Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

The conflict presented in Barranco revolves around the community's abandonment of its environment, thus compromising the cultural and collective identity of the district. The lack of care for public spaces, such as squares, parks and streets, has generated an emotional void that fragments social cohesion and weakens the inhabitants' sense of belonging. This deterioration has been accentuated by constant urban changes and the privatization of various spaces, which limits the interactions and links that these places should foster. As a result, residents are moving away from their cultural roots and the district's sense of history. In this context, collective immanence proposes that identity and truth arise from social relations, rather than external impositions. Encouraging the care of public spaces and promoting initiatives are presented as keys to rebuilding and restoring community cohesion, strengthening the Barranquilla identity and making the district a place with a renewed sense of community and belonging.

The research article focuses on studying how the proxemic principles established by Edward T. Hall influence the design of exhibition and cultural dissemination spaces. A descriptive, qualitative, and non-experimental methodological approach was chosen; it was based on a scientific documentary review that included indexed journals, articles, specialized books, and research papers. From this review and investigative tools, three dimensions of study for the variable were determined; this allows for the identification of twelve criteria related to compositional characteristics, spatiality, architectural details, and materiality, which became design guidelines. Subsequently, a study of 5 global case samples was conducted to empirically validate these architectural criteria. The results showed that the application of space compression and expansion through different heights and ceiling levels is present in 100% of the case studies. The use of ramps and stairs as vertical circulation focused on design that encourages public participation and contributes to the cultural experience in the space was found in 80% of the cases. In 60% of the cases, the use of orthogonal and non-orthogonal Euclidean volumes applying blending and differentiating heights in their composition, generating identity in the context, and the use of orthogonal and non-orthogonal Euclidean volumes with central subtraction, producing organization from the scenic space as the main element, were the most used criteria. That being said, it is concluded that the application of the proxemic principles established by Edward T. Hall influences the design of exhibition and cultural dissemination spaces, providing architecture that promotes social interaction, public participation, and a fluid and diverse cultural experience within the space.

Climate change, together with the sustained rise in energy consumption across the building sector, poses critical challenges for architectural sustainability—particularly in Mediterranean climates, where summer solar radiation is especially intense. This study evaluates the hypothesis that biomimicry, supported by parametric tools and artificial intelligence (AI), can overcome the limitations of conventional passive design by enhancing both the energy efficiency and climatic responsiveness of building envelopes. The purpose of the research is to verify this hypothesis through the examination of three bio-inspired geometric configurations—Delaunay, Voronoi, and Metaball. These models were developed using biomimetic principles, digital simulations, and AI algorithms, and were applied to a representative architectural prism located in the Community of Madrid to assess their capacity to reduce incident solar radiation during the summer months. Pattern generation was carried out in Rhinoceros 8/Grasshopper, while climatic performance was assessed with Ladybug Tools 1.5.0 (Radiance/Daysim). The geometric variants were optimized with the multi-objective genetic algorithm NSGA-II, implemented in Python 3.10 with the DEAP library and integrated into Grasshopper via GhPython. The specific objectives were (i) to decrease incident solar radiation and (ii) to limit material complexity, thereby ensuring the constructability of the proposals. The results indicate that this approach not only achieves significant mitigation of solar radiation but also delivers innovative and adaptable solutions that integrate functionality, energy efficiency, and aesthetics. These strategies hold considerable potential to redefine sustainable architectural design, laying the groundwork for new practical applications that reduce energy consumption and address contemporary climatic challenges. The study underscores the impact of the convergence of biomimicry, parametric technology, and artificial intelligence, opening pathways for the development of more resilient architectural models aligned with global energy demands.

The manuscript aims to analyze, based on the reflection of an interview given by the prominent Spanish sculptor of the 20th century, Jorge Oteiza in the context of the Venice Biennale in 1988. It will be stated that synthesized in these works of art They are: Modernity and Postmodernity. In this interview, the disagreement that Oteiza experiences around the so-called post-modern art will be shown, reflected in exhibitors at the same biennial, such as arte povera or the work of Mario Mertz.   But what are the basic characteristics of the contrasting works that make us think of those times? Is Oteiza's exasperation the expression of the inevitable? And what makes such change inevitable? In the ethos of each historical period, art also reflects the immanence of the city project. A modern city reads like a work by Oteiza. The large and widespread contemporary cities are read as works of “Poor Art”, especially in some works by Mario Mertz, which Oteiza himself is in charge of criticizing, accusing him of wanting to lull man to sleep, instead of building him or awakening him, as they sought. the formalist-constructivist avant-garde of modern art, or, exploring its unconscious contents, seeking a new horizon from which to awaken it from its state of latency. In our extended urbanized reality of the central zone of Chile, the modern city has been blurred and appears, just as in “Poor Art”, fragmented groupings of waste among which man himself is one of them.

The analysis of the initial and final versions of The Foundation of Santiago, created by Pedro Lira Rencoret at the end of the 19th century, may prove illuminating for approaching the origins of the construction of a national landscape imaginary in Chile. The work, which represents the foundational act of the city of Santiago, is presented in two moments: a study version and, subsequently, a definitive version, constituting notably different interpretations of the same historical event. Landscape representation in Chile reached its maximum development during the 19th century, a period when the landscape genre was consolidated as a fundamental tool in the construction of Latin American national identities. In this context, Lira's work acquires special relevance by presenting two contrasting visions of the same territory: the study version, which approaches a more faithful representation of the Mapocho valley during the conquest, and the final version, which constructs an idealized image that responds to the aspirations of the 19th-century Chilean nation. The present research proposes a detailed comparative analysis of both versions, decomposing their landscape elements to examine the construction of two distinct narratives that have influenced the way of culturally conceiving Chilean territory and identity. The study suggests that the differences between both versions reveal the tensions and aspirations present in the construction of 19th-century Chilean national identity. This analytical exercise invites deeper reflection on the process of decolonization of the original landscape, examining how pictorial representations not only document a historical moment but also actively participate in the construction of national and cultural imaginaries.

This article proposes a survey of the work of Alejandro de la Sota (1913-1996), master and pioneer of modern Spanish architecture, focused on considering the technique as the foundation of architectural form throughout his professional career. For this purpose, original documents preserved in the archives of the Alejandro de la Sota Foundation, some of them unpublished, have been studied, selecting a series of representative projects that allow us to understand this evolution. While the second half of the 1950s and the 1960s were characterised by the construction of large industrial containers, where technical resources were explicitly displayed, from the 1970s onwards these gave way to functional cubes, reflecting a progressive renunciation to base the visual appearance of architecture on the manifestation of technological means. This concealment of technology is possible thanks to the universalisation of solutions and the adoption of increasingly advanced, flexible and lightweight construction systems, in line with their availability on the market. The result, evident in his latest projects, is an architecture that aspires to dissolve into the environment, altering the space as little as possible to make it habitable, and in which the effort saved through the efficient use of technology is invested in minimising the suffering involved in construction and in favouring wellbeing.