Escuela de Politécnica Superior

Landscape is multidisciplinary and complex and requires a comprehensive approach to its analysis, which necessarily involves the study of how it is perceived (European Landscape Convention, 2000). In this sense, the subjective paradigm, as defined by Lothian (1999),maintains that the aesthetic sense of place depends on the interaction between landscape and observer, which is why there is a need to generate tools to study this dimension. This paper proposes various graphic strategies that can be useful when representing the perception of landscape, highlighting those that consider its subjective aspects, giving rise to a complete vision of the landscape that surrounds us,whether natural or urban. In thisway, an overviewismade of different graphicmechanisms, from the most figurative to the most abstract, including ‘serial visions’, the representation of the passage of time, ‘sensorial cartographies’ and the use of collage as a tool for simplifying the landscape. This generates an operative repertoire for representing landscape, which allows us to understand its perception from multiple facets, creating a holistic vision of the natural and urban landscape.

Este articulo muestra las distintas soluciones arquitectónicas que Luis Peña Ganchegu ideó para sus edificios docentes. El arquitecto, considerado heredero de la arquitectura tradicional vasca, supo crear un lenguaje personal, sin separarse de sus raíces culturales. Del estudio de la arquitectura popular, la sensibilidad por el lugar, y los rasgos organicistas de sus arquitecturas, surge un laboratorio de ideas desde el que da forma a su arquitectura docente cargada de elementos estilísticos, espaciales y formales, que aportan a sus proyectos importantes valores compositivos y constructivos, como los graderíos, los basamentos, los aleros. los elementos acristalados o las cubiertas que, por razones climatológicas obvias, se convierten en un rasgo distintivo de su arquitectura

Between 1970 and 1972 Javier Carvajal designed the facilities for the Madrid Zoo, which was considered a paradigm of the Spanish architecture in reinforced concrete of the second half of the 20th century. After researching the archive that the architect donated to the University of Pamplona, it has been possible to analyze 184 plans, mostly unpublished, of the buildings and enclosures that the architect designed for animal shelters. The careful elaboration of the drawings and the precision of his pencil lines reveal a rigorous architect, brilliant in the conception of architectural space and impeccable in execution. The plans reflect his respect for nature, his interest in design and his defense of functional architecture. From the analysis of the layout of these plans, the importance of drawing in the genesis of the project can also be observed.

Este proyecto de innovación docente se enmarca en las actividades de divulgación diseñadas para la Noche Europea de los Investigadores de la Comunidad de Madrid, dentro del Programa Horizonte Europa de investigación e innovación, coordinado por la Fundación Madrid. Dicha convocatoria se celebra simultáneamente en más de 350 ciudades europeas con el ánimo de apoyar a los investigadores, acercando su trabajo a los ciudadanos a través de actividades y talleres que tienen lugar en los distintos centros de investigación de la comunidad de Madrid. El participar en este proyecto obliga a ahondar en nuevas metodologías para mejorar los procesos de docencia y aprendizaje de las enseñanzas universitarias en su adaptación al público general. El proyecto ¡Experimenta el color y descubre su origen!, que por tercer año consecutivo hemos ofrecido dentro de la convocatoria de las actividades de divulgación de la Comunidad de Madrid, es a su vez, una propuesta del grupo de investigación LECOBI (PC06/0720) de la universidad San Pablo CEU. Este grupo de investigación nace en 2018 con el afán de promover un acercamiento al lenguaje del color en la Biblia y durante estos años se han ido sumando a esta investigación profesores e investigadores nacionales e internacionales de distintas áreas de conocimiento, pues se trata de una investigación multidisciplinar e interdisciplinar. Para este proyecto de innovación docente creamos una experiencia desde la percepción, la óptica y la interdisciplinaridad del arte, en el Aula-Taller de Análisis de Formas de la Escuela Politécnica Superior de la Universidad San Pablo Ceu.

In this paper, we will undertake a graphic analysis of the most unknown patents and utility models of great Spanish architects, which were registered between 1950 and 1970. Inventions that proposed improvements in manufacturing processes and construction elements, furniture, and novel spatial solutions, as well as others that brought significant advances in the discipline of drawing. The drawings submitted when applying for a patent or utility model constitute per se the formal definition of the invention and must illustrate elements that lead to a better understanding of what the invention represents, with the aim of facilitating its comprehension in support of the specification. The graphic resources that architects could use to represent their inventions were scarce, as they were subject to the Royal Decree-Law of 1929, which allowed them to choose the scale and the system of representation for each drawing. We will analyze the common features of the drawings accompanying the inventions, which must, above all, be clarifying and unambiguous.

The INARQ innovation project was designed and implemented during the first semester of the 2021‐2022 academic year in the Architecture degree, from the subjects of "Form Analysis I" and "Introduction to Architecture" within the framework of the Exploria project. Its main goal was to increase the motivation of the students, enhancing their creative interpretation of the architectural fact. The strategy was based on designing an emotional approach to Architecture from other Arts, in order to encourage its holistic understanding. The initiative also sought to introduce students to the language of theoretical and graphic abstraction as a tool for thought and expression, as well as to enrich their perceptive, analytical, and interpretative skills in their understanding of architecture. Under this innovative approach, the classroom and drawing workshop work was complemented with the study of bibliographic references, on‐site experience (visits to buildings in Madrid), lectures, visits to exhibitions, individual presentations, and critical sessions with other classmates. The activity favoured the existing synergies between both subjects, and the motivation of students and teachers to take on new challenges, proving that learning transcends the physical and temporal framework of the classroom, expanding the regulated spaces and schedules, to promote at the same time the transversal learning based on other Arts as an innovative way of Teaching/Learning.