Ciudad y espacio público, perspectivas complementarias y nuevos desafíos

La ciudad y los procesos que ésta desencadena en su entorno territorial han variado, de acuerdo con el momento histórico y contexto geográfico donde ocurrió, está ocurriendo o sucederá, por lo tanto, lo primero y lo segundo, son tan cambiantes, como lo son los elementos constitutivos de ese espacio ocupado, apropiado y gobernado.Son pocos los asuntos sobre los cuales coinciden las distintas comunidades académicas y disciplinas que se encargan del estudio de los procesos urbanos, como urbanistas, arquitectos, geógrafos, sociólogos, politólogos, ingenieros o planificadores; por ejemplo, con relación a la definición de lo urbano o lo qué podemos entender por ciudad; tal vez hay mayor acuerdo por lo que no es, como se constata con los espacios dedicados, exclusiva o principalmente a las actividades productivas agropecuarias. De la misma manera, sobre lo que se considera como espacio público, ya que algunos le dan un énfasis estructural y físico, como uno de los elementos rígidos que constituyen el espacio ocupado, mientras que otros, además de lo físico, rescatan de él referentes históricos, culturales y simbólicos.En la actualidad viene ganando audiencia la postura que combina lo físico y material de la ciudad y el espacio público, con lo inmaterial y simbólico de los mismos, lo que le confiere un nuevo sentido. De este tipo de convergencias, surge el escenario que contribuye a construir el ciudadano que requiere y demanda la ciudad.De acuerdo con lo anterior, el análisis que aquí se presenta se aborda a partir de tres aspectos relevantes: en primer lugar, se reiteran algunos de los caminos andados, para esbozar algunas de las nuevas perspectivas sobre la ciudad y el espacio público, tal como se sugiere en el título del artículo; en segundo lugar, relacionar aspectos históricos, conceptuales y aplicados sobre la ciudad y de esta con el espacio público, con base en el caso de Bogotá y finalmente plantear algunos de los desafíos que surgen de esta interacción, a partir de algunas reflexiones que buscan vincular esta temática con las ciencias sociales y en particular con la ciencia política.-----The city and the processes triggered by the city in its territorial environment have changed, according to the historical moment and the geographical context in which it happened, is happening, or will happen; therefore, the former and the latter are as changing as the elements of that occupied, appropriated, and governed space.There are very few subjects on which there is an agreement among the different academic communities and disciplines that study urban processes, such as town planners, architects, geographers, sociologists, political scientists, engineers, or planners. For example, regarding the definition of the urban matters or what we may understand as a city, a greater agreement may be found on what it is not, as shown with spaces exclusively or mainly dedicated to the productive agricultural/livestock activities. Likewise, regarding what is deemed as public space, because some people stress the structural and physical aspect as one of the rigid elements that comprise the occupied space, while others rescue, in addition to the physical, the historical, cultural, and symbolic references.The position that considers the physical and material city and public space combined with their immaterial and symbolic aspects has been gaining terrain lately, providing them with a whole new sense. From these convergences arises the scenario that contributes to the building of the citizenship required and demanded by the city.According to the foregoing, the analysis presented here is addressed from three relevant aspects: First, reiterating some of the already treated topics to outline some new perspectives on the city and the public space, as suggested in the title of this article; second, relating historical, conceptual, and applied aspects of the city and such aspects of the city related to the public space, based on the case of Bogotá; and finally, formulating some challenges arising form this interaction, based on certain thoughts that seek to link this topic with the Social Sciences and, in particular, with the Political Sciences.

Disseny i càlcul de les façanes i del lluernari del vestíbul d’entrada de la torra Iberdrola

El projecte Torre Iberdrola s’engloba en les actuacions urbanístiques de Bilbao per a regenerar espais industrials no utilitzats situats al Paseo de la Ribera, la Avenida Abandoibarra i la passarel•la Pedro Arrupe. La Torre Iberdrola, situada a la parcel•la 204 del PERI de Abandoibarra (veure plànol nº2), en el districte de Abando (Bilbao), és un gratacels d’oficines de 41 plantes amb una altura total de 165 metres i una superfície construïda total d’aproximadament 62.100 m2 sobre rasant. A més, l’edifici a construir consta de 5 plantes sota rasant amb una superfície total construïda d’aproximadament 32.100 m2. L’objecte del present projecte és presentar la solució acordada conjuntament entre l’arquitecte Pelli Clarke Pelli Architects, les consultories Buro Happold i IDOM, i BELLAPART per a l’execució del revestiment del vestíbul d’entrada de la Torre Iberdrola

Processo de profissionalização da arquitectura em Portugal – da Real Associação dos Arquitectos Civis e Arqueólogos à Ordem dos Arquitectos

Para a abordagem do processo de profissionalização da Arquitectura em Portugal, iremos recorrer à análise da sua vida associativa e da luta dos Arquitectos pelo reconhecimento da sua profissão, sobretudo perante o crescente prestígio dos engenheiros.

Research by design : a research strategy

The idea of an expressive component in research is important to the architectural industry. The expressive element - the possibility of expressing the qualitative aspects of the world and adding something new to the existing through experiments and proposals - is characteristic for the field. All research environments, in the science tradition and in the humanities, have their characteristics. On the one hand, they live up to certain common scientific and methodological criteria - originality and transparency – and on the other hand, they have different practices, using different methods. Research is ‘coloured’ by traditions and professions, and research in architecture should be coloured too, taking into consideration that the practice of architects stretches from natural science and sociology to art and that the most important way in which the architect achieves new cognition is through work with form and space – drawings, models and completed works. Probably all good design is informed by some kind of research – research- based design. But can research arise from design?

Research based design: competition proposal for the Cyprus news agency

The paper attempts to explore the interrelation between a) the architects��� individualism and “pre-structures” b) research- based findings during the design process through experimentation and c)an integrated design approach, where morphology, construction and bioclimatic design are integrated from an early design stage. Through a thorough presentation and analysis of a competition proposal for the Cyprus News Agency, we discuss a number of important findings in relation to the present and possibly future form of the design studio. We suggest that the designer’s “prestructures” may not only be the basis for creative action, but also the basis for understanding and interpretation. Design informed and enriched at every stage by a research-based process, might well be the transmission and transformation of “prestructures”, a process of elaboration and discovery which facilitates and enhances design creativity and possibly allows for a multiplicity of approaches through a range of possibilities. Furthermore, an integrated approach from the early stages of the design process facilitates innovation in materials and systems.

Reabilitação de edifícios habitacionais com valor patrimonial : o caso do centro histórico de Guimarães

A presente dissertação centra-se no tema “reabilitação de edifícios habitacionais com valor patrimonial – o caso do centro histórico de Guimarães“ Com o passar dos anos tem-se feito, cada vez mais, um esforço para tentar combater as áreas degradadas das cidades e colmatar lacunas referentes às ações tomadas nesse sentido. É necessária a intervenção dos Arquitetos que, através dos seus conhecimentos e poderes, têm a obrigação de manter a história da Arquitetura intacta no tempo. Esta dissertação centra-se em analisar algumas questões inerentes ligadas á reabilitação de edifícios habitacionais, declarando possíveis respostas. As questões vão desde perceber como é que um espaço reabilitado pode ser tão adequado como um espaço pensado de raiz até à questão da utilização de materiais, passando pelo tipo de relacionamento entre o arquiteto e o proprietário, e como os dois protagonistas podem fazer valer as suas ideias em simultâneo. Este trabalho pretende, então, transmitir a importância da reabilitação e preservação dos centros históricos, mostrando que com a reabilitação é possível a sua conservação. Para uma melhor compreensão do tema selecionado, Guimarães apresenta-se como uma cidade que vai ao encontro de todos os pontos referidos até este momento, sendo o seu centro histórico um exemplo de requalificação e conseguindo, com uma metodologia bem determinada, manter todas as origens da cidade, no qual são utilizadas técnicas e materiais tradicionais de construção. A dissertação termina com a análise de cada projeto escolhido para estudo.

Integração do elemento vegetal no edificado

Esta dissertação é muito mais do que um trabalho sobre ajardinamento de edifícios, pois pretende-se que seja uma ferramenta de ajuda em benefício da transformação de milhares de metros quadrados, das coberturas e das fachadas, muitas vezes negligenciados, em espaços verdes públicos beneficiando, não somente, os promotores imobiliários mas, acima de tudo os seus ocupantes e usufrutuários, que desta forma podem tirar partido de novos espaços de estar, ao ar livre. Enquanto a cidade, ao nível térreo, apresenta um aumento de tráfego rodoviário, com inegável poluição e confusão, é possível, desta forma, usufruir de um espaço aberto. Esta dissertação procura estudar os edifícios que já integram o elemento vegetal no seu conceito e que sejam um sucesso na forma como usam o elemento vegetal, de modo a divulgar as técnicas de construção, entender as decisões dos projectistas e o impacto nos utilizadores que habitam e usufruem dos espaços – Análise-Pós-Ocupação. Esta dissertação pretende demonstrar o quanto é importante que as cidades apresentem espaços verdes para uso da população. As zonas verdes existentes nas cidades são inequivocamente um importante indicador da qualidade ambiental existente nessas mesmas cidades. As coberturas e fachadas verdes arrefecem os edifícios, capturam e filtram as águas da chuva, proporcionam habitat à vida selvagem, reduzem o efeito de estufa das cidades, proporcionam uma preciosidade estética, uma experiência recreativa e por vezes comida, para os habitantes das cidades. Pretende-se assim, focar os benefícios humanos, sociais e naturais que se obtêm ao introduzir vegetação nas paredes, terraços, pátios e coberturas dos edifícios. Assim foi considerado útil usar uma metodologia para também analisar o tipo de espécies usadas nos estudos de caso, e determinar a necessidade de uma ferramenta para que a selecção vegetal respeite critérios de biodiversidade e melhor adaptabilidade aos ecossistemas locais, sabendo de antemão que não podem nem pretendem substituir os habitats naturais, que as cidades também podem e devem apresentar.

Training for museums and the National Charter for museum professions in Italy: a new prospective for development

Traditionally Italian universities have trained researchers and professionals in conservation: archaeologists, art historians and architects. It is only with the reform of the universities, from 1999, that the teaching of museology and museography have also been expanded.Italian museums are for the most part public museums, depending on local bodies or the national ministry; they lack autonomy and do not possess specific professional figures. The task of conservation has predominated over the other roles of museums, but with the reform of the conservation law in 2004 the definition of „museum‟ has been introduced in Italy as well, and regulations regarding the development of heritage have been issued; in addition the Regions have also taken on a more active role for museums belonging to local bodies and for the development of their territory.Museum professions are not officially recognised, but the museum community, through the various associations and ICOM Italia, has put together a document to act as a general reference, the National Charter of Museum Professions, which has been followed by the Manual of Museum Professions in Europe. Now there is a need to plan the content and outlines ofvocational training courses for museum professionals, together withthe universities, the regions and the museums themselves, alongwith the associations and ICOM – ICTOP, utilising the mostinnovative Master‟s courses which offer an interdisciplinaryapproach, a methodology which combines theory and practice, andan element of hands-on experimentation in museums, or withmuseums.

Copyright issues on the protection of architectural works and designs

Architects and engineers depend on copyright law to protect their original works. Copyright protection is automatic once a tangible medium of expression in any form of an innovative material, conforming the Copyright Designs and Patents Act 1988, is created. In terms of architectural works, they are protected as literary works (design drawings and plans) and as artistic works (the building or model of the building). The case law on the concept of “originality” however discloses that it may be difficult for certain artistic works of architecture to achieve copyright protection. Although copyright law provides automatic protection to all original architectural plans, the limitation is that it only protects the expression of ideas but not the ideas themselves. The purpose of this research is to explore how effective the UK’s copyright law regime is for protecting the rights and interests of architects in their works. In addition, the United States system of copyright law will be analysed to determine whether it provides more effective protection for architects and engineers with regard to architectural works. The key objective in carrying out this comparison is to compare and contrast the extent to which the two systems protect the rights and interests of architects against copyright infringement. This comparative analysis concludes by considering the possibility of copyright law reform in the UK.

Interdisciplinarity: perceptions of the value of computer-supported collaborative work in design for the built environment

This paper presents the findings from a study into the current exploitation of computer-supported collaborative working (CSCW) in design for the built environment in the UK. The research is based on responses to a web-based questionnaire. Members of various professions, including civil engineers, architects, building services engineers, and quantity surveyors, were invited to complete the questionnaire. The responses reveal important trends in the breadth and size of project teams at the same time as new pressures are emerging regarding team integration and efficiency. The findings suggest that while CSCW systems may improve project management (e.g., via project documentation) and the exchange of information between team members, it has yet to significantly support those activities that characterize integrated collaborative working between disparate specialists. The authors conclude by combining the findings with a wider discussion of the application of CSCW to design activity-appealing for CSCW to go beyond multidisciplinary working to achieve interdisciplinary working.

Who owns the copyright of architectural works and designs?

Copyright protects the rights and interests of authors on their original works of authorship such as literary, dramatic, musical, artistic, and certain other intellectual works including architectural works and designs. It is automatic once a tangible medium of expression in any form of an innovative material, which conforms the Copyright Designs and Patents Act 1988 (CDPA 1988), is created. This includes the building, the architectural plans and drawings. There is no official copyright registry, no requirements on any fees need to be paid and they can be published or unpublished materials. Copyrights owners have the rights to control the reproduction, display, publication, and even derivation of the design. However, there are limitations on the rights of the copyright owners concerning copyrights infringements. Infringement of copyright is an unauthorised violation of the exclusive rights of the copyright author. Architects and engineers depend on copyright law to protect their works and design. Copyrights are protected on the arrangements of spaces and elements as well as the overall form of the architectural design. However, it does not cover the design of functional elements and standard features. Although copyright law provides automatic protection to all original architectural plans, the limitation is that copyright only protects the expression of ideas but not the ideas themselves. It can be argued that architectural drawings and design, including models are recognised categories of artistic works which are protected under the copyright law. This research investigates to what extent copyrights protect the rights and interests of the designers on architectural works and design.

Intellectual property law on architectural design in collaborative design communication as digital assets

Digital Economy is one of the crucial elements promoted by the Digital Britain Report June 2009 and its Implementation Plan August 2009 in order to maintain and further the UK’s position as one of the world’s leading digital knowledge economies. Therefore, the application of Digital Technologies is high in the agenda. As pervasive digital technologies become more widely available, it becomes increasingly important to understand the legal implications of digital assets produced via digital technologies in collaborative design communication. Architects and engineers depend on intellectual property law to protect their original works. Copyright protection is automatic once a tangible medium of expression in any form of an innovative material, conforming the Copyright Designs and Patents Act 1988, is created. Although copyright law provides automatic protection to all original architectural plans, the limitation is that it only protects the expression of ideas but not the ideas themselves. The purpose of this research is to explore how effective the UK’s copyright law regime is for protecting the rights and interests of architects and engineers in their works as digital assets. The UK’s copyright law is ripe for modernisation not only to protect the rights of designers but also to further UK’s position in digital economy.

Key performance indicators (KPIs) and priority setting in using the multi-attribute approach for assessing sustainable intelligent buildings

The main objectives of this paper are to: firstly, identify key issues related to sustainable intelligent buildings (environmental, social, economic and technological factors); develop a conceptual model for the selection of the appropriate KPIs; secondly, test critically stakeholder's perceptions and values of selected KPIs intelligent buildings; and thirdly develop a new model for measuring the level of sustainability for sustainable intelligent buildings. This paper uses a consensus-based model (Sustainable Built Environment Tool- SuBETool), which is analysed using the analytical hierarchical process (AHP) for multi-criteria decision-making. The use of the multi-attribute model for priority setting in the sustainability assessment of intelligent buildings is introduced. The paper commences by reviewing the literature on sustainable intelligent buildings research and presents a pilot-study investigating the problems of complexity and subjectivity. This study is based upon a survey perceptions held by selected stakeholders and the value they attribute to selected KPIs. It is argued that the benefit of the new proposed model (SuBETool) is a ‘tool’ for ‘comparative’ rather than an absolute measurement. It has the potential to provide useful lessons from current sustainability assessment methods for strategic future of sustainable intelligent buildings in order to improve a building's performance and to deliver objective outcomes. Findings of this survey enrich the field of intelligent buildings in two ways. Firstly, it gives a detailed insight into the selection of sustainable building indicators, as well as their degree of importance. Secondly, it tesst critically stakeholder's perceptions and values of selected KPIs intelligent buildings. It is concluded that the priority levels for selected criteria is largely dependent on the integrated design team, which includes the client, architects, engineers and facilities managers.

Beyond words: Aesthetic knowledge and knowing in design

Aesthetic knowledge comes from practitioners understanding the look, feel, smell, taste and sound of things. It is vital to work in many organizational contexts. In this paper, we explore aesthetic knowledge and knowing in organizations through detailed observation of design work in the architectural practice Edward Cullinan Architects. Through our research, we explore aesthetic knowledge in the context of architectural work, we unpack what it is, how it is generated, and how it is applied in design projects, shared between practitioners and developed at the level of the organization. Our analysis suggests that aesthetic knowledge plays an important part in organizational practice, not only as the symbolic context for work, but as an integral part of the work that people do. It suggests that aesthetic reflexivity, which involves an opening up and questioning of what is known, is experienced as part of practice as well as a `time out' from practice.

Visual representations as 'artifacts of knowing'

How does the manipulation of visual representations play a role in the practices of generating, evolving and exchanging knowledge? The role of visual representation in mediating knowledge work is explored in a study of design work of an architectural practice, Edward Cullinan Architects. The intensity of interactions with visual representations in the everyday activities on design projects is immediately striking. Through a discussion of observed design episodes, two ways are articulated in which visual representations act as 'artefacts of knowing'. As communication media they are symbolic representations, rich in meaning, through which ideas are articulated, developed and exchanged. Furthermore, as tangible artefacts they constitute material entities with which to interact and thereby develop knowledge. The communicative and interactive properties of visual representations constitute them as central elements of knowledge work. The paper explores emblematic knowledge practices supported by visual representation and concludes by pinpointing avenues for further research.