Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
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"Contextualizar el actual proceso constituyente en Chile y sus posibles desenlaces, nos impone la necesidad de abordar una más larga duración histórica sobre la emergencia de un nuevo ciclo de protesta social que, si bien se fue incubando en forma de múltiples resistencias al modelo neoliberal implantado, logró superar la fragmentación social heredada de la dictadura cívico-militar y reproducida durante el largo período de postdictadura, hasta articularse como una gran plataforma de resistencia reivindicativa con la revuelta popular del 18 de octubre de 2019 (18-O)..."

"Esta nueva entrega de los Cuadernos de Política Exterior Argentina (CUPEA) nos encuentra en una situación única para todos los habitantes de la Tierra: la primera cuarentena global de la historia, en aislamiento total desde hace más de dos meses, por la presencia del COVID-19 y sus efectos posibles y reales sobre la vida de toda la humanidad..."

ResumenEste artículo traza una analogía entre el agregador, un formato digital basado en la recopilación dinámica y sintetizada de contenidos externos, y tres obras de la oficina francesa BRUTHER: un proyecto teórico de 2018 publicado en la revista Cartha, su manifiesto en 99 notas y el Centro de Investigación de Nueva Generación en Caen. La analogía se construye en base a los planteamientos del crítico de arte David Joselit, para quien el agregador es un formato que, debido a su ubicuidad en la ecología mediática contemporánea, traslada sus lógicas a muchos otros ámbitos, incluidos el del arte y la creación. Dichas lógicas promueven la congregación de entidades singulares y diferenciadas en una superficie y espacio común, algo que resulta en formas que no presentan jerarquías definidas ni persiguen la síntesis ni la finitud, sino la movilización de aproximaciones múltiples e individualizadas. Tal y como se refleja en el manifiesto de la oficina gala, el trabajo de BRUTHER se asienta igualmente en la congregación de referencias materiales e imaginarias singulares y diferenciadas, cuyo encuentro persigue la movilización de nuevas ideas y motivaciones proyectuales. El proyecto publicado en Cartha y el Centro de Investigación se presentan aquí como dos productos derivados de esta lógica: arquitecturas generadas a partir de la recopilación de materiales de procedencia diversa y de nivelada importancia que, en su coexistencia, alimentan la generación de curiosidades, intuiciones y escenarios espaciales.AbstractThis article draws an analogy between the aggregator, a digital format based on the dynamic collection of external contents, and three works by the French office BRUTHER: a theoretical project of 2018 published in the Cartha journal, its manifesto in 99 notes and the New Generation Research Center in Caen. The analogy is based on the proposals set by art critic David Joselit, for whom the aggregator is a format which, due to its omnipresence in the contemporary media ecology, transfers its logic to many other spheres, including art and creation. These logics promote the gathering of differentiated entities in a common space and surface, something which results in forms that do not exhibit defined hierarchies nor completion, but foster multiple and individualized approaches. As reflected in the manifesto of the French office, BRUTHER’s work is also established on the gathering of unique, differentiated material and imaginary references, the meeting of which seeks to mobilize new ideas and design intuitions. The works published in Cartha and the Research Center are presented here as two products stemming from this logic: architectures generated from the collection of materials of diverse origin and of level importance that, in their coexistence, feed the generation of curiosities, intuitions and spatial scenarios.

AbstractBetween 1881 and 1883, Arturo Soria y Mata published a series of articles on urban issues in the newspaper El Progreso, in which he exposed the roots of his urban theory and outlined his proposal for a Linear City. In these first writings, the organic vision of the urban phenomena developed by Soria integrates the processes of consumption of matter and energy necessary for urban life in a concept of the city that is both unique and complex. The development of this organic metaphor entails the recognition of urban metabolism as an opportunity for improving living conditions. The parallelism between the urban organism and the human body is the key of this operational methodology, through which the author conceives advanced supply, communications or waste collection systems based on the potential of new technologies to organize and improve the cities of his time. It was from this vision that his definitive proposal for urban growth was born, the Linear City, which was fated to establish a residential network that connected the core of the existing cities, preserved as business and leisure centers. Soria’s organic thinking is an important historical precedent to the consolidation of an urban ecology. The purpose of studying and advocating it is to reconcile contemporary urban challenges and aspirations with an underrated chapter of the foundations of modern urban theory.

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ResumenLa introducción del concepto de entropía en la arquitectura permite entender el profundo vínculo que hay entre la degradación de la energía y la degradación de la materia, bifurcando la atención hacia el consumo diario de energía de un edificio a lo largo de su vida y hacia el coste energético que implica levantar —o reparar— la propia construcción. En definitiva, dos enfoques para entender el impacto de la construcción sobre el medio. El primero, nos habla de aquella arquitectura que utiliza las energías libres que proceden del aprovechamiento de las variables climáticas como herramientas de diseño. El segundo se refiere a esa arquitectura que, en sus distintas variantes, recupera el patrimonio construido. La reflexión que aquí se plantea pasa por hibridar ambos enfoques de entender el impacto de la construcción sobre el medio, aproximándose a la intervención sobre el patrimonio construido a partir del empleo de principios termodinámicos. Para ello, se apoya en el análisis de dos intervenciones contemporáneas consideradas como paradigmáticas que operan sobre piezas del patrimonio industrial transformándolas para usos culturales. A diferencia de los habituales criterios de intervención basados principalmente en el léxico, el contexto o el programa, estas obras reflejan una forma de recuperar el patrimonio desde premisas de diseño fundamentadas en intercambios de energía con la atmósfera del entorno próximo y abiertas al cambio. Ambas, en cierto modo, son una forma de entender la arquitectura como esa “dialéctica del cambio entrópico” de la que hablaba Robert Smithson. Así, desde un dualismo material y conceptual que aúna presente y pasado, energía y memoria, ambas intervenciones generan imágenes memorables. En última instancia, su estética, basada en el ensamblaje, la hibridación y la contraposición, tanto a nivel energético como material y formal, busca hacer visibles las tensiones y dificultades inherentes al paso del tiempo por arquitecturas pasadas.AbstractThe introduction of the concept of entropy in architecture has brought to light the tight bond that exists between the degradation of energy and the degradation of matter, shifting the focus to the daily energy consumption of a building during its lifespan, as well as to the cost, in energy terms, of constructing —or repairing— that particular building. In short, it has given way to two different approaches to understanding the impact of construction on the environment. The first approach refers to the kind of architecture that uses free energies generated from an efficient use of climate variables as a design tool. The second approach refers to the kind of architecture that, in its different variants, chooses to restore built heritage. The purpose of this article is to hybridise these two approaches to the impact of construction on the environment by examining architectural intervention on built heritage through the lens of thermodynamic principles. To this end we will review two contemporary interventions that have paradigmatically transformed old industrial buildings into new cultural premises. Far from applying standard intervention criteria, largely based on architectural language, context or programme, these restoration works follow design premises that are founded on energy exchanges with the neighbouring environment, and that are open to change. In a way, both exemplify how architecture can be understood as a “dialectics of entropic change”, as coined by Robert Smithson. From a stance of material and conceptual dualism that blurs the lines between past and present, energy and memory, both interventions generate memorable images. Their outward appearance, based on assemblage, hybridisation and contrast, both in terms of energy, form and matter, ultimately seeks to showcase the tensions and challenges inherent to the passing of time in architecture.

ResumenEntre 1881 y 1883 Arturo Soria y Mata publicó una serie de artículos de temática urbana en el diario El Progreso en los que exponía los rudimentos de su teoría urbana y esbozaba su propuesta de Ciudad Lineal. En estos primeros escritos de Soria subyace una visión orgánica de los fenómenos urbanos que integra los procesos de consumo de materia y energía necesarios para el desarrollo de la vida urbana en un concepto a la vez único y complejo de ciudad. El desarrollo de esta metáfora orgánica conlleva para Soria y Mata el reconocimiento del metabolismo urbano como lugar de oportunidad y proyecto para la mejora de las condiciones de vida. El paralelismo entre organismo urbano y cuerpo humano es la clave de esta metodología operativa mediante la que el autor concibe avanzados sistemas de abastecimiento, comunicaciones o recogida de deshechos basados en el potencial de las nuevas tecnologías para organizar y mejorar las ciudades de su tiempo. De esta visión nacerá su propuesta definitiva de crecimiento urbano, la Ciudad Lineal, llamada a establecer una red residencial que conectará los núcleos de las ciudades existentes preservados como centros de negocios y disfrute. El pensamiento orgánico de Soria es un antecedente histórico relevante para la consolidación de una ecología urbana. Su estudio y reivindicación aspira a reconciliar los retos y aspiraciones urbanas contemporáneas con un capítulo menospreciado de los fundamentos del urbanismo moderno.AbstractBetween 1881 and 1883, Arturo Soria y Mata published a series of articles on urban issues in the newspaper El Progreso, in which he exposed the roots of his urban theory and outlined his proposal for a Linear City. In these first writings, the organic vision of the urban phenomena developed by Soria integrates the processes of consumption of matter and energy necessary for urban life in a concept of the city that is both unique and complex. The development of this organic metaphor entails the recognition of urban metabolism as an opportunity for improving living conditions. The parallelism between the urban organism and the human body is the key of this operational methodology, through which the author conceives advanced supply, communications or waste collection systems based on the potential of new technologies to organize and improve the cities of his time. It was from this vision that his definitive proposal for urban growth was born, the Linear City, which was fated to establish a residential network that connected the core of the existing cities, preserved as business and leisure centers. Soria’s organic thinking is an important historical precedent to the consolidation of an urban ecology. The purpose of studying and advocating it is to reconcile contemporary urban challenges and aspirations with an underrated chapter of the foundations of modern urban theory.

The introduction of the concept of entropy in architecture has brought to light the tight bond that exists between the degradation of energy and the degradation of matter, shifting the focus to the daily energy consumption of a building during its lifespan, as well as to the cost, in energy terms, of constructing —or repairing— that particular building. In short, it has given way to two different approaches to understanding the impact of construction on the environment. The first approach refers to the kind of architecture that uses free energies generated from an efficient use of climate variables as a design tool. The second approach refers to the kind of architecture that, in its different variants, chooses to restore built heritage. The purpose of this article is to hybridise these two approaches to the impact of construction on the environment by examining architectural intervention on built heritage through the lens of thermodynamic principles. To this end we will review two contemporary interventions that have paradigmatically transformed old industrial buildings into new cultural premises. Far from applying standard intervention criteria, largely based on architectural language, context or programme, these restoration works follow design premises that are founded on energy exchanges with the neighbouring environment, and that are open to change. In a way, both exemplify how architecture can be understood as a “dialectics of entropic change”, as coined by Robert Smithson. From a stance of material and conceptual dualism that blurs the lines between past and present, energy and memory, both interventions generate memorable images. Their outward appearance, based on assemblage, hybridisation and contrast, both in terms of energy, form and matter, ultimately seeks to showcase the tensions and challenges inherent to the passing of time in architecture.

AbstractThe origin of the contemporary project’s form has become an enigma. The process of drawing up a project ends up being a superimposed, diluted reality, hidden by the narratives constructed by their authors. At some point, in which the process becomes more important than the result itself, a ‘simulated’ story is apparently more conveyable than the process itself. In addition, multiple simultaneous approaches to the form reveal the complexity and diversity that an architect faces when undertaking a project. In this scenario, Luis Moreno Mansilla and Emilio Tuñón, the architects of the subject of this paper, state that in the face of processes of positivist identification, it is in the project’s requirements ( function, place, technique, budget, ...) that the argument and the formal interpretation of the modern project is born. It is in the oscillation processes, and in its starting mechanisms, determined by open and flexible systems, play rules and diagrams, that an abstract and generic form is generated, the origin of the contemporary project, which is later defined and limited by its contact with reality. The MUSAC’s architecture project is a current example of the work of these architects, where personal interests or private obsessions meet public needs, through field systems formed by local behaviour patterns and context logistics. The MUSAC, a case within the evolution of frames in the genealogy of mat-buildings, finds withing the field systems notion a set of play rules that allows growth, adaptability and transformation, as well as exception and singularity. This research makes a critical analysis of the “visible” geometry of the MUSAC by reconstructing a hypothetical project process, or a narrative constructed by the architects to justify the process, using the drawing as a tool capable of unveiling and decoding the different layers that gave form to the project.

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