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

Some architects who have not reached their particular interests within the profession have ended up expanding it through artistic production with great influence on their professional training. This text aims to point out the potential existence of an expandedarchitecture, which would be the possible development from the arts integration and the intermediate space between art and architecture detected by some authors. Methodologically, we work from the case study, with primary sources (interviews) and other writings. The case of the architectartist Alfredo Jaar is reviewed, as well as his condition as an architect, and specifically his work in Dallas, finding in it influences from the author's professional training. It is concluded that Jaar's work, product of his condition as an architect, would achieve what has been called expanded-architecture.  

Within the growing interest in the medium promoted in the North American context at the end of the 1960s, the Center for Advanced Visual Studies (CAVS), founded by György Kepes at the Massachusetts Institute of Technology (MIT) in 1967, served as a platform to mobilize scientists, artists and architects for the design of sustainable environments. The contribution of this research lies in detecting the environmental design strategies of the artistic and scientific initiatives developed by the professors and students of the Center, especially through proposals that combined, on the one hand, city and nature and, on the other, city and information. The CAVS operated as a platform that broadened the traditional discourses of architecture through direct and transversal interaction with the arts, sciences and the conjunctures of the historical moment. Among the current social and ecologicalemergencies, similar in scope to those that fifty years ago aroused concern for the environment, it is worth highlighting the work guidelines with which this group promoted new strategies of environmental design and collective awareness.

This article reflects on the dichotomy raised by Alfredo Jaar and Evelyn Meynard between art and architecture, stating that such separation responds to conventional criteria. It is argued that what transforms any human creation −in particular the so-called work of architecture− into a work of art is a plus, an ineffable condition, which exceeds its ordinary qualities. This condition is not an intrinsic faculty of the object nor of the subject but arises when the subject recognizes having reached the universe of ideality to which he aspires through the work, even belonging to the universe of reality. According to this idea, it is the subject who grants the object the quality of a work of art according to its recognition, so that any work thus recognized becomes a work of art. This affirmation is the essential theme of this work that is sustained as a hypothesis that is not given a scientific demonstration because it remains in the plane of subjectivity. However, trying to answer the questions formulated by both, it maintains that in those works that structure their spatiality according to the nadir-zenith relationship, the human being has greater possibilities of achieving the ideality to which he aspires.  

This article presents the exploration of a series of high-rise housing proposals that are part of a single architectural solution. The general proposal named Collage Tower, is designed by fifth-level architecture students who, guided by a cooperative learning and collaborative teaching methodology, seek to respond to the demands of 21st century users while demonstrating last century spaces’ limitations. The collage is used as a fundamental tool on the design process as well as a conceptual contribution to the configuration of the final proposal, demonstrating a diverse living spectrum, the importance of context regardless of the highness within a proposal, the need to emphasize on concepts such as flexibility,structure and sustainability when planning architecture, and the urgency of using different strategies and methodologies during the act of designing.  

This article focuses on architectural installations that emerged as an extension of installation art after the 1960s, mainly in the Western context. Architectural installations range from experimental folded geometrical structures by Lygia Clark to spatio-temporal performances by Vito Acconci, from corporeal performances by Bruce McLean and Klaus Rinke, to monumental and monolithic architectural spaces and digital/immersive environments. In these spatial experiments carried out by artists as well as by architects, the direct interaction from the audience with the established space emerges as crucial for the perception and completion of the work. In this article, the aim is to understand theinteraction between them, and the interdisciplinary boundaries of architecture within the framework of concepts such as boundary making, corporeality, and the monolithic through some of the chosen examples. The article aims to figure out what expansions these spatial experiments can create in the perspective of ourunderstanding and perception of architecture and interaction.  

Materiality of architectural works is an element that allows us to identify the presence and duration of technical moments in societies. This paper analyzes a housing design document, elaborated by the teams of the Corporación de la Vivienda between 1966 and 1972, and which were massively built in Chilean cities until 1977. It is proposed that the material composition of these works constitutes an element that allows verifying the way in which a massive group of buildings is coherent among themselves and, at the same time, shows how it was linked to the socio-material moment of its design. Thus, it is possible to account for a society that designed and built mainly with brick and wood, but also with asbestos in roofs, tiles and walls. Thus, in order to maintain this group of buildings within the society, and not to demolish them massively, both the toxic materiality has been gradually removed and the aesthetics of the buildings have been renewed, covering their previous material gestures and affecting their coherence as a massive group in favor of a new, more singular, typological identity.

In 2009, Argentine directors Mariano Cohn and Gastón Duprat shot one of their most representative films, El hombre de al lado, at the famous Curutchet House in La Plata. An amusing comedy —sprinkled with dramatic overtones— in which the essence of two opposing realities are confronted: on the one hand, that of Victor, a used car salesman who opens a hole in the Curutchet´s party wall to get light into his house; and on the other hand, that of Leonardo, a fine and prestigious designer who, together with his wife and daughter, lived in Le Corbusier´s house at the time. Thus, using this project, the text connects some of the echoes of Le Corbusier´s architecture —such as the piloti, the Modulor, the light, the colour or the tactile, always present in the master´s work— with certain shots in the film. All this, with the sole purpose of revealing some of its key aspects and thus relate them to the usual behaviour of Le Corbusier at the forefront of his projects.

The objective of this work is to determine possible design problems that affect student satisfaction in arid zone school buildings during the winter period. To carry out surveys were developed in four classrooms with different design characteristics. The survey allows the user to obtain a diagnosis regarding the variables of internal environmental influence: thermal comfort, air quality and light comfort. Satisfaction with respect to each of them is evaluated using the model of the percentage of votes of predicted dissatisfied people. The results suggest that north-south cross ventilation and the high percentage of window openings in both orientations (CPR cases) are the main aspect responsible for the dissatisfaction expressed by users. Having windows in only one orientation and having mobile solar control systems (EF cases) provides sensations of thermal well-being and acceptable conditions of air quality and light comfort

El proceso pandémico provocado por la epidemia del COVID-19, que afectó a todo el mundo y se propagó rápidamente, ha provocado que nuestros estilos de vida social cambien. En este estudio, se pretende examinar aplicaciones creadas con estilos de uso actuales, considerando los principios del diseño de espacios públicos que se han modificado por efecto de la pandemia en curso, así como investigar los efectos en los principios de diseño antes y después de esta. En este contexto, se realizó un trabajo de campo,detección in situ y un estudio de observación yfotografía con respecto a los principios definidos por Hartleben (2020), a saber: polifuncionalidad, ajuste holgado, redundancia, acceso en todos los niveles, modularidad, señalización, para garantizar que el acceso a tres plazas importantes en Estambul sea multidimensional, al tiempo que maximice la adaptación exitosa del espacio público a condiciones inesperadas. Como resultado de dicha investigación, los principios de polifuncionalidad seguidos de los de redundancia son los más afectados por los conceptos de distanciamiento social e higiene que ha dejado la pandemia. También se enfatizó en que los asuntos de adecuación de la distancia social y presencia del concepto de higiene deben agregarse a los principios existentes.