The teaching of architectural projects structured in vertical workshops, in which students from different years have shared teaching, has been a formula adopted in different schools and historical periods, from the Bauhaus in Germany to the present time. This educational organisation constituted the fundamental structure of the teaching of projects in the School of Architecture of Seville from the 1975-76 to the 1994-95 academic year. This system generated important synergies between teachers and students, especially significant between the students themselves who learned not only from the teacher, but also from their higher level classmates, establishing a learning structure similar to that of craft workshops, facilitating the initiation into a new practice, such as that of artistic creation, improving collaborative work and intergenerational relations.
En abril de 1997 Peter Smithson impartió una conferencia titulada Empooling. En ella señaló que este término quería “reproducir lo que ocurre en una playa arenosa con rocas que emergen cuando al bajar la marea se forman charcos en algunos sitios en los que se agrupan piedras. De igual forma los conjuntos de edificios traen consigo un empooling del espacio intermedio, parecido al de los charcos de la playa y lo que queda dentro de este espacio intermedio puede ser extraordinariamente rico”. La palabra la utilizó para explicar las obras que habían realizado en la fábrica Tecta, definiendo tres empoolings: el primero era una chapa de acero inoxidable pulido situada en la entrada del edificio, de forma que reflejaba todo lo que se situaba delante de él; el segundo era un porche que permitía ver el paisaje desde dentro de la fábrica, desde los aseos, y el tercero era un mirador ligero y elevado situado en el patio de la fábrica, que permitía ver el paisaje más allá de sus límites. Estas tres pequeñas actuaciones muestran distintas estrategias para enriquecer los espacios intermedios de un edificio industrial de los años setenta sin ningún interés. Para ello, construyen una suerte de “encharcamientos” con los que buscan incrementar las relaciones del edificio con su entorno, así como cualificar la vida cotidiana dentro de la fábrica. Como ocurre en el conjunto de la obra de los Smithsons el proyecto se focaliza en dos principios: el entendimiento de la arquitectura como parte indisoluble del espacio que la rodea y la consideración de los usuarios y las acciones que realizan como motor del proyecto, obviando la objetualización de la arquitectura. Los mecanismos que utilizan para conseguir estos objetivos nos muestran como a través de distintos caminos podemos llegar a un mismo fin, mostrándonos como en arquitectura las transposiciones no son siempre lineales. In April 1997, Peter Smithson gave a lecture entitled Empooling. He pointed out that this term was meant to: “where there is a sandy beach with rocks standing-up from it, as the tide recedes small formation of the building carry with it an empooling of the space-between. And as with the rock-pools what it within space-between seems extraordinarily vivid”.The word was used to explain the works that they had done in the Tecta Factory. He defined three empoolings: the first was a polished stainless steel plate located at the entrance of the factory, so that it reflected everything that was placed in front of it; the second was a porch that allowed to see the landscape from inside the factory, from the toilets, and the third was a light and elevated lookout located in the garden court of the factory to view the countryside beyond its limits.These three little works show us different strategies where they try to find a way to enrich the space-between defined by the building, a seventies factory without any interest. For this, a kind of “empooling” is built in order to improve the building’s relationships with its surroundings, as well as to qualify everyday life of workers inside the factory. As it happens in the whole of the Smithsons’ work, the project focuses on two principles: the understanding of architecture as an inseparable part of the space around and the consideration of inhabitants and their acts as incentive for their designs, obviating the objectification of architecture.The procedure, that they used to achieve these objectives, show us how one purpose can be made of different ways, teaching us architecture transpositions are not always linear.
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