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Research in Architecture and Landscape. Its application in academic teaching and professional practice
The title of this book pays homage to Vittorio Gregotti’s The Territory of Architecture, but substituting the word territory for the word landscape, because the latter is a more personal concept and is related to the perception of the viewer. The goal of this book is to show Students and architects how the time devoted to architectural and landscape Design in all the years of our studies and professional life should be deeply related with research. The relation between research and teaching and research and practice is present in two complementary disciplines: architecture and landscape. Therefore, the book is organised into three main parts. The first is devoted to research, and its relation with learning and practicing. The second part deals with architecture and its relation with research. And the third is about landscape and its relation with the two previous parts. The title of each one of them is preceded by the particle “@” which not only means “at” but also “around”, studying these disciplines not only from its own autonomy but also from other parallel discourses.
El paisaje de la arquitectura / The Landscape of Arquitecture
Para El paisaje de la arquitectura la autora ha superado notablemente la contradicción entre una exposición necesariamente lógico-lineal, que facilite la inteligibilidad del contenido, y la extensa complejidad de éste. Complejidad ineludible para una solvente descripción y análisis del conocimiento contemporáneo. Comprometerse con nuestro tiempo histórico conlleva asumir que el paradigma positivista-lógico ha sido envuelto, que no desplazado, por el paradigma de la complejidad. El principio de la causalidad, y la independencia de “causa-efecto” del observador, es cuestionado por el paradigma complejo, para el que en la gestión del conocimiento el propio observador está imputad...
The Visual Language of Technique
The book is inspired by the third seminar in a cycle connected to the celebrations of the 150th anniversary of the Politecnico di Milano (July 2013). "Educating by Image. Teaching Styles vs Learning Styles" was the motto of this meeting. The contributions (coming from lectures, the poster session, interviews and round table) aim to propose an updated look at visual education, highlighting how digital tools and networks have profoundly affected the "representational styles" of the teachers and the "cognitive styles" of the learners, while at the same time reaffirming the importance of the interaction between the two groups. As Herbert Alexander Simon once said, "Learning results... only from ...
The Dystopian Imagination in Contemporary Spanish Literature and Film
This study examines contemporary Spanish dystopian literature and films (in)directly related to the 2008 financial crisis from an urban cultural studies perspective. It explores culturally-charged landscapes that effectively convey the zeitgeist and reveal deep-rooted anxieties about issues such as globalization, consumerism, immigration, speculation, precarity, and political resistance (particularly by Indignados [Indignant Ones] from the 15-M Movement). The book loosely traces the trajectory of the crisis, with the first part looking at texts that underscore some of the behaviors that indirectly contributed to the crisis, and the remaining chapters focusing on works that directly examine the crisis and its aftermath. This close reading of texts and films by Ray Loriga, Elia Barceló, Ion de Sosa, José Ardillo, David Llorente, Eduardo Vaquerizo, and Ricardo Menéndez Salmón offers insights into the creative ways that these authors and directors use spatial constructions to capture the dystopian imagination.
Peter Eisenman
Peter Eisenman discusses with architects and philosophers: Jörg H. Gleiter (Germany), Kim Förster (Switzerland), Preston Scott Cohen (USA), Emmanuel Petit (USA), Mario Carpo (USA), Sarah M. Whiting (USA), Manuel Orazi (Italy), John McMorrough (USA), Gabriele Mastrigli (Italy), Panayotis Pangalos (Greece), Cynthia Davidson (USA), Ingeborg M. Rocker (USA), Alejandro Zaera-Polo (USA), Djordje Stojanović (Serbia), Greg Lynn (USA) performing on the stage for two days in Belgrade. Through the structure of the monograph, the book represents a dynamic approach to the development of contemporary architectural thought. The dialogue between architects and philosophers with different social and cultural roots creates new agreements and reflections.
Code X
Peter Eisenman's competition-winning project for the City of Culture of Galicia in Santiago de Compostela, Spain, is a formidable battery of museums, libraries, and auditoriums, a cultural acropolis atop a spectacular hillside site in northeastern Spain. By excavating the hilltop and arranging six buildings as a kind of artificial topography, Eisenman creates a new warped landscape that seems to merge building and ground, that occupies the hilltop without seeming to have been built upon it. In CODEX, the New York-based Eisenman, known for a career of formal investigations, reveals in essays and illustrations his theory of coding as a device for producing form. Through more than three hundred line drawings and perspectives, the development of the code--and the buildings and landscape it informs--becomes apparent, culminating in a giant earthwork as excavation of the site begins.
Eisenman Architects
In both these respects, Peter Eisenman differs not only from other architechts of his own generation, but from nearly all other architects working today.
House X
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The City in Mind
This title takes an in-depth look at the history, development and state of architectural and societal success of cities, including London, Rome, Berlin, Paris and Mexico City.
Musical Meaning and Expression
We talk not only of enjoying music, but of understanding it. Music is often taken to have expressive import--and in that sense to have meaning. But what does music mean, and how does it mean? Stephen Davies addresses these questions in this sophisticated and knowledgeable overview of current theories in the philosophy of music. Reviewing and criticizing the aesthetic positions of recent years, he offers a spirited explanation of his own position. Davies considers and rejects in turn the positions that music describes (like language), or depicts (like pictures), or symbolizes (in a distinctive fashion) emotions. Similarly, he resists the idea that music's expressiveness is to be explained sol...
