configurator procedure architectural spatial form, known today as the project-the true method or way by which the architecture reaches its fulfillment, "did not always take the same way. If, in its origins. Was stabilized composition through consensual social types whose parts are organized into an organic whole, as a paradigm of classical thought in the Renaissance introduced the idea of \u200b\u200bcreative freedom, leaving that of mimesis and theology as early building, through the notion of project and representation. The Enlightenment caused a great revolution in all areas, and emphasizes the idea of against the dominance of modern classic. Avant-garde art and modern architecture definitively establishing and mid-twentieth century another crisis, increasingly frequent, "now against a universalist modernity, leaving the architecture and procedures in the hands of the authors, without the slightest possibility external legitimation.
This article was awarded the Biennale of Architecture of the Central Society of Architects and the Professional Council of Architecture and Urbanism 1995-1996, in January 1997 under the "Theory of Architecture." Its title was "project research, theory, methodology and technical architecture formalization contemporary "
From theory to interpret the world as foreshadowed
One of the fundamental crisis of the disciplines has to do with the demands of a changing reality that does not comply with how the world was divided and knowledge, they were the product of a historic moment and were functional for the time, but today this situation requires to be amended. This was a concern of philosophy, and was Aristotle, three hundred years before Christ, who inked a map of fragmentation of knowledge and ways of being in the World: theoria, praxis and poiesis. This partition has endured in various ways until the crisis of modernity beginning in the Renaissance, but remains in the various trilogies that we can see already in Vitruvius, when you divide the architecture venustas firmitas and utilitas, and then the story unfold with different emphases in different periods and authors. A similar partition is the one that takes Kant when he postulates the three Critiques: pure reason-the foundation for delivering science, practical reason, on ethics, "and finally to the Critique of Judgement" on the aesthetics. The same division of Weber observed and respected in Habermas, the philosopher of modernity, when fragments of reality in the fields of science, ethics and art.
is possible to observe that permanently refigure the fields and also create new and integrate other knowledge objects to address that demand it. Research plays a fundamental role in this process of renewal of knowledge, without leaving practice to the new challenges that must give new answers, not always checked beforehand to ensure its success.
architecture has not established, like many other knowledge, a field of research;
much less about the issues of the project as it is about training and practice. Set to raise a legitimate field of research in architecture means placing it on parity and competition with other fields of knowledge that have their own areas of research, with its own means for a basic purpose: to produce or, rather, to create knowledge for each field in general principle and then. As we have seen in a previous article (Sarquis 1995), creative work is done at times of special creation of each field, ie, when it travels the path of the development of new ideas, that is, time methodology of the profession and training, and not just the research. But if creation is the condition that equals the difference is that the research protocol requires such things as the experiments: special methods and especially justification and validation of the findings or creations produced. This coincidence of the time of the creation of new ideas in all fields often leads to confusion among the few non-development areas in each field. We insist that it is at that time, either before, at the time of the establishment of prior causes (own creation of history) or after (building construction techniques), are realized when the creations of design. Is on the way or process of gestation, or mediation, as well as Aristotle defined when establishing the "through": 1) the theoretical to seek truth through contemplation of local that are already 2) the practical to seek justice and relevance through action in everyday life, 3) to seek poietic production or manufacture of devices using the previous projectuality authorities "still not" (Dussel 1980: chap. 5). This rigid interpenetration fragmentation suffers from early modernity, and we know that making the theoria poietic required to guide their action in the desired direction, and also requires knowing where the truth of what is ethically correct to place your device from it by project. Device that will enter everyday life for practical use by certain laws of living.
The proper sphere of poiesis is ontic, natural or material as a starting point, but semantically refers to artifacts or cultural world. The category itself is the formal consistency of the device, its operating principle is the poietic projectuality. Following this logic, distinction is made between theory, practice and production, where there are methods or habits do different (Table 1).
Each field of knowledge of reality research done by their own means, ie in their areas of mediation, which is the research. The story does so by analyzing the sources for interpretive judgments about values \u200b\u200band meanings of objects and events in the past. Technology through experimentation to innovate in materials and production techniques. Semiology, by examining ways to reformulate crystallized. The sociopsicología, through surveys, interviews and observations for a better understanding of society. Architecture by the design work for the lighting of architectural and urban problems and creating solutions. In the Enlightenment, the debate over the theory of architecture was pressing. It should be remembered here Quatremère Quincy (1832-voice "theory"), who has distinguished three types of theories with the respective attitudes behind the projects: 1) the practical theory "of facts and examples", 2) learning theory, that "the rules and precepts, and 3) the" theory of the principles of the reasons that rely on the rules, and is called metaphysical theory. " While the first level is located at a daily level of pure empiricism, the experience is irreplaceable as an acquisition puts the second grade, teaching, is "teaching school daily." Finally, the third level is represented as a fundamental one: it "goes back to the sources from which emanated the laws." "The source in question-that is what we cover architecture as art "is literally a popup, a source from which emanates higher laws."
Of the few agreements that are in these times, one is that research produces knowledge. This is the purpose of any investigation, and object are considered unsolved problems in the disciplinary field to investigate, in our case the architecture, Another agreement, although not so widespread, it is considered that any object of research, namely whether it is a must have: a) a theoretical dimension to frame and illuminate the concept and meaning of the object, in our case, architecture, b) a methodological dimension, the way in which the object reaches its creation, being in our case the project, real configurator procedure as anticipating what is not, and finally c) a technical dimension that will put the object in its highest state of realization, building work.
The subject of this paper is the study of historical development, to date, foreshadowing mechanisms of architectural form in all its dimensions. This immediately puts us in considering the problems of architecture, from theoretical aspects to their specific work conditions and is conditioned by the following anticipatory.
The theory and more abstract dimension
Each of these dimensions supports triadic opening in the same categories dimensional, to have a complete picture of the problem. This does not mean an encyclopedic work that seeks to systematically sweep all matters of architecture, or that the dimensions are related harmonically hiding the real conflict in modern times and not only there is the relationship between theory, methodology and technique.
could say that there are incompletely theorized tasks (Sarquis 1992) and even less peaceful relationship with their practice. This applies even more to the artistic endeavors of modernity, including the apparently less reflective and more spontaneous (See Trias 1991: 229).
architecture, a complex social practice, inevitably involves theory, since Alberti in the fifteenth century, joined the liberal arts, with painting and sculpture disaffected with the mechanical arts. However, there is a simple definition of what is now a specific theory for the field of architecture, urbanism and design, even knowing that in these fields there are differences that make it difficult to formulate a comprehensive-ontological theory of historical- foreshadower procedure such knowledge and practices.
is clear that there is a particular scientific theory formula objective and general laws must be satisfied. The various theories of architecture and design, as aspects or not a theory of art, have their own story that begins with Pliny and Vitruvius in classical thought and restarts with Alberti in the Renaissance, and later with the writers of the Enlightenment . After the docking and identification with the practice of conflict theory suffers from the early modern masters of the early twentieth century, who in their struggle against the academic and historicist neoclassical caused the rejection of the theory with historical studies in currently rebuilding the legitimacy and effectiveness of its existence is accepted beyond intensive discussions it provokes.
For architecture and design is not only to imagine the existence of these theoretical practices, and what, but to think if given the conditions of possibility for the formulation of theories of effective influence on these specific practices. One theory today, at least from this view, must recognize the existence of a conflicting set of components in an area of \u200b\u200bfriction. Among them, the purposes or conditions of possibility external and internal heteronomous or "indispensable" conditions of possibility of an autonomous existence, which are expressed differently depending on the theoretical conception of architecture. Or, committed to the culture and society, with a modus operandi closer to one of the variants of the proposed project research as the most appropriate way to respond to the demands of the players mentioned (external demands of users, internal of the discipline and ideological position and wish you the actors), and that at this stage bid to settle, in clear opposition to such instrumental project procedure or device that determines and sets professional operating today in general. In a highly recommended text so enlightening on this subject, Morales expressed (1992: 93): "a theory belongs to assume and to propose terms for the possible or There becomes a certain reality. This implies the need to attach conditions to the theory so that it is in fact a constituent of reality. "
is often insists, and rightly so that architects do not have theories, and in fact is true if we talk about theories and aware the strong sense of the term, but in our case the word theory should be read as theories or concepts of architecture. In this sense, the reflections on the formation conditions of the theory are clearly expressed in Ferry (1997) and complement the idea of \u200b\u200bKuhn's "essential tension" (1959), as establishing how the new theories in any field. Ferry posits that all knowledge has both theoretical and practical dimensions, and all do is a process of transformation, both in concrete objects as symbolic objects. Propose a scheme to analyze the different stages of the formation of various levels from pure theorizing make higher level of abstraction, which is largely consistent with what was stated in Table 1 but with greater discrimination levels integration.
Define a first level of practice or to coincide with the first level of Quatremère. Here the operator does not bear any distance to the object, ie, in relation to their practice. It's pure production empirical would do (works) without theoretical reflection.
The second level occurs at the moment, much later, is performed on a speech that tries to answer the question of how to do that arises from disputes between the directors who have different ways of working. That is, an address shown empirical formula, like recipes. There was a rift with the make, when to make recommendations, though brief, I set aside the action. This second degree of the scale is identified with a technical level. This means that the technician is not just a practitioner, but has and master a knowledge. It appears as the first level of knowledge, conocimlento technical level.
A third tier, through to what to do. and at this level incorporate new variables that will be involved in the making. That is no longer just about how to do it in addition to what to do and what to do. Ferry praxiological defined as level, ie, it refers to the practice (not just practice), "Praxis is the laying of different operations in a given context it is necessary to analyze and make decisions concerning the implementation plan of what you do ", ie, the big difference is that faced with a problem (transforming a program in the project) will require not only technical skill but should ask about the significance of the action and interpretation. In making this whole operation will be at the level praxiological. And at this level we can, according to Ferry, start talking about theory, will appear for mediation (with texts, works, discussion with colleagues, etc..) Involving a theoretical exercise. and at this level quoted Schon (1992) and the reflective practitioner as one who demonstrates the ability to think practice.
Finally define a fourth level: it does say that from here there is a shift that goes beyond the action, the scientific level. Its aim is to understand how system works and how the actors in this system, not necessarily thinking in a best possible action. This fourth level presents a compromise between practical and action at another level, what Bachelard called the practice of theory. This level of theoretical practice is the time finally comes to cover my proposal, to understand how the system and its actors, what are the analytical units and experimental projects or academic-variables to consider in different types of interventions-roads, tissue building habitat, parks-and-evaluation indicators for parameterizing series based on these indicators, each of these variables and the entire project. Finally, knowledge that can be expected of them should be discriminated against by peers, experts and users of future works. Figure 1 depicts these four levels, according to Ferry.
If this was the source of introduction of the theories, the process of renewal is expressed by Kuhn (1959) in the idea that there is an "essential tension" between the objects entering the system of objects from pure empiricism and existing theories that explain them. As related by someone creates what we might call secondness. and finally, when a new theory is general-third-that explain them, establishing a new theory that is the giver of meaning and sets the rules of how to make all the productions that come.
projecting procedure is recognized by our assumptions as more specific discipline, but its raison d'être is the construction of the works. The projectuality is conditioned by a reality that requires opening the discipline to understand the external purposes, with the help of other knowledge not only technical but also social and humanistic. Internal purposes, intradisciplinares-have with the most powerful art ligation and a long tradition of it, in contrast, can only do so outside the extent in which it is raised as a research process, which should enter into this "friction space" referred to be transcended in the final form.
is then possible to track and recognize at the present time those logically ordered or strategies of the procedure that we have been saying that we have purposely avoided naming "project" to emphasize that this is a specific manner and time of modernity, and that while hegemonic is still there is every indication that it has incorporated a modus operandi that we call transdisciplinary project research. While not completely necessary still discriminate against the project as a general way, to take here to the transdisciplinary project research character, it inevitably affects the other modes proyectuales dedicated to training and especially to the profession. While the proposed project research and guidance has more technical or is very close to actual practice, there are significant differences between them. These guidelines are from the statements that are launched as utopian anchors the future, other than isolated variables to fully explore the possibilities for change, producing weighted series of preliminary studies. Some even raised almost as an innovative practice that competes with the instrumental and commercial projectuality most professional practice. In fact, this idea of \u200b\u200busing the project as a research tool has been fueled by the projects carried out by professionals such as Eisenman, Koolhaas, Zaera Polo, and others who provide some continuity from a research and teaching that is used in profession.
could portend, perhaps too boldly, that the growth condition for architectural means accepting an intimate and fluid dialogical relationship dialog ie return-on training and professional projects with project research, as foreshadower expedited process and more suitable for knowledge creation and investigate the new requirements are presented. To do this we will explain the various strategies that have been discriminated as cohabiting and what features each has.
But is there any relationship between the crisis of architecture and design and the process, structure, manner, or "architecture" that adopt these social practices in the deployment of its knowledge? Our hypothesis is that the weakening of the social role of architecture and design is a direct consequence of the way and manner which introduces the social or external purposes, or distort allowing the deployment of specific values \u200b\u200bor internal purposes. And the form and manner or methods or, better yet, the logic still today, to disengage the clarification of its external purposes (Wellmer 1985 [1993: 129]) - are being reduced to being mere 'instrumental reason', uncritical and comforting, in a way neoliberal production that reduces the "disciplined" actors to comply strictly with the indicators of cost-benefit logic, typical of hegemonic ideas of this society. We reiterate then, these outside-plant conditions and demands of society to the discipline, but it assumes as a condition of existence and possibility of creation can not be met without the support of other knowledge, in which the human sciences play a role fundamental. Similarly, the conditions of possibility of the development of internal purposes, is framed in the context of the loss of the organic unity of the work and face the aporia of a society divided that the work must transcribe and at present with appearance of unity can not be made to resign-not express the truth about the society in which we have to act. Both instances damning internal-external and-operate ignoring the existence of a social actor, an architect or designer, which, driven by his desire, both subjective satisfaction and production of social bond, transform these materials or pre-existing in mediator territory of what is called anticipatory procedure configurator as intradisciplinares logical and historical.
is therefore necessary to recognize the importance of the theoretical dimension and understand the architecture and designs as individual knowledge, in which arises the need for a critical epistemology or meta to the knowledge of the built environment, with particular theories, whether or not scientific - to understand the architecture and design as cultural phenomena. The specificity of the foreshadower we noticed (now the project), emerges as a condition for it, and he plays the friction between heteronomous determinations (the much negated function) and self-referential autonomy (form), which is necessary to unravel the logic that sustains and spreads allowing creative freedom and ethically committed.
not always the realization of a work required of the project, either anticipated or critical hermeneutic, nor did the setup procedure and expressive language that we today know. This instrument, the mediator par excellence, (2) there was always the tool that agents from the production of habitat used to achieve their objects. Like all historical product, is neither natural nor neutral, is intimately involved with times of change or crisis in the discipline and society, (3) and leaves us the following questions: Was it always the project-as we know it, the privileged mediator to arrive at the architectural form? Is it the single best method to produce architecture today? How to play its role today in pregnancy architects and architectural control of the mediators is available? How do users enter the project? How does the architecture of subjectivity and how man affects the architecture?
of procedures and tools and logical configurators
to preach about the history of theories and procedures, discipline and category should not generically it understands its current development to historically contextualize and then investigate their genealogy which ranks as the most specific and appropriate language and irreplaceable to anticipate the construction of works of architecture and design. Did not always transform from external purposes, ethical, social and economic-in internal-formal, aesthetic and technical, with theories, methodologies and specific techniques that shape historical materials driven by social actors academically prepared for this purpose. In Adorno's words (as Wellmer 1985), the architecture responds to certain purposes by certain forms and certain materials. "
This, set historically not come out of nowhere or personal whim, but as a result of social action matrices, interwoven as they appeared in the various conditions under which he had to produce the habitat and now coexist with varying degrees of presence, as understood by Williams (1977: ch. 2, ap. 7) when he argues that the production of symbolic and cultural goods coexist conflictively different types of materials: hegemonic or dominant, emerging or new , and archaic or residual, all with varying weights affect the decision-making for the configuration of the form.
We are interested historically situated to relate to a fundamental question. Is it possible to modify the procedure individually and socially the planning process of architecture and design? In order to avoid falling into "abstract ideals metodologicismos pretensions of universality" away from the real conditions of work discipline, work is needed in the descriptions of specific operations. In other words, although looks like a play on words, if the subject of this text is "the architecture of proceedings", it is essential to contextualize it within the scope of what is impossible to deny "the crisis and lack of architecture and project design "as a distinct cultural activities carried out by disciplined actors in these specific social practices.
His background primal, original composition of the Greeks and Romans, the full effect from the Renaissance to the beginnings of modernity in early twentieth century, operated governed by treaties and manuals that assumed full control of the process of organizing aesthetic-utilitarian constructive art of architecture, known parts composing an organic whole in which it is impossible not to recognize the interdependence of those who work subsumed under the hierarchical body of the work unit as a whole bodily. There prevails the idea hylomorphic-intimate relationship between matter and form ", but paradoxically, While taking the ideal man to base its measurements and proportions, it does so only external parts of their stable, without regard to its internal dynamic more unstable or both physiological and emotional.
is Alberti who joined mid-fifteenth century architecture with painting and sculpture, in the liberal arts or the spirit, built so far by the trivium grammar, dialectic and rhetoric, such as the arts of speaking, and cuadrivium-geometry, music, mathematics and astronomy, such as the arts of the above (Gimpel 1968: chap. 3). Thus, banishes the architecture of the craft in which it was subsumed as an example of techne and Greek poiesis, with theoretical principles and indications of meaning not widespread, except treaties of Vitruvius and Pliny, which advanced to the rules of a streamlined, where the ratio indicated the portions or parts that divided the body build and indicated mans measures and arithmetic proportions to abide by necessity to produce a work perfectly, the best or well done, which you can not add anything, in addition to being beautiful should observe the imitative perfection of the idea of \u200b\u200btotality composed parties, as in the appearance of the human body.
The history of the treaties and manuals that produced not only great works of architecture but did in all metropolitan cities Western-is nothing but that of their alteration and transformation to extinction unrecoverable useful as historical material composition. Down the operating system pre-existing parts composing, socially significant in a shared code or language, the project assumes the leading role modernity essential mediator between the order of society and the built work.
But without doubt, the very idea of \u200b\u200binvention that is installed in the Renaissance nestles the germ of the idea of \u200b\u200bproject unfolds and emerges strongly in the Enlightenment and, with the precise name now known, in the historical vanguards. Before the Renaissance, the parties identified compositional codes for each site (the ships, the courts, the transepts, patios, galleries) in churches, convents and palaces were immovable. This does not happen from the hundred, the alteration of the meaning of the parties to the organic whole and the work itself calls into question the sanctity of certain forms and uses them to know that profanity, as Palladio, "by project activity in the deepest sense of the term.
On the contrary, from the hegemony of the project of modernity, not only produce return repeated attempts to overcome historical materials-Rossian typologies, for example-but in the same nest design practice system remains archaic classical composition that produces, look and judge the projects with eyes and ideas impossible attempt to restore the unity and peaceful balance of parts.
The assumption of the possibility of the invention of modern space in the term "project" the privileged instrument of the ideology of progress, hegemonic late nineteenth and early twentieth centuries, whose appearance in fact comes with its own discipline Renaissance, and opposed to the notion of composition (Colquhoun 1991: 55 - 79; Hernández 1995) - is anchored in the Enlightenment and becomes hegemonic and conscious after the first modern theories and experimentation tool with the first Bauhaus.
This is seen further in the etymological origin (Corominas 1974) of both terms. Project (1737) comes from the low, "a projectile thrown forward, and also conjecture or hypothesis clearly stated in the action project, for a future operation to verify in reality, just as he means objectum, as an object or intended purpose; also sobjeto, subjectus, subject to subject, put under the control of an individual representations of the world and thus what is to come, plus travel, cruise and travel as a process. Progress comes curiously to attack, a relative of "throwing projectiles forward" on it se deben incluir transgredir, como cambio de una situación estabilizada, y también regresar (es decir, no siempre avanzar). En ambos casos se advierte la incorporación de la idea de tiempo, de la que se toma clara conciencia en la modernidad. También el término pro da cuenta de la idea de causa, y se encuentra presente en los pioneros de la arquitectura moderna, no sólo por estar en pro o a favor de algo sino de luchar para conseguirlo, tal como era el espíritu hegemónico en el primer tercio del siglo XX. Composición, en cambio -donde la idea de progreso y tiempo carece de relevancia-, proviene de componer y de cum, como "con", y posición, como "poner en relación partes entre sí, o unas cosas con others, or even distribution, forming a harmonious whole, the various elements contained in a painting, sculpture and architecture. "(4) A colloquial term used in philosophy is competent, as potential inability to move from state the possibility. In music, painting, sculpture, literature, poetry, the term composition is still used (it is curious that an architect composer never called him) and has not been replaced either by project or by design. Finally, design given many names, from action to devise and two or three dimensional shape to the idea, to "draw" or "appoint" as Baudrillard insists in the political economy of the sign. Anyway, about sixty architects used design as a project is now understood in common parlance.
In a brief tracing of contemporary history we note that the slogan of the early modernists was to use the free-building project as opposed to the idea of \u200b\u200bclassical composition, to "invent a space and form." Supported and driven by a lack, a common code set, although the unprecedented awareness of working with materials committed to the time-, and after considering subjectivity as an inspirational source of individual creative freedom, it becomes the tool privileged this task, forgetting, or against disciplinary history and therefore the system of composition that attended.
This initial certainty, given the relative failure of social and spatial abstract form, found their limits to the fifty in the idea that the genius loci, genius of the place of Norberg-Schulz (1967), could constitute genuine inspiration for the project. Will find there keys to decrypt to feed the project with an objective and legitimate material in the hands of the operator should generate a good project. According to Sola-Morales, the current situation from the eighties and can not reinvent the form and space from the creative subjectivity neither from the keys contained in the site and decoded by the designer. The condition of the possibility of holding to the discipline consistent with a social role is to imagine a spatiality from the society and to generate the possibility of the event (5) and will host the endless and ever-changing flow of meaning (6) and information.
We said that the history of mankind shows that from the outset and in each period was building its own habitat with defined characteristics. In this task emerged in a given time, and as different versions, "this social practice called architecture that generated distinct modes or ways-in short mediations, provided anticipatory-set suitable for such an architecture. It seems logical that to produce the different habitats and architectures are suitable tools to organize your objects and they were generated as were the conditions of possibility of discipline in a more general and timeless, and specific conditions of their existence at all times and place. Let us see each of these logics.
a) Logic of the first procedures: the predisciplinar, the protodisciplinar, composition
is clear that there was a long way from pre-to post-disciplinary. The historical development of this conception of the project as non-specific instance of foreshadowing (More abstract and previous) of an idea that subsequently reach a higher degree of specificity, having a first development in what we called the predisciplinar. It refers to that operated by responding to the demands of the environment with natural materials and strategies and is now synthesized, albeit in different professions and traditional disciplines. For architecture and modern design, the predisciplinar is first the user and then the student who enters these careers, having gone the ideal manufacturer of Aboriginal-European settlements or the purest tejn formed by the repeated habit of making without innovating. In terms of Ferry (1997) would first and second level of theorizing, with planning guided by engineering principles, myths and social conventions. This knowledge predisciplinar built in its best moments, valuable buildings without architects, designers and objects without cities without urban planners, but this result was occasionally in special situations of the Middle Ages and has not returned repeated, except in circumstances of non-disciplinary groups that in the sixties with the hippie movement and rejection of urban culture, tried to buildings without architects that were irrelevant.
As anticipated, every procedure, every historical moment, had different characteristics. We shall see in detail the components and logical oriented to each of them as tools prefigured.
historical ontological dialogue we propose to understand the present tense coexistence and conflict between the various procedures foreshadowed the way these components is initiated by more archaic and paradoxically also more current: the ways that users of the habitat are incorporated in their cultural heritage and Match-in our theory with the knowledge of young people willing to join "be disciplined by a millenarian cultists," which in our investigations we have called the predisciplinares of architecture and design. In this knowledge give rise to various modes of organizing space to reach levels quality and originality, is interfering with utility, based on a strategy for adding housing units, indoor or outdoor activities, with varying degrees of hierarchy and use. Since its inception, this trait is present in successive procedere configurators. As a record of his original work can be seen entire villages in Europe, Spain, Italy, Denmark, France and others, as in Africa, Asia and America, vernacular buildings have left what has been termed "architecture without architects "or, as we have stated since our research predisciplinar architecture. It has a transmitting techne-free theory of conventions, myths and constructive habits. We conjecture that this is the techne which incubated the idea of \u200b\u200bordering these buildings in parts already proven its utility and integrating a unified whole. In general today are only displayed for this logic the existence of degraded buildings peripheral urban areas, not theoretical concepts, but with some tejn of rigid yet few theories-made works directly without prior representations and responding to external purposes presented as direct practical problems to solve.
is in the Renaissance when finally set as a knowledge discipline that requires prior knowledge and explicit theories, both to compose their works to build them. This knowledge ranges from then until the modern historical avant-garde, through the Enlightenment, different levels of development and significant wealth in the concrete works, forming the bulk of western cities and giving the most valuable works of the qualifier art of architecture being produced by artists and subjects later called geniuses (Jauss 1977). In parallel, production declines predisciplinar quality and production remains a specific and increasingly degraded to set today's chaotic urban neighborhoods.
In the same record of these works are characterized by beauty and reached perfection or the rupture that occurred on the set, opening new fields of symbolic production, there emerge certain proposals are just ideas and drawings that did not achieve their specificity, and therefore were not easily accepted within a discipline placed strong emphasis on the logic of hard stone, iron or brick. However, never stopped being produced and valued even if extradisciplinary. Thus, both Leonardo and Michelangelo as Piranesi, Boullée, Soane, Wren, Ledoux, Marinetti and Williams stormed formal space exploration today we would call legitimate architectural experimentation. But the presence on surface of this emerging form of project research coincides with the introduction of a time characterized by a crisis in all the values \u200b\u200band rules of discipline to get it. We live in a time of crisis discipline to be rebuilt on the ruins of the discipline, new rules of a millenarian and essential.
This trip might resemble the ontogenetic phylogenetic an individual makes when you choose-from unconscious predisciplinar the architectural profession. Login to faculty and graduates to a living driving a shredder stage reconstruction while offering an alternative to discipline, to the dissemination, the still uncertain path of experimentation, which may well integrated as a central part of the project research, which seeks to investigate new lines disciplinary theories, rules and materials.
b) Logical disciplinary devices: protodisciplinar composition, the composition of projection, scanning through the composition of projection, the proposed composition, the instrumental project
Since this is not a work of history, to take appropriate procedures known hegemonic each moment from the authors concerned and not by working with primary sources, we call on to perform in-depth by experts, their views inflection, but not the causes and reasons for those changes. We start recording the different ways that he used the discipline to achieve their objects for long periods and hegemonic modes used.
argued that a millennium before Christ, in ancient Greece and Rome, appeared in Western culture that broadly call the architecture-in fact, protoarquitectura-as distinct from the usual construction techne. Complex notion that comes to our day and having a first division between art and engineering in the Greek world, which happens a second between making useful and useless at the stage of autonomous constitution of art and knowledge, from the Renaissance to the Enlightenment.
from there advances to the historical avant-garde modernity in definitively establishing autonomous social practice, as well as the inevitable product of social division of labor, "and with the appearance of design" as an expression of late modernity, heir millennial craft reaches the mass industrial production and selective. (7) speculate that these procedures had a long history that predates the introduction of operating discipline, until the conditions were as likely to emerge first as a composition and then know as knowledge of design. The composition protodisciplinar
By that logic
are within the classical compositional system traces and modes of operation that are absorbed in it and that shape the way foreshadow more widespread architecture, to the point that "resists" almost two thousand years with all the changes in response effectively to all demands that happened in history. Known as the classic strategy, set up in what might be called time-discipline of origin is not yet institutionally architecture, urbanism and maybe crafts for utilitarian purposes and spiritual or religious.
What happened as important in Greece and Rome-foundational to Western culture-is the creation of difference. Difference between buildings power-palaces, temples, monuments, with significant burden and a visible order, and the widespread construction predisciplinar usual. Here you can consider starting the discipline of architecture, with all determinations that primary tejn imposed, and reaches its peak with losconocidos founding texts of Pliny and Vitruvius (first century AD) which legitimizes the compositional system of axes and proportions-dormant in-predisciplinar, rhythms and harmonies, mimesis and organic unity that had been instituted and which was central search mimetic perfection of beauty. A post-
unclear historical or agreements on the subject, "the texts and works made a long journey underground, through the medieval period to make his comeback with Alberti in Italy. The main component of which supported the production of the period was a beauty ideal that was set up not only in architecture but in all the arts and continues to this day with various vicissitudes and acquiring several expressions.
In this period, known as the Middle Ages lacked the idea of \u200b\u200bauthorship and subjectivity unknown builders, "is the social role of producers of idealized beauty by tejn compositional discipline without a theoretical concept extended, but technical methodology and increasingly tight. Without asking for external purposes responding to political or religious, they begin to melt the internal purposes by the paradigm of beauty, and mimesis, seeking perfection, "the compositional strategy sets a stiff but smooth" organic body "composed of a whole and inseparable and irreplaceable parts .
projecting composition
At the base of classical composition is the valuation of a corporeal conception of architecture (Morales 1999: 105 ff), understanding the body as a integrum, idea-soma-lifeless body composed of parts. This whole idea of \u200b\u200blogging in parts, according Morales comes fears of a vast unknown incomprehensible and unattainable object of knowledge. These parts are pro-ration-ratio, which can either be integrated as split-scire, to his clear insight. This way of writing is presented as necessary and not leave room for freedom of composition as it is misunderstood in the Renaissance. This concept is best understood when it happen the design and spatial functionalist architecture.
It is in the Renaissance when establishing this particular transcendental ordering strategy discipline. We know also know it is institutionally and systematized into a body of discipline where the social figure of the architect will be responsible for implementing projects and address the work. While Brunelleschi drew as the "chief architect" will be the Treaty of Alberti's architecture which will install the final architecture of the spirit in the arts as a practice that requires prior knowledge, theories explicit and prescriptive rules, both to compose, with axes, harmony and proportion, their works and to build them.
While the manifest working on the idea of \u200b\u200bcomposition in the latent is nested in praise of freedom-present in the writings of Alberti, the idea of \u200b\u200bcreation's own notion of project construction guided by the principle organizer whole and its parts. With the same design are made great contributions the architecture from Palladio to the historical vanguards. Adorno
is clear about this, he started working underground with the project idea, not yet named as such, "whose logic is the constructive principle:" Construction is the only possible figure of the rationality of art, as in its inception in the Renaissance, the emancipation of art from his cult heteronomy coincided with the discovery of the building, then called the composition "... "The construction of the composition is different even in the broadest sense, including the plastic composition, for tyrannically subjugates everything outside and he arrives all elements immanent. "In this period, which passes the fifteenth to the twentieth century, it is thought that is unfolding in all its power ended the idea and in fact, we hypothesize, is assisting the growth-within the compositional system - the "project", in the sense explained by Adorno to be guided by the constructive principle.
On the other hand, being the rational man and not worship that cover the development of positive science is the art and logic Technology-tectonics-the central character being added to the classic beauty-but-modifying, delaying the rigorous inquiry into the use of architectural form house generated from the beauty and art.
If philosophy places the beginning of modernity in Descartes (1596-1650), at the height of the Renaissance, one may question why modern architecture achieves the late nineteenth century, just as in the thought of what constitutes the circle Clue (Nietzsche, Marx and Freud) the crisis lay in excess of a set of Cartesian rationality and relaunched by Kant around 1750, not to speak of the postmodern-by distortion undergone by the term-but to think another situation even without denomination. Does it match what the "composition projecting" to describe this moment with a hint of modernity emerging real?
examination by projecting composition
The spirit of creative freedom and rupture of the naturalized conventions that came from the idea of \u200b\u200bcontrolling the project and "projecting composition" produced and hosted the one powerful and imaginative power, more ground still, will make its first, fleeting bloom in the Age of Enlightenment (1750-1800) and then dim for over a century and reborn in the twentieth invention appealing to the ultimate discipline for the time.
The usefulness and discipline of these explorations proyectuales lay in anticipation of formalizations that, unsure of her results-both society as the disciplinary field were not yet ready to accept. But these images or visions of possible futures or Possible scenes were essential elements to boost the development of the discussion of ideas both inside and outside the discipline, establishing a chain of transmission between society and architecture.
Thus, these views, in many cases real utopias "were to be a specific disciplinary field or academic degree is not always governed by an irregular and inconsistent logic, only now legitimized from contemporary theories of chaos, fractals, rhizomes or disasters, linear developments and nonlinear, different in each dimension, can enable innovative experiences of living.
This knowledge "other" with some degree of "illegality" of incorporation for the same character, in an area of \u200b\u200bspeculation "theoretical" in the sense of a product that will remain in the simple formulation and will not achieve the construction concrete as it is formulated it, but it will establish a production characterized by "excess", ie a surplus of meaning-yet unnamed and unthought-and for which we must create the categories and concepts for thinking and naming.
is, it has generated and legitimized a process that produces knowledge (8) of which was lacking until now in the field of images, knowledge not of facts but of understanding problems, not quite visible, as formal decision sheds light on them. In this activity, and postulated product referred to as essential guidance for project research, although it notes its proximity to the training and professional projectuality.
compositional project
This mode of operation, known as dry-project 'that identifies with the modern project and conjecture was installed with the early masters of modernism and the historical avant accompanied emerging in the early twentieth century, is a way of working que podemos considerar heredera de la subterránea "exploración proyectual" antes mencionada y de la manifiesta "composición proyectual" de ese período y que aquí se podría denominar, invirtiendo la prioridad, "proyectual compositiva". Coexisten en el interior de esa manera de operar estrategias compositivas que desde el Cinquecento se guiaban por el principio constructivo del todo y las partes, y que en muchos momentos de la contemporaneidad -por ejemplo tipologías rossianas en los sesenta- emergieron guiando la lógica de los procedimientos y privilegiando las composiciones por ejes -en principio balanceados y luego simétricos- muy alejados de los principios de los primeros maestros. Esto implica privilegiar el principio constructivo the project, but without settling the compositional logic, influencing internal projectuality-the fact that it was then called "balanced composition" gives an idea of \u200b\u200bits weight even kept the name of composition for the central area of \u200b\u200bthe powers architecture of the country to nearly the sixties, which change successively by Design, Design and Architecture finally.
However, we can say that what is known as a project is actually part of a procedure for organizing the most comprehensive that transcends, at least from definitions and from Adorno-known because it incorporates a requirement, the function - that adds to the beauty (now originality) and inventions that provides the technical and symbolic subsidiary of positive science, "that comes with the famous maxim" form follows function. " So spreads, establishes and legitimizes a theory of architecture that never reaches the efficiency of the expectations it creates. Not only that, but hidden in the word itself, of biological origin, the many activities, habits, desires, habits, in short, the ethos, that is what it really was necessary to seek to incorporate the projects, which still prevalent image of the body of classical origin provided as standard for comparison and evaluation.
The notion of function in biology brings the idea of \u200b\u200bpurpose and structure which is then adapted to the architecture.
In short, the players who have been identified in the most dominant current Configuring, and appear far almost all the components or members, namely:
- The theoretical conception, explicit or implicit, that guides the work towards compliance with the initial motive is absent and is postulated inextricably linked to practice. Changes are apparent here in the construction principles and logics of the projects, as well as specific techniques specific.
- The initial reason or purpose, the question of external and internal sense of formal-aesthetic issues of discipline are present and for the first time become aware of the materials they produce, and the hypotheses they generate. While
from a logic that takes into account the individual author as character, begins to value teamwork, even disciplinary and interdisciplinary if it is of technical specialties necessary to meet the demands of the times caused by the progress of science and technology, are still unknown but different logic of the actors in different roles and stages of project composition.
compositional project becomes instrumental device
party
Perhaps as never before in this period of establishment of financial capitalism, or slow global informational capitalism, man hipercosificado and hyper and predictable, which suppresses all differences, it is necessary to have a system of foreshadowing or anticipation of architectural form totally instrumental to these purposes and supported by a reason that is not questioned by the late and watch for only the most effective and rational means to maximize profits and reduce losses. As announced Adorno and Horkheimer (1944), in that famous text anticipatory of what would come: instrumental reason, blind to the true interests or late man and injures only instrumental reason tax purposes that meets the interests of those who impose a path that may or may not be rational.
This mode takes the form language foreshadow stabilized by the first teachers and incorporated by the company, is a grassroots internationalism "rational" which comes to a curious picturesqueness in large urban works or sound coloration techniques Mies, far away intentions and ironic criticism of Mies on the need not to forget the tectonic even when new techniques require the invention of a truly modern language.
This situation reaches its highest level of indifference and impairment in the seventies, when before the cry of a postmodernism that calls to reinstate the difference, only makes legitimate a "vale-appeal-to-all, which actually means anything goes, and especially a kind of architecture trinkets , mirrored glass in the most strident, or a lack of construction quality heartbreaking lost to the smallest values \u200b\u200bof a historic building with architecture worthy rival, according to Loos, from a significant technical unpretentious but effective conservative.
We can not talk about specific configuration logical form, because no interest to its operators, and the fact record it in this text has the sense to notice its presence, although loud and bombastic crept into many minds disciplined, well-meaning and intelligent people lost their way a genuine search for the sake of producing significant works that ended up being mere inconsequential screams qualitative .
In Argentina's version, the game, from the particular to the French Ecole de Beaux Arts, for various reasons is installed in the schools of architecture as opposed to the idea of \u200b\u200bclassical composition, little imagination and creativity, "and occurs in first decades of excellent works of architecture, but then play a suitable mechanism for instrumental reason attentive to hasten the production mechanisms of the architecture.
c) Logical refigured disciplinary devices: the exploration and experimentation of projection, the project research
We have created this section with the idea of \u200b\u200bthe existence of a disciplinary practice, yet we recognize, as reckless and provocative proposal, which postdisciplinar establishing a name intended to be comprehensive by the end of a century dominated by the spread among the field. But we really should talk, "to be faithful to our intentions" of the discipline refigured as postulating a transdisciplinary discipline is not only contribute to the spread discipline to criticize and regret. This nomination has been born within a reflection on the specific procedures of the project, more concerned with change control modes and producing the form that a conception of architecture that responds to the new conditions of production. Without intending to rename it "we mean the procedure known from the beginning of the century so-hegemonic project, in fact led to the contemporary situation in two main lines. On the one hand, those who tried oiling an instrumental device (9) existing and almost hegemonic, but clearly recognized methodology, in helpless as the sixty- to "manage" the multitude of data to the new social economic requirements for the project will require, above all, it was clear tempted to exploit advances in information technology and architecture applied to the notion of problem solving so widespread in the media American engineering, not realizing that architecture is first and foremost a cultural problem that often emphasizes the existence of these problems, by no means solved, but with more cruelly exposed. The second line, we call projective testing, with multiple orientations ranging from expressionism Gehry subjective to the extreme rationality of a Eisenman, which initially could put the credit of projecting an emerging exploration, did not even professional field or explicit teaching. In the rational choice, failed to, among other things, establish effective mechanisms to produce or to control the shape, leaving a toll of a growing disillusionment about the possibilities of applying the procedure projecting mediation of rationality and leaving it as creating a the insights of creators with different luck involved.
However, as in the history of the discipline, rationality, systematization and subjective expressionism seem opposites but share the goal of overcoming the use of the draft instrument as a device, almost like an autopilot that produces the form, without any conflict to the operator or the receiver, the service of instrumental reason mentioned above.
On the other hand, emphasizes the idea planted by Team X that what matters is changing the architecture and in any case the methods are a consequence of these substantial changes in the conception of architecture.
This gets it, with features such well-marked, Cacciari (1981), who summarizes the three types of projects already marked, the second of which is possible to detach the idea of \u200b\u200ba type of projectuality-professional and training-linked by necessity a research idea projecting, as we are proposing and that will explicitly detail in future writings.
These modes are now living together in various ways, not always aware or peacefully
, identifying more than one of the choices that define the shapes of the objects produced and with which we live. These logics coexist today in the current foreshadower compositum of the instrument, whose greatest difficulty in identifying description is that in the last third of the twentieth century ranges, with some tension between being an instrumental device or assumed as the many research directions projecting some of which are very close to the task professional most innovative architects of this century are the elderly, as Eisenman and Koolhaas, or the young, as Zaera Polo, Greg Lynn, Abalos and Herreros, and Ben Van Berkel, "in all cases attempt to load the project action a high degree of rationality and objectivity in short, while recognizing the poetic dimension of his formal election, carried out more directly to end expressionist or minimalist Gehry to Herzog & de Mouron.
This composite of two situations that now works in the interior of the current organizer of the configuration procedure, which we call the projectuality instrumental device (and not professional say since it is not always functional to the blind instrumentality for the purpose) and experimental innovation intentions, it was constituted in each stage of historical development (10) and was associated with earlier dialectically creating their own theories, methodologies and techniques, ie the rationality and logic, most of the time-inconsistent, albeit in an incipient, inaccurate, and knowing that the concepts used today were not always in history the same significance.
is necessary and possible to discriminate three dimensions or instances to experience (and even groups of issues could be called), to consider among the components of the procedures and whose relationships are more or less intense depending on whether the first or compositional strategies as the current hegemonic projecting device or pop instrumental experimentation and research projects as a part of the material culture of habitat: 1) the logical theories with their strategies and objectified techniques, 2) the methods, motives, external and internal purposes of discipline, 3) the techniques embodied in the author and the logic of subjective and social roles. Noting in detail below dimensional and conflictual relations, which are linked according to a random and inconsistent logic, "setting up a process scarcely be expected, one can heuristic understanding of the process now become instrumental and hegemonic projecting device, and more comprehensive than could be called configurator device architecture of the habitat.
In the current situation, nominated by Lyotard as "postmodern condition", or hyper-as-Tafuri Wellmer and its radicalization of modernity, if it is rescued from their stereotypes, emerges a procedure foreshadower of architectural forms bet that as a possibility to rescue the knowledge of this discipline, which we called the project research. Putting surface coincides with the introduction of a time marked by the crisis of all values \u200b\u200band rules of discipline to achieve the architectural form. We live in a post stage
discipline to be rebuilt on the ruins of the discipline, new rules of knowledge or set of ancient and contemporary knowledge, still consider it essential to set the physical environment of man. This mode of organizing emerging architectural space, which we conjecture is given tasks linked to the most innovative and design-planning is no longer the compositional project conditioned as instrumental device, even hegemonic, but the project research as essential items between education and profession, which we believe aptly named and for its clear distinctive features.
As in a game Mamushkas or concentric circles, from the pre and protodisciplinar to disciplinary and project-composition-composition to the current disciplinary research projecting, which can include distortion device operated instruments, each change in the methodology used to foreshadow the conclusion of the previous space includes, as Williams points out in his theory of material culture (1977: ch. 2).
propose three indicators that were identified by integrating the project research as important determinants for the same:
- An explicit theoretical conception (not only implicit) to guide the work towards meeting the initial plea and explicit methodology, technique, principles that have configurators procedures, whether or not constructive, the logics of the projects they have, and open discussion in schools and publications
- The need to clarify the initial motive or external purposes and interdisciplinary do so given the complexity of current problems. The need to work for internal discipline from recognizing the existence of historical materials are provided and the projective hypothesis generated in the relationship between both.
- The existence of an individual operator, designer (researcher projective) with a strong copyright. Knowledge of different logic operations of the actors in different roles and device-purposeful moments and critical-foreshadower, warning that those who are known only affect them in both ends of instrumental reason.
We can therefore say that the project research involves-from-projective experiments the review of the theories, methodologies and techniques of architecture, and products are measured as the gradient of creativity in terms of innovative architectural pose , so that knowledge can be useful to derive from there a series of architectural projects, now bound for the training or the profession. Thus it is possible to establish a systematic research field, useful for the profession and training, since their products can be the basis on which further developments from them as projects series heads or early art of architecture.
of techniques such as more concrete dimension
considering the technical problems of the end of this article that began relying on the Aristotelian division of knowledge, activities or ways of being in the world between theoria, praxis and poiesis (and latter is regarded as self-employed, although detached from the praxis), with its own aesthetic determinants, I must close with a further reflection that relates directly poiesis-mode manufacturing to be in the world with techne, one of five modes that reason has to get to the truth, according to ideas posed by Aristotle, and where the word takes on many meanings and techne is woven into many of them with the idea of \u200b\u200bpoiesis.
But the notion of techne is a general concept and common prior to their specificities. Although the prevailing notion of the technical sense of artistry, this does not mean that such tejn can not be specified to the beauty and value rather than the mere applicability or utility. Indeed, the concept refers first of all manual labor. Continued tekp, Indo-European root that points woodworking. In the original Greek (tectonic) states and the notion of an architect who is mentioned in Homer's poems. (Aspe Armella 1993)
Proof of this is that up to the rhetoric must possess an appropriate technique. In short, we are talking about skills and skills in the handling of any subject and any material. Therefore, the tejn
, while way or path to truth, is knowledge. These three concepts, technique, poiesis, with art-making and knowledge are ultimately instance the three things we try to relate to the project research of architecture as cultural production founding of the material. Aristotle, as Aspe Armella (1993), states that there are five ways to get to the truth that is right: techne, phronesis, episteme, sophia, and nous, II but only three activities that compete with those formalities cognitive: 1) theoria as an activity of episteme, sophia, and nous, 2) praxis as phronesis reasonable activity habit, 3) poiesis and techne activity (Table 2).
While Aristotle
a first division between theory and practice, the latter divides into two, depending on whether the action rests with the end in itself, since a well-done action is itself an end, or poiesis when the last production, is excluded from its beginning.
in scientific knowledge of knowing the truth is the truth of being, that is, there truth is not built but seeks to know the identity of the self. While the artistic knowledge of truth involves not just the identity, since it deals with things that are not yet. Techne's knowledge implies that the subject constructs what ultimately term will be the truth of art: the work, being. Thus, Aristotle states categorically: "To know things we do, to do the things we want to know." Or as Pareyson say, "art is such that while you do invent the way we do." In this regard, Jauss (1977: ch. 5) Valéry quoted in his book Leonardo's method, explaining that the poiesis seeking truth wherever man has built its done. Here we could coin a phrase of the project research resulting from the reversal of the previous sentence: "for things we want to know, do not do the things we do but on what we do." When we say that the project research, as are the guidelines, may also shed light on problems, because only by using the tool of the project, ie, making certain way, we can provide insight about a particular problem, although this is not exclusive but this can seriously projectuality other. What happens is that the commitment from new principles and to innovate in some variables, in some cases the results can be of three types: innovative architectural approaches in some variables, lighting problems-usually good fragments or urban-architectural projects but not necessarily innovative.
Scope art and morality are the intellectuals, since they are modes of knowledge, but this does not imply the order of speculation and the speculative syllogism. It is intellectualist while the will is to move intelligence to its proper object, but intellectual as that theory is the highest form of praxis, but is not intellectual knowledge as a whole, being intellectual versa the universal and necessary. The practical nature of the reason is not speculative order derivative, are generically different, but both come from the same intelligence. The ultimate foundation of art and prudence is not the nous and episteme. This leads to the difference Generic between speculative and practical syllogism. The premises of the practical syllogism and art are never true, but probable, and therefore productive activity may be adequate but not invention. Knowing this dimension of art, seen from its historic constitution in classical Greece and specified in its poietic do we find it essential, but equally present its complicated design, in Heidegger (quoted by Trias 1991: 279) as a final expression metaphysics, in the end won control over external and internal nature of the men can not be ignored to avoid falling into the easy banal celebration existing in society and their relationship with the architecture of seductive imagery of "high tech" as applied uncritically in central and peripheral countries.
Therefore, in general, and in this specific section in particular, the technique will be seen from a wider perspective both positional and valuation-related not only to the technical specification of the works in the history of the procedures set res and the theories that supported them, but even to the history of systems of representation of the architecture, ie the technical dimension of the project, especially in the twentieth century.
We will refer to the movement of skills and abilities of the actors designer in constructive possession of the principles, rules and materials, because I know at various stages of history, it will do on the current situation in more detail later.
art in
act on the technique can not preach, just enjoy it or suffer it every piece of information falls into that sentence of Wittgenstein: "what can not talk is better to be silent." Any extension would fall discursive descriptions we have already made in the preceding paragraphs, or a distant representation would certainly false or opaque, beyond the author's intentions, betraying the sense of all this research.
Yes we can say that the time of projecting poiesis is similar in all three will project above. While the project is not an act but a succession of acts, it is possible to identify two types of moments in all phases of the process: one is an impulse to propose something and the other post, is a reflection on what has been done, where Creator converses with his own imaginary interlocutor (Martinez Bouquet 1989) on this proposal. It is in this micromomento when the overall design influences and guides the subsequent purposeful time to the intended purpose: to obtain knowledge, and in this case meet the innovation of the exposed variables. In contrast, in the case of learning to tejn projectual the variables are there to be learned. If instead it is making a play, working with all dimensions of reality affects the objective.
disciplinary devices refigured
Ultimately it is refigure the project architecture. And this we mean when we talk
review process itself projecting to incorporate expertise needs and propose a new way to articulate a new way of doing architecture, as in the world are proposing the boldest trends warn the crisis that has sunk the traditional way of making architecture. It would be like state: and architecture has no project, the proposed architecture is increasingly dependent on the architecture of the project. Epilogue
This quick tour of the ways that were adopted in different historical moments (similar phylogenetic) in the proceeding foreshadower the way, finds its counterpart in the dynamic ontogenetic an individual makes when you choose-from-the unconscious predisciplinar architectural profession. Joined the Faculty of Architecture because among the choices of practice I feel that your builder chooses predisciplinar habitat. It does
selecting between the archaic prototype knowledge incorporated into the subject in their life experience to the youth (as a doctor, warrior, judge, ruler, religious or builder of habitat), without the full awareness of their potential.
During the race it implements to perform the specific tasks of this discipline, and makes few exceptions, suppressing his knowledge predisciplinar, which gave him his sense experience and therefore chose this and no other discipline.
When he graduates to the field of practice, now lives a downturn discipline that offers a false dichotomy of alternatives, before which has to be aware: the spread projectuality disciplinary or instrumental. There, and in rare cases, you are informed insecure but there is a fruitful path of project research, which seeks to investigate new lines disciplinary theories, methodologies and techniques and materials rules.
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Sarquis is an architect, graduated from the Universidad Nacional de Córdoba in 1965. Acting Assistant Professor in the FADU-UBA (1984-2000). Author of books on architecture in relation to the creation and the project research. Director of the Center for Interdisciplinary Research Poiesis on Creativity in Architecture and Design. He has received research grants from CONICET, UBA and National Agency for Promotion of Science (1985-2000). National Architecture Award Citation to the book Creativity in architecture from psychoanalysis (1985, with others). Creator Proyectual Experimentation Workshop. Director of the International Symposium Creativity + Architecture + Interdisciplinarity, FADU-EPFL-UNESCO (1989). Symposium Editor of the book (1990). From Poiesis organized academic visits Eisenman, Libeskind, Silvetti, Consuegra, Miralles, Mayne, Zaera Polo, Piñon, Muntañola, Herreros, Arroyo, Prada Torres Nadal and Poole (1992). Theory Award (SCA-CPAU) at the Biennale of Architecture in Buenos Aires in 1996 Director of the Sixth International Conference Anybody 96. Editor and director of the Master Curriculum in Architecture and Urban Design, FAA-UMSA, La Paz, Bolivia (1996). Upgrade Program Director Proyectual, Graduate School FADU (1997-2000), and Professor of the elective "The project research." Intercampus professor at the University of Barcelona (1998), Polytechnic of Catalonia (1999-2000) and the Polytechnic of Madrid (2000-2001). Author of Creativity, via regia of project research (FAA-UMSA, 1998). President deAIADU, Association of Researchers in Architecture, Design and Planning (1998-1999). He has lectured on creativity and project research in Latin America and Europe. Director of "Poiesis 2000", celebrating 22 years of research to five academic events. Notes: 1. In September 1999, was organized at the University of Buenos Aires FADU a conference entitled "The Habit: A Guidance for project research."
2. For the development of this hypothesis are extracted some passages of the text "The procedure projects as a problem in the context of a critical theory of architecture and project research", which describes some aspects of the elements involved in the various phases of the projectuality, their relationships, their logic, actors, roles, etc.., leading to the construction of a critical epistemology of architecture, in progress (Sarquis 1992)
3. It should be made clear that taking sides talked for a theoretical conception of architecture that is born and is defined as intentionally building differentiated from that which occurs, naive or predisciplinarmente no theoretical position to set the habitat.
4. It is interesting to note the following definition of composition: "In artistic terms, use this word from the century XVIII, spoken before of the invention, to designate the decisive idea of \u200b\u200ban artistic work, its subject and the final appearance after executed. "
5. Event, in the sense of Badiou (1989: ch. 8), with the possibility installing a truth and be a subject for which the architecture-as knowledge of particular field of art has such a generic condition, while not "suture" the philosophy and provocative actions "excesses" to convene to compose philosophical thinking categories to understand the phenomenon and named.
6 From this theoretical position, the work of Gehry in Bilbao is a good example, since the work and what there occurs have become an event that is beyond the understanding of the traditional categories of architecture.
7. In the preceding text we call broadly "devices" to prevent the appointment of "project", for it to correspond to a particular historical period, we now perceive as not generalizable.
8. In this respect it is interesting Wagensberg description (1985, 95), an epistemologist of science that inadvertently supports the theoretical position of art as language and communication, "he tells us that both practices, science and art-have theoretical principles and ways of verification, but are different. Science guide for the "principle of objectivity of complexities finite and intelligible" and verification is given in the verification of their theories-from the operator to countless recipients subject-in all fields of application, and does not admit any exception to the rule. The art is guided by the principle of "infinite complexities communication unintelligible" and occurs when verification is done at least one communication between author and recipient of the problem addressed.
9. It is used here in the sense that Foucault (1969) speaks of device, do not explicitly controlled, which theoretical assumptions are unknown, although operating as a tool, instrument or process a task.
10. Not be deployed, but should be of a special study, to give reasons for their existence and modifications.
11. Tejn technical means, phronesis, prudence (or lucid); episteme, knowledge, sophia, theoretical wisdom, and nous, the higher quality of spirit that captures the first principles, when active is poietukós nous.
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