Escuela de Politécnica Superior

El capítulo analiza cómo el concepto de vivienda ha evolucionado a lo largo del tiempo, acumulando diversos adjetivos que reflejan las ideologías y necesidades de diferentes épocas, mostrando cómo la vivienda ha sido vista no solo como un espacio físico, sino también como un indicador de valores sociopolíticos y económicos. Estos adjetivos, aunque útiles para entender las transformaciones en el concepto de vivienda, también pueden vaciar de contenido el término "vivienda" en sí. La vivienda adjetivada se convierte en un reflejo de las presiones del mercado, la economía y la política, y su estudio permite rastrear los intereses y preocupaciones de la sociedad en diferentes momentos históricos.

The scientific understanding of the concepts of cold and heat that have accompanied the human species throughout history has not been easy. The concept of heat is more widespread and studied among us, as well as its consequences. However, we wonder what would happen if we lowered the temperature a lot? As the temperature begins to drop, it can be predicted that the atoms tend to slow down, slowing down their speed, and when this happens, existing theories begin to tremble. The laws governing the atomic world, so small and tiny, do not allow objects (atoms, protons, neutrons, etc.) to stop. This is where quantum physics appears, it tells us how particles behave at the atomic level, and they appear in a forceful way when we approach temperature values around absolute zero. If atoms stopped moving, they would have zero energy, however, quantum mechanics makes it impossible to have this kind of energy.

Juan Navarro Baldeweg´s installation Interior III (1975) was exhib ited at the Center for Advanced Visual Studies (CAVS) of the Massachusetts Institute of Technology (MIT) in 1975, as a compendium of the research that he began to develop around the exploration of optical phenomena and color, seeking to investigate those mechanisms that allow observation, apprehension, and the understanding of the environment. The installation is part of a series, in which, starting from empty rooms, Juan Navarro Baldeweg explored various concepts and ideas, which, over time, came to be what he called the essential variables that can be found in his architectural designs and works of art. The study of this instal lation and the optical pieces that he created in this context can help us understand in depth some of these variables, which ended up laying the foundations on which his unique professional career is based.

Digital fabrication technologies can be powerful tools for architectural representation, assisting during the fabrication of physical models and prototypes useful in architectural design. The use of these technologies can contribute to complement conventional architectural drawings by allowing the creation of physical models, prototypes and architectural models of constructive details or structural elements, to be used as visualization and communication tools to explore different solutions during the design phase. Therefore, it seems appropriate to reflect and work towards a better integration between the latest digital fabrication technologies and architectural graphic tools to assist the architect. This paper will try to deepen on the applications of digital fabrication in the field of Architecture, based on the projects carried out in Fab Lab Madrid CEU, the Digital Fabrication Laboratory based at CEU University, reflecting about the potential of milling machines, laser cutters, 3D printers and molding and casting technologies to materialize ideas and projects.

El presente escrito trata de mostrar cuánto el análisis del paisaje urbano en la apro­ximación a una ciudad como Madrid se ha constituido perceptivamente por medio de diferentes hitos en los que resultan clave aspectos perceptivos relacionados con la mirada. Si bien incardinar el paisaje urbano poniendo el foco en estos hitos goza de una larga y desigual tradición académica, no es menos cierto que hasta el momento, y más en el caso de esta ciudad, se ha dejado de lado un estudio de la mirada relacionada con el fenómeno de la pura óptica. En ese territorio se mueven las siguientes líneas.

Teaching drawing to new architecture students with their eagerness to learn quickly, requires us to look back to the past in order to be able to move forward in teaching the present. As experienced teachers, we need to question how we teach. Beginners are always the same age, but we teachers are one year older each academic year. The aim of this paper is to provide answers for students and teachers as we seek a shared space where we can all learn – some for the first time and others once again. Drawing outside, away from the classrooms, changes the locus of our everyday learning. We move away from academia and at the same time become aware of new sensations, quite different to those experienced in formal settings. Discomfort, wind, cold or heat, the sun on our skin, all enliven our senses and prepare us all on equal terms for the task of drawing. Teacher and pupil are less distant, our heads and hands are at the same height. The experience gained from several days drawing outdoors allows us to embark on a new learning from memory based on what we have learned.

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 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.