{"id":74129,"date":"2019-08-02T00:01:54","date_gmt":"2019-08-01T22:01:54","guid":{"rendered":"https:\/\/veredes.es\/blog\/?p=74129"},"modified":"2019-08-07T09:54:34","modified_gmt":"2019-08-07T07:54:34","slug":"arquitectura-familiar-javier-sanchez-merina","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/arquitectura-familiar-javier-sanchez-merina\/","title":{"rendered":"[:es]Arquitectura Familiar | Javier S\u00e1nchez Merina [:gl]Arquitectura Familiar | Halld\u00f3ra Arnard\u00f3ttir \u2013 Javier S\u00e1nchez Merina[:en]Family Architecture | Halld\u00f3ra Arnard\u00f3ttir \u2013 Javier S\u00e1nchez Merina[:]"},"content":{"rendered":"

[:es]

\"Arquitectura
Arquitectura Familiar | Fotograf\u00eda: Javier S\u00e1nchez Merina <\/span><\/figcaption><\/figure><\/p>\n

Una r\u00e1pida lectura de las NORMAS DEONTOL\u00d3GICAS DE ACTUACI\u00d3N PROFESIONAL DE LOS ARQUITECTOS<\/em><\/a> – y digo r\u00e1pida porque todas nuestras obligaciones se resumen en menos de quince escuetas cuartillas – no menciona palabra alguna sobre si un arquitecto ha de cuestionarse el \u00e1mbito de la arquitectura. Cuando, al fin, encontramos un art\u00edculo, el 24, que hace referencia a nuestro compromiso con la sociedad, \u00e9ste se trata al desd\u00e9n:<\/p>\n

\n

El arquitecto deber\u00e1 tener en cuenta, en todo momento, la funci\u00f3n social que desempe\u00f1a. Deber\u00e1 acomodarse a la calificaci\u00f3n urban\u00edstica del suelo, a las normas y ordenanzas correspondientes y a las condiciones en que se hubiera otorgado la licencia de obras.<\/em><\/p>\n<\/blockquote>\n

\u00abArquitectura Familiar\u00bb<\/strong> es un pensamiento surgido a ra\u00edz de las condiciones contempor\u00e1neas que presentan a la arquitectura como una disciplina en transformaci\u00f3n. El campo de operaci\u00f3n ha sido el primer proyecto de los alumnos de Proyectos 1 en la Escuela de Arquitectura de Alicante, un ejercicio que expande el contenido del art. 11 de las citadas normas deontol\u00f3gicas:<\/p>\n

\n

Se considerar\u00e1 en todo caso infracci\u00f3n grave la asunci\u00f3n de funciones para las que el arquitecto no tenga debidamente acreditada, por su formaci\u00f3n y titulaci\u00f3n, la adecuada capacidad profesional.<\/em><\/p>\n<\/blockquote>\n

Todav\u00eda uno recuerda con claridad \u00abRetrato del Mundo\u00bb<\/a><\/strong>, aquel reportaje publicado por El Semanal<\/em> de El Pa\u00eds<\/em> hace ya unos a\u00f1os. Se trataba de unos textos que comparaban el nivel de vida en treinta pa\u00edses de todo el mundo. Sin duda alguna, el hecho que lo hac\u00eda inolvidable era las incre\u00edbles fotograf\u00edas de Peter Menzel<\/a> que lo ilustraban. Consist\u00edan en retratos de cada una de las familias con todas sus pertenencias sacadas a la puerta de su casa. De un solo golpe de vista pod\u00edamos entender la realidad de aquellas familias, llegando incluso casi a imaginar sus penurias, alegr\u00edas y deseos.<\/p>\n

\"Strangely
Strangely Familiar<\/span><\/figcaption><\/figure>\n

Fueron precisamente aquellas fotograf\u00edas las que generaron el primer ejercicio con el que nuestros estudiantes se han enfrentado a proyectar arquitectura. Les pedimos a los alumnos de Proyectos 1 que se fotografiasen con los suyos y sus pertenencias en la puerta de sus viviendas. Para desarrollar el ejercicio dispusieron de dos semanas, en las que, los primeros d\u00edas, se ocuparon para realizar un cuestionario entre los miembros de la familia. Fueron muy interesantes los distintos formatos que adoptaron estos cuestionarios, claves, no s\u00f3lo para entender datos de c\u00f3mo las distintas generaciones que componen la familia hacen uso de la vivienda, sino tambi\u00e9n para \u00abinfectarles\u00bb el necesario entusiasmo que los hiciese c\u00f3mplices de la acci\u00f3n de vaciar la vivienda. Tras observar, analizar, descubrir, valorar, componer, dialogar y negociar, muchos de los estudiantes vaciaron la vivienda en su propio jard\u00edn, alguno pidi\u00f3 un permiso al ayuntamiento para cortar el tr\u00e1fico de su calle, y hasta se contrataron servicios de mudanzas. Otras familias – tras intensas conversaciones – reconocieron que no se identificaban de forma alguna con su vivienda y prefirieron realizar un viaje a aquella colina, campo o playa extra\u00f1amente m\u00e1s familiar que su propia morada.<\/p>\n

La acci\u00f3n de sacar sus pertenencias tambi\u00e9n implicaba que se cuestionasen c\u00f3mo disponerlas de nuevo en el exterior. Ahora, sin tabiques, sin ventanas y sin jerarqu\u00edas espaciales, los estudiantes se ve\u00edan obligados a medir, relacionar y reordenar los objetos.<\/p>\n

A partir de estas fotograf\u00edas cada estudiante comenz\u00f3 a trabajar sobre un aspecto determinado de la vivienda, surgiendo as\u00ed tantos proyectos distintos como n\u00famero de estudiantes hay en el curso. Un ejemplo es el de una alumna que comparte piso con otros compa\u00f1eros. La fotograf\u00eda plasmaba la realidad de convivir una peque\u00f1a casa que est\u00e1 en la actualidad muy compartimentada. La alumna hablaba de lo maravilloso que ser\u00eda poder realizar un gran espacio com\u00fan para todos los componentes del piso ya que, durante gran parte del d\u00eda, desarrollan vida en com\u00fan. Por otro lado, y por el hecho de que cada estudiante del piso se dedica a una carrera distinta, nuestra alumna tambi\u00e9n hablaba de las distintas necesidades espaciales que requiere cada inquilino. Imaginaba ella las posibilidades de negociaci\u00f3n que se podr\u00edan establecer entre sus compa\u00f1eros de piso a la hora de construir las divisiones de las estancias; unas mamparas que, a trav\u00e9s de su secci\u00f3n, permitiesen un m\u00e1ximo de oportunidades de usos: superficie de trabajo, de almacenaje de libros, de proyecci\u00f3n de im\u00e1genes, etc. A partir de su propia investigaci\u00f3n la alumna proyect\u00f3 y defini\u00f3 su actuaci\u00f3n, un proyecto que adem\u00e1s se nutri\u00f3 de otras experiencias ya construidas. As\u00ed, su trabajo dio pie a explicar en clase obras que ya est\u00e1n asumidas dentro de la disciplina arquitect\u00f3nica como la Naked House en Kawagoe de Shigeru Ban<\/strong><\/a>, las viviendas en Utrecht del grupo MVRDV<\/a><\/strong>, o las intervenciones de Juan Domingo Santos<\/strong><\/a> en el casco antiguo de Granada.<\/p>\n

Todos \u00e9stos son proyectos extraordinarios que surgieron a partir de situaciones ordinarias. Sin duda alguna la negociaci\u00f3n, como concepto, ya es un material de construcci\u00f3n arquitect\u00f3nica tan firme como hasta ahora lo ha sido el ladrillo panchito o las medidas del Existenzminimum<\/em> establecidas para el obrero ideal de producci\u00f3n perteneciente a una \u00e9poca anterior:<\/p>\n

\u00a1la pre-guerra!<\/p>\n

La importancia de fotografiar a sus familias, como ejercicio de Proyectos 1, es la de llevar al alumno a cuestionarse una realidad tan cercana y conocida desde donde entender y asumir ejemplos como las arquitecturas anteriormente citadas. M\u00e1s que actuaciones brillantes y caprichosas de arquitecto se trata de profundizar en los or\u00edgenes cotidianos de esas arquitecturas extraordinarias. Sin conocer sus procedencias no podremos entenderlas como lo que son, arquitecturas comprometidas.<\/p>\n

\"Strangely
Strangely Familiar<\/span><\/figcaption><\/figure>\n

La disciplina de la arquitectura est\u00e1 hoy m\u00e1s abierta que nunca. Es obligaci\u00f3n de nuestras escuelas preparar a futuros arquitectos a valorar aquellos aspectos que est\u00e1n integr\u00e1ndose continuamente. Por todo ello, siempre he desconfiado de aquellos que tajantemente discriminan lo que es y lo que no es arquitectura. Me temo que, una vez m\u00e1s, son los miedos e inseguridades ante lo desconocido lo que puede atarnos a unas realidades conocidas pero ya pasadas. Lo dec\u00eda Reyner Banham<\/strong><\/a> cuando, de forma similar, criticaba al Movimiento Moderno por concebir la tecnolog\u00eda como un elemento permanente, ordenado y estable.<\/p>\n

\u00bfQui\u00e9n no recuerda el prof\u00e9tico p\u00e1rrafo con el que concluy\u00f3 Teor\u00eda y Dise\u00f1o en la Era de la M\u00e1quina<\/em><\/a> (1960), la elaboraci\u00f3n de su tesis doctoral?<\/p>\n

\n

El arquitecto que propone correr con la tecnolog\u00eda sabe que ahora estar\u00e1 con una r\u00e1pida compa\u00f1\u00eda y que, para mantenerse, puede tener que emular a los Futuristas y desechar su carga cultural por completo, incluso las vestimentas profesionales por las que se le reconoce como arquitecto.<\/em><\/p>\n<\/blockquote>\n

Una vez mencionado el password<\/em><\/p>\n

\n

\u00ablos arquitectos somos seres de acci\u00f3n\u00bb,<\/p>\n<\/blockquote>\n

hemos propuesto a los alumnos que trabajen desde sus propias inquietudes en lugar de comenzar a proyectar \u00aba la manera de\u00bb otros arquitectos mediante ejercicios de repetici\u00f3n de obras maestras; obras que nunca llegas a entender en su totalidad ni a hac\u00e9rtelas tuyas. Los proyectos de nuestros alumnos, aunque tan solo tengan seis semanas, ya son propositivos, ellos se los creen, y todo esto les permitir\u00e1 proseguir en sus investigaciones. Se producir\u00e1n nuevas arquitecturas m\u00e1s sensibles con sus habitantes y que se alejen de aquellas posturas arrogantes que tanto han distanciado a la sociedad de la arquitectura. Debemos educar al alumno con un m\u00e9todo de investigaci\u00f3n que le permita responder a su realidad futura, desconocida, pero ilusionante.<\/p>\n

Javier S\u00e1nchez Merina
\ndoctor arquitecto
\nMurcia.\u00a0Julio\u00a02019<\/p>\n

Art\u00edculo fue originalmente publicado como\u00a0\u00abExtra\u00f1amente<\/span>\u00a0<\/span>Familiar\u00bb<\/span>\u00a0en\u00a0Big Flier, manifiesto de la Escuela de Arquitectura de Alicante\u00a0<\/span>07\/12\/2002;<\/span>\u00a0<\/span>3-4<\/span><\/span><\/em><\/span><\/p>\n

[:gl]

\"Arquitectura
Arquitectura Familiar | Fotograf\u00eda: Javier S\u00e1nchez Merina <\/span><\/figcaption><\/figure><\/p>\n

Unha r\u00e1pida lectura das NORMAS DEONTOL\u00d3XICAS DE ACTUACI\u00d3N PROFESIONAL DOS ARQUITECTOS<\/em><\/a> – e digo r\u00e1pida porque todas as nosas obrigaci\u00f3ns res\u00famense en menos de quince concisas cuartillas – non menciona palabra algunha sobre se un arquitecto ha de cuestionarse o \u00e1mbito da arquitectura. Cando, ao fin, atopamos un artigo, o 24, que fai referencia ao noso compromiso coa sociedade, este tr\u00e1tase ao desd\u00e9n:<\/p>\n

\n

O arquitecto deber\u00e1 ter en conta, en todo momento, a funci\u00f3n social que desempe\u00f1a. Deber\u00e1 acomodarse \u00e1 cualificaci\u00f3n urban\u00edstica do chan, \u00e1s normas e ordenanzas correspondentes e \u00e1s condici\u00f3ns en que se outorgou a licenza de obras.<\/em><\/p>\n<\/blockquote>\n

\u00abArquitectura Familiar\u00bb<\/strong> \u00e9 un pensamento xurdido por mor das condici\u00f3ns contempor\u00e1neas que presentan \u00e1 arquitectura como unha disciplina en transformaci\u00f3n. O campo de operaci\u00f3n foi o primeiro proxecto dos alumnos de Proxectos 1 na Escola de Arquitectura de Alacante, un exercicio que expande o contido do art. 11 das citadas normas deontol\u00f3xicas:<\/p>\n

\n

Considerarase en todo caso infracci\u00f3n grave a asunci\u00f3n de funci\u00f3ns para as que o arquitecto non te\u00f1a debidamente acreditada, pola s\u00faa formaci\u00f3n e titulaci\u00f3n, a adecuada capacidade profesional.<\/em><\/p>\n<\/blockquote>\n

A\u00ednda un lembra con claridade \u00abRetrato do Mundo\u00bb<\/a><\/strong>,\u00a0aquela reportaxe publicada polo Semanal<\/em> do El Pa\u00eds<\/em>\u00a0hai xa uns anos. Trat\u00e1base duns textos que comparaban o nivel de vida en trinta pa\u00edses de todo o mundo. Sen ningunha d\u00fabida, o feito que o fac\u00eda inesquecible era as incribles fotograf\u00edas de Peter Menzel<\/a>l que o ilustraban. Eran retratos de cada unha das familias con todas as s\u00faas pertenzas sacadas \u00e1 porta da s\u00faa casa. Dun s\u00f3 golpe de vista podiamos entender a realidade daquelas familias, chegando mesmo case a imaxinar as s\u00faas penurias, alegr\u00edas e desexos.<\/p>\n

\"Strangely
Strangely Familiar<\/span><\/figcaption><\/figure>\n

Foron precisamente aquelas fotograf\u00edas as que xeraron o primeiro exercicio co que os nosos estudantes enfront\u00e1ronse a proxectar arquitectura. Ped\u00edmoslles aos alumnos de Proxectos 1 que se fotografasen cos seus e as s\u00faas pertenzas na porta das s\u00faas vivendas. Para desenvolver o exercicio dispuxeron de d\u00faas semanas, nas que, os primeiros d\u00edas, ocup\u00e1ronse para realizar un cuestionario entre os membros da familia. Foron moi interesantes os distintos formatos que adoptaron estes cuestionarios, claves, non s\u00f3 para entender datos de como as distintas xeraci\u00f3ns que compo\u00f1en a familia fan uso da vivenda, sen\u00f3n tam\u00e9n para \u00abinfectarlles\u00bb o necesario entusiasmo que os fixese c\u00f3mplices da acci\u00f3n de baleirar a vivenda. Tras observar, analizar, descubrir, valorar, compo\u00f1er, dialogar e negociar, moitos dos estudantes baleiraron a vivenda no seu propio xard\u00edn, alg\u00fan pediu un permiso ao concello para cortar o tr\u00e1fico da s\u00faa r\u00faa, e ata se contrataron servizos de mudanzas. Outras familias – tras intensas conversaci\u00f3ns – reco\u00f1eceron que non se identificaban de forma algunha coa s\u00faa vivenda e preferiron realizar unha viaxe a aquel outeiro, campo ou praia extra\u00f1amente m\u00e1is familiar que a s\u00faa propia morada.<\/p>\n

A acci\u00f3n de sacar as s\u00faas pertenzas tam\u00e9n implicaba que se cuestionasen como dispo\u00f1elas de novo no exterior. Agora, sen tabiques, sen xanelas e sen xerarqu\u00edas espaciais, os estudantes v\u00edanse obrigados a medir, relacionar e reordenar os obxectos.<\/p>\n

A partir destas fotograf\u00edas cada estudante comezou a traballar sobre un aspecto determinado da vivenda, xurdindo as\u00ed tantos proxectos distintos como n\u00famero de estudantes hai no curso. Un exemplo \u00e9 o dunha alumna que comparte piso con outros estudantes. A fotograf\u00eda plasmaba a realidade de compartir unha pequena casa que est\u00e1 na actualidade moi compartimentada. A alumna falaba do marabilloso que ser\u00eda poder realizar un gran espazo com\u00fan para todos os compo\u00f1entes do piso xa que, durante gran parte do d\u00eda, desenvolven vida en com\u00fan. Doutra banda, e polo feito de que cada estudante do piso ded\u00edcase a unha carreira distinta, a nosa alumna tam\u00e9n falaba das distintas necesidades espaciais que require cada inquilino. Imaxinaba ela as posibilidades de negociaci\u00f3n que se poder\u00edan establecer entre os seus compa\u00f1eiros de piso \u00e1 hora de constru\u00edr as divisi\u00f3ns das estancias; uns biombos que, a trav\u00e9s da s\u00faa secci\u00f3n, permitisen un m\u00e1ximo de oportunidades de usos: superficie de traballo, de almacenaxe de libros, de proxecci\u00f3n de imaxes, etc. A partir da s\u00faa propia investigaci\u00f3n a alumna proxectou e definiu a s\u00faa actuaci\u00f3n, un proxecto que ademais se nutriu doutras experiencias xa constru\u00eddas. As\u00ed, o seu traballo deu p\u00e9 a explicar en clase obras que xa est\u00e1n asumidas dentro da disciplina arquitect\u00f3nica como a Naked House en Kawagoe de Shigeru Ban<\/strong><\/a>, as vivendas en Utrecht do grupo MVRDV<\/a><\/strong>, ou as intervenci\u00f3ns de Juan Domingo Santos<\/strong><\/a> no casco antigo de Granada.<\/p>\n

Todos estes son proxectos extraordinarios que xurdiron a partir de situaci\u00f3ns ordinarias. Sen ningunha d\u00fabida a negociaci\u00f3n, como concepto, xa \u00e9 un material de construci\u00f3n arquitect\u00f3nica tan firme como ata agora foino o ladrillo panchito ou as medidas do Existenzminimum<\/em> establecidas para o obreiro ideal de produci\u00f3n pertencente a unha \u00e9poca anterior:<\/p>\n

a pre-guerra!<\/p>\n

A importancia de fotografar \u00e1s s\u00faas familias, como exercicio de Proxectos 1, \u00e9 a de levar ao alumno para cuestionarse unha realidade tan pr\u00f3xima e co\u00f1ecida desde onde entender e asumir exemplos como as arquitecturas anteriormente citadas. M\u00e1is que actuaci\u00f3ns brillantes e caprichosas de arquitecto tr\u00e1tase de profundar nas orixes coti\u00e1s desas arquitecturas extraordinarias. Sen co\u00f1ecer as s\u00faas procedencias non poderemos entendelas como o que son, arquitecturas comprometidas.<\/p>\n

\"Strangely
Strangely Familiar<\/span><\/figcaption><\/figure>\n

A disciplina da arquitectura est\u00e1 hoxe m\u00e1is aberta que nunca. \u00c9 obrigaci\u00f3n das nosas escolas preparar a futuros arquitectos a valorar aqueles aspectos que est\u00e1n a se integrar continuamente. Por todo iso, sempre desconfiei daqueles que tajantemente discriminan o que \u00e9 e o que non \u00e9 arquitectura. T\u00e9mome que, unha vez m\u00e1is, son os medos e inseguridades #ante o desco\u00f1ecido o que pode atarnos a unhas realidades co\u00f1ecidas pero xa pasadas. Dic\u00edao Reyner Banham<\/strong><\/a> cando, de forma similar, criticaba ao Movemento Moderno por concibir a tecnolox\u00eda como un elemento permanente, ordenado e estable.<\/p>\n

Quen non lembra o prof\u00e9tico par\u00e1grafo co que conclu\u00edu Teor\u00eda e Dese\u00f1o na Era da M\u00e1quina<\/em><\/a> (1960), a elaboraci\u00f3n da s\u00faa tese doutoral?<\/p>\n

O arquitecto que prop\u00f3n correr coa tecnolox\u00eda sabe que agora estar\u00e1 cunha r\u00e1pida compa\u00f1\u00eda e que, para manterse, pode ter que emular aos Futuristas e refugar a s\u00faa carga cultural por completo, incluso as vestimentas profesionais polas que se lle reco\u00f1ece como arquitecto.<\/p>\n

Unha vez mencionado\u00a0o\u00a0password<\/em><\/p>\n

\n

\u00abos arquitectos somos seres de acci\u00f3n\u00bb,<\/p>\n<\/blockquote>\n

propuxemos aos alumnos que traballen desde as s\u00faas propias inquietudes en lugar de comezar a proxectar \u00ab\u00e1 maneira de\u00bb outros arquitectos mediante exercicios de repetici\u00f3n de obras mestras; obras que nunca chegas a entender na s\u00faa totalidade nin a facerchas t\u00faas. Os proxectos dos nosos alumnos, a\u00ednda que tan s\u00f3 te\u00f1an seis semanas, xa son propositivos, eles crenllos, e todo isto permitiralles proseguir nas s\u00faas investigaci\u00f3ns. Produciranse novas arquitecturas m\u00e1is sensibles cos seus habitantes e que se afasten daquelas posturas arrogantes que tanto distanciaron \u00e1 sociedade da arquitectura. Debemos educar ao alumno cun m\u00e9todo de investigaci\u00f3n que lle permita responder \u00e1 s\u00faa realidade futura, desco\u00f1ecida, pero ilusionante.<\/p>\n

\u00a0Javier S\u00e1nchez Merina
\ndoutor arquitecto
\nMurcia. Xullo\u00a02019<\/p>\n

Artigo foi orixinalmente publicado como \u00bb Extra\u00f1amente Familiar\u00bb en Big Flier, manifesto da Escola de Arquitectura de Alacante 07\/12\/2002; 3-4<\/em><\/span><\/p>\n

[:en]

\"Arquitectura
Family Architecture | Photography: Javier S\u00e1nchez Merina <\/span><\/figcaption><\/figure><\/p>\n

A quick reading of the PROFESSIONAL ACTION DEONTOLOGICAL RULES OF ARCHITECTS<\/em><\/a> – and I say fast because all our obligations are summarized in less than fifteen short pages – does not mention a word about whether an architect has to question the field of architecture. When, finally, we find an article, the 24th, which refers to our commitment to society, this is about disdain:<\/p>\n

\n

The architect must take into account, at all times, the social function he performs. It must adapt to the urban land classification, the corresponding regulations and ordinances and the conditions under which the building license would have been granted.<\/em><\/p>\n<\/blockquote>\n

\u00abFamily Architecture\u00bb<\/strong> is a thought that arose as a result of contemporary conditions that present architecture as a discipline in transformation. The field of operation has been the first project of the students of Projects 1 at the Alicante School of Architecture, an exercise that expands the content of art. 11 of the aforementioned ethical standards:<\/p>\n

\n

In any case, it will be considered a serious infraction the assumption of functions for which the architect does not have duly accredited, for his training and qualification, the adequate professional capacity.<\/em><\/p>\n<\/blockquote>\n

Still one clearly remembers \u00abPortrait of the World<\/strong><\/a>\u00ab, that report published by El Semanal of the<\/em>\u00a0El Pa\u00eds<\/em>\u00a0newspaper a few years ago. These were texts that compared the standard of living in thirty countries around the world. Without a doubt, the fact that made it unforgettable was the incredible photographs of Peter Menzel<\/a> that illustrated it. They were portraits of each of the families with all their belongings taken at the door of their house. At a single glance we could understand the reality of those families, even almost imagining their hardships, joys and desires.<\/p>\n

\"Strangely
Strangely Familiar<\/span><\/figcaption><\/figure>\n

It was precisely those photographs that generated the first exercise with which our students have faced to project architecture. We asked Project 1 students to photograph themselves and their belongings at the door of their homes. To develop the exercise they had two weeks, in which, during the first days, they took up a questionnaire among family members. The different formats adopted by these questionnaires were very interesting, not only to understand data on how the different generations that make up the family make use of housing, but also to \u00abinfect\u00bb them with the necessary enthusiasm that made them complicit in the action of empty the house After observing, analyzing, discovering, valuing, composing, discussing and negotiating, many of the students emptied the house in their own garden, some asked the city council for permission to cut off their street traffic, and even moving services were hired. Other families – after intense conversations – recognized that they did not identify in any way with their home and preferred to make a trip to that hill, field or beach strangely more familiar than their own dwelling.<\/p>\n

The act of removing their belongings also meant that they questioned how to dispose of them again abroad. Now, without partitions, without windows and without spatial hierarchies, students were forced to measure, relate and rearrange objects.<\/p>\n

From these photographs, each student began to work on a specific aspect of housing, thus emerging as many different projects as there are number of students in the course. An example is that of a student who shares a flat with other students. Photography reflected the reality of sharing a small house that is currently very compartmentalized. The student talked about how wonderful it would be to be able to make a large common space for all the components of the floor since, during much of the day, they develop life in common. On the other hand, and due to the fact that each student on the floor is dedicated to a different career, our student also talked about the different spatial needs that each tenant requires. She imagined the negotiation possibilities that could be established among her roommates when it came to building the divisions of the rooms; screens that, through its section, allow maximum use opportunities: work surface, book storage, image projection, etc. From her own research, the student projected and defined her performance, a project that also nurtured other experiences already built. Thus, his work gave rise to explain in class works that are already assumed within the architectural discipline such as the Naked House in Kawagoe of Shigeru Ban<\/strong><\/a>, the homes in Utrecht of the MVRDV<\/a><\/strong> group, or the interventions of Juan Domingo Santos<\/strong><\/a> in the old town of Pomegranate.<\/p>\n

These are all extraordinary projects that arose from ordinary situations. Undoubtedly, the negotiation, as a concept, is already a material of architectural construction as firm as it has been until now the panchito brick or the measures of the Existezminimum established for the ideal production worker belonging to an earlier time:<\/p>\n

The pre-war!<\/p>\n

The importance of photographing their families, as an exercise of Projects 1, is to lead the student to question a reality so close and known from which to understand and assume examples such as the architectures mentioned above. More than brilliant and capricious performances by an architect, it is about deepening the daily origins of these extraordinary architectures. Without knowing their origins we cannot understand them as what they are, compromised architectures.<\/p>\n

\"Strangely
Strangely Familiar<\/span><\/figcaption><\/figure>\n

The discipline of architecture is more open today than ever. It is our schools’ obligation to prepare future architects to value those aspects that are continuously being integrated. For all this, I have always distrusted those who categorically discriminate what is and what is not architecture. I fear that, once again, it is fears and insecurities in the face of the unknown that can bind us to known but past realities. Reyner Banham<\/strong><\/a> said it when, similarly, he criticized the Modern Movement for conceiving technology as a permanent, orderly and stable element.<\/p>\n

Who does not remember the prophetic paragraph with which he concluded Theory and Design in the Machine Age<\/em><\/a> (1960), the elaboration of his doctoral thesis?<\/p>\n

The architect who proposes to run with the technology knows that he will now be with a fast company and that, in order to maintain himself, he may have to emulate the Futurists and discard his cultural load completely, including the professional clothing for which he is recognized as an architect.<\/p>\n

Once the password<\/em> is mentioned<\/p>\n

\n

\u00abthe architects are beings of action\u00bb,<\/p>\n<\/blockquote>\n

we have proposed to students to work from their own concerns instead of beginning to project \u00abin the manner of\u00bb other architects through repetition exercises of masterpieces; works that you never fully understand or make them yours. Our students’ projects, even if they are only six weeks old, are already purposeful, they believe them, and all this will allow them to continue their research. There will be new architectures more sensitive with its inhabitants and away from those arrogant postures that have distanced the society from architecture so much. We must educate the student with a research method that allows him to respond to his future reality, unknown, but exciting.<\/p>\n

Javier S\u00e1nchez Merina
\nPhD architect
\nMurcia.\u00a0July 2019<\/p>\n

Article was originally published as \u00abStrangely Familiar\u00bb in Big Flier, manifesto of the School of Architecture of Alicante 07\/12\/2002; 3-4<\/em><\/span><\/p>\n

[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] Una r\u00e1pida lectura de las NORMAS DEONTOL\u00d3GICAS DE ACTUACI\u00d3N PROFESIONAL DE LOS ARQUITECTOS – y digo r\u00e1pida porque todas nuestras obligaciones se resumen en menos de quince escuetas cuartillas – no menciona palabra alguna sobre si un arquitecto ha de cuestionarse el \u00e1mbito de la arquitectura. Cuando, al fin, encontramos un art\u00edculo, el 24, […]<\/p>\n","protected":false},"author":48,"featured_media":74135,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[568,5951],"tags":[2631,14212,394,12470,14213,458,535,12460,2027,733,10199,737,3089,8658,1550,2812,898,2740,14215,4445,1226,1241,1278],"class_list":["post-74129","post","type-post","status-publish","format-standard","has-post-thumbnail","category-faro","tag-arquitectura-espanola","tag-arquitectura-familiar","tag-cscae","tag-diseno","tag-e","tag-educacion","tag-estudiante","tag-fotografia","tag-futurismo","tag-intervencion","tag-intervencion-experimentacion","tag-investigacion","tag-investigacion-cientifica","tag-javier-sanchez-merina","tag-juan-domingo-santos","tag-manifiesto","tag-movimiento-moderno","tag-mvrdv","tag-peter-menzel","tag-reyner-banham","tag-shigeru-ban","tag-sociedad","tag-teoria"],"yoast_head":"\n[:es]Arquitectura 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