The duplicate echo. Reverberations around the city of Venice

Venecia inocula una fuerza inspiradora a los artistas que intentan capturarla. El resultado de la relación entre la ciudad-musa y el creador es una colección de obras fundadas en torno a la destrucción y el resurgimiento. El repositorio de piezas artísticas recogido en este artículo contiene unos patrones recurrentes y comunes entre sí que revelan la continuidad repetitiva de la Historia del Arte: en una suerte de estrategia paliativa, las obras se replican, duplican, copian y versionan como fórmula de salvación para una ciudad abocada a la desaparición. Las cenizas de un teatro, la silueta de un cuerpo carbonizado en la arena o la construcción de un arca para un titán argumentan un relato en torno a la acción destructora del fuego y el agua y los posteriores procesos de resurrección. De Enric Miralles a Luigi Nono, repitiéndose un reverberante destino fatal en torno a las cenizas candentes de la arquitectura, la música aparecerá –acompañada de escultura, arquitectura y literatura– como bálsamo de la catábasis. El trayecto recorrido pretende refrendar esa capacidad redentora de la música, desvelando los trazos cíclicos del arte que llevan a la ciudad y su producción artística a recurrir al versionado de sus antiguos edificios, formas y notas para sobrevivirVenice inoculates an inspiring force into the artists who try to capture it. The result of the relationship between the city-museum and the creator is a collection of works based on destruction and resurgence. The proposed repository of artistic pieces contains recurrent and common patterns that reveal the repetitive continuity of the History of Art: in a kind of palliative strategy, replication, duplication, copying or version appears as an instrument of salvation of a city destined to disappear. The ashes of a theatre, the silhouette of a body charred in the sand or the construction of an ark for a titan argue a story about the destructive action of fire and water. From Enric Miralles to Luigi Nono, repeating a reverberating fatal fate around the burning ashes of the destroyed architecture and its subsequent rebirth, music appears as that balsam to the inexorable catabasis. The route travelled aims to endorse the redemptive capacity of music, revealing some traces of the cyclical history of art that lead the city and its artistic production to resort to the versioning of its ancient buildings, forms and notes

Ancient Cartographies as a Basis for Geolocation Models in Public Space: The Case of Giambattista Nolli and its Heritage Application

In 1748, the architect and surveyor Giambattista Nolli mapped an abstract reality of the city of Rome. As a challenge to the inherited projections, it represented the city mixing streets, halls, corridors, churches, baths and markets as part of a unique public space network. A new way to design public space and rethink the whole urban system was opened by the possibility of containing in these representations a single layer with all kinds of public space (including the interior of public buildings). Despite this, Nolli's plan remained as a useless instrument since the hegemony of automobile mobility appeared as a pre-eminent system. This research tries to understand how the application of the ancient cartographies' methodology can improve the pedestrian mobility of historic cities by means of enhancing the graphic value of the system of Giambattista Nolli. Nowadays, free public space is represented as empty and built ones, as solid. This proposal would revert this reified conception of the city, understanding this baroque representation as an instrument of identification and assessment of the transitional heritage. The clues unveiled by Nolli seem to be able to integrate the plans of public buildings within the urban tissue, which would result in a step towards the full integration of cartography and mobility. The success of the comprehensive tools offered by large servers such as Alphabet inc. (Google) or Bing Maps confirm the suitability of the combination of new technologies and Big Data with urban planning, reaching the synchronisation of Smart Cities. Nowadays, open public space can be 'walked in' from any electronic device, consequently, the application of the "Nolli methodology" would implement the model of urban geolocation with the assimilation of inner public spaces. In the creation of a great global map of the public space, a chimaera could be intuited. This would be discussed within a tangible reality: every open public space is already housed in the Big Data and it is accessible through geolocation tools. The inclusion of the of the public buildings' interiors would contribute to develop a greater permeability between city and citizens. Furthermore, this representation would optimize pedestrian travel times and would be able to expand the geolocation system network as a documentary repository

Permanencias y alteraciones en la ciudad ocupada: cartografía de la Sevilla napoleónica

The beginning of the second decade of the 19th century in Seville was marked by the French occupation. The uniqueness of the Andalusian capital is determined by the intensity of the use of public space as an “official” showcase for the opposing powers. This explains how, in the space of a year, the city went from holding processions against the entry of French troops into Spain to welcoming them with finery. By means of the cartographic restitution of the local chronicles, the aim is to reveal the relationship between the logics of power and urban form that define a singular way of occupying public space.El inicio de la segunda década del siglo XIX en Sevilla está marcado por la ocupación francesa. La singularidad de la capital andaluza viene determinada por la intensidad del uso del espacio público como escaparate «oficial» de los poderes pugnantes. Esto explica cómo la ciudad pasa, en un año, de convocar procesiones contra la entrada de las tropas francesas en España a recibirlas con galas. A través de la restitución cartográfica de las crónicas locales se pretende desvelar la relación entre lógicas de poder y forma urbana que definen una singular manera de ocupar el espacio colectivo

Cartografía del rito en el espacio público de Sevilla: traslados y otras coreografías

El rito, siendo un fenómeno consustancial al hecho urbano y a pesar de su profusa representación pictórica, es un campo inexplicablemente poco explorado a través de la representación gráfica arquitectónica. Su carácter volátil, efímero, dinámico y antropológicamente impredecible dificulta encontrar un método gráfico que combine la precisión de los sistemas cartográficos con su componente transitoria. La transversalidad disciplinar del rito precisa ahondar en sus aspectos sociológicos y antropológicos, refrendando la oportunidad investigativa de desvelar las relaciones entre ocupación espacial, formalización urbano-arquitectónica y comportamiento colectivo. Históricamente la ciudad de Sevilla ha puesto en práctica mecanismos de representación coral a través de un nutrido conjunto de rituales que transforma su topografía, los perfiles de su sección y el perímetro de su espacio público. John Cage, Igor Stravinsky o Aldo Rossi encontraron en su aura, en el sentido benjaminiano del término, un sincretismo artístico que cambiaría sus perspectivas desde las que mirar el mundo.The rite, being a phenomenon consubstantial to the urban fact and in spite of its profuse pictorial representation, is an inexplicably field little explored through the architectural graphical representation. Its volatile, ephemeral, dynamic and anthropologically unpredictable character makes it difficult to find a graphic method that combines the precision of cartographic systems with their transitory component. The disciplinary transversality of the rite needs to delve into its sociological and anthropological aspects, endorsing the investigative opportunity to reveal the relationships between spatial occupation, urban-architectural formalization and collective behavior. Historically, the city of Seville has put into practice mechanisms of choral representation through a large number of rituals that transform its topography, the profiles of its section and the perimeter of its public space. John Cage, Igor Stravinsky or Aldo Rossi found in their aura, in the Benjaminian sense of the term, an artistic syncretism that would change their perspectives from which to look at the world.Universidad de Sevilla. Grado en Fundamentos de la Arquitectur

Arquitectura en tiempo presente. Lo moderno incluye lo contemporáneo

Reseña del libro: Arquitectura en tiempo presente. Lo moderno incluye lo contemporáneo, Fabrizio Toppetti (2019)Review: Arquitectura en tiempo presente. Lo moderno incluye lo contemporáneo, Fabrizio Toppetti (2019

The urban heritage characterization using 3D geographic information systems. The system of medium-sized cities in Andalusia

The primary objective of this paper is to approach the use of the 3D Geographic Information Systems (3D GIS), as an instrumental tool that allows us to deal efficiently with the extensive amount of information that characterises a large part of the research carried out in the field of Urbanism and Regional Planning. Specifically, the study focuses on medium-sized cities in Andalusia, the most populous and the second largest region in Spain. The Andalusian urban system is substantially characterised by the historical importance of this type of cities within its territorial organisation, which dates back to more than two thousand years, and whose potential as sustainable and balanced stands out. In particular, it is intended to address features related to urban characterisation as medium-sized cities that have been declared as heritage sites, as well as, the integration of the cultural heritage into urban development planning as an active strategy by the cultural administration of the regional and local governments. In detail, this paper will analyse data relating to the development experienced, their characterisation through urban indicators or the evolution and traceability of their protection. In this sense, the use of 3D GIS will not only allow the efficient recording and the graphical representation of a significant amount of data resulting from the quantitative and qualitative analysis carried out but also model them using the third dimension to facilitate a cross analysis among the cities under study. Definitely, the aim is to demonstrate the suitability use of this technology in this type of scientific research.Ministry of Economy and Competitiveness of the Government of Spain HAR2016-79788-

A museological approach of an urban project: Parisian cultural institutions as urban actors

Considering the most recent contemporary historical, geographical and social displacements of the places of power have been taken into consideration through the role of the culture and arts on them. The aim of this research is to examine, from the perspective of the urban historiography of Paris, an analyse of the trajectory and transformation of the city by the means of its museums' institutions. Paris has suffered from important processes of acceleration and changes to become the contemporary capital that it is nowadays. The city counts with the precedent of its great Haussmannian transformation into a modern city and the historical three concentric growth of its city walls perimeter and the later succession of up to six international exhibitions (between 1855 and 1937). However, after the impasse produced by the two war periods, a new urban and political project - still present in our days - was built up based on the cultural institutions. Great new cultural infrastructures were designed for expecting areas and terrain vagues, most of them with a proved level of change, at the Seine riverbanks. They follow the Louvre museum historic model of implantation. Meanwhile, the historical inner Marais district experimented a deep restoration and a reuse process, with cultural institutions as the main actors. Even more, Beaubourg void was pointed as an opportunity for a decisive change for the whole city. Cultural insertions of the opportunity spaces beside the river have definitely established Paris as a top rank cultural destination. Heading the cultural tourism rates at a global level, its historical heart - The City Island, nowadays being under research conducted by the French architect Dominique Perrault, with the horizon of a 25-years renovation project, the Right Bank (with the French Cinematheque, the Arsenal Pavilion, Louvre Museum, Decorative Arts Museum, The Orangerie, The Grand Palais, The Palais of Tokyo and the Palais of Chaillot) and the Left Bank (counting with the French National Library, The Arab World Institute, the Orsay Museum, the Invalids Hospital, Quay Branly Museum and the Eiffel Tower), sum up to the most relevant museums' institutions and exhibition spaces of the city. Thus, the research will deepen in the urban strategy for the choice of the museums and cultural institutions as the decisive architectural actors for the renewal of the Parisian urban landscape. The role of their architectures, intimately associated with their performing use, will be critically examined

Teaching innovation through the occupation of public space: urban heritage and planning at the University of Seville

Public space is one of the ventricles of the city - the engine that drives the social relations among the citizens who inhabit it - being able to contract or expand the spatial sequence within the contemporary city. As an inherent part of society, it evolves at the rate that collective behaviour dictates, forming a relationship of vital dependency [1]. In this society-space symbiosis, the architect's task from a polyhedral point of view is to provide the city with a spatial network that not only fills the relationship between individuals, but also emphasizes the sense of belonging to the place and the collective. In many cases throughout history and from an international point of view, public space, specifically the square as the social agora, has been an escape route for social, political and cultural demands and manifestations. Despite its crucial importance in historiography and social evolution, the share of this concept in the current teaching plans of the Department of Urban Planning and Territorial Planning of the University of Seville is nil, barely treated from the formal point of view in the subject "Public Space in Planning Urbanization". Objectives of the research: It is intended to put into practice the occupation of public space from the subject of "Urban Heritage and Planning" during the next academic year 2018-2019, with the primary objective of highlighting how the different ways of occupying, positioning oneself, moving about and conquering public space are directly related to the intentions of the claims, the character of the group that calls for them and the socio-political governing system [2]. For this reason, ephemeral occupations of public space in the city of Seville will be proposed as practices associated with the core argument of the subject, based on experiences developed by the School of Architecture of the University of Valparaiso (Chile). Around these occupations, the gender conflict applied to the historic city will be discussed, explaining how the starting urban elements constitute favourable or unfavourable parameters in terms of security, belonging, identity and habitability

The alphabet of memory: bridges, times and types: John Hejduk, Andrea Palladio and Louis Kahn in Venice

La obsesión por crear un método universal de clasificación ha sido una constante en la historia del arte, la literatura y la arquitectura. Alquimistas medievales, mecenas renacentistas y nihilistas de las vanguardias se vieron envueltos en la quimérica tarea de codificar el mundo a través de dispares taxonomías; en el siglo XX, arquitectos como John Hedjuk o Louis Kahn cimentaron su teoría compositiva en la construcción de un alfabeto propio para cada nuevo proyecto. Un sugerente catálogo de arqui-tecturas primarias capaz de revelar permanencias históricas como si de las letras de un abecedario primitivo se tratase: la “casa”, el “templo”, el “mercado” o la “torre” construyen una colección de lexemas arcaicos –referenciando a Aby Warburg y su Atlas Mnemosyne– que muestran cómo el mundo puede ser explicado a través de un escueto abecé arquitectónico. Este artículo indaga en uno de esos axiomas, “el puente”, icono que traza las conexiones fundacionales de tres proyectos no con-struidos: las mascaradas de John Hejduk, el Puente de Rialto de Andrea Palladio y el Palacio de Congresos de Louis Kahn. Con Venecia como soporte físico y onírico, esta terna de proyectos prueba cómo sus creadores reducen la idea de proyecto a un aforismo construido.The obsession with creating a universal method of classification has been a constant in the history of art, literature and architecture. Medieval alchemists, Renaissance patrons and avant-garde nihilists were involved in the chimerical task of codifying the world through disparate taxonomies; in the 20th century, architects such as John Hedjuk or Louis Kahn based their compositional theory on the construction of their own alphabet for each new project. A suggestive catalogue of primary architectures capable of revealing historical permanences as if it were the letters of a primitive alphabet: the "house", the "temple", the "market" or the "tower" build a collection of archaic lexemes –referring to Aby Warburg and his Atlas Mne-mosyne– that show how the world can be explained through a brief architectural alphabet. This article delves into one of those axioms, "the bridge," an icon that traces the foundational connections of three unbuilt projects: John Hejduk's mas-querades, Andrea Palladio's Rialto Bridge, and Louis Kahn's Congress Palace. With Venice as a physical and dreamlike support, these three projects prove how their creators reduce the idea of a project to a constructed aphorism