o Edifício E1, obra de Ernest Mange e Hélio Duarte. Localizado no campus da USP em São Carlos, é considerado patrimônio da cidade, entretanto, encontra-se praticamente enclausurado no interior do campus, dificultando maior contato da comunidade com o edifício. Durante sua execução, foi utilizado apenas o desenho como ferramenta de representação de projeto, não incluindo nenhum tipo de modelo tridimensional (físico ou digital). A partir do levantamento das representações gráficas utilizadas, foi possível fazer uma comparação entre o nível de compreensão do projeto apenas com as peças gráficas dos arquitetos e a partir do modelo físico, produzido pela pesquisadora. Realizou-se um pré-teste em escola pública municipal, que indicou um aumento no interesse desses alunos pelo edifício em questão.

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

Il concetto di sezione nel metodo compositivo di Aldo Rossi.

Purpose of this research is to deepen the study on the section in architecture. The survey aims as important elements in the project Teatro Domestico by Aldo Rossi built for the XVII Triennale di Milano in 1986 and, through the implementation on several topics of architecture, verify the timeliness and fertility in the new compositional exercises. Through the study of certain areas of the Rossi’s theory we tried to find a common thread for the reading of the theater project. The theater is the place of the ephemeral and the artificial, which is why his destiny is the end and the fatal loss. The design and construction of theater setting has always had a double meaning between the value of civil architecture and testing of new technologies available. Rossi's experience in this area are clear examples of the inseparable relationship between the representation of architecture as art and design of architecture as a model of reality. In the Teatro Domestico, the distinction between representation and the real world is constantly canceled and returned through the reversal of the meaning and through the skip of scale. At present, studies conducted on the work of Rossi concern the report that the architectural composition is the theory of form, focusing compositional development of a manufacturing process between the typological analysis and form invention. The research, through the analysis of some projects few designs, will try to analyze this issue through the rules of composition both graphical and concrete construction, hoping to decipher the mechanism underlying the invention. The almost total lack of published material on the project Teatro Domestico and the opportunity to visit the archives that preserve the drawings, has allowed the author of this study to deepen the internal issues in the project, thus placing this search as a first step toward possible further analysis on the works of Rossi linked to performance world. The final aim is therefore to produce material that can best describe the work of Rossi. Through the reading of the material published by the same author and the vision of unpublished material preserved in the archives, it was possible to develop new material and increasing knowledge about the work, otherwise difficult to analyze. The research is divided into two groups. The first, taking into account the close relationship most frequently mentioned by Rossi himself between archeology and architectural composition, stresses the importance of tipo such as urban composition reading system as well as open tool of invention. Resuming Ezio Bonfanti’s essay on the work of the architect we wanted to investigate how the paratactic method is applied to the early work conceived and, subsequently as the process reaches a complexity accentuated, while keeping stable the basic terms. Following a brief introduction related to the concept of the section and the different interpretations that over time the term had, we tried to identify with this facility a methodology for reading Rossi’s projects. The result is a constant typological interpretation of the term, not only related to the composition in plant but also through the elevation plans. The section is therefore intended as the overturning of such elevation is marked on the same plane of the terms used, there is a different approach, but a similarity of characters. The identification of architectural phonemes allows comparison with other arts. The research goes in the direction of language trying to identify the relationship between representation and construction, between the ephemeral and the real world. In this sense it will highlight the similarities between the graphic material produced by Ross and some important examples of contemporary author. The comparison between the composition system with the surrealist world of painting and literature will facilitate the understanding and identification of possible rules applied by Rossi. The second part of the research is characterized by a focus on the intent of the project chosen. Teatro Domestico embodies a number of elements that seem to conclude (assuming an end point but also to start) a curriculum author. With it, the experiments carried out on the theater started with the project for the Teatrino Scientifico (1978) through the project for the Teatro del Mondo (1979), into a Laic Tabernacle representative collective and private memory of the city. Starting from a reading of the draft, through the collection of published material, we’ve made an analysis on the explicit themes of the work, finding the conceptual references. Following the taking view of the original materials not published kept at Aldo Rossi's Archive Collection of the Canadian Center for Architecture in Montréal, will be implemented through the existing techniques for digital representation, a virtual reconstruction of the project, adding little to the material, a new element for future studies. The reconstruction is part of a larger research studies where the current technologies of composition and representation in architecture stand side by side with research on the method of composition of this architect. The results achieved are in addition to experiences in the past dealt with the reconstruction of some of the lost works of Aldo Rossi. A partial objective is to reactivate a discourse around this work is considered non-principal, among others born in the prolific activities. Reassessment of development projects which would bring the level of ephemeral works most frequented by giving them the value earned. In conclusion, the research aims to open a new field of interest on the part not only as a technical instrument of representation of an idea but as an actual mechanism through which composition is formed and the idea is developed.

Ahmedabad | Laboratorio di architettura moderna Il National Institute of Design (1961-68) fra contatti internazionali ed echi della tradizione

Oggetto della ricerca è lo studio del National Institute of Design (NID), progettato da Gautam Sarabhai e sua sorella Gira, ad Ahmedabad, assunta a paradigma del nuovo corso della politica che il Primo Ministro Nehru espresse nei primi decenni del governo postcoloniale. Obiettivo della tesi è di analizzare il fenomeno che unisce modernità e tradizione in architettura. La modernità indiana, infatti, nacque e si sviluppò con i caratteri di un Giano bifronte: da un lato, la politica del Primo Ministro Nehru favorì lo sviluppo dell’industria e della scienza; dall’altro, la visione di Gandhi mirava alla riscoperta del locale, delle tradizioni e dell’artigianato. Questi orientamenti influenzarono l’architettura postcoloniale. Negli anni ‘50 e ’60 Ahmedabad divenne la culla dell’architettura moderna indiana. Kanvinde, i Sarabhai, Correa, Doshi, Raje trovarono qui le condizioni per costruire la propria identità come progettisti e come intellettuali. I motori che resero possibile questo fermento furono principalmente due: una committenza di imprenditori illuminati, desiderosi di modernizzare la città; la presenza ad Ahmedabad, a partire dal 1951, dei maestri dell’architettura moderna, tra cui i più noti furono Le Corbusier e Kahn, invitati da quella stessa committenza, per la quale realizzarono edifici di notevole rilevanza. Ad Ahmedabad si confrontarono con forza entrambe le visioni dell’India moderna. Lo sforzo maggiore degli architetti indiani si espresse nel tentativo di conciliare i due aspetti, quelli che derivavano dalle influenze internazionali e quelli che provenivano dallo spirito della tradizione. Il progetto del NID è uno dei migliori esempi di questo esercizio di sintesi. Esso recupera nella composizione spaziale la lezione di Wright, Le Corbusier, Kahn, Eames ibridandola con elementi della tradizione indiana. Nell’uso sapiente della struttura modulare e a padiglione, della griglia ordinatrice a base quadrata, dell’integrazione costante fra spazi aperti, natura e architettura affiorano nell’edificio del NID echi di una cultura millenaria.

Simbolismi etno-antropologici nell'opera di Elsa Morante

La ricerca sviluppa le più recenti proposte teoriche dell'antropologia interpretativa, applicandole alla teoria della letteratura. Si concentra sull'ipotesto antropologico attivo nell'opera di Elsa Morante, con particolare riferimento alla produzione successiva agli anni Sessanta (Il mondo salvato dai ragazzini, 1968; La Storia, 1974; Aracoeli, 1982), in cui si verifica la concentrazione del materiale etno-antropologico di derivazione demartiniana. La tesi si propone di sondare la prolificità del rapporto intertestuale Morante-De Martino, soprattutto mediante la ricorrenza di alcuni luoghi significanti che accomunano la ricerca poetica e quella scientifica degli autori, uniti da una fondamentale rielaborazione del concetto di "umanesimo". Centrale, a questo proposito, diviene la nozione di "crisi" della persona, direttamente collegata al vissuto da "fine del mondo" e alla percezione apocalittica post-atomica. Alla crisi del soggetto contemporaneo si guarda nei termini di una risoluzione culturale, che chiama direttamente in causa il rapporto tra letteratura e ritualità. Secondo la prospettiva sociologica durkheimiana, si indagano i momenti della piacularità e della festa, ricorsivi nella scrittura morantiana, come fondanti il discorso (la narrazione mitografica) della comunità. Di qui, la riflessione si attesta sulle strategie della comunicazione finzionale in ambito etno-antropologico, con attenzione all'autorialità dello stesso antropologo sul campo. Non mancano raffronti con le esperienze letterarie più significative nell'orizzonte culturale delineato: in particolar modo, si tiene in considerazione il fondamentale rapporto Morante-Pasolini. 

Carlos Martí Arís e i suoi eteronimi. Vocazione all'anonimo

Questa ricerca indaga la prospettiva investigativa di Carlos Martí Arís. È stato assunto il campo d’azione da lui prediletto, ovvero l’articolato rapporto che in architettura si instaura tra teoria e pratica, comprensivo delle svariate ricadute nel mondo dell’arte e della produzione umana in genere, che fanno del progetto architettonico un campo disciplinare complesso. La sua figura è però assunta in modo strumentale, come grimaldello per addentrarsi in un articolato ambito culturale, che se da un lato coincide con la sua città, Barcellona, dall’altro la trascende grazie a quei “ponti della conoscenza” che CMA interrottamente ha teso al suo intorno. Ci riferiamo alla sua costruzione teorica destinata a consolidare la storica reciprocità tra Italia e Spagna, le cui tematiche urbane e tipologiche ne sono la base, Milano e Barcellona ne sono gli estremi. Ci riferiamo al suo sguardo sull’esperienza del Movimento Moderno e il relativo tema della residenza. Ci riferiamo alla sua naturale vocazione al silenzio, che si oppone al fragoroso rumore della contemporaneità e affianca la discreta parola del mestiere: un modo per porsi all’ascolto. All’ascolto dell’altro e del mondo. Ci riferiamo, insomma, alla sua idea di architettura intesa come «territorio dissodato da tempi remoti»; come trama di corrispondenze sincroniche tra terre, tempi, fatti, uomini, vicini e lontani: condizione ideale per chi voglia disciogliere il proprio lavoro nei labirintici sentieri del mondo, indifferente al rischio di perdersi nell’oblio. Oggi, in cui il progetto architettonico risulta sempre più spesso veicolo di soggettive e arbitrarie sperimentazioni formali, la lezione di CMA indica una via d’uscita: un mo(n)do condiviso che all’arroganza opponga la discrezione, che persuada a celarsi nella tradizione e a porsi umilmente all’ombra dei maestri. Tradizione e Maestri, Eteronimi e Nomi, complementarità a cui CMA affida il suo progetto di anonimato, sovrapersonale e ostinatamente teso a rilevarne le relazioni inedite.

Ragnar Östberg. Genius loci e memorie urbane. Stockholms Stadshuset-Nämndhuset e villa Geber

La ricerca si propone di analizzare una di quelle stagioni architettoniche controverse e lontane dalle internazionali strade maestre del nascente Neues Bauen: il romanticismo-nazionale svedese riletto attraverso l’esperienza del suo massimo esponente, Ragnar Östberg (1866-1945). L’obiettivo della tesi non è solamente quello di una revisione della critica storiografica, facendo così luce su una di quelle personalità considerate marginali, quanto quello di ricavare dalla lettura comparata di due tra i suoi progetti, fino ad ora mai indagati, quegli elementi che fanno dell’architettura un “fatto urbano” in cui la collettività può riconoscersi e parallelamente un fatto di rappresentazione della stessa. L’arcipelago di Stoccolma e quel processo di “renovatio urbis” a cui fu sottoposta proprio agli albori del XX secolo furono gli scenari in cui presero vita i due progetti: il complesso formato dallo Stockholms Stadshuset e la vicina parte mai realizzata del Nämndhuset, e villa Geber. Condensano due dimensioni che la città immersa nel paesaggio contiene: la natura urbana dell’edificio municipale e quella domestica della villa urbana isolata. La ricerca intesse un itinerario di disvelamento attraverso una matrice duale di lettura: “genius loci” e memorie urbane. I capitoli cercano di dimostrare come i due casi-studio siano espressione di quella pendolarità di ricerca tra lo spirito del luogo e le rimembranze delle forme urbane della tradizione. Questa analisi ci conduce in un viaggio alla ricerca dell’atlante delle “memorie urbane”, raccolte nei viaggi e nella formazione, comprendendo così il mondo analogico di riferimenti culturali con altre architetture europee della tradizione. I due progetti sorgono in opposte aree di espansione di Stoccolma e, pur nella loro diversità di scala, sono chiara espressione di appropriatezza al luogo e di strutture formali analoghe. Stockholm Stadshuset-Nämndhuset e villa Geber esprimono il metodo di Östberg, dove i riferimenti raccolti dall’imagination passive sono tramutati ed assemblati grazie alla imagination active.

Franciszek Maczynski: a Monograph

Franciszek Maczynski was one of the best Polish architects of the early 20th century and Solewski used a wide range of materials to complete a bibliography of Maczynski's architectural, artistic and theoretical works, and a biography of the architect. From his analysis of the material collected, he concluded that Maczynski was a romantic architect, influenced by a vision to seek the essential Truth in historical patterns or artistic creativity. This determined his search for the ideal form and style in architecture, connecting 'national' and historical inspiration, the vernacular 'Zakopane Style', Gesamtkunstwek and modernistic severity. However, Maczynski worked closely with Tadeusz Stryjenski, his most important patron, who also used the 'beginner's' artistic talents, while he, as the 'boss', decided on commissions and profits. This experience led to Maczynski's involvement in the Spojnia partnership, creating simple engineering architecture and successfully locating wealthy investors. It was the liberal idea of establishing a building firm to make profits that turned Maczynski into a regular builder and entrepreneur, abandoning the romantic idea of 'artistic' or 'national' architecture. The transformation from artist to entrepreneur indeed reflected the opposition of romantic-liberal.

Zerbrochene Spiegel /1

Der Beitrag beschreibt eine doppelte, verfremdete und letztendlich tragische Spiegelung in der Wahrnehmung von Architektur zwischen Europa und Indien: zwischen 1780 und 1856 entstanden in der nordindischen Stadt Lucknow mehrere große Baukomplexe, die von den indisch-islamischen Herrschern der Stadt in europäisch-klassizistischen Formen gestaltet wurden. Nach dem indischen Aufstand, der in den Jahren 1857 und 1858 gegen die britische Herrschaft in Lucknow losbrach, wurden diese Bauten zum Gegenstand einer scharfen europäischen Architekturkritik. Der erste Abschnitt – "Das Eigene und das Fremde" – betrachtet die westliche Rezeption dieser europäisch-klassizistischen Bauten, die über Jahrzehnte durch ein Negativurteil bestimmt war, das sich aus der politischen Interpretation des indischen Aufstands erklärt. Der zweite Abschnitt – "Kopie und Synthese" – geht auf die Suche nach den Zusammenhängen für die positive Europarezeption in Lucknow und für die negative Kritik dieser Bauten in Europa. Es erweist sich, dass die Praxis von Architekturkopie und die Wahrnehmung europäischer Stilformen bei der Übernahme klassizistischer Motive in Indien deutlich anders war als das exakte und moralisch überhöhte Verständnis von Stilformen im Europa nach 1850.

Zerbrochene Spiegel /2

Der Beitrag beschreibt eine doppelte, verfremdete und letztendlich tragische Spiegelung in der Wahrnehmung von Architektur zwischen Europa und Indien: zwischen 1780 und 1856 entstanden in der nordindischen Stadt Lucknow mehre-re große Baukomplexe, die von den indisch-islamischen Herrschern der Stadt in europäisch-klassizistischen Formen gestaltet wurden. Nach dem indischen Auf-stand, der in den Jahren 1857 und 1858 gegen die britische Herrschaft in Lucknow losbrach, wurden diese Bauten zum Gegenstand einer scharfen europäi-scher Architekturkritik. Der erste Abschnitt – "Das Eigene und das Fremde" – betrachtet die westliche Rezeption dieser europäisch-klassizistischen Bauten, die über Jahrzehnte durch ein Negativurteil bestimmt war, das sich aus der politischen Interpretation des indischen Aufstands erklärt. Der zweite Abschnitt – "Kopie und Synthese" – geht auf die Suche nach den Zusammenhängen für die positive Europarezeption in Lucknow und für die negative Kritik dieser Bauten in Europa. Es erweist sich, dass die Praxis von Architekturkopie und die Wahrnehmung europäischer Stilfor-men bei der Übernahme klassizistischer Motive in Indien deutlich anders war als das exakte und moralisch überhöhte Verständnis von Stilformen im Europa nach 1850.

Funktionales Konstruieren – Rapid Technologien für Architektur und Baukonstruktion

Nicht nur in der Medizintechnik, in der Luftfahrt und in der Automobilindustrie werden die generativen Verfahren zunehmend mehr als wichtige Produktionsverfahren angesehen. Auch die (Bau-) Industrie nimmt mehr und mehr die Möglichkeiten und Chancen wahr, welche diese Verfahren für andersartige Konstruktionen und Details eröffnen. Die Ergründung von Veränderungen und Auswirkungen dieser neuen Technologien auf den Entwurf und auf die Umsetzung von Architektur und Baukonstruktion ist Schwerpunkt der Forschungstätigkeiten von Dipl.-Ing. Holger Strauß an den Hochschulstandorten TU Delft, Niederlande und an der Hochschule Ostwestfalen-Lippe in Detmold. Das erste, umfangreiche Forschungsprojekt zu diesem Thema - „Influence of Additive Processes on the development of facade constructions“ - wurde 2008 in Kooperation mit der international agierenden Firma Kawneer-Alcoa im Forschungsschwerpunkt „ConstructionLab“ an der Detmolder Schule für Architektur und Innenarchitektur etabliert. Der Fokus der Bestrebungen liegt zunächst auf der Ergründung von Möglichkeiten für die generative Herstellung von Bauteilen als Ergänzung der Standardprodukte in Systemfassaden. Die Verwendung der Additiven Verfahren und Hightech CAD-CAM Anwendungen bedingt eine neue Art des Konstruierens. Nämlich nicht mehr das fertigungsgerechte, sondern das funktionsgerechte – das „Funktionale Konstruieren“. Neben der Bereicherung der Forschung und Lehre an den Hochschulen durch eine praxisnahe und zielorientierte Aufgabenstellung, fließen alle Ergebnisse in die Promotion von Holger Strauß an der Technischen Universität in Delft am Lehrstuhl Design of Construction bei Prof. Dr.-Ing. Ulrich Knaack ein.

PHI-24 fps-55 : del espacio fílmico al espacio protofílmico : del espacio arquetípico al espacio fenomenológico : una propuesta pedagógica

Este trabajo constituye una propuesta didáctica para incluir en los procesos de enseñanza de la arquitectura y del dibujo y la teoría del proyecto arquitectónico en la Facultad de Arquitectura de la Universidad de la República del Uruguay. Se parte de la afirmación ya demostrada de que el cine de ficción resulta un medio adecuado y complementario de otros procedimientos para enseñar y estudiar arquitectura. El trabajo establece una ejercitación alternativa a las tradicionales basada en el método de la comparación que permite establecer relaciones entre diferentes realidades: entre la realidad y la ficción o entre diferentes mundos de ficción. Si se hace referencia concreta a la ejercitación desarrollada en los cursos de proyecto y dibujo arquitectónicos de la Facultad de Arquitectura, no es novedad que las prácticas del dibujo de observación directa del objeto real o mediatizado –croquis de observación directa y restitución (pasaje de un sistema de representación codificada a otro) – o del manejo de referentes paradigmáticos durante los procesos creativos, se basan todas en la comparación entre dos cosas. Toda comparación nos induce a fijar la atención en dos o más objetos para descubrir sus relaciones y estimar sus semejanzas lo que nos permite conocer con mayor precisión sus atributos. El ejercicio de ideación de un objeto –propio del proceso proyectual– se sustenta en el cotejo sucesivo y alternativo de la observación del objeto imaginado y de su representación gráfica progresiva. En ese proceso son puestos en juego mecanismos que activan y relacionan nuestras sensaciones con nuestra memoria inconsciente y con redes de conceptos adquiridos a través de la enseñanza y la reflexión. Por un lado, este trabajo busca –mediante el planteo de hipótesis– poner en juego diferentes recursos de análisis de filmes para su debida demostración y, al extraer conclusiones, aportar al conocimiento científico sobre un tema. Por otra parte procura mostrar un camino alternativo para el manejo del recurso cine en los procesos de enseñanza del estudiante de arquitectura. Un camino que estructure diferentes procedimientos de análisis –que por sí mismos implican un ejercicio de la percepción y de la sensibilización– para verificar los contenidos y el alcance de las hipótesis planteadas. This work emerges from a reflection based on the capacity of the cinematographic resource in architecture teaching. The proposal consists in alternative exercises different from the traditional ones, specially designed for architecture students. The exercises handle the potential value of the cinema, especially fictional film or narrative film, as a tool for developing our perception and reflection, thus stimulating the rational and emotional aspects of each person. It is based on the comparative method which allows the establishment of relations among different realities: between fiction and reality and between different fiction worlds. It has been structured into three modules of increasing difficulty. Each one initiates its discourse with a hypothesis formulation which must be demonstrated and triggers a research process where the student’s knowledge, reasoning and ability to evaluate are put into play through a set of exercises. These involve the graphic survey of film spaces, cinematic languages and significance perception systems in order to detect archetypical architectural spaces common to different films. In this particular case, the proposal is addressed to the analysis of interior domestic spaces and its furnishings.