The paper analyzes and evaluates a research experience in teaching which was conducted along more than ten years as part of the optional subject "Barcelona: architecture and imagination", currently imparted at the Vallés School of Architecture.
The subject cares about how to initiate a certain type of projects: those in which the architect is not just the instrument for the resolution of a perfectly defined set of requirements, but must instead apply his knowledge to the task of finding out them by himself, which one may be the best proposal program to positively transform a place and a to fulfill a certain kind of needs. This way of proceeding turns out to be particularly suitable when it deals with socially and physically complex situations as surely are the transformation processes of the old cities historic centers.
The course is intended mainly to foreign students, which, compared to ourselves, provide greater responsiveness and capacity of discovery in comparison to our usual perception of our architectural and urban environment. The reason for that is the specially intense awareness one experiences when immersed in a new and unexpected environment.
Given the importance of the contextual aspects in this kind of design, we need to experience new forms of analysis and interaction to allow greater depth and finesse in the detection of the most important issues that the project is supposed to resolve or enhance. Thus, alongside classic and common urban planning instruments such as drawing, photography, models or surveys, others such as video/recording, installations, "performances", new ways of using photography and image processing and also any combinations of the above mentioned will be performed. That could be, for instance, the combination of movie and photography used by Charles and Ray Eames, the way in which David Hockney produces his camera "drawings" , computer animation or any other procedure the student thinks fits well what he wants to express.
The exercise ends, precisely, at the point where usually a project teaching course begins: finding out a preliminary diagnosis about what should be the type of architectural or planning project to tackle in response to a specific contextual reality: one immersed in an complex architectural, urban, cultural, historical, geographical and social context. One kind of reality to which common planning procedures based on a series of standardized quantifiable parameters has proved clearly insufficient to tackle due to their lack of sensitivity and analytical accuracy.
The paper analyzes and evaluates a research experience in teaching which was conducted along more than ten years as part of the optional subject
The landscape in the large cities outskirts or in the nearby surroundings of major infrastructure, usually suffers the negative impact of development processes, which often results in their intensive degradation in a part of the territory where its quality as a green area - as opposed to the harsh urban environment- is more necessary. The paper is part of a doctoral research and introduces some positive examples of these kind of rehabilitation of the landscape and a proposal for the implementation of a new Inphografic platform for monitoring them. Example is located by the Mediterranean coast: el vertedero de la Vall d’en Joan.
Bravo, L.; Bigas, M.; Pinto Campos, Bruna Carolina; Mercade, J.; Font Baste, M.G. Congreso Internacional de Expresión Gráfica Arquitectónica p. 159-162 Data de presentació: 2014-05-22 Presentació treball a congrés
Ninteenth Century Architects travelled to visit Roman and Greek masterpieces, especially concerned about ornament as the most important feature in architecture style. Modernist masters like Le Corbusier focused in other values of Mediterranean architecture like simplicity and purity, in accordance with the new directions in 20 th Century European art. But there was another way to use that experience as a creative seed, and a sample of that could be the work of Asplund. His travel experience was mainly about the feeling of everyday life and provided the main argument for his later work as well as ideal concepts and energy for his lifelong career in a somehow contemporary approach.
The tradition of the "Gran Tour", "Les Cahiers de voyages" of Le Corbusier and his contemporaries G. Asplund and A. Aalto. Contrast between architects from the south and the Nordic and the discovery by those of the Mediterranean light or colour tones. Relating them to the prolific graphic expression of Jujol with academic drawings of actual travel tours depicting the near environment or a more colourful imaginary. Featuring some original, unpresented and unpublished drawings.