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The architecture studio RIPOLL·TIZÓN from Mallorca works with space and materials with the Mediterranean climate, light and breeze in mind. With extraordinary formal sensitivity and awareness of scale, they combine the ceramic tradition and whitewashed surfaces with fair-faced concrete elements that reinforce the composition and structure of their buildings. The São Paulo-based Brazilian studio UNAMUNIZVIEGAS approaches teaching and practice, architecture and urbanism, as a continuous investigation of each situation, method, geography and culture. It understands the working process as a reaction to a changing context that adapts to people's lives. For this reason, the formal solutions are varied, but in almost all of them, fair-faced concrete is used, executed with technical criteria and precision. The Swiss studio KARAMUK KUO, based in Zurich, also combines teaching and professional practice, designing and building with exquisite elegance.They work on architectures of very different scales, shapes, compositions, materialities, where fair-faced concrete, used both in exteriors and interiors, interacts with the void and configures an ethereal atmosphere detached from its solid character.

[ES] Los temas de recuperación, reciclaje y reutilización están en el centro de los desafíos que la sociedad global del siglo XXI está llamada a enfrentar. Los nuevos marcos económicos y sociales junto con las necesidades de contención energética y sostenibilidad ambiental marcan, de hecho, desde hace varios años, un punto de no retorno en todas las estrategias de intervención en la zona. Al mismo tiempo, más de dos tercios de la población mundial vive en ciudades, proponiendo que estas últimas jueguen un papel central en el futuro cercano. Por esta razón, la búsqueda de una metodología capaz de orientar las intervenciones de reurbanización dentro de la ciudad histórica parece, hoy, de sumo interés. La presente investigación parte del estado del arte actual de los centros históricos, sólo en tiempos muy recientes, objeto de atención por parte de toda la comunidad arquitectónica; se prestará especial atención al caso del centro histórico de la ciudad de Valencia, el estudio abarca diversos campos de investigación que irán desde la observación de la evolución del mercado inmobiliario, hasta el análisis jurídico-legislativo del marco normativo que regula intervenciones dentro de la ciudad histórica, con el objetivo de generar una propuesta de proyecto completa, capaz de brindar una herramienta importante, un formato estratégico, válido y aplicable a todas las intervenciones dentro del tejido histórico. El estudio tiene como objetivo llevar el debate a un terreno común, no hacia declaraciones duras y rápidas o reglas específicas, sino que busca desarrollar un modelo de evaluación que pueda usarse para determinar la coherencia de la expresión arquitectónica de la nueva adición en relación con el histórico. carácter de lo existente. El objetivo no es dirigir al arquitecto proporcionando un conjunto de reglas, sino ayudar a recordar los criterios que pueden formar una base para las decisiones de diseño a través del análisis y la evaluación de ejemplos reales. Por lo tanto, el objetivo de este estudio es desarrollar un método de evaluación para construir la relación entre una intervención contemporánea, especialmente una nueva adición externa, y el tejido histórico. El estudio se enfoca en discutir los problemas de diseño de nuevas adiciones exteriores en contextos históricos., [CA] Els temes de recuperació, reciclatge i reutilització estan en el centre dels desafiaments que la societat global del segle XXI està cridada a enfrontar. Els nous marcs econòmics i socials juntament amb les necessitats de contenció energètica i sostenibilitat ambiental marquen, de fet, des de fa diversos anys, un punt de no retorn en totes les estratègies d'intervenció en la zona. Al mateix temps, més de dos terços de la població mundial viu en ciutats, proposant que aquestes últimes juguen un paper central en el futur pròxim. Per aquesta raó, la cerca d'una metodologia capaç d'orientar les intervencions de reurbanització dins de la ciutat històrica sembla, hui, de summe interés. La present investigació part de l'estat de l'art actual dels centres històrics, només en temps molt recents, objecte d'atenció per part de tota la comunitat arquitectònica; es prestarà especial atenció al cas del centre històric de la ciutat de València, l'estudi abasta diversos camps d'investigació que aniran des de l'observació de l'evolució del mercat immobiliari, fins a l'anàlisi jurídica-legislativa del marc normatiu que regula intervencions dins de la ciutat històrica, amb l'objectiu de generar una proposta de projecte completa, capaç de brindar una eina important, un format estratègic, vàlid i aplicable a totes les intervencions dins del teixit històric. L'estudi té com a objectiu portar el debat a un terreny comú, no cap a declaracions dures i ràpides o regles específiques, sinó que busca desenvolupar un model d'avaluació que puga usar-se per a determinar la coherència de l'expressió arquitectònica de la nova addició en relació amb l'històric. caràcter de l'existent. L'objectiu no és dirigir a l'arquitecte proporcionant un conjunt de regles, sinó ajudar a recordar els criteris que poden formar una base per a les decisions de disseny a través de l'anàlisi i l'avaluació d'exemples reals. Per tant, l'objectiu d'aquest estudi és desenvolupar un mètode d'avaluació per a construir la relació entre una intervenció contemporània, especialment una nova addició externa, i el teixit històric. L'estudi s'enfoca a discutir els problemes de disseny de noves addicions exteriors en contextos històrics., [EN] The themes of recovery, recycling and reuse are at the heart of the challenges that the global society of the 21st century is called to face. The changed economic and social frameworks, together with the needs of energy containment and environmental sustainability have, in fact, for several years, marked a point of no return in all intervention strategies in the area. At the same time, more than two-thirds of the world's population lives in cities, proposing the latter to play a central role in the near future. For this reason, the search for a methodology capable of guiding redevelopment interventions within the historic city appears, today, of extreme interest. The present research starts from the current state of the art of historical centres, only in very recent times, the object of attention by the entire architectural community; particular attention will be paid to the case of the historic centre of the city of Valencia, the study covers various fields of investigation that will range from observations of the trend of the real estate market, to legal-legislative analysis of the regulatory framework that regulates interventions within the city historical, with the aim of generating a complete project proposal, able to provide an important tool, a strategic format, valid and applicable to all interventions within the historical fabric. The study aims to bring the debate onto common ground, not towards hard-and-fast statements or specific rules, but rather seeks to develop an evaluation model that can be used to determine the coherence of the new addition's architectural expression in relation to the historic character of the existing. The goal is not to direct the architect by providing a set of rules, but to help recall criteria that can form a basis for design decisions through analysis and evaluation of real examples. Therefore, the aim of this study is to develop an evaluation method to build the relationship between a contemporary intervention, especially a new external addition, and the historic fabric. The study focuses on discussing the design issues of new exterior additions in historical contexts., [IT] I temi del recupero, del riciclo e del riuso sono al centro delle sfide che la società globale del XXI secolo è chiamata ad affrontare. I mutati quadri economico - sociali unitamente alle esigenze del contenimento energetico e della sostenibilità ambientale hanno, infatti, da diversi anni, segnato un punto di non ritorno in tutte le strategie d’intervento sul territorio. Contemporaneamente, più dei due terzi della popolazione mondiale abita nelle città candidando queste ultime a giocare un ruolo centrale nel prossimo futuro. Per questa ragione la ricerca di una metodologia capace di guidare gli interventi di riqualificazione all’interno della città storica appare, oggi, di estremo interesse. La presente ricerca parte dall’attuale stato dell’arte dei centri storici, solamente in tempi molto recenti, oggetto di attenzione da parte di tutta la comunità architettonica; particolare attenzione sarà posta sul caso del centro storico della città di Valencia, lo studio copre diversi campi d’indagine che spazieranno dalle osservazioni dell’andamento del mercato immobiliare, ad analisi giuridico – legislativo del quadro normativo che regola gli interventi all’interno della città storica, col fine di generare una proposta progettuale completa, in grado di fornire un importante strumento, un format strategico, valido e applicabile a tutti gli interventi all’interno del tessuto storico. Lo studio mira a portare il dibattito su un terreno comune, non verso dichiarazioni rigide o regole specifiche, ma piuttosto cerca di sviluppare un modello di valutazione che può essere utilizzato per determinare la coerenza dell’espressione architettonica della nuova aggiunta in relazione a il carattere storico dell’esistente. L’obiettivo non è quello di dirigere l’architetto fornendo un insieme di regole, ma di aiutare a richiamare i criteri che possono costituire una base per le decisioni di progettazione attraverso l’analisi e la valutazione di esempi reali. Pertanto, lo scopo di questo studio è quello di sviluppare un metodo di valutazione per costruire la relazione tra un intervento contemporaneo, in particolare una nuova aggiunta esterna, e il tessuto storico. Lo studio si concentra sulla discussione dei problemi di progettazione di nuove aggiunte esterne in contesti storici.

[EN] The architectural modernity that prevailed in Germany during the first half of the twentieth century cannot be understood without an appreciation of the work of Lilly Reich, a brilliant designer of interiors, furniture, and ephemeral architecture who exerted significant influence from her active position as a member of the Deutscher Werkbund. Despite the crit-ical recognition she acquired in the media of the time during her solo career, her association with the architect Mies van der Rohe, far from positioning her in the field of contributions, relegated her to the role of a mere collaborator. For this reason, this article aims to shed light on the extensive legacy of Lilly Reich, a woman whose figure is being acknowledged as a result of recent research but who was nevertheless omitted from the leading books on the history of architecture. The methodology employed in the research analyses comparatively "what she did" and "what was said about her", highlighting the convergences and divergences between "work" and "criticism". The study and its results yield interesting conclusions regarding both the recognition that Lilly Reich received during her lifetime and the criticism she received af-ter her death and up to the present day.(c) 2022 Higher Education Press Limited Company. Publishing services by Elsevier B.V. on behalf of KeAi Communications Co. Ltd. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/)., This work was supported by the Fundació Mies van der Rohe, within the framework of the second edition of the Lilly Reich Grant for Equality in Architecture, for the development of the research project and the film project "[On set with] Lilly Reich"; and Institut Valencià de Filmografía, for the documentary production. Thanks to both entities, and as part of the research and film project, it has been possible to travel and interview Beatriz Colomina, Fritz Neumeyer, and Christiane Lange. We are also thankful for the images belonging to Miroslav Ambroz, Pius Pahl, and the Museum of Modern Art of New York.

El espacio cultural "Auditori Teulada Moraira" nace de la voluntad del consistorio de crear un lugar de encuentro en el que confluyan las actividades propias del municipio y de su amplio tejido asociativo, junto con nuevos productos culturales.Productos de calidad, que promuevan una imagen atractiva y novedosa de Teulada-Moraira como lugar de destino turístico, al mismo tiempo que pongan en valor su rico patrimonio cultural. Esta idea ha llevado a la Fundació de la Comunitat Valenciana Auditori Teulada Moraira a proponer a la las escuelas de arquitectura la conveniencia de trabajar en nuevas escalas y a abordar el problema del paisaje urbano. Este libro presenta los trabajos de los estudiantes en relación a la Avenida del Mediterráneo que es el vial de mayor tamaño del casco urbano de Teulada

[ES] La recuperación del paisaje histórico valenciano es el principal objetivo de este proyecto, y para ello se plantean 3 estrategias: redescubrimiento, reactivación y re-enamoramiento. Redescubrimiento. Que los usuarios se encuentren cómodos fuera de su entorno habitual. Se ha tratado de unificar los distintos paisajes que se encuentran actualmente en la playa de Pinedo y sus alrededores, recuperando los paisajes tradicionales valencianos, como la huerta, las viviendas tradicionales o las dunas valencianas de El Saler. Reactivación. Para lograrlo, el programa incluye la propuesta de un recorrido circular desde el núcleo urbano de Pinedo hasta la Albufera de Valencia, en el que aparece un edificio principal como lugar de encuentro y convivencia de los habitantes de la población con los visitantes. Re-enamoramiento. Conseguir transmitir tranquilidad y ganas de volver a visitar el proyecto gracias a la vegetación empleada, a los diferentes materiales que aparecen en el edificio, los juegos de luz, las cubiertas inclinadas¿ Tanto con la rehabilitación de la antigua alquería que se encuentre en la parcela, como con el edificio de planta nueva que se propone, se pretende crear un complejo dotacional que dará respuesta a las necesidades funcionales y espaciales que se consideran insuficientes en el Pinedo actual; una sala de exposiciones, un auditorio, aulas de escuela, y un museo que ensalza la importancia del arroz en Valencia., [EN] The main objective of this project is the recovery of the Valencian historical landscape, and with this intention, 3 strategies are proposed: rediscovery, reactivation and re-falling in love. Rediscovery. Making users comfortable outside their usual environment. There has been an attempt to unify the different landscapes that are currently found in Pinedo¿s beach and its surroundings, recovering the traditional Valencian landscapes, such as the vegetable garden, the traditional houses or the Valencian dunes of El Saler. Reactivation. To achieve this, the program includes the proposal of a circular route from the urban center of Pinedo to the Albufera of Valencia. A main building appears in the urban limit as a meeting place and coexistence of the inhabitants of the town and visitors. Re-loving. To transmit tranquility and the desire to visit the project again thanks to the vegetation used, the different materials that appear in the building, the light effects, the sloping roofs ... Both with the rehabilitation of the old farmhouse that is on the plot, and with the proposed new building, it is intended to create an endowment complex that will respond to the functional and spatial needs that are considered insufficient in the current Pinedo; an exhibition hall, an auditorium, school classrooms, and a museum that extols the importance of rice in Valencia.

[ES] The neighborhood of Pinedo is the most meridional one in Valencia, on the opposite riverbank, almost becoming the first village of the `Huerta Sur¿ or `La Albufera¿. Even though its proximity to the city, Pinedo remains isolated between physical barriers as the `Plan Sur¿, the port, or the highway. However, some great landscapes, such as the beach, the dunes, or a little pine forest, can be found there. These complexities have generated an unfinished urban plot, especially in the southern border or in a poor coast treatment. Consequently, this project aims to solve Pinedo¿s waterfront, while creating a new public space for the confluence of its diverse generations, where they could rediscover its natural landscape. The building will hold both, some absent needs in Pinedo - like a small theater, a library, or a gym ¿ and other flexible spaces for programmed or spontaneous activities. The volumetric concept is an artificial topography that surges from a big central void. This void work as the main backbone for the different layers of the project. Conversely, the topography becomes the public space and generates the main volumes where the main uses are held. References go from Sanaa Rolex Center to Miralles Palafolls Library, including RCR Sant Antoni Library or Zaha Hadid works. The building cannot be understood out of its plot, but its contemporaneous language does not come from Valencian tradition, but from Pinedo¿s natural landscape and its complex and beautiful features., [EN] The neighborhood of Pinedo is the most meridional one in Valencia, on the opposite riverbank, almost becoming the first village of the ‘Huerta Sur’ or ‘La Albufera’. Even though its proximity to the city, Pinedo remains isolated between physical barriers as the ‘Plan Sur’, the port, or the highway. However, some great landscapes, such as the beach, the dunes, or a little pine forest, can be found there. These complexities have generated an unfinished urban plot, especially in the southern border or in a poor coast treatment. Consequently, this project aims to solve Pinedo’s waterfront, while creating a new public space for the confluence of its diverse generations, whe- re they could rediscover its natural landscape. The building will hold both, some absent needs in Pinedo - like a small theater, a library, or a gym – and other flexible spaces for programmed or spontaneous activities. The volumetric concept is an artificial topography that surges from a big central void. This void work as the main backbone for the different layers of the project. Conversely, the topography becomes the public space and generates the main volumes where the main uses are held. References go from Sanaa Rolex Center to Miralles Palafolls Library, including RCR Sant Antoni Library or Zaha Hadid works. The building cannot be understood out of its plot, but its contemporaneous language does not come from Valencian tradition, but from Pinedo’s natural landscape and its complex and beautiful features.

[ES] Tras un profundo análisis de la situación actual del municipio valenciano de Jalance, se pretende mejorar su estado general mediante una propuesta de regeneración urbana y de un nuevo equipamiento teniendo en cuenta las necesidades y posibilidades reales de la España rural y la de la España vaciada. Desde la perspectiva de la accesibilidad, y con el foco principal en el Centro Histórico del municipio se dotará de mejores condiciones a sus habitantes, además de reavivar la sociedad rural, tratando a su vez de reforzar las tradiciones y costumbres. En el trabajo focalizado en el Casco Histórico, el objetivo es la devolución de sus calles a los peatones, creando espacios de calidad y reforzando la infraestructura verde, actualmente escasa debido a una trama urbana con calles empinadas y estrechas. Por otra parte, se propone la creación de un nuevo equipamiento para responder a las necesidades de asociacionismo, emprendimiento y socialización de una sociedad rural cada vez menos cohesionada. El edificio busca integrarse en las calles más antiguas y características del municipio, poniendo en valor la historia y orígenes de sus gentes, dinamizando una parte de Jalance cada vez más abandonada y degradada, uniendo a las distintas generaciones y creando oportunidades para el desarrollo común., [EN] After an in-depth analysis of the current situation of the Valencian municipality of Jalance, the aim is to improve its general condition through a proposal of urban regeneration and a new public building, taking into account the real needs and possibilities of rural Spain and that of emptied Spain. With accessibility as the main tool, and with the focus on the Historic Centre of the municipality, its inhabitants will be provided with better conditions, in addition to reviving rural society, while trying to reinforce traditions and manners. In the work on the Historic Centre, the objective is to give back the streets to pedestrians, creating quality spaces and reinforcing the green infrastructure, currently scarce due to the urban development with steep and narrow streets. On the other hand, the creation of a new public building is proposed to respond to the needs of associations, entrepreneurship, and socialization of an increasingly less cohesive rural society. The building seeks to be integrated into the oldest and more characteristics streets of the municipality, putting in value the history and origins of its people, invigorating an increasingly abandoned and degraded part of Jalance, uniting the different generations, and creating opportunities for common development.

[ES] La elevada superficie de suelo ocupado en las costas españolas está provocando un fuerte impacto medioambiental en los ecosistemas naturales, Pinedo y las grandes infraestructuras que la circundan son buena prueba de ello. Como estrategia para contribuir a la recuperación y protección del medio ambiente este proyecto fortalece los vínculos entre las personas y su entorno natural (la flora y la fauna, el clima, el suelo y el paisaje) mediante la implantación de un centro de actividades de formación, cultura y deporte en el entorno de un parque lúdico, acercando la actividad humana a la naturaleza. La intervención, que se sitúa sobre la mayor superficie en desuso del núcleo urbano de Pinedo, surge como respuesta a una necesidad de espacios públicos de calidad, funciona como activador social de Pinedo al mismo tiempo que pone en valor el suelo que hoy se encuentra en estado de abandono., [EN] The large amount of land occupied on the Spanish coast is causing a strong environmental impact on natural ecosystems, Pinedo and the large infrastructures that surround it are good proof of this. As a strategy to contribute to the recovery and protection of the environment, this project strengthens the links between people and their natural surroundings (flora and fauna, climate, soil and landscape) through the implementation of a centre for educational, cultural and sporting activities in the setting of a leisure park, bringing human activity closer to nature. The intervention, which is located on the largest unused surface area in the urban centre of Pinedo, is a response to the need for quality public spaces and functions as a social activator for Pinedo while at the same time giving value to land that is currently in a state of abandonment.

[ES] El puerto de El Saler, antiguamente único enlace entre Valencia y la Albufera, es hoy en día un enclave emblemático de gran valor medioambiental, social e histórico que constituye un recurso paisajístico fundamental dentro del parque natural. Sin embargo, tras su desplazamiento debido a la construcción de la autovía, ha perdido su conexión con El Saler, y en consecuencia se han generado una serie de conflictos, tales como la degradación de las instalaciones portuarias o la no consolidación del límite urbano. Para solucionar estos conflictos y poner en valor las fortalezas del lugar, en especial el patrimonio histórico y la diversidad paisajística, se proyecta un nuevo puerto con los objetivos de vincular los diferentes paisajes (Humedales-Dehesa-Playa) a través de espacios públicos conectados con los itinerarios existentes, estableciendo relaciones entre los límites urbanos y el nuevo puerto e integrando las actividades del programa en el paisaje y su entorno. La propuesta consiste en un complejo recreativo, en forma de recorridos y miradores que se apoyan en la traza del antiguo puerto ¿ recordado con nostalgia por los vecinos ¿ y que cruza la autovía conectando ciudad y puerto. El programa está dedicado a conocer la fauna y la flora del paisaje, las actividades vinculadas a los arrozales, la memoria de las antiguas salinas, la barca latina y el patrimonio pesquero y en general, las tradiciones locales. Espacio público; itinerario paisajístico; puerto; mirador; pasarela., [EN] The port of El Saler, formerly the only link between Valencia and the Albufera, is nowadays an emblematic enclave of great environmental, social and historical value which constitutes a fundamental landscape resource within the natural park. However, after its displacement due to the construction of the highway, it has lost its connection with El Saler, and consequently, some conflicts have been generated, such as the degradation of the port facilities or the non-consolidation of the urban boundaries. To solve these conflicts and showcase the strengths of the place, especially the historical heritage and landscape diversity, a new port is projected with the objectives of linking the different landscapes (wetlands-forest-beach) through public spaces connected with existing itineraries, establishing relationships between the urban boundaries and the new port and integrating the activities of the program into the landscape and its surroundings. The proposal consists of a recreational complex, through routes and belvederes that are supported by the shape of the old port - remembered with nostalgia by the neighbors - and that crosses the highway connecting the city and the port. The itinerary is dedicated to didactical activities related to the fauna and flora of the landscape, the rice fields, the memory of the old salt pans, the typical Latin boat, the fishing heritage, and, in general, the local traditions. Public space; landscape itinerary; port; belvedere; walkway, [CA] El port del Saler, antigament únic enllaç entre València i l’Albufera, és hui dia un enclavament emblemàtic de gran valor mediambiental, social i històric que constitueix un recurs paisatgístic fonamental dins del parc natural. No obstant això, després del seu desplaçament degut a la construcció de l’autovia, ha perdut la seua connexió amb El Saler, i en conseqüència s’han generat una sèrie de conflictes, com ara la degradació de les instal·lacions portuàries o la no consolidació del límit urbà. Per a solucionar aquests conflictes i posar en valor les fortaleses del lloc, especialment el patrimoni històric i la diversitat paisatgística, es projecta un nou port amb els objectius de vincular els diferents paisatges (Marjal-Devesa-Platja) a través d’espais públics connectats amb els itineraris existents, establint relacions entre els límits urbans i el nou port i integrant les activitats del programa en el paisatge i el seu entorn. La proposta consisteix en un complex recreatiu, en forma de recorreguts i miradors que es recolzen en la traça de l’antic port – recordat amb nostàlgia pels veïns – i que travessa l’autovia connectant ciutat i port. El programa està dedicat a conéixer la fauna i la flora del paisatge, les activitats vinculades als arrossars, la memòria de les antigues salines, la barca llatina i el patrimoni pesquer i en general, les tradicions locals.

In a world increasingly understood in terms of process and flow the only constant could be said to be movement. Yet our modes of designing and drawing architecture can sometimes seem almost resolutely static. A desire to encase our movement within design is nothing new however. Eisenstein’s analysis of the Acropolis reveals its presence as experienced in the 5th century, and the landscape gardens of the picturesque were designed to unfurl in advance of their promenading viewers. But if we are to engage our architecture in our unassailable entwinement with a world made of process we need new tools. We think through our drawings, but conventional techniques do not readily open up or enter into conversation around movement, process or our place in time. The vital role our drawing conventions play as exacting translators of design to construction demand precision communication that holds no place for ambiguity or change. Yet as incubators for speculative futures this language of representation offers little space or scope to engage time. Might we therefore identify new forms of canvas, new languages, within which to incubate design ambitions; complementary drawing techniques within which we might think through in the language of our world, movement? The Moving Through masters course at the Bergen School of Architecture began to ask these questions, opening up an exploration of what it means to move through space, unpicking the implications for design. Over the short course highly speculative experimental work began to pose potential steps forwards.

CONTENT / what is relevant to Architecture nowadays is talking about SUSTAINABILITY AND DIGITALIZATION. WATER as a physical and digital substance that create new environments, relations and horizons. The proposal for the workshop is to create a sustainable space with lines, agents and objects in order to design a project inside the “METAVERSO”. The design will be a scenario for a video game in VENICE. As a third aim for this workshop, using WATER AS ARCHITECTONIC MATTER, we are going to create a new horizon with LINES, AGENTS AND OBJECTS, and, going beyond, to design it into the “METAVERSO”. For this purpose, we will work together with one digital platform. AIMS / to understand the presence of the SUSTAINABLE AND DIGITAL SPACES in our projects. To relate drawings, physical models and video as a way to produce an architecture DIGITAL project. METHOD / The students will use drawing to create A SUSTAINABLE SPACE USING WATER AS A MATTER. We will draw lines, agents and objects, and model them to create a space as a sustainable scenario. Finding opportunities of Multimedia Dawing_Model_Video relationships to start with a digital project.

The Long Walls of Classical Antiquity, linking Athens and Piraeus, illustrate a significant shift in the representation of inside and outside. The implied antithesis ‘inside vs outside’ is investigated in relation to concepts of ‘nature’ and their relation to ‘city’. Can we read the Long Walls zone in relation to the Aristotelian view of ‘polity as a natural construct’? The ‘infrastructural palimpsest’ is arguably the structure which represents the idiosyncrasy of the Long Walls zone today. The Long Walls zone during classical antiquity and since neoteric times to present times, has been an elongated space representing mobility. Historically, the area’s character has been under noticeable changes: from quasi-urban in antiquity, it changed to rural, and then became Athens-Piraeus’ historical industrial backbone during the 19th and 20th century. Today it could be characterized as part of the Athens-Piraeus’ rust belt. Understanding the area as a palimpsest could challenge the actual tendency to massive homogenous urban sprawl. Palimpsest is revealed as an intrinsic value of the Long Walls zone’s ground/soil, structuring the presence of historical traces. These testify to the articulation between urban and rural landscape, along an extended timescale. The segmentation of landscape by infrastructure emerges as another facet of the infrastructural palimpsest, relevant to the di-pole ‘rural’ vs ‘urban’. The discussion ultimately focuses on the representation of spatiotemporal traces in a specific area among the Long Walls zone: investigated through mapping within an academic project, the exquisitely rich palimpsest of infrastructural layers and their embedded landscape traces emerges. Thus, the Long Walls zone cannot be characterized as ‘urban periphery’ but as a zone of historic complexity, comparable to that of a historic urban matrix.

This paper aims to discuss the Turkish context of the critical-creative visionary/avant-garde approach, which is analysed through various approaches, productions, actors, and discourses in the literature of art and architecture theory. It questions which local representations can be instrumentalized to handle the idea of the future, new and cultural interactions. Within this large research question, as a methodology, “indeterminate trajectories” built on a set of assumptions/intuitions and associative networks make open-ended discussions possible offering alternative perspectives on the concepts and contexts rather than a top-down strategy. In this way, it is suggested that the re-definition of the visionary, together with the role of representation and criticism, can open up some discussions regarding the Turkish context in particular. The content and the methodology of research are designed as a whole, and conceptual extensions opened up by the trajectories are mapped. This paper may be considered as a part of a larger research or thinking process. Here, the trajectories formed by the relationship between “the visionary” and “the avantgarde” are deciphered and their conceptual extensions are discussed. In this respect, the Early Republican Period of Turkey, contemporaneous with the modernist avant-garde in Europe, defines a temporal trajectory for the discussion, while the propagandistic booklet Güzelleşen İstanbul (Beautifying Istanbul) presents a visual-imaginary trajectory.

This article focuses on the pedagogical approaches to representation in architecture through an elective course titled Narrative Processes in Architectural Design, which we instruct as four lecturers in the architecture departments of various universities. Our observations and thoughts on the need for such a course are based on contemporary critiques of the education and practice of architectural design. The critical vision we have adopted questions the role of representational practices in architectural design and their uses. One of the most significant results of the rooted paradigm in the history of architecture is that the discipline has turned into object-oriented thinking and practice, which includes measurable dimensions, geometries, and materials, rather than immeasurable phenomena such as feelings, experiences and atmosphere. Our critical vision for the role of representation in architectural design, which forms our course, aims at reintegrating everyday narratives into architectural practices through representation. Approaches of the course include three main themes; subjectivity, temporality and spatiality. The course is designed in modules, and each module relates to these three themes in distinct ways. Despite the ambiguity of subjective experiences and feelings, the course aims to reintegrate them into thinking and production. We discuss temporal constructions in two ways within the scope of the course; fragmented and linear. While addressing the theme of spatiality, another theme of the course, two main approaches are emphasized; tabula rasa and responding to the existing. Both of these approaches offer distinct possibilities for architectural practice. Our pedagogical reflection and methodology bring daily narratives back to architecture’s agenda by engaging these three themes with aspects of representation.

In architectural education, one of the most common and universal representation techniques is ‘central perspective’ which was discovered during Renaissance period. The rational world that The Renaissance offered us helps to create a universal language in the field of architecture and enables to represent our thoughts on space so as to create a dialogue between ourselves and others. On the other hand, some other techniques like iconography or miniature drawing reflect another understanding of the world and space per se that could be a new way of representation in our era. This ATLAS includes the work produced during the Workshop “Homeland Miniatures: A Collective Digital Travel book” held during the first semester of the UOU class in 2022. Students contributions: Anja Bakullari and Pelin Yardımcı, Dorna Farrahi and Beyzanur Meriç, Eslem İnce, İpek Erişen and Joschi Kron, İlir Gökhan and Elora Perez, Mohammad Gerami and Asiye Nurztürk, Nilay Aslan and Niklas Klinck, Thomas Piacenza and Zümra Ocak.

Representation is a broad umbrella that covers different disciplines such as design, the arts, architecture, cinema, literature, politics, economics, semiotics, etc… We may even say that representation is in every act of human beings whenever they think about something. This fundamental role of representation makes it very critical in the design process, thus the design process is based on the dialogue between the inner and outer representations. In this third issue of UOU Scientific Journal, we would like to focus on the nature of representation, its own ontological aspects, materiality, immateriality, and its crucial role in the design process rather than its metaphorical side related with politics and semiotics. Hans-Georg Gadamer points out that “representation does not imply that something merely stands in for something else as if it were a replacement or substitute that enjoys a less authentic, more indirect kind of existence. On the contrary, what is represented is itself present in the only way available to it.1” In this respect, representation can be the subject of research. Here two conceptions may occur: representation of the world and the world of representation. The former proposes the origins of representation for the agenda, such as the ways of representing the world during the Medieval, Renaissance, Baroque, Modern or contemporary periods. The latter highlights the ontology of representation and its emancipatory, participatory, imaginative, speculative, predictive, and interpretive characters. The tension between the productive and the creative reality of architecture may be better understood if we examine more closely the nature and role of representation. In a conventional understanding, representation appears to be a secondary and derivative issue, associated closely with the role of the representational arts. However, a more careful consideration reveals, very often to our surprise, how critical and universal the problem of representation really is. What we normally refer to as reality, believing that it is something fixed and absolute, is always a result of our ability to experience, visualize, and articulate—in other words, to represent so as to participate in the world. Countering representation’s participatory function is its tendency toward emancipation and autonomy.

[SPA] En la lectura del pensamiento que subyace a todo proyecto arquitectónico aparecen referentes que, sumados a las motivaciones de cada decisión, organizan el marco contextual para su crítica. Renée Gailhoustet (1929-) es una arquitecta cuya labor profesional, ejercida entre los años 1961 y 1995, sintetizó intereses políticos y sociales a través de la experimentación tipológica, principalmente en el ámbito de la vivienda colectiva. En sus proyectos, insertados en las periferias urbanas, ensayó dispositivos arquitectónicos que planteaban el cuestionamiento del modelo urbanizador surgido con la institucionalización de los postulados funcionalistas de la Carta de Atenas. En este artículo se analizará la transición de su discurso tipológico para con ello comprender su texto titulado “Abecedario” con el que conformó una especie de “doxa” o vademécum propio. Los términos seleccionados, en orden alfabético, concretaron sus intereses —materializados como constantes en su obra— y enfocaron coordenadas intelectuales coincidentes con las de otros arquitectos de su generación. El objetivo será demostrar cómo la multidireccionalidad de aquellos significados antropológicos y arquitectónicos modelaron un corpus teórico que, complementado por sus estudios de filosofía y por su compromiso político, encaminó sus propuestas hacia la mejora de las condiciones sociales para la convivencia y la compenetración hombre-ciudad. [ENG] [ENG] When reading into the underlying thinking of every architectural project, there are references that, together with the motivation behind the making of all decisions, give rise to the contextual framework of the project for its critique. Renée Gailhoustet (1929-...) is an architect whose professional work, carried out between 1961 and 1995, synthesized political and social interests through typological experimentation, mainly in the field of collective housing. In her projects in urban peripheries, she tested architectural mechanisms that raised the questioning of the urban model emerged with the institutionalization of the functionalist postulates of the Athens Charter. In this article we will analyze the transition of her typological discourse in order to understand her text entitled “Alphabet” with which she formed a kind of “doxa” or vade mecum. The selected terms, in alphabetical order, specified her interests, which materialized as constants in her work, and intellectual coordinates which were coincident with those of other architects of her generation. The objective will be to demonstrate how the multi-directionality of these anthropological and architectural meanings modeled a theoretical corpus that, complemented by her philosophy studies and by her political commitment, geared her proposals towards the improvement of social conditions for coexistence and the rapport between the city and its people.

[EN] Iniesta, like the vast majority of towns, has the issue of the depopulation of its historic center due, on the one hand, to socioeconomic factors such as the declining spanish demography or the urban preference that young people has and, on the other hand, urban factors such as the poor condition of the street. All this leads to the constant decadence of the urban environment, wich in turn a greater rejection of want to live in the center by its potencial inhabitants. When analyzing public services, the cultural, leisure and sports offer, the need for the town becomes clear: improve the quality of its library, as well as to have workshop and multipurpose spaces to hold events or meetings with a larger number of attendees. Taking care off all this questions, the Civic Cultural Center is projected occupying an old school, a cinema and a barn located on Valencia street, in the old town with the aim of hosting a `closed¿ program of library, work and study spaces on the upper floors and an `open¿ program in multipurpose spaces on the ground floor, all of them closely related to the exterior space. Thus, the objective is not only to accomodate public services, but to improve urban quality with intervention both indoors and with the renovation of the nearby outdoor space., [ES] Iniesta, al igual que la gran mayoría de pueblos, tiene la problemática de la despoblación de su centro histórico debido, por un lado, a factores socioeconómicos como la decreciente demografía española o la preferencia por la ciudad de la población joven y, por otro lado, factores urbanos como el mal estado de la calle. Todo ello lleva a la constante decadencia del entorno urbano, lo que a su vez provoca un mayor rechazo a querer vivir en el centro por parte de sus potenciales habitantes. Al analizar los servicios públicos, la oferta cultural, de ocio y deportiva, se hace patente la necesidad que tiene la localidad de mejorar la calidad de su biblioteca, así como de disponer de espacios de talleres y espacios multiusos para poder realizar eventos o reuniones con un mayor número de asistentes. Atendiendo todas estas cuestiones, se proyecta el Centro Cívico Cultural ocupando un antiguo colegio, un cine y un granero situados en la calle Valencia, en el casco antiguo iniestense con el objetivo de acoger un programa "cerrado" de biblioteca, espacios de trabajo y estudio en las plantas superiores y un programa "abierto" en los espacios polivalentes de planta baja, todos ellos muy relacionados con el exterior. Así, el objetivo no es sólo dar cabida a los servicios públicos, sino mejorar la calidad urbana con la actuación tanto en el interior, como con la renovación del espacio exterior próximo.

[ES] Cada vez son más las personas que abogan por un estilo de vida en el que abunda lo artesanal y lo tradicional. El interés por mantener las costumbres de padres y abuelos comienza a prevalecer frente a la cotidianidad de la prisa como forma de vida. No es ninguna sorpresa encontrar hoy en día personas que apuesten por productos ecológicos frente a los industriales, por el turismo rural en lugar del urbano e incluso por una gastronomía tradicional antes que por la de vanguardia. Referenciando siempre los tiempos pasados con la nostalgia de la calidad de vida que hoy se desea, aún sin pertenecer a esas generaciones. La situación actual de la pandemia del COVID-19 ha demostrado la dependencia del ser humano de lo exterior, entre otras cosas, en saber realizar las labores diarias de forma autónoma. Descubriendo algunos estas actividades por primera vez, convirtiéndose en una odisea para muchos, o en nuevas aficiones para otros. Es sorprendente que, a día de hoy, la ambición de nuevas profesiones y grandes puestos de trabajo cieguen la importancia de los oficios tradicionales, quedando estos prácticamente obsoletos. Como consecuencia de esto, se propone la reactivación de las tradiciones valencianas y la formación tanto profesional como altruista en las actividades ligadas a ellas, como pueden ser coser, peinar, cultivar y cocinar. Fomentando así la permanencia de los mismos en la ciudad y creando un nuevo centro de actividad e interés como puede ser la Escuela de Oficios de Pinedo., [EN] More often people are advocating for a lifestyle in which the artisanal and the traditional abounds. The interest in maintining the customs of parents and grandparents began to prevail in the face of the daily rush as a way of life. Nowadays it is not a surprise to find people who opt for ecological products over industrial ones, for rural tourism instead of urban and even for a traditional gastronomy rather tan for the avant-garde one. Always referencing past times with the nostalgia of the quality of life that is desired today, even without belonging to those generations. The current situation of the COVID-19 pandemic has demostrated the dependance of the human being on the outside, among other things, in knowing how to carry out daily tasks autonomously. Some discovered these activities for the first time, becoming an odyssey for many, or new hobbies for others. Nowadays it is surprising that the ambition of new professions and great jobs blind the importance of traditional trades, making them practically obsolete. As a consequence of this, the reactivation of valencian traditions is proposed and both profesional and altruistic training in the activities related to them, such as sewing, combing, cultivating and cooking. Thus promoting their permanence in the city and creating a new center of activity and interest such as the Pinedos School of Trades.

[ES] Ubicado entre una reserva natural y la playa, el centro espiritual del Saler, en la Comunidad Valenciana, se compone de un volumen de forma cuadrada. El centro, apoyado en su totalidad sobre delgados pilares, intenta flotar sobre el terreno. Únicamente, hay un solo un punto de contacto entre el centro y el suelo: el destinado a la comunicación vertical. La distribución de los espacios se organiza siguiendo las orientaciones óptimas del Sol para cada lugar: al norte, la capilla; orientado al sur y al este, las habitaciones; por último, el comedor y la cocina situados en la parte oeste, pero con los huecos orientados a este, para evitar los calurosos rayos de poniente. Las continuas lamas verticales que se encuentran a lo largo de toda la fachada tienen una doble función: por una parte, protegerse de fuertes rayos del Sol durante las estaciones calurosa trayendo, como consecuencia, luz indirecta al interior; segundo, permitir al espectador interactuar con el espacio arquitectónico, pues las distintas orientaciones de las lamas van haciendo que se descubran diferentes espacios y proporciones a lo largo del proyecto., [EN] Located between a nature reserve and the beach, the Saler spiritual centre in the Valencian Community consists of a square-shaped volume. The centre, supported entirely on slender pillars, tries to float above the ground. There is only one point of contact between the centre and the ground: the one for vertical communication. The distribution of the spaces is organised according to the optimal orientation of the sun for each location: to the north, the chapel; to the south and east, the bedrooms; and finally, the dining room and kitchen located on the west side, but with the openings facing east, to avoid the hot western rays. The continuous vertical slats along the entire façade have a double function: firstly, to protect from strong sunlight during the hot seasons, bringing indirect light into the interior; secondly, to allow the spectator to interact with the architectural space, as the different orientations of the slats reveal different spaces and proportions throughout the project., [CA] Situat entre una reserva natural i el mar, el centre espiritual del Saler, a la Comunitat Valenciana, es compon d’un volum de forma quadrada. El Centre, recolzat en gran part sobre prims pilars, intenta surar sobre el terreny. Per aquest motiu, els punts de contacte entre el centre i el terra són els destinats a la capella i a les zones d’administració, menjador i bugaderia. La distribució dels espais s’organitza seguint les orientacions òptimes de el Sol per a cada lloc: a nord, la capella; orientat a sud, est i oest, les habitacions; finalment, el menjador i la cuina situats a la part est. Un detall característic de el projecte són les nombroses lames verticals que es troben al llarg de tota la façana. Aquestes, tenen una doble funció: d’una banda, protegir-se de forts raigs de el Sol durant les estacions de calor portant, com a conseqüència, llum indirecta a l’interior; segon, permetre a l’espectador interactuar amb l’espai arquitectònic, ja que les diferents orientacions de les lames van fent que es descobreixin dife- rents espais i proporcions al llarg de el projecte.

This research on the forces and forms of urbanization in the Costa Blanca, in the Mediterranean West coast, aims to rethink the collective creation of landscapes by putting side by side top-down landscape planning instruments with everyday activities of things and people that change landscapes in practice. Placed in the hyphen between the disciplines of anthropology and architecture, it is based on fieldwork done by the method of participant observation and, also, participant design. Landscapes transformed by mobile populations are a perfect site to study the difficulties in implementing the democratic approach of the European Landscape Convention. The convention defines landscape as it is perceived by its inhabitants while they constantly take part in its transformation from the inside. Though, the tools available for planners and landscape designers are heirs of a political and aesthetic understanding of landscape that fixes it either as a territory to govern or a view to admire. The research departs from the moment in which these tools are taught to architects in the school. It describes a series of courses about the topic of tourism in which students and teacher made together several experiments with the profession. An experiential methodology that continues along all the chapters wich are all practice based research. After setting the stage of the Costa Blanca in a non-representational way, through an exploration on the potential of narrative to recreate places, it develops a series of variations on the tools of the architect to work with planning. The research does not define a priori what should count as ‘tourism’, ‘spoiled’, ‘valuable’, ‘agricultural’ or ‘natural’ landscapes. Interested in the moments of enjoyment, it does pay special attention to the temporalities of landscape. Fictions, maps, summer houses, events, catalogues and agendas are all in the toolbox of the architect but here they are played in the minor key, to make variations to the major key that has a tendency to prevail. Each chapter pulls a different string from mesh of landscape ecologies of practice, and follows where it leads. The tools are thus presented anew through what was learnt in the fieldwork with lifestyle migrants that seek their place in the sun and local inhabitants that have had an active role in the urban transformations of the area. Building on scholarship in landscape architecture, anthropology, science studies, tourism, planning and speculative philosophy, it follows how actors learn to be affected in the material performance of different relations between people and landscapes. The chapters are built in counterpoint to one another, using narrative and different formatting to stress the accounts of practice and more traditional ethnography. The process of writing and presenting them becomes part of the research. Also, as ways of practice that emerge from landscape transformation related to tourism are described, the question of what making the landscapes of enjoyment does to the political and professional ways of knowing about landscape becomes a central thread of the thesis. In this, it explores how enjoyment cannot be produced, enjoyment can only happen in the collective co-production of landscape, in an undercommons where it becomes 'a task to do' - an agenda for keeping us indebted and thus engaged to each other in a shared landscape.

[Resumen] Cualquier proyecto que trabaja sobre preexistencias construidas conlleva un acto de diseño que, como toda obra, se puede afrontar de maneras muy diversas. Por lo general, la historia de la intervención arquitectónica nos ha encaminado a entenderlo como un proceso de puesta en valor de lo extraordinario y casi siempre tendente hacia un hacer intelectual y material mayúsculo. A través de varios casos de estudio, asociados principalmente a dos exposiciones comisariadas por OMA y por el pabellón alemán en sendas Bienales de Arquitectura de Venecia (2010 y 2012), el artículo plantea abrir preguntas sobre una alternativa de hacer sobre lo prexistente: ¿Se puede entender también ese hacer desde un punto de vista contemplativo? ¿Se puede reconocer valor también en lo genérico y no solo en lo extraordinario? [Abstract] Any project that works on pre-existing buildings involves an act of design that, like any other work, can be approached in very different ways. Generally, the history of architectural intervention has led us to understand it as a process of enhancement of the extraordinary and almost always leading to a major intellectual and material effort. Through several case studies, mainly associated with two exhibitions curated by OMA and the German pavilion at the Venice Biennale of Architecture (2010 and 2012), this article raises questions regarding an alternative way of dealing with the pre-existing: can such a process also be understood from a contemplative point of view? Is it also possible to recognize value in the generic and in the extraordinary?

[EN] English: The project is located in the area of l'Albufera, in the south of Valencia, a natural spot very near the Mediterranean coast. This area is closely related to Valencian agriculture, especially rice cultivation. The choice of the project site is delimited by the Albufera Lake and El Palmar. The location was chosen to be a few mostly abandoned plots of land, largely surrounded by the lake. The great variety of landscapes in this area gives the project a special character, from the Mediterranean forest and the beach in the background, to the characteristic rice fields and the water course around the whole area. The plot is located at the entrance of the village El Palmar, being on the right side of the road CV-500 on its way from Valencia. The main communication is through the road, therefore, the main access is by motorized vehicles. For this reason, it is essential for the project to provide a parking space. Access to the project by car, pedestrian and boat is planned. For the latter, two piers located in the most important axes within the plot are generated, creating an extension of the space towards the lake, which in turn serves as a viewpoint, forming a space of interest within the project. As an element of connection in the different buildings, a series of paths of different hierarchies are proposed, with a comb shape it is possible to distribute the space and the routes. Paved areas are also generated to allow for different outdoor activities, in some cases covered by lightweight structures to generate shade. The aim of the project is to relate gastronomy to landscape, culture, nature and rest. For this reason, different volumes are created to carry out the different activities, combined with a network of citrus fruits, some of which are currently located on the plot and others have been modified according to the interest of the project. Simple, low-height volumes are proposed, influenced by the typical constructions of the area. The restaurant and school buildings have a special and identifying character, while the volumes belonging to the multi-use space and rooms seek to give more privacy to the users. The integration of the buildings in the environment makes the project an attractive place, with special care towards the impact, which can occur due to the location of the project., [ES] El proyecto se ubica en el área de "l'Albufera", situado al sur de Valencia, es un paraje natural muy cercano al litoral mediterráneo. Esta zona está muy relacionada a la agricultura valenciana, en especial, al cultivo de arroz. La elección del lugar del proyecto es delimitada por el lago de "l'Albufera" y El Palmar. Se elige cómo emplazamiento unas parcelas en su mayoría abandonadas y rodeadas en gran parte por el lago. La gran variedad de paisajes de esta zona da particularidad al proyecto, desde el bosque mediterráneo y la playa de fondo, como los característicos campos de arroz y el recorrido del agua alrededor de toda el área. La parcela se sitúa en la entrada del pueblo El Palmar, quedando a la derecha de la carretera CV-500 en su recorrido desde Valencia. La comunicación principal es a través de la carretera, por lo tanto, el acceso principal es mediante vehículos motorizados. Por este motivo, es imprescindible para el proyecto dotar un espacio de aparcamiento. Se plantea el acceso al proyecto mediante automóvil, peatonal y barca. Para este último, se generan dos embarcaderos situados en los ejes mas importantes dentro de la parcela, creando una prolongación del espacio hacia el lago, que a su vez sirve como mirador, formando un espacio de interés dentro del proyecto. Como elemento de conexión en los diferentes edificios, se plantean una serie de caminos de diferentes jerarquías, con una forma de peine se consigue distribuir el espacio y los recorridos. También se generan unas zonas pavimentadas que permiten la realización de diferentes actividades al aire libre, en algunos casos cubiertas mediante estructuras ligeras para generar sombra. El objetivo del proyecto es el de relacionar la gastronomía con el paisaje, cultura, naturaleza y descanso. Por ello, se crean diferentes volúmenes para llevar a cabo las diferentes actividades, combinados con un entramado de cítricos, algunos ubicados en la parcela actualmente y otros modificados según el interés del proyecto. Se proponen volúmenes sencillos, de baja altura, con influencia de las construcciones típicas de la zona. Los edificios del restaurante y escuela tienen un carácter especial e identificativo, en contraposición los volúmenes pertenecientes al espacio multiusos y habitaciones tratan de conceder más privacidad a los usuarios. La integración de los edificios en el entorno hace del proyecto un lugar atractivo, con especial cuidado hacia el impacto que puede dar lugar debido a la ubicación del proyecto.

Back to “normality". We cannot forget everything we have learnt during the pandemic... and how much we have achieved in the online teaching of architecture. Although the COVID-19 put our learning spaces in crisis, even to the extent of closing universities, it also served Alicante University and a group of Erasmus partners to carry out a self-criticism and to promote a new model of what could be the “University of Europe”: a collaborative online teaching-space between international universities.

[ES] El latente desplazamiento de los jóvenes de Pinedo a la ciudad de Valencia ha provocado un envejecimiento de esta población, que se ha convertido en una localidad de paso para gran parte de la población de Valencia. Con este proyecto se pretende revitalizar Pinedo, recuperando una tradición en la cual hasta tres generaciones vivían en el mismo hogar al mismo tiempo. De esta forma se busca potenciar la relación entre los jóvenes y mayores, dotando a las calles y plazas de Pinedo de una mayor vitalidad. Para ello se propone la conexión entre parques que permitan la creación de un eje verde que desemboque en la playa, siendo este el principal atractivo de Pinedo. El proyecto se ubica en una parcela privilegiada frente al mar, conectada al nuevo eje verde y en contacto con la característica huerta del lugar. De esta forma se pretende generar un contraste de visuales entre la huerta y el mar, siendo estos dos factores claves en la evolución de Pinedo y en el desarrollo de la propuesta., [EN] The latent displacement of the young people of Pinedo to the city of Valencia has caused an ageing of Pinedo, turning it into a passing locality for the great part of the population of Valencia. This project aims to revitalise Pinedo, recovering the tradition in which up to 3 generations lived in the same home at the same time. In this way, the aim is to strengthen the relationship between young and old, giving the streets and squares of Pinedo a greater vitality. To this end, it is proposed to connect parks that allow the creation of a green axis that leads to the beach, which is the main attraction of Pinedo. The project is located on a privileged plot, as it is in front of the sea, connected to the new green axis and in contact with the characteristic orchard of the place. In this way it is intended to generate a contrast of visuals between the orchard and the sea, these two key factors in the evolution of Pinedo and in the development of the proposal.

[EN] Classroom design influences the cognitive processes that determine learning. However, the effects of classroom geometry have been little studied, in part due to the difficulty of modifying physical spaces for experimental purposes. Today, virtual reality allows researchers to very closely control many environmental conditions while collecting psychological and neurophysiological metrics of the user experience. The objective of the present study is to analyse the influence of classroom width on the attention and memory performance of university students. The performance of 90 subjects in three classroom width settings (8.80, 8.20, and 7.60 m), implemented in virtual reality, was evaluated through measures of their attention- and memory-related psychological and neurophysiological responses. The results showed that wider classrooms are associated with poorer performance and lower emotional arousal. This demonstrates a link between the geometric variables of classrooms and the cognitive and physiological responses of students. In general, the present study and its methodology can help architects and researchers develop design guidelines that can improve students' cognitive processes., This work was supported by the Ministerio de Economia, Industria y Competitividad of Spain [Project BIA201786157-R]. The second author is supported by funding from the Ministerio de Economia, Industria y Competitividad of Spain [PRE2018-084051] and the Academy of Neuroscience for Architecture [John Paul Eberhard ANFA Fellow].

[ES] El objetivo de este TFM (Trabajo Final de Máster) es dar una respuesta de recuperación para el frente marítimo en el sureste de Pinedo, Valencia. Actualmente amplias áreas entre la cuidad y la costa están ocupados por aparcamientos, y se usan por la gente que solo viene a visitar los bares o la playa. Para la gente local, la cuidad presenta muy pocas oportunidades y espacios culturales, por lo cual la población local se enfrenta a la necesidad de ir hacia Valencia en búsqueda de actividades culturales El proyecto trata de recuperar las zonas verdes, creando un parque natural, rematar y dejar permeables las manzanas que actualmente forman la barrera entre ciudad y zona verde, dotando el pueblo de las instalaciones de biblioteca, centro cultural, centros de investigación y un albergue, satisfaciendo así las necesidades de la comunidad local., [EN] The goal of this TFM (final work of the Master) is to create a solution for the recuperation of the south-eastern seafront of the town of Pinedo, Valencia. Currently vast areas of land between the town and the sea are occupied by parking spots, which are mainly used by people who come only to visit the bars or the beach. The town itself presents little to no cultural spaces for local people, who face the need to go to Valencia for most cultural activities. The project consists of the recovery of the green areas, substituting the parking for natural park. Parking itself would be moved further away from the beach, into abandoned industrial spaces. Another objective is a completion of the building plots (which now present a barrier between the town and the green areas), by creating a library, cultural center, investigation offices and a small hostel, thus satisfying the needs for the local community.

[ES] Este trabajo tiene como objetivo el desarrollo de un proyecto arquitectónico a través de las herramientas y metodologías desarrolladas en los cinco años estudiados anteriormente. Esto se realiza a través del análisis y diagnóstico de problemáticas propias del lugar, que se procederá a solucionar con el proyecto; tratando de suplir posibles cadencias y fortalecer los elementos de carácter propio. A su vez, se desarrollará un programa muy complejo al ser una unión de diferentes usos y usuarios que deben convivir en armonía en el mismo espacio; en otro orden, aunar las necesidades intrínsecas de un animal y las humanas en una franja de edad que comprende desde la niñez a la ancianidad. Además, se añade otro usuario, que es toda aquella persona con movilidad reducida o algún tipo de diversidad funcional, ya que la actividad ecuestre está ampliamente documentada como una maravillosa terapia física y psicológica. El resultado es una gradación de usos y zonificaciones vinculadas a los usuarios, que tienen como núcleo la interacción con el animal, materializada en la pista central. Todo esto para conseguir una serie de edificios articulados entre sí, con una geometría propia que sea capaz de conversar con sus distintas partes al hablar un mismo idioma constructivo. La estrategia empleada tiene varios niveles, por un lado tenemos el territorial, donde se proponen una serie de rutas para revitalizar una de las zonas más degradadas de Pinedo, a la vez que se implementan unos cultivos rotativos combinables con la alfalfa (principal fuente de alimento de los caballos); por otro lado, a nivel local, el proyecto se aborda a través de las cubiertas en el paisaje, que serán las encargadas de albergar los usos y actuar como filtro con los límites de la parcela., [EN] The objective of this work is the development of an architectural project through the tools and methodologies developed in the five years previously studied. This is done through the analysis and diagnosis of the problems of the place, which will be solved with the project; trying to make up for possible cadences and strengthen the elements of its own character. At the same time, a very complex program will be developed as it is a union of different uses and users that must coexist in harmony in the same space; in another order, combining the intrinsic needs of an animal and human needs in an age range from childhood to old age. In addition, another user is added, which is anyone with reduced mobility or some kind of functional diversity, since equestrian activity is widely documented as a wonderful physical and psychological therapy. The result is a gradation of uses and zoning linked to the users, whose core is the interaction with the animal, materialized in the central arena. All this to achieve a series of buildings articulated with each other, with their own geometry that is able to converse with its different parts by speaking the same constructive language. The strategy employed has several levels, on the one hand we have the territorial, where a series of routes are proposed to revitalize one of the most degraded areas of Pinedo, while implementing a rotating crops combined with alfalfa (main source of food for horses); on the other hand, at the local level, the project is addressed through the covers in the landscape, which will be responsible for hosting the uses and act as a filter with the limits of the plot.

The architectural work of John Hejduk (1929-2000) is marked by theoretical-design research, collected in series with titles and periods. Among these series the one entitled Masques, developed since about 1979, can be considered the nucleus of his research on the architecture of the city and the place of origin of his language of construction later developed in his realized buildings. This paper analyses the dense network of references and analogies established by Hejduk to create his Masques, trying to fix its origin in the idea of the city as a theatre of characters composed of architecture. Starting from the name chosen for the title of this series, the paper tries to trace the threads that lead from the general work of the various projects of the Masques series, to the reflections and ideas that produced it. Then, it comes back again to the observation of architecture and of a case study (Security, 1989), to understand and explain its meaning and the compositional methods involved into the process of genesis of form. Through the entire work named Masques, and its recognizable link with the buildings and installation realized around the world, Hejduk has built an archive of architectural prototypes ready to construct different parts of the city, thus highlighting the strong connection that his work establishes with reality in order "to conceive it, represent it and finally realize it". La obra arquitectónica de John Hejduk (1929-2000) está marcada por la investigación teórica y de diseño, recogida en series con títulos y períodos diferentes. Entre estas series, la titulada Masques, desarrollada a partir de 1979, puede considerarse el núcleo de su investigación sobre la arquitectura de la ciudad y el lugar de origen de su lenguaje constructivo desarrollado posteriormente en los edificios realizados. Este artículo analiza la densa red de referencias y analogías establecidas por Hejduk para crear sus Masques, tratando de fijar su origen en la idea de la ciudad como un teatro de personajes compuesto por la arquitectura. Partiendo del nombre elegido para dar título a esta serie, el artículo intenta trazar los hilos que conducen desde el trabajo general de los distintos proyectos de la serie Masques, hasta las reflexiones e ideas que la produjeron. A continuación, vuelve de nuevo a la observación de la arquitectura y a un estudio de caso (Security, 1989), para comprender y explicar su significado y los métodos compositivos que intervienen en el proceso de génesis de la forma. A través de toda la obra denominada Masques, y de su reconocible conexión con edificios e instalaciones real izados en todo el mundo, Hejduk ha construido un archivo de prototipos arquitectónicos listos para construir diferentes partes de la ciudad, poniendo así de manifiesto la fuerte conexión que su obra establece con la realidad para "concebirla, representarla y finalmente realizarla".

The Ninth International Conference on White Architecture [Material and Form], organised by the Cátedra Blanca Valencia, will take place on 23, 24 and 25 March 2021. Due to the current circumstances, this edition will have a different format: firstly, the conferences will be held one per day and in the afternoon; secondly, attendance will follow a mixed formula that combines face-to-face attendance (only for those registered, meeting the current capacity of the Auditorium of the School of Architecture of the Polytechnic University of Valencia) and online streaming through the Microsoft Teams platform. Every year, both the conferences on Material and Form [MYF] and the International Conference on White Architecture [CIAB] bring to this university the best international architecture studios that use fair-faced concrete as the main material for their projects.This year, despite the physical obstacles we have to deal with, we do not want to miss the opportunity to listen and discuss live with architects from France, Spain and Norway-Denmark all the possibilities offered by fair-faced concrete as a noble material in contemporary architecture. As always, the result of the conference is the book [MYF9], which will join the existing publications created by the Cátedra Blanca Valencia. All of them, widely distributed in university libraries and specialised bookshops, make up a catalogue of architecture specific to fair-faced concrete that is unique in the world.

[EN] Fieldwork (or field-based learning), design by research, and in situ data collection are essential in researching and working with built heritage. They are a fundamental part of the academic program of the Preservation of Architectural Heritage postgraduate studies at the Universitat Politècnica de València (UPV). Due to the health emergency caused by the coronavirus Covid-19 in March 2020, on-campus teaching-learning had to switch to online mode urgently and unexpectedly. This entailed particular challenges for the Heritage Management Studio course because its practical performance is based on visiting locations and heritage assets that in themselves are objects of study. The use of the UPV teaching-learning institutional platform (PoliformaT) combined with the Microsoft Teams video conferencing application proved to be effective to address the online regular theoretical lessons; however, hands-on practical experiences were more difficult to organize. Thus, it was necessary to adapt the learning method to the context, design new alternative tasks and identify available virtual tools and means in order to organize the practical teaching and, at the same time, fit in with the quality requirements of the Master¿s program. Live streaming activities such as collaborative international engaging webinars, invited lectures and online interviews with heritage managers were conducted as a part of the instructional offer. Videos, documentaries, and virtual tours were also used as extra resources to get to know the analysed heritage sites. In addition, the teaching staff adopted several measures to alleviate the effects caused by the social distancing, by encouraging collaboration and relationships among the students through the development of teamwork, and by ensuring social virtual interaction between teachers and students to assist students in their commitments and to provide them with emotional and motivational support. This paper describes how the course was adapted and analyses the challenges and opportunities that online teaching-learning presents for the future in the specific field of Built Heritage Management. It highlights the existing shortcomings in the availability of digitized information on this topic, which made it difficult for students to conduct their research and management projects. It also discusses the opportunity provided by the situation to address new issues in Heritage Management, such as visitor safety and health in cultural tours, virtual access to heritage or strategies to reconnect heritage with the public, from which very innovative student projects emerged.

When thinking about teaching and knowledge exchange, is it possible to gain in quality by using an international online teaching? That is the aim of a pedagogic project born out from a lockdown affecting students and teachers of Architecture at home. From the combination of confinement and teaching, a brand-new initiative has been designed focusing on higher education - UNIVERSITY of Universities. It is an international teaching project developed by teachers of six European universities, starting the academic year 2020-2021.

[ES] El prolífico trabajo de George Candilis incluye una variada muestra de proyectos de campus universitarios. Los más conocidos son la Universidad Libre de Berlín y la universidad de Toulouse-Le Mirail de la firma Candilis-Josic-Woods, pero otros fueron desarrollados posteriormente por Candilis con diversos colaboradores. La Universidad Bu Ali Sina en la ciudad iraní de Hamadan fue su última oportunidad para concebir una nueva universidad. Entre 1973 y 1978, Candilis y Mandala Collaborative ¿una firma local fundada por Nader Ardalan¿ llevaron a cabo conjuntamente el Máster Plan y una primera versión del proyecto. En 1977, y debido a un cambio de ubicación, se planificó una segunda versión y finalmente se construyeron algunas de las edificaciones. En ese momento, el proyecto se publicó discretamente en revistas de arquitectura y recientemente el conjunto construido ha sido recogido en una tesis sobre la obra de Ardalan. Sin embargo, el campus no se ha estudiado en profundidad. Este artículo toma como fuentes primarias los documentos disponibles en los archivos de Candilis y se centra en el proceso de diseño del campus para reconstruir su narrativa y escenarios. El objetivo es volver a visitar la Universidad Bu Ali Sina, asumiendo que este punto final del pensamiento de Candilis es una condensación de toda una práctica. El resultado es la confirmación de una forma particular de entender la universidad ¿abierta al intercambio de conocimientos y como herramienta de progreso social¿, que se configura según los preceptos de la modernidad conservando su identidad local., [EN] A varied sample of campuses projects can be found in George Candilis' prolific work. The most wellknown are the Freie Universität Berlin and the Faculté de la littérature in Toulouse-Le Mirail by the Candilis-Josic-Woods firm but others were developed later by Candilis with several collaborators. Bu Ali Sina University in the Iranian city of Hamadan was his last opportunity to conceive a complete university from scratch. Between 1973 and 1978, Candilis and the Mandala Collaborative ¿a local firm founded by Nader Ardalan¿ jointly carried out the Master Plan and a first version of the campus project. In 1977, and due to a location¿s change, a second version was planned and some of the facilities were finally built. At that time, the design was discreetly published in architectural magazines and recently the built set was included in a thesis on Ardalan¿s work. Nevertheless, the campus has not been studied in-depth. This article takes as primary sources the documents available in the Candilis archives and focuses on the design process of the campus to reconstruct its narrative and stages. The objective is to revisit the Bu Ali Sina University, under the assumption that this endpoint of Candilis¿ thinking is a condensation of a whole practice. This design is the confirmation of a particular way of understanding the university ¿open to the exchange of knowledge and as a tool for social progress¿, which is shaped according to the modernity precepts while preserving its local identity, This work was supported by the Universitat Politécnica de València under its Teaching Staff Career Development Programme (which enabled a research stay at the Centre National de Recherche Scientifique); and by the Spanish Ministry of Education, Culture and Sport under its Cooperation Scholarship for Students in University Departments (which enabled the student internships of Silvia Domene Camarasa)

[ES] El área del proyecto se sitúa en el norte de Pinedo, delimitada por el mar y la huerta valenciana. Al recorrer las calles se observa una serie de vacíos urbanos en los que se da la posibilidad de intervenir a través de varias vías de acción para repensar y coser la estructura urbana. De esta forma, se presenta la oportunidad de diseñar un edificio público que pretende reunir los espacios necesarios para reactivar la vida en Pinedo. Finalmente, tras estudiar el lugar y sus condicionantes, se proyecta un centro de arte y cultura formado por cinco volúmenes, entre los cuales se encuentra: un auditorio, salas de exposición, aularios, una cafetería y una biblioteca. A pesar de tratarse de unos volúmenes disgregados se concibe como un edificio unitario donde los diferentes espacios se ordenan a través de dos pasarelas, articulándose así mediante la vegetación que los rodea. El jardín del edificio que se proyecta permite realizar varias actividades del centro, al aire libre, al mismo tiempo que descansar y disfrutar del paisaje. Asimismo, se presta especial atención al `¿Carrer de Mossén de Cuenca¿¿, donde el proyecto conectará los diversos espacios públicos para finalmente llegar al centro cultural que actúa como puerta de entrada al mar., [EN] The project area is located in the north of Pinedo, delimited by the sea and the orchard. After walking through the streets, a series of urban voids appear, presenting the different possibilities of step in through multiple lines of intervention to regenerate and sew the urban structure. In this way, the possibility of designing a public building is presented, aiming to gather the necessary spaces to reactivate life in Pinedo. Eventually, after studying the place and the conditions it presents, a cultural and art centre is projected to promote different activities in Pinedo. The building itself consists of five volumes, which are: an auditorium, exhibition rooms, classrooms, a cafeteria, and a library. Despite being disaggregated volumes, it is conceived as a unitary building where the different spaces are connected through two walkways and the vegetation that surrounds them. The garden of the building projected allows doing various activities of the centre outdoors, at the same time as resting and enjoying the landscape. Likewise, special attention has been taken to `¿Carrer de Mossén in Cuenca¿¿, where the project will connect the various public spaces to finally arrive at the projected building that acts as a gateway to the sea.

[EN] Architectural education plays a fundamental role in achieving sustainable development by training future professionals who can contribute to sustainability through their practice. Nevertheless, to ensure the introduction of sustainable development in the education of future architects, it is fundamental to understand what is being done and what could be improved. Despite this, a big gap has been detected in the assessment of architectural education in Spain and worldwide. Thus, a close-ended questionnaire for students has been designed based on the outcomes from a literature review, exploratory interviews with specialists, and the qualitative analysis of two schools of architecture. Additionally, it has been revised by experts, through the pilot study of a preliminary version, and with the supplementary analysis of the answers to a final test with students from different schools from Spain. In particular, this questionnaire allows for comprehensively measuring the students¿ perception of their sustainability learning outcomes, their learning experience, and the connection between, with the aim of facilitating the adjustment of Spanish architectural education towards the introduction or enhancement of sustainable development by education managers, teachers, policymakers, and professional associations., This research was funded by theMinistry of Universities of Spain, grant number FPU15/05228