En los vaivenes historiográficos la relación de los campos arquitectura-representación compone un discurso implícito que se mece entre el sinónimo y la preeminencia de uno sobre el otro, bajo el acuerdo de la necesaria interdependencia disciplinar para levantar barreras. La reunión de ciertas evidencias mínimas habilita a hipotetizar sobre la posibilidad de encontrar a la … La posibilidad de una autonomía representacional Leer más »

<p>En la actualidad, pareciera que la arquitectura se desarrolla en dos polos en principio antagónicos: por un lado, asistimos a la proliferación de imágenes de proyectos y obras que pregonan una retórica formal que está más comprometida con el ego del autor o lo que la colectividad le pide, que con una respuesta que se haga cargo, de lo que llamamos “encargo”. En el otro extremo concurrimos a una agenda disciplinar centrada en una constante e incansable propagación de proyectos e investigaciones que develan una serie de diagnósticos que se quedan en la denuncia y la protesta.</p> <p>Ambos polos coinciden en algo, concitan tras de sí una masa de fieles feligreses que colmatan redes, bienales y revistas monotemáticas. Lamentablemente estas iniciativas se transforman en referencias académicas y profesionales, promoviendo la distorsión del ejercicio disciplinar. Es así como perdemos legitimidad y espacio en las acciones que definen el futuro de los lugares que habitamos.</p> <p>En esta sobreexposición, como decía un amigo, que vela cualquier esfuerzo por contribuir de manera integral al problema, aparecen prácticas capaces de comprometerse con las urgencias contemporáneas, poniendo la capacidad de materialización formal al servicio de estas. Prácticas que son capaces de sintetizar ambas preocupaciones y otras más, en una respuesta que no siempre es edilicia. Ejercicios que se hacen permeables a la realidad y capaces, en este proceso, de renovar la disciplina.</p> <p>Probablemente por fraguarse en ese desprejuicio por lo autorreferencial, quedan a salvo de la producción formalista o la reivindicativa. Desde este compromiso con lo auténtico, plantean un cambio en la disciplina que es a la vez ético y estético.</p>

The aim of this article is to add a specific analysis of the great portal of Arantzazu to the different studies carried out on this work to date. Two small drawings by Jorge Oteiza serve to review the two creative phases developed by the sculptor to arrive at the final solution we know. Two phases that are juxtaposed and integrated, forming a unit in which the different variables used by the sculptor in each of them make sense. A research process that starts with his trip to America where he begins to become aware of the importance of space in the new artistic solutions and where he encounters the primitive pre-Columbian culture, with its statues as spiritual artefacts, and ends in the Basque cromlech, empty and religiously receptive. The two drawings represent two visions or cuts along this process that provide a better understanding of Oteiza’s interests and design mechanisms. in relation to his work in Arantzazu in the discovery and definition of the religious space.

After Chilean social outbreak and restriction by Covid19, San Borja park would be unused. Given this, a community reproduced the park in Minecraft creating its own version: BorjaCraft. So two parks coexist in one environment, separate but forming part of a place. When entering or leaving the space, turning the digital on or off, the public experience happens between online and offline. If the characteristics of online and offline space were linked, how would the public sphere of a place be expanded? This puts in check the understanding of the public depending on space or format where it is inhabited.

Atlantic Patagonia is one of the categorical vastness of the Conosur, with its macro-history, with a powerful exogenous cultural construction and its locals, with charismatic and discreet landscapes of a highly challenged naturalness. Architectural practices in this vastness could be charged with meaning when reflected and symbolized within a broader territoriality, a Global Garden, a notion that arbitrates its landscape specificity and a local and supralocal multi-actor geopolitics. Patagonia thus conceived is proposed as a trigger for territorial projects in accordance with the sensitivities and the necessary eco-social pacts of a post-humanist time in this South.

Through excerpts from conversations with the Collective Innovation Plant, this article reconstructs an experience of ephemeral urban transformation in the old Mercado Modelo in Montevideo, Uruguay. The intervention carried out, where the actions and programs gain weight compared to outright constructions and allow us to imagine new possibilities for infrastructures in disuse. The interdisciplinary proposal arises from the maxim of generating communities, citizen laboratories and between-times in the face of the dynamics of private management that increasingly haunt these types of spaces.

Inhabiting machines makes a critical review of the book written by Jorge Gallego and published in 2022, emphasizing the structure and content of the document and highlighting the work on the visibilization of installations as a subject that cannot be postponed in architecture. Emphasis is placed on the methodology of analysis of the selected cases and an argument is proposed from the introduction and prologue, which moves the installations from a technical problem to a major resource within the projection and construction of architecture and the city and which is necessary to face the climate crisis.

The book on the Basque cities by José Ignacio Linazasoro was conceived in a cultural climate with a strong pres-ence of the Italian morpho-typological discourse; however, in it the autor did not limited himself to applying a gen-eral theory to a particular case. In addition to deepening the knowledge of the urban and territorial evolution of a group of towns of medieval foundation on which the system of cities of the Basque Country is largely based, Lina-zasoro laid with him the bases of certain aspects that he would develop in his career later as an architect; special-ly, the work with the preexistences, the attention to the way in which the old is related to the new, and the interest in material questions. This paper focuses, on the one hand, on the cultural and profesional context in which the book arose and, on the other, on its significance for the later constructed work of Linazasoro.

Burbucar, by the architect Lina Toro, is a cleaning and precision project of an existing program, in which it is recognized as a pre-existence to maintain spatial linearity. This essential characteristic is treated as an architectural concept, by revealing the transfer from the plane to the space, from an idea to the project.

La arquitectura se encuentra implícitamente dentro del campo productivo de los sistemas económicos, la obsolescencia dentro de este contexto adquiere como definición la devaluación. La obsolescencia en la disciplina ha sido un tema poco recurrente dado que el enfoque persiste más en el acto de la creación. El presente texto busca debatir sobre cómo las etapas finales asociadas al detrimento de una obra pueden ser los inicios de otras, cómo algunas referencias desde el arte y la arquitectura nos dan atisbos sobre el proyecto de re-programar la obsolescencia como atributo de diseño.