Rosana Rubio-Hernández. Resume and portfolio 2021 by Rosana Rubio

Rosana Rubio-Hernández

Curriculum Vitae & Portfolio Junio 2021

Curriculum Vitae. Según baremo UPM Datos Personales Resumen a. Formación a.01. Formación académica

a.01.01. Titulaciones a.01.02. Premios y becas recibidos en periodo de formación a.02. Formación complementaria a.02.01. Cursos después del grado a.02.02. Congresos y jornadas a.02.03. Cursos durante el grado b. Experiencia b.01. Experiencia docente b.01.01. Puestos docentes desempeñados b.01.02. Docencia impartida de grado b.01.03. Docencia impartida de postgrado b.01.04. Sesiones críticas, clases y talleres impartidos b.02. Experiencia investigadora b.02.01. Cargos de investigación desempeñados b.02.02. Proyectos de investigación competitivos b.02.03. Dirección de trabajos de investigación b.03. Experiencia profesional b.03.01. Por cuenta propia b.03.02. Por cuenta agena c. Producción académica y científica y su difusión

c.01. Publicaciones indexadas

11 12 15 15 16 17 17 19 21 21 22 22 23 25 25 26 35 35 35 36 37

c.02. Publicación de libros c.02.01. Libros c.02.02. Contribución en libros c.02.03. Participación en libros c.02.04. Contribución en catálogos de exposiciones c.02.05. Proyectos de arquitectura publicados

38 38 38 39 40 40

c.03. Comunicaciones y ponencias presentadas en congresos c.03.01. Congresos internacionales c.03.02. Congresos nacionales c.03.03. Conferencias invitadas c.04. Patentes c.05. Otras publicaciones c.05.01. Publicaciones digitales c.05.02. Selección de otras publicaciones y prensa

41 41 43 44 44 45 45 45

d. Otros méritos

d.01. Gestión académica d.02. Movilidad d.02.01. Estancias internacionales por docencia d.02.02. Estancias internacionales por estudios d.03. Otras actividades d.03.01. Organización de reuniones científico técnicas d.03.02. Comisariado de exposiciones de arquitectura y urbanismo d.03.03. Asistente de comisariado en exposiciones de arquitectura y urbanismo d.03.04. Participación en redes de investigación d.03.05. Participación en comités académicos d.03.06. Participación en comités científicos de congresos, revistas y concursos d.03.07. Membresía d.03.08. Premios y reconocimientos

47 48 48 48 49 49 50 50 50 51 51 52 52

Portfolio académico y profesional

01. Producción académica 01.01. Arquitectura, comunidad e individualidad (investigación postdoctoral) 59 . Proyecto financiado y resultados. AIsola. Implementation of contextual complexity 60 in AI-based assessment systems of older adults’ social isolation Proyecto financiado y resultados. SOCIETAL. Social robots and ambient assisted living: The independence and isolation balance 102 . Proyecto financiado y resultados. LOBE. Loneliness and the built environment . Proyecto financiado y resultados. SocialBlock. Intelligent social technologies enhancing 130 community interaction and sustainable use of shared living spaces in superblocks . Coedición de revista indexada. Intimidad y/en/o Comunidad 152 01.02. Arquitectura y materialidad (investigación predoctoral, doctoral y postdoctoral) 157 . Proyecto financiado y resultados. Build4Clima. Creating new business from 158 healthier and circular carbon positive buildings 164 . Tesis doctoral y resultados 272 . Proyecto financiado / Patente. CLC. Colored Liquid Crystal . Proyecto financiado y resultados. Investigación sobre fachadas de vidrio activo 332 . Proyecto financiado y resultados. Material Matters 354 01.03. Arquitectura nórdica (investigación postdoctoral) 435 . Publicación indexada. “Funkkis Mökkis. Paper huts and domestic natures at the 436 Enzo-Gutzeit competition” . Ponencia en congreso. “Et in Arcadia ego. The metaphor of the ruin in 439 Alvar Aalto’s work as a driver of cultural sustainability” . Publiciación invitada en revista indexada. “On hares, Ferrymen and Empathy 447 in Architectural Education” . Edición de Libro. Traits of Nordic architecture 453 01.04. Otras investigaciones y contribuciones académicas 471 . Ponencia en congreso. “Paisaje collage. La integración de las fincas de recreo del 472 camino de Aragón en la ciudad del siglo XXI” . Coedición de revista indexada. “Dibujar hábitos / habitar dibujos” Hipotesis 9 474 . Contribución en libro. PhD Cult. Investigaciones en curso en Proyectos 477 . Coedición de revista indexada. “La oportunidad del afuera” Hipotesis 7 481 . Publicación en revista indexada. “‘Los muertos que vos matáis gozan de buena 485 salud’. Crítica a la crítica postmoderna al Funcionalismo”. . Contribución en libro. Geourbanismos I. Atlas de la ciudad emergente 449 . Contribución en libro. Geourbanismos II. Cartigrafía de los afectos 507 . Organización de reunión científico-técnicas. CityFollowers Talks 511 . Organización de exposición. “Urban seams. Costuras urbanas en el ámbito de 517 Madrid Nuevo Norte” . Organización de exposición con catálogo. “Geourbanismos. Inventario de la 521 Ciudad emergente” 528 . Proyecto financiado y resultado. ‘A pie de Calle’. Vivienda social y regeneración urbana . Proyecto financiado y resultado. “Plan Especial Temático de protección de 532 las murallas árabe y cristiana de Madrid: Trabajos previos” . Libros. Representación gráfica, maquetismo y presentación de proyectos 549 02. Práctica profesional

02.01. Selección de concursos

563

. Biblioteca municipal de las Tablas en Madrid . Ampliación del Museo Sorolla en Madrid . Centro cívico en Azuqueca de Henares, Madrid . Nuevo edificio para la Fundación Cultural Giner de los Ríos en Madrid . Rehabilitación del teatro de la Defensora Sollerense en Soller, Mallorca

565 571 577 583 589

02.02. Selección de obras . “Villa Parrato”. Vivienda unifamiliar en Turégano, Segovia . Otras obras 02.03. Diseño de joyas

593 595 606 611

Anexos Anexo A. Detalle de docencia impartida (descripción, créditos, valoración) A.01. Detalle de docencia impartida de grado

630

A.01.01. Proyectos de Arquitectura -UCJC. Grado Habilitante en Arquitectura -University of Virginia School of Architecture. Architectural Design (BSArch) - ETSAM, UPM. Arquitectura

631

A.01.02. Proyectos de Paisaje -UCJC. Grado en Paisajismo

633

A.01.03. Historia y Análisis de la Arquitectura -UPSAM. Grado Habilitante en Arquitectura

633

A.01.04. Patrimonio y Restauración -UCJC. Grado Habilitante en Arquitectura

634

A.01.05. Special Topics in Architecture: Through Glass Paradoxes

635

A.01.06. Construcción I. Introducción a los Materiales de Construcción -UCJC. Grado Habilitante en Arquitectura -UPSAM. Grado Habilitante en Arquitectura

635

A.01.07. Dibujo Técnico -UCJC. Grado Habilitante en Arquitectura

635

A.01.08. Dibujo Avanzado. Informática Avanzada -UCJC. Grado Habilitante en Arquitectura -UPSAM. Grado Habilitante en Arquitectura

636

A.01.09. Planificación de la Periferia -UCJC. Grado Habilitante en Arquitectura

636

A.01.10. Urbanismo 4 -UCJC. Grado Habilitante en Arquitectura

636

A.01.11. Análisis Urbano -UCJC. Grado en Paisajismo

637

A.01.12. City Management: Urban Centers -UCJC. Bachelor in Urban Management

637

A.01.13. City Branding. From Sales Strategies to Placemaking Tactics -Karel de Grote University College. Business for Exchange Programme

638

A.01.14. Dirección Artística y Escenografía -UCJC. Grado en Cine

638

A.02. Detalle de docencia impartida de postgrado

639

A.02.01. Proyectos Arquitectónicos -Tampere University, School of Architecture. MArch

639

A.02.02. Historia y Análisis de la Arquitectura -Tampere University, School of Architecture. MArch

640

A.02.03. Materiales Avanzados de Construcción -Universidad Antonio de Nebrija. Máster Universitario en Tecnologías de la Edificación Sostenible

641

A.02.03. Trabajo Fin de Màster -UCJC. Máster Universitario en Dirección de Protocolo, Producción, Organización y Diseño de Eventos

641

Anexo B. Nominaciones a puestos docentes (cartas de reconocimiento) -Michael Bell. Profesor, GSAPP, Columbia University. 2020

-Peter Waldman. Profesor, School of Architecture, University of Virgina & Iñaki Alday, Director del Departamento de Arquitectura. 2011

645 649

Curriculum Vitae Según baremo ETSAM

DATOS PERSONALES Rubio Hernández, Rosana DNI: 12765951-P Domicilio en Kuninkaankatu 22 C-16, 33210 Tampere, Finlandia Teléfono: +34 628 889 841 e-mail: rosana.rubiohernandez@tuni.fi

Rosana Rubio-Hernández

RESUMEN a. Formación -Doctora, Escuela Técnica Superior de Arquitectura de Madrid (ETSAM), Universidad Politécnica de Madrid (UPM) (Dpto. Proyectos), 2016. Sobresaliente cum laude. -Certificate in Advanced Architectural Research, Graduate School of Architecture, Planning and Preservation (GSAPP) Columbia University (CU), 2008. -Master in Advanced Architectural Design , GSAPP, CU, 2008. -Arquitecta, ETSAM, 2000. PFC: Sobresaliente. Media carrera: Notable. -Dirección artística de cine. Escuela de Cine de la Comunidad de Madrid. Media: Notable, 8. -Mención Internacional y Premio Extraordinario de Doctorado UPM 2015-16. -Beca Fundación la Caixa para financiar estudios e investigación de postgrado en EE.UU. 2006-2008. -Asistencia a cursos después del grado (362 horas, sin contar los créditos conducentes a titulaciones). -Asistencia a congresos y jornadas (226 horas). -Asistencia a cursos durante el grado (116 horas).

-16 artículos publicados en revistas: 15 indexadas y 1 con indicios de calidad (premio de investigación). Coeditora de 3 números de revista indexada. -Autora de 3 libros completos (uno de ellos en proceso). Coeditora de 2 libros. Contribución en 7 libros, participación en 4 libros y en 4 catálogos de exposiciones. -6 proyectos de arquitectura expuestos y publicados. 2 de ellos en la Bienal de Venecia, 2018. -18 presentaciones en jornadas y congresos (15 de ellos internacionales) y 3 conferencias invitadas. -Patente provisional en EE.UU. 2008. Systems and Methods with Colour Liquid Crystals.

b. Experiencia

b.01 Experiencia docente

-Acreditada en la figura de Profesor Contratado Doctor por la ANECA. -14 años de experiencia docente universitaria nacional e internacional. 7 de ellos a tiempo completo. Tampere Universiy, Finlandia (TAU) (2 cursos-actualidad), University of Virginia , EE.UU. (UVA)(2 cursos), ETSAM (1 curso), Universidad Camilo José Cela (UCJC) (4 cursos), Universidad Pontificia de Salamanca (5 cursos), Universidad Antonio de Nebrija (1 semestre). -Docencia de grado y postgrado en Arquitectura y Paisajismo. Principalmente en las áreas de Proyectos (grado habilitante 157 ects, postgrado 40 ects) e historia y Composición (grado 41 ects, postgrado 10 ects). También ha impartido docencia en Expresión Gráfica (39 ects), Construcción (grado 33 ects, postgado 3 ects), Urbanismo (10,5 ects). -Docencia de grado en Gestión Urbana / Bachelor in Urban Management. UCJC (6 ects). -Docencia de grado en Cine, en el área de Dirección Artística y Escenografía. UCJC (7 ects). -Docente en cursos y seminarios universitarios y jurado en sesiones críticas. GSAPP, ETSAM, TAU, Universidad de Alcalá, UCJC. (41 horas).

b.01 Experiencia investigadora

b.01 Experiencia profesional

-Actualmente Posdoctoral Research Fellow, Tampere University, School of Architecture, Finlandia. -Investigadora principal en 7 proyectos de investigación competitivos finalizados: -1 Financiado por The Academy of Finland. 2019. Duración 6 meses. -4 contratada por la GSAPP, CU. 2007-2011. Duración total 2 años, tiempo parcial. -1 como becaria de la Fundación La Caixa. 2007-2008. Duración 1 año, tiempo completo. -1 como becaria I+D de la Fundación Rafael Escolá. 2002-2005. Duración 2 años, tiempo completo. -Investigadora en 7 proyectos de investigación competitivos: -1 Financiado por The Academy of Finland 2020. Duración 2 años (en proceso, hasta dic. 2022). -1 Financiado por The Academy of Finland. 2020. Duración 1 año y 8 meses (en proceso, hasta dic. 2021). -1 Financiado por Business Finland. 2020. Duración 10 meses. -1 Financiado por The Academy of Finland. 2020. Duración 3 meses. -1 Financiado por el Ministerio de Ciencia, Innovación y Universidades. Duración 2 años. -1 Financiado por el Plan Nacional de i+D Excelencia 2013. Duración de la colaboración 1 mes. -1 Financiado por la Gerencia Municipal de Urbanismo de Madrid. 2010. Duración 1 mes. -Participante en 1 Proyecto de Innovación Docente. Financiado por Distrito Castellana Norte (DCN). -Tutora de 9 Trabajos Fin de Grado Habilitante en Arquitectura y co-tutora de 21 Proyectos Fin de Carrera. -Turora 13 Trabajos Fin de Master. Máster Universitario en Dirección de Protocolo, Producción, Organización y Diseño de Eventos. UCJC. -Profesión libre desde 2002. 3 edificios de obra nueva construidos, 1 obra de restauracion y 1 stand. -Asociada con Carlos Puente desde 2005. -Actividad en empresas - Jefe de Oficina Técnica. NECSO. Ampliación y renovación del Hospital General de Segovia. - Prácticas profesionales en el Estudio de Gabriel Ruiz Cabrero y SOLID Arquitectura. Curriculum vitae. Según modelo UPM

c. Producción académica y científica y su difusión

d. Otros méritos d.01. Gestión académica

-Coordinadora del curso Architectural Design VI (durante dos cursos) en TAU. -Directora del Grado en Paisajismo de la UCJC, durante un curso académico. -Secretaria Académica de la Facultad de Tecnología y Ciencia (Antes Escuela de Arquitectura) de la UCJC, durante tres cursos académicos. -Represetante de la UCJC. Plenario de la Conferencia de Directores de Escuelas de Arquitectura. Valencia, 2018. -Coordinadora del Área de PFG (durante un curso) -Varios cometidos de gestión en UVA: Academic Advisor, Admissions and Dean Search Committees.

d.02. Movilidad

-4 veces participante en el programa ERASMUS+ de Movilidad internacional de Personal de Educación Superior. Docente en el programa Business for Exchange. Karel de Grote University College, Bélgica (24 ects). -Visiting lecurere. University of Liverppol School of Architecture. (44 horas de docencia) -Cargos docentes y /o de investigación fuera de España: TAU ( 2 cursos- actualidad), UVA (dos cursos), GSAPP

-Full time postgraduate visiting research student. European Doctorate. School of Architecture University of Plymouth, UK. 2005-2006. -Estancia inernacional conducente a dos títulos. GSAPP, CU. 2006-2008.

(4 contratos de investigación).

d.03. Otras actividades

-Coorganizadora de 7 reuniones cientificas y tecnicas. -Comisaria de 6 exposiciones y asistente de comisariado en 2. -Miembro de dos redes de investigación: Acciones COST para la cooperación europea. -Miembro de comités académicos: -Tribunal de tesis doctoral. 1 Vocal, ETSAM. 2 Vocal suplente, ETSAM, CEINDO. -Tribunales de TFM, UCJC. 1 Secretaria, 1Vocal. -Tribunales de TFG, UCJC. 4 Presidenta, 3 Vocal, 1 Secretaria. -Miembro comités cientificos: -2 congresos -6 revistas científicas -3 concursos -Premios y reconocimientos: -Docencia: nominada para puestos de Tenure Track en GSAPP, CU y UVA, School of Architecture. -Investigación: -Primera Mención, XII Concurso Bienal arquia/tesis 2019. -Tesis expuesta en el Pabellón de Espana, b-e-c-o-m-i-n-g, en la 16 Bienal de Venecia, 2018. -Primer premio de Investigación Nacional Escuela de la Edificación 2004. -Beca I+D de la Fundación Rafaél Escolá -Profesional: -3º puesto. Ampliación del Museo Sorolla en Madrid. 2016. Asociada con Carlos Puente. -2º puesto. Concurso restringido nuevo edificio para la Fundación Cultural Giner de los Ríos en Madrid. 2005. Asociada con Carlos Puente. -1ª Mención de Honor. Concurso: Ayuntamiento, Mercado, Casa de la Cultura y Teatro de Mutxamel, Alicante, 2005.Asociada con Ángela Rodríguez -1º premio. Concurso: La vivienda del futuro. Congreso ANAVIF, Barcelona, 2003. Con Jon Laurez -2º Premio Thyssenkrupp de Arquitectura 2002. Oporto, Portugal. Asociada con Àngela Rodríguez. -3 obras expuestas de arquitectura. -1 exposición de joyas en el Centro de Arte Contemporáneo de Mijas, Málaga. Rosana Rubio-Hernández

a. FORMACIÓN ACADÉMICA a.01. Formación académica a.01.01. Titulaciones Títulos académicos

Año

Calificaciones

-Doctora con mención internacional

ETSA de Madrid, UPM 25-01-2016 -Sobresaliente cum laude Dpto. Proyectos Arquitectónicos “El vidrio y sus máscaras. El sueño de la arquitectura de cristal” (Vol. I / Vol. II) Directores: Dr. Gabriel Ruiz Cabrero Dr. Sergio Martín Blas

-Certificate in Advanced Architectural Research

GSAPP, Columbia University

21-05-2008

- 55% High Pass

21-05-2008

- 55 % High Pass

-MsC. in Advanced Architectural Design

GSAPP, Columbia University

-Diploma de Estudios Avanzados (DEA)

ETSA de Madrid, UPM

12-07-2007

- No procede

-Arquitecto ETSA de Madrid, UPM 01-02-2000 - PFC: Sobrresaliente - Carrera: Notable Otros títulos

Año

Calificaciones

-Dirección Artística de Cine Escuela de Cinematografía 24-06-1999 y del Audiovisual de la Comunidad de Madrid (ECAM)

-TOEIC Capman 14-07-2018

-Nota media: Notable, 8

- Calificación: C1

Rosana Rubio-Hernández

a.01.02. Premios y becas recibidos en periodo de formación

a.02. Formación complementaria

-Premio Extraordinario de Doctorado de la UPM 2015-2016

-Mención Internacional de Doctoriado

-Beca de la Fundación la Caixa para financiar estudios de postgrado en EE.UU.

Contenido económico de la beca: Matrícula de la GSAPP, Columbia University. 82 créditos Billete de avión de ida y vuelta desde España hasta EE.UU. Mensualidad de 1.640 dólares USA Dotación anual de 1.250 dólares USA Seguro de enfermedad y accidentes -Beca Universidad Internacional Menéndez Pelayo para financiar el seminario: “Encuentros con la Arquitectura”

24-02-2018 26-01-2016

01-06-2006 / 31-05-2008

a.02.01. Cursos después del grado (orden temático y cronológico) •

Recursos docentes

-Teaching Workshop. University of Virginia. Teaching Resource Center •

Recursos de Investigación

-Managing Research Information

21/ 26-07-1993

21-10 / 8-12-2019 Tampere Univesity 54 h. Module 1: Scientific literature retrieval Module 2: Visibility and impact Module 3: Research and data management Module 4: Open Access publishing -Academic Writing:Writing for Research 27-9/18-10-2019 Tampere University 81 h. Module 1: Project Objectives Module 2: Academic Style Module 3: Academic Structure Module 4: Argumentation -Marie Skłodowska-Curie grant writing workshop 17-19-06-2019 Tampere University 20h. -Web of Science-Nivel Avanzado 10-03-2016 Fundación Española para la Ciencia y la Tecnología 3 h. -Preparación de propuestas europeas de investigación 15 / 16-12-2015 Universidad Camilo José Cela (UCJC) 12 h. -Taller sobre sexenios y actividad investigadora 30-11-2015 Recursos para la evaluación de la actividad investigadora 4 h. UCJC -La actividad investigadora 30-11-2015 Fundación Tripartita 4 h. -Professors as Writers. University of Virginia. 2009 Teaching Resource Center 4 h. • Arquitectura Especulativa Centro de Estudios del Prado. Dirigido por Félix de Azua -II. Fundación y memoria -I. Arquitectura Especultativa • Sistemas de Informacion Geografica GIS. UCJC

Curriculum vitae. Según modelo UPM

2009 16 h.

-GIS II UCJC -GIS I. Inicicacion al GIS UCJC

09-02 / 29-04 -2016 30 h. 29-01 / 30-04 -2015 30 h. 20 / 21-06-2018 20 h. 18 / 19-12-2017 20 h. Rosana Rubio-Hernández

•

Smart Geometry Workshops. Fabricación Digital organizados por Betley

-Working Prototypes Instituto de Arquitectura Avanzada de Barcelona IAAC -Generating the Components The Architectural League, New York •

2010 32 h. 2007 32 h.

Advanced Architectural Research, Columbia University

- Applied Research I. Michael Bell High Pass - Encountering Technology. Felicity Scott High Pass - Applied Research II. Felicity Scott Pass - Architecture, Urbanism, Spatial Politics. Felicity Scott Pass - Living Architecture. David Benjamin Pass - Applied Research III. Joan Ockman High Pass - Doctoral Colloquium II . Mary McLeod High Pass •

•

2007-08 (9 cr.) 405 h. 2007-08 (3 cr.) 135 h. 2007-08 (9 cr.) 405 h. 2007-08 (3 cr.) 135 h. 2007-08 (3 cr.) 135 h. 2007-08 (3 cr.) 135 h. 2007-08 (3 cr.) 135 h.

Advanced Architectural Design. GSAPP, Columbia University

- Metropolis and After. Reinhold Martin 2006-07 Pass (3 cr.) 135 h. - Architecture, Cinema & the Database. Mabel Wilson 2006-07 Pass (3 cr.) 135 h. - Advanced Architecture Design Studio. Mabel Wilson 2006-07 Pass (9 cr.) 405 h. - Advanced Studio V. François Roche 2006-07 High Pass (9 cr.) 405 h. - Material Potency I & II. Alisa Andrasek 2006-07 High Pass (3 cr.) 135 h. - Abstract Machienes. Ed Keller 2006-07 High Pass (1.5 cr.) 67 h. - Portable Documents. David Reinfurt 2006-07 High Pass (1.5 cr.) 67 h. - Advanced Studio VI. Enrique Walker 2006-07 High Pass (9 cr.) 405 h. -Techniques of the Ultrareal. Sabrid Farouki & Daniel Vos 2006-07 Pass (1.5 cr.) 67 h. -Advanced Curtain Walls. Robert Heintges 2006-07 High Pass (3 cr.) 135 h. -Architecture after 1945. Felicity Scott 2006-07 Pass (3 cr.) 135 h.

Cursos de Doctorado. ETSAM

-Arquitectura y energía. Sostenibilidad. Naturalización 2005-06 de la arquitectura. Sobresaliente 60 h. -Arquitectura audiovisual 2005-06 Aprobado 60 h. -Atlas pintoresco I y II. 2004-05 Aprobado 30 h. -La arquitectura como imagen del arte, del mundo y 2004-05 de la geometría. Sobresaliente 60 h. - Arquitectura y espectáculo I 2003-04 Sobresaliente 40h. -Crítica de arquitectura 2003-04 Notable 30 h. -Geometrías, disgeometrías y simetría 2003-04 Sobresaliente 40 h. •

Dirección Artística de Cine. ECAM 1998-1999 600 h. Nota media: 8 Notable -Historia de la vivienda -Historia del traje -Historia del mueble -Dibujo de decorados -Historia del cine Español -Introducción al Cine -Crítica de Cine

a.02.02. Congresos y jornadas (orden temático y cronológico) -The practice of architectural research symposium. Perspectives on design and its relation to history and theory

TU Delft, KU Leuven and University of Antwerp -Nordic Climate Forum for Construction 2020

08 /09-10-2020 16h.

Swedish Life Cycle Center -Build4Clima-Webinaari Tampere University and VTT (Technical Research Centre of Finland)

27-08-2020

5h.

28-05-2020 6h.

-Pioneros de la arquitectura moderna española

2015-2017 Fundación Alejandro de la Sota 56h. -V. El proyecto de habitar 18 / 19-05-2018 -IV. La arquitectura como obra integral 19 / 20-05-2017 -III. Análisis crítico de una obra 20 / 21-05-2016 -II. Aprender de una obra 08 / 09-05-2015

Curriculum vitae. Según modelo UPM

Rosana Rubio-Hernández

-The Columbia Conferences on Architecture,

2008-2011 Engineering and Building Materials 96 h. GSAPP, Columbia University

-Permanent Change. 30-05 / 01-06-2011 Plastics in Architecture and Engineering -Post-Ductility. 30-09 / 02-10-2009 Metals in Architecture and Engineering -Solid States. 01 / 03-10-2008 Concrete in Transition -Engineered Transparency. The Technical, 26 / 28-09-2007 Visual and Spatial effects of Glass

-RedSuDs. Retos y futuro de los SuDs en Espana

Universidad Politecnica de Valencia

-First International Conference on Fractal Foundations

for 21st Century Architecture and Environmental Design. Círculo de Bellas Artes, Madrid

-III Congreso Internacional para la Vivienda del Futuro

30-03-2017 8 h.

Asociación Nacional para la Vivienda del Futuro (ANAVIF)

2004 18 h.

07 / 09-03-2003 21 h.

a.02.03. Cursos durante el grado (orden temático y cronológico) -Taller de Nuevos Paisajes. Humedales del Parque del Sudeste. Iñaqui Ábalos y Juán Herreros. En el contexto de la Bienal de Arquitectura.Universidad de Alacalá

1997 80 h.

-IV jornadas técnicas sobre conservación energética

24 y 25-04-1996 10 h.

en la edificación. Universidad de Alcalá

-Medievalismo y Neomedievalismo en la Arquitectura Española: El siglo XIX. Fundación Cultural Santa Teresa

29-30-09 y 01-10-1995 30 h.

-Jornadas Internacionales de Vivienda

Empresa Municipal de la Vivienda (EMV)

-Encuentros con la Arquitectura. II Bienal de Arquitectura Española

Universidad Internacional Menéndez Pelayo.

15 y 16-03-1995 10 h.

1993 30 h.

b. EXPERIENCIA b.01. Experiencia docente b.01.01. Puestos docentes desempeñados -Acreditada en la figura de Profesor Contratado Doctor en el área de Proyectos Arquitectónicos por la ANECA -University Teacher -School of Architecture

01-06-2019 / en curso Tampere University (TAU) Faculty of Built Environment -4 semestres. Docencia de grado y postgrado -Profesora Asociada -Escuela de Arquitectura 12-09-2016 / 31-05-2019 Facultad de Tecnología y Ciencia Universidad Camilo José Cela (UCJC) -Dedicación completa -6 semestres. Docencia de grado y postgrado -Profesora Asociada -Escuela Superior de Arquitectura y Tecnología 10-02-2015 / 09-09-2016 (ESAyT) UCJC -Dedicación parcial -3 semestres. Docencia de grado

-Profesora Asociada -Facultad Politécnica Superior

Universidad Antonio de Nebrija -Dedicación parcial -1 semestre. Docencia de postgrado

-Profesora Asociada -Escuela de Arquitectura

Universidad Pontificia de Salamanca Campus de Madrid -Dedicación parcial -10 semestres. Docencia de grado

01-09-2010 / 18-09-2015

-Lecturer School of Architecture. Virginia Teaching Fellow University of Virginia. Estados Unidos

01-08-2008 / 31-05-2010

-Profesora Ayudante

01-09-2004 / 31-07-2005

-Dedicación completa -4 semestres. Docencia de grado y postgrado

Curriculum vitae. Según modelo UPM

01-02-2013 / 31-07-2013

ETSA de Madrid, UPM Dpto. Proyectos Arquitectónicos. -Dedicación parcial -2 semestres. Docencia de grado

Rosana Rubio-Hernández

b.01.02. Docencia impartida de grado

(ver detalles en Anexo. Detalle de docencia. pp. )

Grado en Arquitectura (ETSAM, University of Virginia, UPSAM, UCJC, Tampere University) Área

Ects

Horas

-Proyectos -Composición -Construcción -Expresión Gráfica -Urbanismo

134,00 ects 41,00 ects 33,00 ects 39,00 ects 5,50 ects

1340 h. 410 h. 330 h. 390 h. 55 h.

Nº de trabajos

Evaluación

4,60 / 5 4,77 / 5 5,00 / 5

b.01.04. Sesiones críticas, clases y talleres impartidos -Sesión crítica. Master’s Degree in Architecture

-GSAPP Columbia University 11-12-2020 Michael Bell Studio. Con Jonathan Crary, Toshi Oki y Michael Shanks 5h. Shapes Evading Shapes. A Rapidly Deployable Epidemic Clinic -Sesión crítica. Grado en Arquitectura

-ETSA de Madrid, UPM. Dpto. Proyectos

Grado en Paisajismo (UCJC)

Área Ects Horas Nº de trabajos Evaluación -Proyectos 23,00 ects 230 h. 3,91 / 5 -Urbanismo 5,00 ects 50 h. 4,35 / 5

-Taller Built4Clima -Tampere University & VTT (Technical Research Centre of Finland) Gathering information from multi-sector stakeholders

Grado en Gestión Urbana / Bachelor in Urban Management (UCJC)

-Sesión crítica. Máster en Proyectos Avanzados

Área Ects Horas -City Management 6 ects 60 h.

Nº de trabajos

Evaluación

4,55 / 5

Grado en Cine (UCJC)

-ETSA de Madrid, UPM. Dpto. Proyectos

-International Week of Comunication. UCJC -Clase. ‘Fronteras’ de Vidrio

Master Habilitante. Itinerario de Construcción - ETSA de Madrid, UPM. Dpto. Proyectos Master Habilitante. Unidad Jesus Aparicio

-Sesión Critica. Encuentos de Doctorado

Master in Architectural Design (Tampere University)

Área

Máster Universitario en Tecnologías de la Edificación Sostenible (U. Antonio de Nebrija) Área

-Construcción

Curriculum vitae. Según modelo UPM

Ects

Horas

20,00 ects 10, 00 ects

200 h. 100 h.

Ects 3,00 ects

Horas

Nº de trabajos

30 h.

Evaluación 5,2 / 7 5,6 / 7

Evaluación 3,5 / 5

2 / 6-06-2018 9 h.

- Escuela de Arquitectura. Universidad de Alcalá de Henares

30-01-2019 2h.

Laboratorio 01 Updating Home. Coordinado por Carmen Espegel. Máster en Proyectos Avanzados MPAA10 #Práctica-crítica.

b.01.03. Docencia impartida de postgrado (ver detalles en Anexo. Detalle de docencia. pp.)

-Composición

24-09-2020 5h.

-Taller. City Marketing. From Sales Strategies to Place Making Tactics

Área Ects Horas Nº de trabajos Evaluación -Dirección Artística 7 ects 70 h. y Escenografía

-Proyectos

02-12-2020 2h.

Unidad Maroto. Balcones y Ventanas. Arquitecturas de la visión y del itinerario

16-10-2018 2 h. 14-03-2018 2 h.

-ETSA de Madrid, UPM. Dpto. Proyectos

19-10-2017 5 h.

Encuentros de Doctorado

- Clases. Madrid’s Cultural Heritage

Become a Global Citizen Program. UCJC

-El Capricho Garden -Discovering the Traces of the Arabic and Christian Walls of Madrid

-Unvailing the “Viajes de Agua” of Madrid

26-06-2018 3 h. 2018 3 h. 2017 3 h.

Rosana Rubio-Hernández

b.02. Experiencia investigadora b.02.01. Cargos de investigación desempeñados Centro

Puesto

Actividad desarrollada

TAU SPREAD

Investigadora postdoctoral IP en un proyecto concluido Investigadora en otros tres (convocatorias competitivas)

Actividad de investigación contratada por Tampere University. Redacción de proyectos en convocatorias públicas y privadas. Investigación. Producción y difusión de resultados

Fechas 06-06-2019/ en curso

UCJC Investigadora Redacción de proyectos en convocatoria Proyecto de pública y coordinación investigación del equipo de trabajo finaciado por Retos Investigación: Proyectos I+D+i

01-06-2017/ 06-06-2019

UCJC DCN

curso 2017/18

Proyecto de innovación Docencia y coordinación de talleres. docente Difusión de resultados

UPM Investigadora NuTAC contratada con cargo a proyecto de investigación del Plan Nacioanl de I+D+i (convocatoria competitiva)

Investigación y elaboración de material gráfico y audiovisual para difusión de resultados de investigación

GMUM Investigadora Investigación de campo Gerencia Municipal y elaboración de informe de Urbanismo de Madrid UPM Doctoranda Investigación para la redacción ETSAM,DPA de la tesis doctoral. UVA

Investigadora con contrato de Lecturer Virginia Teaching Fellow (convocatoria competitiva)

23-01-2012/ 23-02-2012

01-08-2011/ 01-09-2011

2010/2016

Actividad de investigación. Contratada por la University of Virginia. Participación en congresos y divulgación de resultados de investigación

01-08-2008/ 21-05-2010

GSAPP Investigadora principal 4 contratos de invesigación a tiempo 01-06-2007/ Columbia U. contratada parcial. Labores de documentación y 31-03-2011 (convocatoria competitiva) elaboración de material gráfico y audiovisual para comunicación de resultados en congresos. Participación en organización de congresos y edición de libros. 1 proyecto a tiempo completo. Investigación y redacción de patente provisional en EE.UU. Financiado por la Fundación la Caixa Fundación Investigadora principal Investigación sobre fachadas de vidrio 01-09-2002/ Rafael Escolá Beca i+D activo. Desarrollo de un prototipo de 31-07-2004 + Angstrom (convocatoria competitiva) vidrio electrocrómico. Conceptualización Laboratory del prototipo y trazado de la red de contactos que hizo posible su desarrollo Rosana Rubio-Hernández

-Plastic Chains: Timeline of Plastics in Architecture and Engineering

b.02.02. Proyectos de investigación competitivos • Contratos de investigación competitivos como investigadora principal (N=7)

-Título del proyecto: SOCIETAL. Ambient assisted living and social robots: The independence and isolation balance Duración: 6 meses Entidades participantes: Tampere University Intelligent Society Platform and the Academy of Finland Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 7 (multidisciplinar) Financiación: 50.000 E

01-10-2019 / 30-03-2020 Arquitectura, comunidad e individualidad Investigación postdoctoral

Two deep human aspirations can easily conflict, especially at older age: the desire to lead an independent and private live and to have one’s life in autonomous control, and the need for social contacts, company, and belonging. While the potentiality for conflict between independence and non-loneliness is a universal feature (and technology is not the sole factor to be blamed for creating the conflict), a lot depends on the technological, societal and architectural arrangements in meeting these needs. This pilot project aims to address, in a multidisciplinary way, the inherent contradiction in smart living environments that on one hand, aim to solve a social requirement of independence, autonomy and active life when ageing, and on the other, pose the risk of an increase in isolation. Resultados: -Artículo en publicación indexada: Latikka, Rita, Rosana Rubio-Hernandez, et al. “Older adults’ loneliness, social isolation and physical ICT in the era of ambient assisted living: a systematic literature review”. Journal of Medical Internet Research (aceptado para su publicación).

-Título del proyecto: Material Matters: Plastic Chains, 01-01-2007 / 01-09-2010 Metalsmyths, Concrete Trajectories, Through Glass Material Matters’ research goal is to trace a series of time line Arquitectura y Materialidad Investigación predoctoral diagrams that offer a panoramic view of the technological and cultural history of four building materials: glass, concrete, metals and plastics. They are old materials in the context of humanity, whose development has been accelerated exponentially in the last two hundred years. Theoretical and technical applications have inevitably change- and continue to change- the role of these materials in architecture and engineering. The research consists on a visual record -a timeline- that traces the way in which these materials are ever-evolving ; substances with the capacity to inspire architects and engineers in endless ways, to inform determinately the built environment, and thus to impact our way of living. Curriculum vitae. Según modelo UPM

Duración: 7 meses Entidades participantes: GSAPP, Columbia University, The Vinyl Institute Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 2 Financiación: 12.000 $ -Metalsmyths: Timeline of Metals in Architecture and Engineering

01-09-2010 / 31-03-2011

01-05-2009 / 30-09-2009

Duración: 5 meses Entidades participantes: American Institute of Steel Construction. GSAPP, Columbia University Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 2 Financiación: 12.000 $

-Concrete Trajectories: 01-06-2008 / 30-10-2008 Timeline of Concrete in Architecture and Engineering Duración: 5 meses Entidades participantes: Lafarge. GSAPP, Columbia University Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 2 Financiación: 12.000 $

-Through Glass:

Timeline of Concrete in Architecture and Engineering

Duración: 5 meses Entidades participantes: Oldcastle Glass, GSAPP, Columbia University Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 1 Financiación: 12.000 $

01-06-2007 / 31-09-2007

Resultados: -Presentados en 4 congresos: The Columbia Conferences in Architecture, Engineering & Materials GASPP. Columbia University. -Presentados en 3 Exposiciones: .16ª Bienal de Venecia 2018. b-e-c-o-m-i-n-g .Semana de la Ciencia 2011, Universidad Pontificia de Salamanca Campus de Madrid. .Virginia Teaching Fellow. University of Virginia School of Architecture. Rosana Rubio-Hernández

- 1 libro de texto: Rubio Hernández, Rosana. Material Matters. Sustainable Building Materials. (En proceso de revisión para su edición). Libro completo en inglés, 86 pgs. -Participación en 4 libros : Bell, Michael and Craig Buckley, ed. Permanent Change. Plastics in Architecture and Engineering. New York: Columbia GSAPP, Princeton Architectural Press, 2014. ____.Post-Ductility. Metals in Architecture and Engineering. New York: Columbia GSAPP, Princeton Architectural Press, 2012. ____.Solid States. Concrete in Transition. New York: Columbia GSAPP, Princeton Architectural Press, 2010. Bell, Michael and Jeannie Kim, ed. Enigneered Transparency. The Technical, Visual and Spatial effects of Glass. New York: Columbia GSAPP, Princeton Architectural Press, 2009. -Título del proyecto: CLC. Colored Liquid Crystal Duración: 1 año Entidades participantes: GSAPP, Columbia University Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 1 Financiación: 1 año de créditos académicos en la GSAPP y de manutención financiado por la Beca de la Caixa The research consists on developing a switchable material that changes its optical properties when a low voltage is applied, modulated, and monitored by a microcontroller. It consists of three elements: the actual CLC, which is a multilayered film system, a microcontroller, and a software interface. Sensors and actuators are also implemented to conform not only an active material but also an interactive one. Resultados: -Tesis del curso Advanced Architectural Research. GSAPP, Columbia University. -Patente provisional en EEUU: 2413.082 PRV. Science and Technology Venues, Columbia University. 2008. -Artículos en publicaciones indexadas: Pérez Guembe, Elena and Rosana Rubio-Hernández. “Reconceptualising zoos through Mille-oeille: A posthuman techno-architecture to sustain human and non human continuum”. in Artificial realities: Virtual as an Aesthetic medium in architecture ideation, ed. Sara Eloy. London: Routledge, 2021 (en imprenta) _____. “Mille-Oeille: An architectural response to zoos’ obsolescence in post-anthropocentric times.” In DATA, MATTER, DESIGN: Strategies in Computational Design, eds. Nancy Diniz, Frank Melendez and Marcella del Signore. London: Routledge, 2021. Curriculum vitae. Según modelo UPM

01-06-2007 / 31-05-2008

Arquitectura y Materialidad Investigación doctoral

- Ponencias: “Mille-Oeille. Thousand eyes, Thousand layers.” Congreso: Artificial Realities: Virtual as an Aesthetic Medium for Architectural Ideation Symposium. Entidad organizadora: ISTAR Information Sciences, Technology and Architecture Research Center, Lisboa, Portugal. 2019. “CLC Colored Liquid Crystal. Prototype Descripition and Design Opportunities”. Glass Performance Days, Tampere. 2009. -Participación en libros: Marble Scott, ed. “House in Connecticut”. en Abstract 2006-07, 116. New York: Graduate School of Architecture, Planning and Preservation, 2008. _____.“CLC-Colored Liquid-Crystal.” en Abstract 2007-08, 405. New York: Graduate School of Architecture, Planning and Preservation, 2009. -Exposición con catálogo: .16 Bienal de Venecia 2018. Palazzo Bembo .European Cultural Centre, ed. “Data & Matter”, en Time, Space, Existence, 410-413. Venecia: GAA Foundation European Cultural Centre, 2018. -Título del proyecto: Investigación sobre fachadas de vidrio activo. Desarrollo de un prototipo de vidrio electrocrómico

Duración: 1 año y 11 meses Entidades participantes: Fundación Rafael Escolá, Guardian Glass, Laboratorio Angstrom Universidad de Upsala. Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 4 Financiación: 165. 600 E

01-09-2002 / 31-07-2004 Arquitectura y Materialidad Investigación doctoral

El objetivo de la investigación consiste en trazar el estado de la cuestión de las fachadas de vidrio activo y localizar la tecnología más indicada para desarrollar un prototipo. Tras esta investigación se decide desarrollar un prototipo de vidrio electrocrómico pixelado en colaboración del Laboratorio Angstrom de la Universidad de Upsala, en Suecia. El resultado es un elemento que conjuga la capacidad informativa y de regulación energética de la fachada de forma dinámica en función de diversos estímulos. Resultados: -Premios: 1º premio Nacional de Investigación Escuela de la Edificación 2004 -Artículo: Rubio Hernández, Rosana, Roser Marsall y Luis de la Flor. “Fachada de vidrio activo. Dispositivo electrocrómico”. Bia, 2005. -Ponencias en congresos: .1er Congreso de investigación en arquitectura. ETSA de Sevilla. .Congreso ACXT. IDOM, Madrid. .Solar Decathlon 2005. ETSA de Madrid, UPM. Rosana Rubio-Hernández

• Contratos como investigadora en proyectos de investigacion competitivos (N=7)

-Título del proyecto: AIsola

Implementation of contextual complexity in AI-based assessment systems of older adults’ social isolation Duración: 2 años Entidades participantes: Tampere University Intelligent Society Platform and the Academy of Finland Investigador responsable: Fernando Nieto nº de investigadores participantes: 12 (multidisciplinar) Financiación: 270.000 E

Contribución: Redacción del proyecto. Conceptualización y redacción del proyecto. Investigación. Gestión y coordinación del proyecto. Producción y difusión de reslutados. Recently, attention has been paid to loneliness and social isolation among the older people; at first, because in many societies the number of seniors increases; and currently, due to the coronavirus crisis which has aggravated the situation. AISola aims to assess the phenomena, precisely at this very moment, through a multidisciplinary project combining experts from five research groups at TAU, addressing architecture, social psychology, gerontology, and AI technology. We depart from a heuristic case study: a recent research trend on AI solutions to ‘detect and predict’ older people loneliness and/ or social isolation, based on the algorithmic correlation of older people behavioral patterns with these phenomena. From this case we extract the hypothesis that will drive our preliminary hypothesis-testing case study in chosen premises provided by Sointu Senioripalvelut, in the metropolitan area of Tampere. Researchers conduct a mix-method research, targeting a sample of older people (N=15-25). Two complementary case studies run in parallel. First one being an empirical study of the contextual conditions of older people’s living independently but visiting on a regular basis the care facilities, run by Sointu Senioripalvelut, and their urban context. Such scenarios are assessed from spatial and social perspectives. The second experiment applies AI-based wearable sensor-technology, aiming at detecting and predicting social isolation of the same sample of people. Together the studies formulate a comprehensive view on older people social isolation, considering their complex contextual living contingencies. Our research questions are as follows: RQ1) What are the contextual factors affecting social isolation at the domestic and community scale; RQ2) What are the contextual factors affecting older people’s social isolation at the urban scale; being the contingencies brought by the pandemic major aspects to consider; and RQ3) How can the AI detection and prediction models be perfected to accurately respond to complex contextual situations.

Curriculum vitae. Según modelo UPM

01-01-2021 / 31-12-2022 Arquitectura, comunidad e individualidad Investigación postdoctoral

-Título del proyecto: SocialBlock

Intelligent social technologies enhancing community interaction and sustainable use of shared living spaces in superblocks Duración: 1 año y 8 meses Entidades participantes: Tampere University Intelligent Society Platform and the Academy of Finland Investigador responsable: Kaisa Väänänen nº de investigadores participantes: 10 (multidisciplinar) Financiación: 298.000 E Contribución: Investigación. Producción y difusión de resultados.

01-04-2020 / 31-12-2021

Arquitectura, comunidad e individualidad Investigación postdoctoral

More than half of the global population live in urban areas and this number is growing. At the same time, people often live alone and experience loneliness and lack of interaction with other people around them. Addressing these phenomena requires innovations in urban development and in the ways in which residents use the city. The goal of this interdisciplinary project is to explore how intelligent technologies can be used to enhance community interaction and motivate residents to share spaces in order to advance sustainable development of urban living areas. This will be done in the context of a Nordic Superblock, a new planning, housing and living concept utilised in Hiedanranta – in collaboration with the City of Tampere. Nordic Superblock is a combination of city blocks that share yards, common spaces, such as saunas, gyms, laundry rooms, workshops and utilities for instance cars, e-bikes, tools and sustainable energy and recycling infrastructure. SocialBlock project combines expertise of six research groups from four faculties addressing social psychology and human-technology interaction, urban planning and building design, and technical analyses of smart buildings and their infrastructure. Researchers conduct co-design studies of concepts to motivate residents to interact with each other and share living spaces in the superblock. A central outcome is a set of demonstrators of intelligent social technologies such as social robots, shared augmented reality and embedded multimodal displays. These outcomes are evaluated by end-users and experts. The contributions of this project will be both scientific and practical, leading to both research articles, functional specifications and policy implications. The project serves also as a starting point for new national and international projects. SocialBlock project is in the core of Tampere University’s new strategy by conducting research on human-centered, intelligent technologies and advancing people’s wellbeing in sustainable cities.

Rosana Rubio-Hernández

-Título del proyecto: Build4Clima Creating new business from healthier and circular carbon positive buildings

01-02-2020 / 9-11-2020

Arquitectura y Materialidad

Duración: 10 meses Investigación postdoctoral Entidades participantes: Tampere University, VTT Technical Research Centre of Finland, and Business Finland Investigador responsable: Fernando Nieto y Alina Ruonala-Lindgren nº de investigadores participantes: 13 (multidisciplinar) Financiación: 66.500 E

Duración: 2 años Investigación postdoctoral Entidades participantes: UCJC, FCC (coordinador), TasGroup y UPM. Investigador responsable UCJC: Rafael Hernández López nº de investigadores participantes: 26 Entidad financiadora: Ministerio de Ciencia, Innovación y Universidades. Financiación total: 579.960,41 E

Contribución: Investigadora y redacción de resultados. Build4Clima is a multidisciplinary project to promote circular ecnonomy, healthier living environment and carbon neutrality in the construction industry. Our vision is to mitigate climate change with materials that support people’s health and wellbeing. We aim to transform the bio-materials market for new and renovated buildings with construction processes that not only support carbon neutrality but also carbon sequestration over their lifetime. Resultado: Informe de investigación (25 +132 páginas)

Contribución: Redacción del proyecto y coordinación de subequipo.

Título del proyecto: LOBE. loneliness and the built 01-10 / 31-12-2019 environment. Philosophical, societal and technological perspectives.

-Título del proyecto: Trabajo de investigación

Duración: 3 meses Entidades Participantes: TAU Sustainable Welfare Systems research initiative Investigador responsable: Fernando Nieto nº de investigadores participantes: 2 Financiación: 10.000 E

Desarrollo de una envolvente edificatoria adaptativa en función de los múltiples estímulos del entorno. Inspirado en biomimicry. -Reconocimientos: .Finalista en los premios enerTIC en la Categoría SMART Buildings. .Seleccionado en la primera fase de la convocatoria CAIXA IMPULSE 2016.

Arquitectura, comunidad e individualidad Investigación postdoctoral

Contribución: Redacción del proyecto. Organización de reunión científico técnica. Moderadora de la mesa redonda. Edición de actas del seminario y redacción de artículo. With this project, we ask ourselves questions such as how the built environment enhances the creation of intimacy ties helping us overcome our insularity. Being this a relevant issue, knowing from psychologists that the sense of trust in others and the development of empathy are the highest goals and protections against loneliness, investigation on emerging building typologies such as new hybrid solutions could tie into this discussion. Likewise, we are interested in how the environmental conditions are able to enhance people´s intentionality, enabling or cancelling their capacity to undertake positive personal purposes and agency, which are also acknowledged as tools against the feeling of loneliness. Resultados: -Libro: .Nieto Fernández, Frenando y Rosana Rubio Hernández. (eds.). Loneliness and the Built Environment. Datutop Occasional Papers 40. Tampere: Tampere University Press, 2021. -Seminario: .LOBE. Loneliness and the built environment seminar .16-12-2019

Curriculum vitae. Según modelo UPM

-Título del proyecto: Pielsen 01-01-2018 / 01-06-2019

y elaboración de contenidos para la exposición 2-I+D+VS2: Vivienda social y rehabilitación urbana (Código OTT-UPM:P110330569) Duración: 1 mes Entidades participantes: UPM, Ministerio de Fomento Investigador responsable: Sergio Martín Blas nº de investigadores participantes: 4 Financiación: Financiado por el Plan Nacional de i+D Excelencia 2013. Ministerio de Fomento. 11.700 E

23-01-2012 / 23-02-2012

Otras investigaciones Investigación predoctoral

Contribución: Investigación y elaboración de material gráfico y audiovisual para difusión de resultados. Asistente de comisariado de exposición. ‘A pie de calle’ se centra en la relación entre arquitectura de vivienda social y procesos de regeneración urbana. Se propone aprender de la experiencia acumulada en 8 ciudades del mundo, en los que la vivienda social asume distintos papeles. Metodológicamente, se analizan a través de un conjunto de materiales (dibujos, fotos, textos) que permiten la comparación. Resultados: -Exposición itinerante internacionalmente: .Ministerio de Fomento. Arquería de Nuevos Ministerios, Madrid. 23-02 / 29-04-2012 .UCSG y UEES, Guayaquil, Ecuador -Catálogos: .Martín Blas, Sergio e Isabel Rodríguez Martín. A pie de Calle. Madrid: Mairea libros, 2018. .Martín Blas, Sergio, et al. I+D+VS: futuros de la vivienda social en 7 ciudades. Madrid: Fundación Arquitectura COAM, Ministerio de Fomento, 2011.

Rosana Rubio-Hernández

-Título del proyecto: Plan Especial Temático de protección de las murallas árabe y cristiana de Madrid: trabajos previos Duración: 1 mes Entidades participantes: Gerencia Municipal de Urbanismo del Ayuntamiento de Madrid Investigador responsable: Sergio Martín Blas nº de investigadores participantes: 5 Financiación: 18.000 E

01-08-2011 / 01-09-2011

b.02.03. Dirección de trabajos de investigación

Otras investigaciones Investigación pretdoctoral

Contribución: Investigadora. El proyecto consiste en realizar un análisis, diagnóstico y propuesta, para poner en valor el área urbana comprendida dentro de los cercos de las antiguas murallas árabe y cristiana de la capital. Se estudia también la relación entre esta zona y el nuevo desarrollo de Madrid Río, por su relación geográfica e histórica. Metodológicamente se realiza un trabajo de campo, con toma de datos in-situ y un mapeo exhaustivo de múltiples aspectos urbanísticos.

• Grado Habilitante en Arquitectura UCJC (equivalente a Máster)

Resultado: Informe de investigación (303 páginas)

•

-Título del proyecto: “Taller urbano sobre la repercusión del del proyecto Madrid Nuevo Norte en el Barrio de Begoña”

-Tutora de 7 estudiantes de Trabajo Fin de Máster (TFM) 1 sobresaliente. 3 notables -Tutora de 5 estudiantes de TFM. 1 matrícula de honor. 1 sobresaliente. 2 notables -Tutora de 1 estudiante de TFM. Sobresaliente

2018-2019 2017-2018 2016-2017

b.03. Experiencia profesional

Curso 2017-18

• Obra de arquitectura propia

-Obra construida

-Vivienda unifamiliar en la Senda de Buitrago, Palencia

Aportaciones al proyecto: -Organización de vistas al barrio de Begoña y a la sede de DCN -Organización de los talleres conjuntos con los alumnos, entidades y empresas colaboradoras. -Incorporación de la fotografía y los sistemas de información geográfica como herramientas de análisis y diagnóstico urbano. -Comisariado, junto con los demás miembros del equipo, de la exposición del proyecto. -Contribución al libro del proyecto.

-Rehabilitación de una casa patio en Herencia, Ciudad Real

Curriculum vitae. Según modelo UPM

2018-2019 2017-2018 2016-2017 2015-2016 2014-2015

• Máster Universitario en Dirección de Protocolo, Producción, Organización y Diseño de Eventos

Duración: 6 meses (de enero a julio de 2018) Entidades participantes: UCJC, Distrito Castellana Norte (DCN), Asociación de Vecinos Barrio de Begoña, Paisaje Transversal. Responsable del proyecto: Miguel Ángel Díaz Camacho. nº de participantes: 7 Financiación: Distrito Castellana Norte

Resultados: - Exposición: Urban Seams. Costuras urbanas en el ámbito de Madrid Nuevo Norte. Impact Hub Madrid 6 / 8-11-2018. - Libro: Díaz Camacho, Miguel Ángel y Francisco G. Triviño, eds. Geourbanismos II. Cartografía de los afectos. Barrio Virgen de Begoña. Madrid: UCJC, 2018. 34

-Tutora de 4 estudiantes de Trabajo Fin de Gradp (TFG). 1 notable -Tutora de 2 estudiantes de TFG -Tutora de 1 estudiante de TFG -Tutora de 2 estudiantes de TFG. 1 notable -Co-tutora 21 estudiantes de PFG. 3 sobresalientes. 5 notables

b.03.01. Experiencia profesional por cuenta propia

Docente en proyecto de innovación educativa (N=1)

-Villa Parrato. Vivienda unifamiliar en Turégano, Segovia

En construcción

-Stand de la UCJC para la Feria AULA y Foro de Postgrado. Feria de Madrid, Madrid. -viviendas en el Escorial, Madrid Asociada con Ángela Rodríguez y David Alonso

2015

2005

2004

2002

-Concursos

-Shinkenchiku Competition: “Mille-Oeille.” Con Elena Pérez Guembe

2017

-Concurso: Auditorio musical en Alfafar, Valencia Asociaca con Ángela Rodríguez

2005

-Concurso: Parque de las palmeras en Garrucha, Almería Asociada con Ángela Rodríguez. Finalista

2004

-Ayuntamiento, mercado, casa de la cultura y teatro en Mutxamel, Alicante Con Ángela Rodríguez. 1ª Mención de honor

-Concurso: La casa del futuro. Congreso ANAVIF, Barcelona. Con Jon Laurenz. 1er Premio

de Oporto, Portugal. Con Ángela Rodríguez. 2º Premio Thyssenkurpp 2002

-Concurso: Plan urbanístico para el área del antiguo mercado abastecedor

2004 2003 2002

Rosana Rubio-Hernández

• Asociada con Carlos Puente

c. PRODUCCIÓN ACADÉMICA

c.01. Publicaciones indexadas

- Concursos

-Concurso de ideas para la biblioteca municipal de Las Tablas, Madrid -Concurso de rehabilitación del teatro de la Defensora Sollerense en Soller, Mallorca. Con LMPV Arquitectes -Concurso para la ampliación del Museo Sorolla en Madrid. 3er puesto. Con Alejandro Alférez, Arquitecto asociado. En colaboracion con Mira, Milla y Navarro -Concurso de edificio de 120 viviendas en Córdoba. Promovido por VIMCORSA. Con Alejandro Alférez -Concurso para centro de caracterización de recursos biológicos de la Universidad de Salamanca. Con Alejandro Alférez -Concurso para teatro y centro cívico en Azuqueca de Henares Con Alejandro Alférez -Concurso restringido nuevo edificio para la Fundación Cultural Giner de los Ríos en Madrid. 2º puesto. Con Alejandro Alférez

• Diseño de joyas

2018

2016

2012

2011

2010 2005

desde 2009

b.03.01. Experiencia profesional por cuenta agena -Acciona / NECSO. Jefe de oficina técnica

11-12-2000 /10-07-2002 1 año y 8 meses -Ampliación y rehabilitación del Hospital General de Segovia Obra de Carlos Ferrán

-Estudio Solid Arquitectura. Practicas profesionales 1999 1 año (tiempo parcial)

-Vivienda unifamiliar en Madrid - Concurso restringido para el restaurante de la Fundación Carlos de Amberes - Concurso Europan 5: Ya 199. Finalista

-Estudio Gabriel Ruiz Cabrero. Practicas profesionales

1994 /1999 5 años (tiempo parcial)

-Hotel en Conil. Cádiz -Conservación de la Mezquita de Córdoba

1999 1994 /1999

Nieto Fernández, Fernando, Rosana Rubio-Hernández and Mari-Sohvi Miettinen. “Funkkis Mökkis. Paper Huts and Domestic Natures at the Enso-Gutzeit Competition”. Zarch 16 (2021): (en proceso de revisión). ISSN: 2341-0531. Indicios de calidad: Avery Index to Architectural Periodicals, Avery Catalog, DOAJ, ERIH Plus, Dialnet, ISOC, Latindex, MIAR. Psegiannaki, Katerina, Francisco G. Triviño, Fernando Nieto Fernández y Rosana Rubio-Hernández (eds.). HipoTesis Serie Numerada 9 (2020). “Dibujar hábitos / Habitar dibujos”. ISSN: 2340-5147. (en proceso) Indicios de calidad: Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, JUFO (Nivel 1). Pérez Guembe, Elena and Rosana Rubio-Hernández. “Reconceptualising zoos through Mille-oeille: A posthuman techno-architecture to sustain human, non human and cultural continuum”. in Virtual aesthetics in architecture: designing in mixed realities, ed. Sara Eloy, Anette Kreutzberger and Ioanna Symeonidou. London: Routledge, 2021. ISBN: 9781032023731 (publicación 31-08-2021) Indicios de calidad: Registro de Publicaciones de Finlandia JUFO (nivel 3)(máximo). Publicación en inglés. Amplia difusión internacional. Latikka, Rita , Rosana Rubio-Hernandez, et al. “Older adults’ loneliness, social isolation and physical ICT in the era of ambient assisted living: a systematic literature review”. Journal of Medical Internet Research (aceptado para su publicación). ISSN: 1438-8871. Indicios de calidad: Open Access Journal, EBSCO, SCOPUS, etc. JUFO (nivel 2). Factor de impacto: 5.03 (2019). Nieto Fernández, Fernando y Rosana Rubio-Hernández. “On Hares, Ferrymen and Empathy in Architectural Education”. Arkkitehti. Finnish Architectural Review. 4 Empathy (2020): 31-33. ISSN: 0783-3660. Indicios de calidad: Revista del colegio de arquitectos de Finlandia (SAFA). Artículo por invitación, publicado en finés y en inglés. Psegiannaki, Katerina, Francisco G. Triviño, Fernando Nieto y Rosana Rubio-Hernández(eds.) HipoTesis Serie Numerada 8 (2020). “Intimidad y / en / o Comunidad”. ISSN: 2340-5147. Indicios de calidad: Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, JUFO (Nivel 1). Pérez Guembe, Elena and Rosana Rubio-Hernández. “Mille-Oeille: An architectural response to zoos’ obsolescence in post-anthropocentric times.” In DATA, MATTER, DESIGN: Strategies in Computational Design, eds. Nancy Diniz, Frank Melendez and Marcella del Signore. London: Routledge, 2021. ISBN 978-0-367-36909-5. Indicios de calidad: JUFO (nivel 3). Publicación en inglés. Amplia difusión internacional. Rubio-Hernández, Rosana. “El orígen del sueño de la arquitectura de cristal. Una aproximación”. Constelaciones 7 (2019): 123-137. ISSN: 2340-177X. Indicios de calidad: Avery Index to Architectural Periodicals, Emerging Source Citation Index, Latindex, ErihPlus, MIAR, Dialnet, EBSCO Information Services, Rebiun. Rubio-Hernández, Rosana y Miguel Ángel Díaz Camacho (inv. eds.). HipoTesis Serie Numerada 7 (2019). “La oportunidad del afuera”. ISSN: 2340-5147. Indicios de calidad: Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, JUFO (Nivel 1).

____.““Los muertos que vos matáis gozan de buena salud”. Crítica a la crítica posmoderna al

Curriculum vitae. Según modelo UPM

Funcionalismo”. HipoTesis Serie Numerada 6 (2018): 4-25. ISSN: 2340-5147. Indicios de calidad: Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, Registro de Publicacionesde Finlandia JUFO (Nivel 1). Rosana Rubio-Hernández

____. “El espacio urbano fulgurante. Anagogía laica en Times Square”. Zarch 9 (2017):198-212.

ISSN: 2341-0531. Indicios de calidad: Avery Index to Architectural Periodicals, Avery Catalog, DOAJ, ERIH Plus, Dialnet, ISOC, Latindex, MIAR.

____. “A Wall for all Seasons. Un modelo sostenible de “piel” tersa de vidrio”. RITA 8 (2017): 54-61. ISSN: 2340-9711. Indicios de calidad: ESCI (WoS), Scopus, Avery Index, Latindex, MIAR, Actualidad Iberoamericana, DOAJ, InfoBase Index, Dialnet, ISOC.

____. “Párrafos de arquitectura. Core[oh]Grafías. El misterio de la arquitectura y la risa” (Reseña).

BaC 7 (2017):199-200. ISSN: 0213-3474. Indicios de calidad: Scopus, REDIB, Dialnet, ISOC.

____. “Once Palabras para acercarse al vidrio”. Zarch 4 (2015):144-157. ISSN: 2341-0531.

Indicios de calidad: Avery Index to Architectural Periodicals, Avery Catalog, DOAJ, ERIH Plus, Dialnet, ISOC, Latindex, MIAR.

____. “Cultura Material.

Una entrevista con Richard Sennett”. Revista Arquitectura COAM 363 (2011): 54-55. ISSN: 0004-2706. Indicios de calidad: Avery Index to Architectural Periodicals, RIBA, MIAR, CARHUS, CIRC, Iconda, EAAE, REBIUN, Dialnet.

Rubio-Hernández, Rosana y Miriam García García. “Beyond the City Limits”. En

Geourbanismos II. Cartografía de los afectos. Barrio Virgen de Begoña, eds. Miguel Ángel Díaz Camacho y Francisco G. Triviño, 84-115. Madrid: UCJC, 2018. ISBN: 978-84-95891-76- 1.

Rubio-Hernández, Rosana. “El vidrio y sus máscaras. El sueño de la arquitectura de

cristal”, en Tesis recientes, ed. Alvaro Soto. Madrid: Fundación COAM, 2018. ISBN: 978-84-96656-81-9.

____. “Geology.” en Geourbanismos. Inventario de la ciudad emergente, eds. Marta Toral

y Miguel Ángel Díaz Camacho, 66-67. Madrid: UCJC, 2018. ISBN: 978 84 95891 73 0.

____. “Identity.” Ibídem, 186-89. ____. “Creativity.” Ibídem, 330-35.

____. “Mayrit, ¿un paisaje de agua?” en Geourbanismos. Atlas de la ciudad emergente, eds. Miguel Ángel Díaz Camacho y Francisco G. Triviño, 141-144. Madrid: UCJC, 2017. ISBN: 978-84-95851-70-9. ____. “Reinventar el patrimonio”, Ibídem, 220-225.

Rubio-Hernández, Rosana, Roser Marsall y Luis de la Flor. “Fachada de vidrio activo. Dispositivo electrocrómico”. Bia (2005): 99-114. ISSN: 1131-6470. Indicios de calidad: 1º Premio Nacional de Investigación Escuela de la Edificación. Colegio de Aparejadores de Madrid.

Marble Scott, ed. “Through Glass.” en Abstract 2007-08, 405. New York: Graduate School of Architecture, Planning and Preservation, 2009. ISBN: 1-883584-56-6. Incluye descripción del poster/exposición presentado en el congreso en 2007. Indicios de calidad: textos en inglés, amplia difusión internacional.

c.02. Publicación de libros

____. “CLC. Colored Liquid-Crystal.” Ibídem, 408, 1105, 1282, 1283. Incluye reseña de prototipo con patente provisional en EE. UU. Indicios de calidad: textos en inglés, amplia difusión internacional.

c.02.01. Libros

Nieto Fernández, Frenando y Rosana Rubio-Hernández. (eds.). Loneliness and the Built Environment. DATUTOP Occasional Papers 40. Tampere: Tampere University Press, 2021. Libro completo 167 pgs. ISBN: 978 952-03-1938-0 (pdf). 978-952-03-1937-3(print). Lahdelma, Ilmari, Fernando Nieto Fernández, Rosana Rubio-Hernández y Mari-Sohvi Miettinen (eds.). Traits of Nordic Architecture.Tampere: Tampere University Press, 2020. Libro completo, 184 pgs. ISBN: 978-952-03-1831-4 (impreso). 978-952-03-1832-1 (pdf).

Rubio-Hernández, Rosana. El vidrio: Fronteras y Máscaras. Madrid: Ediciones

Asimétricas, 2020. Libro completo 85 pgs. ISBN: 978-84-17905-05-7. Prólogo de Juan Navarro Baldeweg.

____. Material Matters. Sustainable Building Materials. (En proceso de revisión para su edición). Libro completo en inglés, 86 pgs. ____. Representación gráfica, maquetismo y presentación de proyectos de construcción.

Madrid:Tornapunta, 2012. Libro completo,190 pgs. ISBN: 978-84-15205-67-8.

c.02.02. Contribución en libros Rubio-Hernández, Rosana. “Sobre la escritura académica”, en Ph.D. Cult. Investigaciones en curso en Proyectos Arquitectónicos Avanzados #1, eds. Javier Maroto y Sergio Martín Blas. Madrid: Ediciones Asimétricas, 2021. ISBN: 978-84-17905-64-4.

Curriculum vitae. Según modelo UPM

c.02.03. Participación en libros Bell, Michael and Craig Buckley, ed. Permanent Change. Plastics in Architecture and Engineering. New York: Columbia GSAPP, Princeton Architectural Press, 2014. ISBN: 978-1-61689-166-4. Incluye reseña del poster/exposición “Plastic Chains”, para el concreso de 2011. Indicios de calidad: textos en inglés, amplia difusión internacional. Presentación en el congreso del mismo nombre. Itinerancias de la exposición: UPSAM 07 / 20-11-2011, GSAPP 30-03 / 30-04-2011). ____.Post-Ductility. Metals in Architecture and Engineering. New York: Columbia GSAPP, Princeton Architectural Press, 2012. ISBN: 978-1-61-689-046-9. Incluye reseña del poster/exposición “Metalsmyths”, para el congreso de 2009. Indicios de calidad: textos en inglés, amplia difusión internacional. Presentación en el congreso del mismo nombre. Itinerancias de la exposición UVA 30-03 / 31-05-2010; GSAPP 30-09 / 30-10-2009. ____.Solid States. Concrete in Transition. New York: Columbia GSAPP, Princeton Architectural Press, 2010. ISBN: 978-1-56898-895-5. Incluye reseña del poster/exposición “Concrete Trajectories”, para el congreso de 2008. Indicios de calidad: textos en inglés, amplia difusión internacional. Presentación en el congreso del mismo nombre. Itinerancias de la exposición: UVA 30-03 / 31-05-2010; GSAPP 01-10 / 31-10-2008. Rosana Rubio-Hernández

Bell, Michael and Jeannie Kim, ed. Enigneered Transparency. The Technical, Visual and Spatial effects of Glass. New York: Columbia GSAPP, Princeton Architectural Press, 2009. ISBN: 978-1-56898-798-9. Incluye reseña del poster/exposición “Through Glass”, para el congreso de 2007. Indicios de calidad: textos en inglés, amplia difusión internacional. Presentación en el congreso del mismo nombre. Itinerancias de la exposición: UVA 30-03 / 31-05-2010; GSAPP 26-09 / 31-10-2007.

c.02.04. Contribución en catálogos de exposiciones Ministerio de Fomento de España, ed. becoming. Madrid: Ministerio de Fomento, Fundación Arquia, 2018. ISBN: 978-84-09-01748-5 Reseña de la investigación “Through Glass” expuesta en el Pabellón de España en la 16 Bienal de Venecia. Indicios de calidad: Textos en inglés y castellano. Amplia difusión internacional. Difusión on-line: http://b-e-c-o-m-i-n-g.com/ Martín Blas, Sergio e Isabel Rodríguez Martín. ‘A pie de calle’: Vivienda social y regeneración urbana. Madrid: Mairea libros, 2014. ISBN: 978-84-943417-6-2. Lima: Arcadia Mediática, 2018. 80 pgs. ISBN: 987-84-947905-6-0. Incluye catálogo de la exposición comisariada en 2012. Ministerio de Fomento. Arquería de Nuevos Ministerios, Madrid. 23-02 / 29-04-2012 Indicios de calidad: textos del catálogo en español e inglés, distribución internacional, amplia difusión en prensa nacional, incluido el diario El País, reportaje en suplemento propiedades del 19 de abril de 2012: de la Vega, I., “sanar la ciudad con VPO: experiencias de mejora del entorno creando casas baratas”. Itinerancias de la exposición y distribución del catálogo en 2015 en Guayaquil, Ecuador: UCSG, 13 / 20-07, Universidad Espíritu Santo, 11 / 14-08. Martín Blas, Sergio, Ivan Pajares Sánchez, Maite García Sanchis e Isabel Rodríguez Martín eds. I+D+VS: futuros de la vivienda social en 7 ciudades. Madrid: Fundación Arquitectura COAM, Ministerio de Fomento, 2011. 46 pgs. ISBN: 978-84-96656 74-1. NIPO 161-11-049-1. Incluye catálogo de la exposición comisariada en 2012. Ministerio de Fomento. Arquería de Nuevos Ministerios, Madrid. 23-02 / 29-04-2012 Indicios de calidad: edición agotada / reseña en la revista Arquitectura Viva nº141, 2011, p.82 / 3 artículos científicos (Google Scholar), ej.: Nagle; Rappl; Medrano, “Metodos de analise de projetos habitacionais: uma discussao sobre o metodo i+d+vs” en Gestao de Tecnologia De Projetos, Sao Paulo, v.8, n.2, p. 105-115, 2013. Itinerancias de la exposición y distribución del catálogo en 2015 en Guayaquil, Ecuador: UCSG, 13 / 20-07, Universidad Espíritu Santo, 11 / 14-08. Toral, Marta y Miguel Ángel Díaz Camacho, ed. Geourbanismos. Inventario de la ciudad emergente, 66-67. Madrid: UCJC, 2018. ISBN: 978-84-95891-73-0. Indicios de calidad: Intinerancia de la exposición en 2018: Foro de las ciudades. IFEMA, Marid 13 / 15-06-2018; COAM, Madrid 06 / 21-09-2017.

c.02.05. Proyectos de arquitectura publicados

“Data & Matter”, en Time, Space, Existence, 410-413. Venecia: GAA Foundation - European Cultural Centre, 2018. ISBN: 978-90-826559-3-3. Incluye obra expuesta en el Palazzo Bembo con motivo de la 16 Bienal de Venecia, 2018. Indicios de calidad: Textos en inglés, amplia difusión internacional. Curriculum vitae. Según modelo UPM

Marble Scott, ed. “House in Connecticutt”, en Abstract 2006-07, ed. Scott Marble, 116. New York: Graduate School of Architecture, Planning and Preservation, 2008. ISBN: 1-883584-48-5. Incluye proyecto seleccionado del taller “Posthuman Domesticity” realizado en la GSAPP. Indicios de calidad: textos en inglés, amplia difusión internacional. Grupo Thyssenkrupp , ed. “Zuco”, en Premio Thyssenkrupp de Arquitectura 2002, 54-65. Madrid: Grupo Thyssenkrupp, 2003. Incluye proyecto premiado y expuesto en Oporto en 2002. Indicios de calidad: textos en castellano y portugués, amplia difusión internacional. Ministerio de Fomento. “Ya 199”, en 10 años de Europan en España, 81. Madrid: Ministerio de Fomento, Europal, Sepes, 1999. ISBN: 84-992609-5-5. Incluye proyecto finalista de Europan en 1999. Fundación Cultural COAM, ed. “Hueco”, en Concurso de ideas para alojamientos temporales, 56,57. Madrid: Ea! Edicines, 1996. ISBN: 84-88496-10-9. Incluye proyecto seleccionado y expuesto en la Fundación Cultural COAM en 1996. Departamento de Proyectos Arquitectónicos, ETSAM, ed. “Refugio Alpino”, en Planos 3 1, 2. Madrid: ETSAM, 1991. Incluye projecto seleccionado del curso de Proyectos 1990-91. Unidad Gabriel Ruiz Cabrero.

c.03. Comunicaciones y ponencias en congresos c.03.01. Congresos internacionales (ponencias invitadas o con selección por pares)

Autores: Carmen Toribio, Marín, Rosana Rubio-Henández 26 / 28-01-2022 y Rafael García García Título: “Paisaje Collage. La integración de las quintas de recreo del Camino de Aragón en la ciudad del siglo XXI” Congreso: III Congreso internacional cultura y ciudad Entidad organizadora: Escuela Técnica Superior de Arquitectura de Granada, (ETSAG) Lugar de celebración: ETSAG, Granada Publicación en actas: Sí. (en proceso) Autores: Fernando Nieto, Rosana Rubio Título: “Typologies of Sharedness. From utility to spatial experience at the new urban development of Hidanranta in Tampere, Finland”. Congreso: NAF/NAAR Symposium 2021 Entidad organizadora: Nordic Association of Architectural Research Lugar de celebración: Aarhus School of Architecture, Denmark Actas: Sí (En proceso)

3 / 4 -11 2021

Autores: Katerina Psegiannaki, Francisco G. Triviño, 10 - 2021 Rosana Rubio y Fernando Nieto Título: “Solas en el estado del bienestar. Cuatro escenas finlandesas” Congreso: Primer congreso internacional feminista de arquitectura y cuidados Entidad organizadora: ETSAM. Instituto de la Mujer. Ministerio de Igualdad Lugar de celebración: ETSAM Actas: Sí (En proceso)

Rosana Rubio-Hernández

Autores: Fernando Nieto, Rosana Rubio-Hernández 10 - 2021 Título: “Arquitectura, comunidad e individualidad: Una línea de invesigación de la Escuela de Arquitectura de la Universidad de Tampere” Congreso: Primer congreso internacional feminista de arquitectura y cuidados Entidad organizadora: ETSAM. Instituto de la Mujer. Ministerio de Igualdad Lugar de celebración: ETSAM Actas: Sí (En proceso) Autores: Rosana Rubio-Hernández, Fernando Nieto y Carmen Toribio Título: “Et in Arcadia Ego. The Metaphor of the Ruin in Alvar Aalto´s Work as a Driver for Cultural Sustainability”. Congreso: 4th Alvar Aalto Researchers’ Network Seminar 2020 - (Ever)green Alvar Aalto. Entidad organizadora: Alvar Aalto Academy Lugar de celebración: Pori, Finlandia Publicación en actas: Sí. ISBN:

27 / 28-08-2021

Autores: Rosana Rubio-Hernández y Elena Pérez Guembe Título: “Mille-Oeille. Thousand eyes, Thousand layers.” Congreso: Artificial Realities: Virtual as an Aesthetic Medium for Architectural Ideation Symposium. Entidad organizadora: ISTAR Information Sciences, Technology and Architecture Research Center Lugar de celebración: Lisboa, Portugal Actas: Publicación de libro en Routledge

14-10-2020

Autora: Rosana Rubio-Hernández Título: “Round About a Wall for all Seasons” 11 / 13-12-2017 Tipo de participación: Ponencia seleccionada, revisión por pares Congreso: 1er Congreso Iberoamericano redfundamentos. Experiencias y métodos de investigación. Madrid. Entidad organizadora: redfundamentos Lugar de celebración: Madrid Publicación en actas: Sí (ISSN: 2531-1840), pp. 871-884. Autora: Rosana Rubio-Hernández Título: “Desvelando los viajes de agua de Madrid” 12 / 14-07-2017 Tipo de participación: Ponencia seleccionada, revisión por pares Congreso: 2º Congreso Internacional de Paisaje Urbano. Entidad organizadora: World Trade Technical Consulting. Lugar de celebración: Barcelona Publicación en actas: resumen en memoria del congreso, sin ISSN, p. 46. Autora: Rosana Rubio-Hernández Título:“Complex Glasses. Towards a Sustainable Building Envelope” Tipo de participación: Ponencia invitada Congreso: SOStenibilidad Calling Symposium. Lugar de celebración: Universidad Antonio de Nebrija, Madrid

16-05-2013

Autora: Rosana Rubio-Hernández 30-03 / 30-04- 2011 Título: “Plastic Chains” Tipo de participación: Poster/exposición Congreso: Permanent Change. Plastics in Architecture & Engineering GSAPP, Columbia University Lugar de celebración: Nueva York. Curriculum vitae. Según modelo UPM

Autora: Rosana Rubio-Hernández 30-09 / 31-10-2009 Título: “Metalsmyths” Tipo de participación: Poster/exposición Congreso: Post Ductility. Metals in Architecture & Engineering GSAPP, Columbia University Lugar de celebración: Nueva York. Autora: Rosana Rubio-Hernández Título: “CLC a Colored Liquid Crystal. 12 / 15-06-2009 Prototype Description and Design Opportunities” Tipo de participación: Ponencia seleccionada, revisión por pares Congreso: 11th International Conference: Glass Performance Days. Lugar de celebración: Tamprere, Finlandia Publicación en actas: Sí (ISBN: 978-952-5836-01-1), pp. 274-279. Autora: Rosana Rubio-Hernández Título: “Concrete trajectories” Tipo de participación: Poster/exposición Congreso: Solid States. Concrete in Architecture & Engineering GSAPP, Columbia University Lugar de celebración: Nueva York. Autora: Rosana Rubio-Hernández Título: “Smart Materials and the Luminous Environment” Tipo de participación: Ponencia invitada Congreso: Sustainability + Architecture a Feed-Back Event. Eyebeam, Art and Technology Center in New York. Lugar de celebración: Nueva York.

01-10 / 31-10-2008

29-03-2008

Autora: Rosana Rubio-Hernández 26-09 / 31-10-2007 Título: “Through Glass” Tipo de participación: Poster/exposición Congreso: Engineered Transparency. Glass in Architecture & Engineering GSAPP, Columbia University Lugar de celebración: Nueva York.

c.03.02. Congresos nacionales (ponencias invitadas o con selección por pares) Autora: Rosana Rubio-Hernández Título: “Envolvente de vidrio electrocrómico. Energía+Información” Tipo de participación: Ponencia seleccionada, revisión por pares Congreso: Foro ARCA II. Arquitectura y Calidad de vida. Edificación y sostenibilidad: un compromiso posible Entidad organizadora: Consejo Superior de los Colegios de Arquitectos de España Lugar de celebración: Madrid Publicación en actas: Sí

26 / 28-10-2004

Autora: Rosana Rubio-Hernández Título: “Envolvente de vidrio electrocrómico. Energía+Información” 23 / 25-09-2004 Tipo de participación: Ponencia invitada Congreso: 1er Congreso de investigación en arquitectura Entidad organizadora: ETSA de Sevilla Lugar de celebración: ETSA de Sevilla Rosana Rubio-Hernández

Autora: Rosana Rubio-Hernández Título: “Envolvente de vidrio electrocrómico. Energía+Información” Tipo de participación: Ponencia invitada Congreso: Congreso ACXT Entidad organizadora: IDOM Lugar de celebración: Círculo de Bellas Artes, Madrid.

18 / 19-07-2004

Autora: Rosana Rubio-Hernández Título: “Envolvente de vidrio electrocrómico. Energía+Información” Tipo de participación: Ponencia invitada Congreso: Solar Decathlon 2005 Entidad organizadora: ETSA de Madrid Lugar de celebración: ETSA de Madrid

c.05.01. Publicaciones on-line -“Through Glass”. b-e-c-o-m-i-n-g. Pabellón de España. 16ª Bienal de Arquitectura de Venecia, 2004

Autora: Rosana Rubio-Hernández Título:-“El vidrio y sus máscaras. El sueño de la arquitectura de cristal” Tipo de participación: Conferencia invitada Jornada: Tesis recientes Entidad organizadora: Fundación Cultural COAM Lugar de celebración: COAM Autora: Rosana Rubio-Hernández Título:-“Once palabras para hablar del vidrio” Tipo de participación: Conferencia invitada Jornada: V encontro da artesania tradicional e popular de Galicia Entidad organizadora: Fundación Centro Galego da Artesanía e do Deseño Xunta de Galicia Lugar de celebración: Agolada, Pontevedra

Science and Technology Venues, Columbia University Patente provisional en EEUU: 2413.082 PRV. Prototipo de vidrio de cristal líquido de color

Curriculum vitae. Según modelo UPM

On-line catalogue on light-control technologies and their architectural implementation. 2008.

c.05.02. Selección de otras publicaciones y prensa 11-03-2019

-Entrevista: Montojo, Marta. “Las soledades Urbanas”. Ciudad Sostenible (julio, 2020): 31-43.

-CityFollowers #2. Common Public Space. 2nd semester 2015-16, Course outline. Universidad

Camilo José Cela, 2017. ISBN. 978-84-95891-66-2.

-CityFollowers #1. Housing. I. 1st semester 2015-16, Course outline. Universidad Camilo José 17-04-2017

Cela, 2016. ISBN. 978-84-95891-65-5.

-“Image of a Mechanochromic luminiscent Dye on Polypropylene.” Journal of Materials Chemistry,

June 2011. Issue cover. ISSN: 0959-9428.

-“El premio Thyssenkrupp de arquitectura ya tiene dueños”. El comercio, 29 de enero, 2003. 09-07-2016

-“Duas dezenas de propostas para Mercado Abastecedor”. Jornal de Noticias ,17 de noviembre, 2002.

-“Premio CAAT a la Vivienda del futuro”. Noticias CAAT, abril, 2003. -“Los edificios del futuro mudarán la piel”. Gaceta Universitaria, febero, 2003.

c.04. Patentes -Systems and Methods with Colored Liquid Crystals

2018.

-“CLC. Colored Liquid-Crystal.” In D-LITE. MIT’s Database for Light Interacting Technologies.

c.03.03. Conferencias invitadas Autora: Rosana Rubio-Hernández Título: “Flores raras” Tipo de participación: Conferencia invitada Jornada: Cine y Arquitectura Entidad organizadora: Fundación Cultural COAM Lugar de celebración: COAM

c.05. Otras publicaciones

2008

Rosana Rubio-Hernández

d. OTROS MÉRITOS d.01 Gestión académica - Coordinadora del curso Advanced Architectural Design VI Tampere University, School of Architecture

01-01-2021 / 31-05-2021 01-01-2020 / 31-05-2020

01-09-2018 / 31-05-2019

- Directora del Grado en Paisajismo UCJC

- Secretaria Académica Facultad de Tecnologia y Ciencia de la UCJC - Miembro de la Junta de Escuela. EsAyT, UCJC

12-09-2016 / 31-05-2019 12-09-2016 / 31-05-2019

- Plenario de la Conferencia de Directores de Escuelas de Arquitectura, Valencia. Representante de la Facultad de Tecnología y Ciencia de la UCJC (Antes, Escuela de Arquitectura y Tecnología (EsAyT)) - Coordinadora de Proyecto Fin de Grado EsAyT, UCJC

7-06-2018

Curso 2015-16

- Secretaria de Comité de selección de profesorado. EsAyT, UCJC -Academic Advisor. UVA, School of Architecture -Admissions Committee. UVA, School of Architecture -Faculty and Dean Search Committee. UVA, School of Architecture

Curriculum vitae. Según modelo UPM

Curso 2015-16 Curso 2014-15 Curso 2009-10 Curso 2008-09 Curso 2009-10 Curso 2008-09 Curso 2009-10

Rosana Rubio-Hernández

d.02 Movilidad

d.03 Otras actividades

d.02.01. Estancias internacionales por docencia e investigación

d.03.01. Organización de reuniones científicas y técnicas

- Karel de Grote University College. Amberes, Bélgica

-LOBE. Loneliness and the Built Environment. Loneliness and the Built Environment. Philosophical, Societal and Technological Perspectives Organizadora y moderadora de la mesa redonda Jornada con tres ponencias: -Juhani Pallasmaa. Prof. Emeritus, Helsinki University of Technology -Ben Lazare Mijuskovic. Prof. Emeritus, California State University -Christina Victor. Prof. of Gerontology and Public Health, Brunel University London Entidad organizadora: TAU Sustainable Welfare Systems research initiative Financiado por: The Academy of Finland Lugar de celebración: Tampere Univesity, School of Architecture

Visiting lecturer. Taller: City Branding. From Sales Strategies to Placemaking Tactics

- Programa ERSAMUS + 2021-2022 15-11-2021 / 24-12-2021 Movilidad internacional de Personal de Educación Superior 3 ects - Programa ERASMUS+ 2020-2021 22-04-2021 / 27-05-2021 3 ects -Programa ERASMUS+ 2019-2020 04-05-2020 / 08-05-2020 3 ects -Programa ERASMUS + 2018-2019 06-05-2019 / 10-05-2019 3 ects - University of Liverpool School of Architecture. Liverpool, Reino Unido

Visiting lecturer. Bachelor in Architecture. Environmental Design 2

-Taller. Performative Ceremic Screens. Illuminating Through Ceramics

30-06 / 4-07-2011 40 h.

-Clase. Material Matters in Sustainable Architecture -Clase. Switchable Glasses. Prototypes & Design Opportunities Cargos docentes fuera de España (mencionados en b.01. Experiencia docente)

6-11-2013 2h. 22-11-2012 2h.

- Tampere University, School of Architecture. Tampere, Finlandia University Teacher 01-06-2019 / en curso 2 cursos - University of Virginia, School of Architecture. Charlottesville, Virginia, EE.UU. Lecturer 01-08-2008 / 31-05-2010 2 cursos Cargos de investigación fuera de España (mencionados en b.02. Experiencia investigadora) - Tampere University, School of Architecture. Tampere, Finlandia Posdoctoral Research Fellow 01-01-2007 / en curso 2 años - GSAPP, School of Architecture. Charlottesville, Virginia, EE.UU. Part Time Researcher 01-06-2007 / 31-03-2011

d.02.02. Estancias internacionales por estudios

-University of Plymouth, School of Architecture. Plymouth, Reino Unido

Full time postgraduate visiting research student European Doctorate program

01-10-2005/ 31-05-2006 2 semestres

Estancia internacional por estudios conducente a dos títulos (mencionada en a.01. Formación académica) -GSAPP, Columbia University. Nueva York, EEUU

Full time student 01-06-2006/ 21-05-2008 MsC. in Advanced Architectural Design Certificate in Advanced Architectural Research

Curriculum vitae. Según modelo UPM 48

2 años. 82 Créditos

- Urban Seams. Costuras urbanas en el ámbito de Madrid Nuevo Norte Jornada con taller. Organización y ponente Entidad organizadora: Distrito Castellana Norte, Impact Hub, Universidad Camilo José Cela. Lugar de celebración: Impact Hub, Madrid. -Smart Water 2017. La gestión inteligente de un recurso escaso Mesa redonda. Moderadora del debate con representantes de: Ministerio de Agricultura y Pesca, Alimentación y Medio Ambiente, Schneider Electric, Indra, Esri, Canal de Isabel II. Entidad organizadora: Executive Forum Lugar de celebración: Universidad Camilo José Cela, Madrid. - CityFollowers Talks. Jornadas de innovación y gestión urbana Jornada internacional. Organización y miembro del comité científico. Entidad organizadora: Universidad Camilo José Cela, Lugar de celebración: Universidad Camilo José Cela, Madrid. #5 “Gestión Urbana. Distrito Castellana Norte” Paticipan representantes de: Distrito Castellana Norte, Espacio Vecinal Barrio Virgen de Begoña, Paisaje Transversal #4 “Technology: Smart…¿What?” Paticipan representantes de: Ayuntamiento de Madrid Plan Nacional e Ciudades, Inteligentes, Congreso de Ciudades inteligentes, COAM, Ubiquity Consulting, Hackity. #3 “Mobility: Acess, Connect, Share” Paticipan representantes de: Ayuntamiento de Madrid, COAM, Gea 21 y Bluemove. #2“Heritage: Co-Management and Rehabilitation” Paticipan representantes de: Espacio Vecinal Arganzuela, La Casa Invisible, Matadero-Intermediae, Project Darwin Burdeos-Francia.

16-12-2019

6 / 8-11-2018

17-11-2017

19-01-2018

16-06-2017

30-05-2017

28-03-2017

Rosana Rubio-Hernández

d.03.02. Comisariado de exposiciones sobre arquitectura y urbanismo (N=6)

-“Urban Seams. Costuras urbanas en el ámbito de Madrid Nuevo Norte” En colaboración con CityFollowers, grupo de investigación Facultad de Tecnología y Ciencia, UCJC. Subvencionada por Distrito Castellana Norte. - Impact Hub, Madrid Dentro del grupo de investigación de la UCJC CityFollowers. - Foro de las ciudades. IFEMA, Marid - Espacio Universidades. COAM, Madrid - University of Virginia School of Architecture - “ Plastic Chains” - Semana de la Ciencia 2011. Universidad Pontificia de Salamanca - “Metalsmyths” - University of Virginia School of Architecture - “Concrete Trajectories” - University of Virginia School of Architecture

06 / 08-11-2018

-“Geourbanismos. Inventario de la Ciudad Emergente” . Con catálogo

- “Through Glass”

d.03.05. Particiáción en comités académicos

13 / 15-06-2018 06 / 21-09-2017

30-03 / 31-05-2010 07-11 / 20-11-2011

30-03 / 31-05-2010 30-03 / 31-05-2010

- “A pie de calle. Vivienda social y regeneración urbana”. Con catálogo d.03.03. Asistente de comisariado en exposiciones (N=2)

En colaboración con NUTAC (Nuevas Técnicas de Arquitectura y Ciudad). Grupo de investigación ETSAM, UPM. -Ministerio de Fomento. 23-02 / 29-04-2012 Arquería de Nuevos Ministerios, Madrid - “Form as Strategy”. Comisaria Joan Ockman. -Temple Hoyne Buell Center for the Study of American Architecture. Columbia University

04-2008

d.03.04. Participación en redes de investigación

- Miembro de la Acción COST. Net4Age Desde 11-2020 International interdisciplinary network on smart healty age-friendly environments. Working groups: User-centered inclusive design of age-friendly environments and communities, and Reference framework. - Miembro de la Acción COST. Sheld-on Desde 08-2020 European multidisciplinary network for a safely, comfortably and healthily elderly life. Working group: Solutions for ageing at home in the community and at work.

Curriculum vitae. Según modelo UPM

- Tesis doctorales -Vocal suplente en Tribunal de Tesis Doctoral ETSAM. Departamento de Proyectos Tesis: “John Hejduk y la pedagogía de proyectos arquitectónicos

2021

en la Cooper Union 1964-2000” Doctoranda: Lisseth Mireya Estrella Cobo Director: Dr. Sergio Martín Blas -Vocal en Tribunal de Tesis Doctoral 22-06-2021 ETSAM. Departamento de Proyectos Tesis: “La compacidad como sistema espacial relacional. Una genealogía del Raumplan” Doctoranda: Marta Toral Guinea Director: Dr. Arturo Blanco Herrero -Vocal suplente en Tribunal de Tesis Doctoral. 02-2021 CEU. Escuela Internancional de Doctorado (CEINDO) Tesis: “Decrecimiento urbano: la desclasificación del suelo urbanizable en la Comunidad de Madrid a 2020. Agenda urbana española y objetivos de desarrollo sostenible” Doctorando: Jesús Alejandro Fernández Fernández Directores: Dr. Santiago de Molina Rodríguez y Dr. Juan Manuel Ros García - Tribunales TFM. Máster Universitario en Dirección de Protocolo, Producción, Organización y Diseño de Eventos. UCJC -Secretaria Curso 2017-18 -Vocal Curso 2016-17

- Tribunales TFG. Grado en Arquitectura. UCJC

-Presidenta -Vocal -Vocal -Presidenta -Presidenta -Presidente -Secretaria

11-02-2019 14-07-2017 26-06-2017 13-02-2017 01-07-2016 08-02-2016 05-03-2015

d.03.06. Particiáción en comités científicos de congresos, revistas y concursos

-Miembro del cómité científico Primer congreso internacional feminista de arquitectura y cuidados

10-2021

11/2020

-Revisora. Revista VAD 04. Veredes, arquitectura y divulgación “VAD 04. Los secundarios”. Indicios de calidad: DOAJ, Dialnet, MIAR, REBIUN, Latindex, etc.

-Revisora. Revista Rassegna di architettura e urbanistica, 161 “Vivere, abitare, condividere”, eds. Maria Argenti y Sergio Martín Blas Indicios de calidad: Avery Index. Registro de Publicaciones de Italia (Clase A)

08/2020

Rosana Rubio-Hernández

-Miembro del cómité científico Fifth International Conference on Universal Design Aalto University, Helsinki, Finlandia

09/11-06-2021

-Revisora. rita_redfundamentos. Desde el nº 9 01-01-2018 Indicios de calidad: ESCI (WoS), Scopus, Avery Index, Latindex, MIAR. Actualidad Iberoamericana, DOAJ, InfoBase Index, Dialnet, ISOC. -Vocal de jurado. programa Gamechangers & Cities de UnLtd Spain 11-01-2018 -Vocal de Jurado. VI Edición del Festival internacional 20 / 24-11-2018 de Cine y Arquitectura de España (FICARQ).

-Revisora. Revista de Construcción. Journal of Construction. Vol 17. nº 2 Revista de la Escuela de Construcción Civil of Pontificia Universidad Católica de Chile, Santiago, Chile. Indicios de calidad: Journal Citation Report of Thomson Reuters, Scopus, SciELO, LATINDEX y DOAJ.

06-2018

-Vocal de Jurado. XXVII Edición del concurso ibérico de soluciones constructivas PLADUR.

19-04-2017

-Asesoria científica para el proyecto ERASMUS + Program: “Construction Inherance. Transfer of Know-How from Older Construction Workers to Young Ones” Fundación Laboral de la Construcción.

27-05-2016 / 2019

-Revisora. Revista Sociedad y Utopía. nº47 Indicios de calidad: CARHUS +, CIRC, REBIUN, Dialnet, Latindex.

22-04-2016

-Revisora. Congreso Art, Science, City 2015 Indicios de calidad: tres ediciones, congreso bienal internacional

22 y 23-10-2015

-Beca I+D de la Fundación Rafaél Escolá

-Columbia University Alumni -Colegio Oficial de Arquitectos de Madrid. Arquitecto Colegiado

Desde 2008 Desde 10-12-1999

01-09-2002 / 30-07-2004

-Premios

-3er puesto. Concurso para la Ampliación del Museo Sorolla en Madrid Ministerio Educación, Cultura y Deporte. Asociada con Carlos Puente -2º puesto. Concurso restringido Nuevo edificio para la Fundación Cultural Giner de los Ríos en Madrid Asociada con Carlos Puente

-Tenure Track Position (nominada por el Profesor Michael Bell) GSAPP Columbia University. -Tenure Track Position (nominada por el Director de Arquitectura Iñaki Alday). UVA, School of Architecture

2005

10-02-2005

-1er premio La vivienda del futuro. ANAVIF

09-03-2003

-2º Premio Thyssenkrupp de Arquitectura. Plan urbanístico para el área del antiguo mercado abastecedor de Oporto, Portugal. Asociada con Ángela Rodríguez

19-12-2002

-Finalista Concurso Europan 5: Ya 1999. Colaboradora de SOLID Arquitectura

1999

- Obra expuesta

-“Shells, Leaves, Origami, Traces.” Diseño de joyas

Centro de Arte Contemporáneo de Mijas, Málaga

-“Mille-Oeille.” Proyecto de Arquitectura

Data & Matter in Time, Space, Existence. Palazzo Bembo, Venecia

08-06-2018 / 30-07-2018

-“Premio de Arquitectura ThyssenKrupp 2002”. Proyecto de Arquitectura Culturgest Porto, Portugal -“Concurso Alojamientos Temporales”. Proyecto de Arquitectura Fundación COAM, Madrid

• Docencia (Ver cartas de reconocimiento pp. 645- 649)

2016

-1 ª mención de honor Ayuntamiento, mercado, casa de la cultura y teatro en Mutxamel, Alicante. Asociada con Ángela Rodríguez

d.03.08. Premios y reconocimientos

26-10-2004

• Profesional

d.03.07. Membresía

-1er Premio de Investigación Escuela de la Edificación Vidrio electrocrómico. Energía + Información.

26-05 / 25-11-2018

01-2003

06-1996

2020

2008

• Investigación

-Primera Mención de Honor XII Concurso Bienal arquia/tesis 2019. 181 tesis presentadas, 14 preseleccionados, 2 premios y 6 menciones

-Tesis expuesta en el Pabellón de Espana, b-e-c-o-m-i-n-g. 16 Bienal de Venecia, 2018.

Curriculum vitae. Según modelo UPM

16-12-2019

26-05-2018/25-11-2018 Rosana Rubio-Hernández

Portfolio Académico y profesional

01. Producción académica

01.01. Arquitectura, communidad e individualidad (investigación postdoctoral) 01.02. Arquitectura y materialidad (investigación predoctoral, doctoral y postdoctoral) 01.03. Arquitectura nórdica (investigación postdoctoral) 01.04. Otras investigaciones y proyectos docentes

01.01. Arquitectura, communidad e individualidad

Proyectos de investigación financiados. The Academy of Finland

SOCIETAL (Pilot project)

AIsola

Recently, attention has been paid to loneliness and social isolation among the older people; at first, because in many societies the number of seniors increases; and currently, due to the coronavirus crisis which has aggravated the situation. AISOLA aims to assess the phenomena, precisely at this very moment, through a multidisciplinary project combining experts from five research groups addressing architecture, social psychology, gerontology, and AI technology.

Resultados: -Artículo Latikka, Rita , Rosana Rubio-Hernandez, et al. “Older adults’ loneliness, social isolation and physical ICT in the era of ambient assisted living: a systematic literature review”. Journal of Medical Internet Research (aceptado para su publicación). ISSN: 1438-8871. Indicios de calidad: Open Access Journal, EBSCO, SCOPUS, etc. JUFO (nivel 2). Factor de impacto: 5.03 (2019).

AIsola Implementation of contextual complexity in AI-based assessment systems of older adults’ social isolation 01-01-2021 / 31-12-2022

SOCIETAL (Pilot project) Ambient Assisted Living and Social Robots: The Independence and Isolation Balance 01-10-2019 / 30-03-2020

We depart from a heuristic case study: a recent research trend on AI solutions to ‘detect and predict’ older people loneliness and/ or social isolation, based on the algorithmic correlation of older people behavioral patterns with these phenomena. From this case we extract the hypothesis that will drive our preliminary hypothesis-testing case study in chosen premises provided by Sointu Senioripalvelut, in the metropolitan area of Tampere. Researchers conduct a mix-method research, targeting a sample of older people (N=15-25). Two complementary case studies run in parallel. First one being an empirical study of the contextual conditions of older people’s living independently but visiting on a regular basis the care facilities, run by Sointu Senioripalvelut, and their urban context. Such scenarios are assessed from spatial and social perspectives. The second experiment applies AI-based wearable sensor-technology, aiming at detecting and predicting social isolation of the same sample of people. Together the studies formulate a comprehensive view on older people social isolation, considering their complex contextual living contingencies. Our research questions are as follows: RQ1) What are the contextual factors affecting social isolation at the domestic and community scale; RQ2) What are the contextual factors affecting older people’s social isolation at the urban scale; being the contingencies brought by the pandemic major aspects to consider; and RQ3) How can the AI detection and prediction models be perfected to accurately respond to complex contextual situations. The major outcome of the project is a publication targeting academia, to set the theoretical and empirical bases to create, in a future project, a platform to assess older people’s social isolation. (Ver a continuación el documento presentado a la convocatoria)

AIsola Duración: 2 años. En curso Entidades participantes: Tampere University Intelligent Society Platform and the Academy of Finland. Investigador responsable: SPREAD. Fernando Nieto Nº de investigadores participantes 12 (5 grupos multidisciplinares de investigación) Financiación: 270.000 E Contribución: Conceptualización y redacción del proyecto. Investigación . Gestión. Producción y difusión de reslutados. SOCIETAL (Pilot project) Duración: 6 meses. Finalizado Entidades participantes: Tampere University Intelligent Society Platform and the Academy of Finland. Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 7 (5 grupos multidisciplinares de investigación) Financiación: 50,000 E Contribución: Conceptualización y redacción del proyecto. Investicación. Gestión. Producción y difusión de resultados.

Implementation of contextual complexity in AI-based assessment systems of older people's social isolation (AISOLA) A preliminary hypothesis-testing case study at Sointu Senioripalvelut, in Tampere, during pandemic times Fernando Nieto (coordinator), Mari Aaltonen, Samuel Afolaranmi, Linda Enroth, Outi Jolanki, Rita Latikka, Elena Simona Lohan, José L. Martínez Lastra, Atte Oksanen, Rosana Rubio, Outi Tamminen, Saigopal Vasudevan Abstract Recently, attention has been paid to loneliness and social isolation among the older people; at first, because in many societies the number of seniors increases; and currently, due to the coronavirus crisis which has aggravated the situation. AISOLA aims to assess the phenomena, precisely at this very moment, through a multidisciplinary project combining experts from five research groups addressing architecture, social psychology, gerontology, and AI technology. We depart from a heuristic case study: a recent research trend on AI solutions to ‘detect and predict’ older people loneliness and/or social isolation, based on the algorithmic correlation of older people behavioural patterns with these phenomena. From this case we extract the hypothesis that will drive our preliminary hypothesistesting case study in chosen premises provided by Sointu Senioripalvelut, in the metropolitan area of Tampere. Researchers conduct a mix-method research, targeting a sample of older people (N=15-25), and their family members when appropriate. Two complementary case studies run in parallel. First one being an empirical study of the contextual conditions of older people’s living independently but visiting on a regular basis the care facilities, run by Sointu Senioripalvelut, and their urban context. Such scenarios are assessed from spatial and social perspectives. The second experiment applies AI-based wearable sensor-technology, aiming at detecting and predicting social isolation of the same sample of people. Together the studies formulate a comprehensive view on older people social isolation, considering their complex contextual living contingencies. Our research questions are as follows: RQ1) What are the contextual factors affecting social isolation at the domestic and community scale; RQ2) What are the contextual factors affecting older people’s social isolation at the urban scale; being the contingencies brought by the pandemic major aspects to consider; and RQ3) How can the AI detection and prediction models be perfected to accurately respond to complex contextual situations, and, what are the potential ‘hybrid measures’ (i.e. technological AI solutions and spatial-social innovations) that can be implemented to prevent social isolation of older people. The major outcome of the project is a publication targeting academia, to set the theoretical and empirical bases to create, in a future project, a platform to assess older people’s social isolation. Further, the results are formatted in an exhibition to impact broader audiences, to make visible the causes and potential hybrid measures to address older people’s social isolation, and to contribute to make AI solutions ‘transparent’ to society. The project’s outcomes will be further used as a guideline for technology development projects and to build full hypothesis-testing case studies and pilots. AISOLA embodies the vision of the ‘society 5.0’ concept, within which the Aurora AI Programme of Finnish National Government is framed. It also complies with the European Union and international institutions frameworks for smart age-friendly environments. Definition of the case study, the societal need and related ethics and values Loneliness and social isolation are circumstances that can occur at any stage of human life. Recently, attention has been paid to these circumstances among the older people, as, according to statistics, in 2050, 25% or more of the population of most countries will be over 60 years old (Harper 2006). Living alone in later life is a strengthening global trend (Jamieson and Simpson 2013). In Finland, living alone has growth in the last 10 years, mostly among persons aged 70 to 74, in 2019 there were 55% more persons belonging to this age group living alone than in 2009, being most of them women (Statistics Finland 2020). These phenomena are posed at latter life by factors such as decline in functional ability, illnesses and memory problems, the cessation of the productive role in society, declines in interpersonal support, losses such as widowhood and losing other family members and friends to dementia or by death, even witnessing death of their children. Furthermore, given the current circumstances caused by the coronavirus, the situation for this high-risk group of population has been aggravated, due to the necessary physical isolation measures and restrictions of social interactions, imposed by the COVID-19 pandemic. People have an innate need for social belonging (Baumeister and Leary 1995) and a widely used definition of loneliness refers to a subjective perception of an undesirable gap between actual and desired social relationships in terms of their quantity or quality (Perlman and Peplau 1981). Social isolation refers to ones’ quantity of social relationships and describes the lack of social contacts and integration with the social environment (Victor et al. 2005 and 2020), and can be objectively quantified (Beutel et al. 2017). Other distinct, but related concepts include 1

Rosana Rubio-Hernández

aloneness, being alone, and solitude. Among the variety of interventions aiming to assess human loneliness and social isolation partial solutions have been sought lately from the field of information and communication technology (ICT). AISOLA is a multidisciplinary project willing to address the older people need of social contact. The perspective is inspired by the results obtained in a systematic literature review: “Older people loneliness, social isolation, and physical ICT in the era of ambient assisted living: a systematic literature review” (Latikka et al. forthcoming) meaning by physical ICT, those solutions that incorporate sensors and other ICT devices in the physical case, requiring more than a software installation. The review compiles two differentiated main areas of research on older people loneliness and/or social isolation: one focuses on ‘alleviation’; and the other one in their ‘detection and prediction’. The first area of research explores a varied range of technological systems (social robots, virtual reality, and smart devices and homes). The second area, which is the ‘heuristic case study’ we depart from, delves on the capacity of artificial intelligence (AI) systems to ‘detect and predict’ the phenomena based on older people’s behavioural patterns. The systematic literature review critically examines this case study, which comprises nine research papers (Austin et al. 2016, Campos et al. 2016, Goonawardene et al. 2017, Huynh et al. 2014, Martinez et al. 2017, Petersen et al. 2014 & 2015, Sanchez et al. 2015, Walsh et al. 2014), and have found additional “explanatory and contextual variables, causal mechanisms, interaction effects, and scope conditions” (Collier 1999) to the ones that these AI systems we aim to address are considering. We hypothesize that the omission of such additions might affect ethical philosophical values, such as intimacy and privacy rights, and human dignity or transparency issues. We have identified research gaps and also conjecture that the previous studies on detection and prediction of loneliness and social isolation might not fit with certain academic and practice consensus. Thus, the aim of AISOLA is to outline a preliminary hypothesistesting case study based on the contacts obtained with the assistance of the service provider Sointu Senioripalvelut, who has several assisted living facilities including ordinary service housing (palveluasuminen) and service housing with 24/7 care (tehostettu palveluasuminen). Sointu Senioripalvelut also provides premises for meeting places and social activities to people living in the neighbourhood (Lähitori concept), a service which is also commissioned by the city of Tampere. In this project the focus is on people who move about and around the premises and who live in the neighbourhood but are regular visitors in the premises. Therefore, from this project we exclude people with advanced dementia since their mobility capacities are severely reduced due to their impairment. On being successful with this application, Sointu Senioripalvelut has already agreed on collaborating. Another important frame conditioning our research is the pandemic, which introduces a meaningful and timely novelty with respect previous studies. Thus, Understanding the impact of the pandemic situation in these older people’s social isolation and to explore potential solutions to assess it, now and in future similar conditions, might be one of the major contributions of AISOLA. Outline of the AI approach to the case and data sources Departing heuristic case study. AI detection and prediction of older people’s social isolation All the studies included in the mentioned review hypothesize about the potential of certain activities or daily habits (‘attributes’), including time spent in certain rooms of the house and/or out-doors, to infer the levels of loneliness and/or social isolation of older people. In all the studies, an empirical experiment is run to track certain daily activities in real time through physical ICTs; i.e. smart home solutions, smart phones’ GPS or WiFi location engines, or a combination of both (in some studies combined with virtual ICTs). Then, algorithms derive behavioral patterns from the gathered data. Afterwards, these factual scores are correlated with subjective standard measurements of loneliness and social isolation, in order to identify the attributes that meaningfully relate to these phenomena. In addition, studies validate their predictive models by different testing methods and indexes.

2. From social psychological perspective, according to gerontologist-geographer Prof. Christina R. Victor (2020) one of the two key attributes to the accepted definition of loneliness is that “there is a broad consensus that loneliness is an experience that is identified by individuals themselves and is not something that can identified or observed by others”. Following these lines, we argue that the detection and prediction of loneliness contradicts this attribute. Hence, it could be best to target social isolation, which fits better with aims of being objectively measured. 3. Older person’s out-of-home habits are measured in seven of the studies we are building upon (Campos et al. 2016, Goonawardene et al. 2017, Huynh et al. 2014, Martinez et al. 2017, Petersen et al. 2014 & 2015, Sanchez et al. 2015) and are reported as attributes that correlate negatively loneliness and social isolation. On the other hand, other analysed attributes (time spent in the living room, across various locations, walking speed, nocturnal movements and daytime napping) are not as consistent across studies. Thus, it seems relevant to pay attention to the habits related to an extended environment besides the older person’s private space or that of a facility. Given the progressive decline in later life and the consequent reduction of the area of mobility of an older person, our concept of ‘outing habits’ includes, time spent outside the house, number of outings, number of places visited outside a facility, but also time spent outside the room, number of times the person visits shared or common spaces in the facility and how varied are the places visited. Hence, we suggest to tactically focus on tracking attributes related to ‘outings’ in a broad sense. 4. From an ethical-philosophical point of view, the case study is framed in a dominant contemporary perspective that assesses loneliness from a ‘problem focused’ perspective, considering it a contingent and transient experience. This background contrasts to other approaches that argue that loneliness is the existential condition of each of us, thus it is permanent and unavoidable condition generated by the activity of consciousness (Mijuskovic 2020). The question would be here if it is relevant to broadening the theoretical background of these studies to delve deeply into the phenomena. Rather, we suggest that more efforts should be placed at their origin. As Victor (2020) argues: “we should not simply focus on a deficit model-looking at loneliness and isolation, but also seek to identify what supports good social health”. Hence, we aim to anticipate certain solutions that not only ‘detect and predict’ social isolation, but that ‘prevent’ it, contributing to the constitution of full age-friendly scenarios. Preliminary hypothesis-testing case study. Sointu Senioripalvelut service providers in Tampere

1. From an architectural-and-environmental-psychology perspective, we find that the nine compiled studies are lacking or not acknowledging the factors attaining the contextual complexity where the experiments are conducted as variables in their studies. The living spaces of the older people are considered as the mere carriers of sensor-based

AISOLA plan consists on enriching our departing heuristic case study, running two complementary experiments in parallel. First one focuses on qualitative data gathering of resident’s daily habits, and their spatial context. The actual location of data collections will be discussed with Sointu Senioripalvelut, which has four centres in the Tampere metropolitan area: Kuuselakeskus in Härmälä, Taatalakeskus in Taatala, Kaukaharjukeskus in Kaukajärvi, and Keinupuistokeskus in Hervanta. Related urban areas will be also considered. Second study uses AI technology, employing from a quantitative perspective, with similar procedures to the ones performed in the papers retrieved in the referred systematic literature review (see work packages, p. 9). In crossing the results of both data inputs, we aim to advance on filling the research gaps we have detected in the previous research and to advance on this research area, to improve AI-based solutions by further consideration of the contextual contingencies and to envision

The reviewed studies on AI detection and prediction of the loneliness and social isolation of older people reveal that the methods and solutions presented for their research purposes have a lot of potential but are yet insufficient. Hence, we aim to explore a series of ideas we have identified, with the aim of enriching the technological response to older people’s need of social contact. Justifications for our approach are as follows:

Producción académica. Arquitectura, comunidad, individualidad

monitoring systems used for tracking and further inferring the psychosocial conditions of loneliness and/or social isolation. So far, the actual physical characteristics and conditions of such ‘tracking system’ are not deeply taken into consideration and, for sure, they are facts that might be befuddling the results of the experiments, as few of the studies acknowledge. For instance, urban accessibility barriers in the surrounding urban area of older people’s houses might reduce their outings, therefore the predictive model might confuse this cause with that of the person being lonely. Besides urban conditions, architectural features, including houses’ layout and spatial compartmentalization, spatial sharing possibilities, physical and visual connection of interior and exterior spaces, and material qualities might be considered among other characteristics, since, as we know from the environmental psychology field, not only individuals shape the environment but the other way around too. In seeking accuracy in results and offering solutions that contribute to prevent loneliness and social isolation, we suggest that it might be relevant to enhance the capacity of the AI systems, improving the complexity and variety of living spaces ‘modelling’, together with specific social context of the older person. Further, all the nine studies are unidirectional, i.e. they infer loneliness and/or social isolation based in individuals’ behavioural patterns within certain contextual conditions and not the other way around: they do not seek to analyse the causes in order to intervene in their effect. Hence, we suggest using the AI system as a research tool to help us to understand better the contextual circumstances affecting older people social isolation.

Rosana Rubio-Hernández

opportunities for this technology to advance, not only in social isolation detection and prediction, but to prevent social isolation together with spatial-social innovations. We have selected Sointu Senioripalvelut premises as a collaborator who will assist us in obtaining the participants due to various reasons. 1) due to varied kind of facilities from the spatial perspective since the building typologies combine various kind of living arrangements according to different levels of connivance and geriatric needs. 2) the premise already has basic ICT technology implemented. 3) from the managerial point of view the service provider is high-quality procuring older persons with a comprehensive, active, and participatory life as possible, both alone and with others. 4) its location in four metropolitan areas of Tampere enable us to gather data of the outing habits of the older people in relation to the city outdoor spaces and service networks. 5) the safety protocols adopted by their facilities to provide opportunities for social activities, meetings and restaurant services during the pandemic makes them an interesting example to take into consideration. 6) having the consortium already performed successful studies with the institution and knowing already their commitment with the project, and their good disposition of the management in encouraging research collaboration, we consider it as a feasible and reliable data source for AISOLA. Architecture, as a combination of humanistic and technical discipline, has the power of enabling social relations and safeguard of intimacy simultaneously through architectural design and its strategies. AISOLA’s assessment of elderly people’s habits builds upon the idea that co-creation practices and participatory processes between final users, designers, service providers, legislators are crucial to ensure an inclusive design (Ahlava et al. 2018). 1) Spatial qualities of common spaces in the building for optimal user experience: quality and quantity of daylight, amplitude of views towards exterior and interior, different ceiling heights, layout of furniture, spatial filters, material comfort (visual, haptic). 2) Avoidance of spatial hierarchy and atomization: small, partitioned rooms are less flexible than open spaces with no hierarchy in size, accessibility, exteriorization, spatial layout and sequences (neutrality) (Nieto 2014). 3) Lack of functional specialisation (flexibility, adaptability): architectural elements (partitions, structure, technical elements) should be as compact and non-intrusive as possible. 4) Extracting domestic functions from the unit to communal, shared spaces: the more we share, the better social relations we have (spatial gradation from public to private through collectivization strategies (Nieto 2013). 5) Thermal comfort: indoor hygrothermal conditions affect quality of life, preventing dwellers to use shared spaces when they are not thermally comfortable. 6) Universal design practices to avoid architectural barriers. 7) Hygiene and sanitary conditions in shared and communal spaces. We will explore the hybridised of these possibilities with AI solutions to support healthy social habits among old people.

In its intention of contributing to enable a ‘meaningful existence’ for the older people by preventing their social isolation, AISOLA complies with the European Union (EU) and international institutions frameworks for agefriendly environments: 1) with three European Innovation Partnership (EIPs), ‘Smart cities and communities’ (EU n.d.), ‘Active and healthy aging’ (EU, EIP n.d.) and an incipient cross-EIP action spanning these previous objectives (EU, EIP n.d.) aiming to convey the concept of ‘smart age-friendly cities’; 2) with the United Nation’s (UN) 2030 Sustainable Development Goals (UN 2016), specifically the ones that the UN Economic Commission for Europe has related with aging (UNECE n.d.); 3) with the EU’s Triple Win Strategy, aiming to improve quality of life, efficiency of health care, and the expansion of the EU’s “silver economy” industry (EU 2005); 4) with the recommendations launched by the World Health organization ‘Global age friendly cities’ (WHO 2008); and finally, 5), with Urban Agendas traced by the UN-Habitat (2017), the EU (2016), and those particularized at the national level by several countries. Hence, due to AISOLA’s compliance with official frameworks for smart age-friendly environments, the project serves as a starting point for applying personal European Research Council grant proposals (starting, consolidator and advanced grants), as well as for other Horizon Europe call such as FET Open, Marie Curie and European wide project calls. Domestic funding sources will also be carefully considered and applied, in specific Academy of Finland, and together with company partners such as Business Finland. RQ3. AI assessment of older people’s social isolation. Emphasis on the Japanese ‘Society 5.0’ concept and Finnish ‘Aurora’ vision.

We frame AISOLA theoretically within various contemporary technological paradigms namely ‘ambient assisted living’, ‘smart cities’, ‘smart houses’, which can be bounded with the overarching Japanese concept of ‘Society 5.0’. This novel notion, which refers to the potential latter societal stage of development where technology is humancentred and society is knowledge intensive through the combination of data, information and knowledge (Deguchi et al. 2020). The concept includes as a key goal to achieve ‘the merging of cyberspace with the physical space’, in pursuing to revolutionise the living spaces and habits of the public through an iterative and recurrent cycle of data gathering, analysis, information production and its application in the ‘physical space’ or ‘real world’ for the resolution of social problems, by providing goods and services that granularly address manifold latent needs (Ibidem), like precisely is the one AISOLA is addressing: older people’s social isolation in pandemic times. Hence, AISOLA aligns with these principles on AI technology solutions for addressing social isolation phenomena, and their intermingling with the real-world. Likewise, dealing with the real-world's premises implies high levels of diverse complexity; hence, the multidisciplinary approach of the project. One of the problems that AI entails is its ‘opacity’ both for the users and for knowledge fields and practices other than ICT ones, who might find their utilities difficult and/or risky to understand and to be implemented in their work. Thus, AISOLA aims to explain both the logic behind the AI system we will be exploring, its utilities and assets, through an exhibition targeting a broad audience. This goal is aligned with the efforts that Finnish administration is doing to make AI services ‘transparent’ in the pioneering platform created by the cities of Helsinki and Amsterdam together with the company ‘Saidot’ (Saidot n.d.). It has been released in early October 2020, aiming to explain these 5

Research questions Spatially and socially, we will address our hypothesis-testing case study at two different scales: 1) The scale of the living units (e.g. rooms, apartments, rental houses) together with the scale of the building (Sointu's shared spaces and common services, social activity programs, close family and friends’ networks, and pandemic protocols at the buildings scale), and 2) The urban scale of the facilities’ immediate surroundings (e.g. the outdoor places frequented, extended social networks, urban pandemic protocols). The goal is to implement this contextual complexity to improve AI systems. RQ1.

What are the contextual factors, daily habits, and contingencies affecting social isolation at the domestic and the community scales?

RQ2.

What are the contextual factors, daily habits, and contingencies affecting social isolation at the urban scale?

RQ3.

How can the AI ‘detection and prediction’ models be perfected to accurately respond to complex contextual situations, and what are the potential hybrid measures (i.e. AI solutions and spatial-social innovations) that can be implemented to ‘prevent’ social isolation?

Motivation of the research questions RQ1 & RQ2. Older people’s habits and inhabitation. Emphasis on ‘hybrid measures’ for age-friendly environments at different scales. Being habits as the core attributes for loneliness and social isolation inference our departing case study, we find a direct linkage of such attributes with spatial-temporal and social ones. English words ‘habit’ (custom) and ‘inhabit’ (dwell), share their etymological origin: habere (to have). The frequentative of habere is habitare, meaning ‘having repeatedly’ whether a custom or a dwell (online etymological dictionary, n.d.). Language reveals how our recurring acts of everyday life, the “typical human situations”, as Dalibor Vesely (2010) puts it, intertwine with the physical place or space we occupy: they are originally ‘attuned’, using Alberto Pérez-Gómez’s term (2016). Architecture’s fundamental role is to mediate in such a tuning to enable a meaningful existence (ibidem). we find AI technology a useful tool for architects and urban designers to gather data, information, and knowledge for ‘attuning’ older people needs with their inhabitable space. However, we acknowledge that it has to be applied very thoroughly. History of architecture has demonstrated that not always these parametrising techniques, like the industrial visual management’s movement charting techniques that were applied at the beginning of the 20th century in the design of housing programs, has procured a meaningful advance in daily living (Nieto & Rubio eds., forthcoming). Rather, the results have been a de-flavoured version of the complex implications that life entails. This has been probably due to have transferred the logic of industrial environments to living ones, and to have assessed the habits of a ‘chimerical man’ (Le Corbusier 1943/1991), those of a man that ‘does not exist’, instead of considering a ‘real’ man, in its full complexity, which is one of the dangers AI entails. Hence, AISOLA’s aim to improve AI solutions for assessing elderly people isolation introducing contextual complexity data, and to complement it with spatial-social innovations. Producción académica. Arquitectura, comunidad, individualidad

Architecture, as a combination of humanistic and technical discipline, has the power of enabling social relations and safeguard of intimacy simultaneously through architectural design and its strategies. AISOLA’s assessment of elderly people’s habits builds upon the idea that co-creation practices and participatory processes between final users, designers, service providers, legislators are crucial to ensure an inclusive design (Ahlava et al. 2018). 1) Spatial qualities of common spaces in the building for optimal user experience: quality and quantity of daylight, amplitude of views towards exterior and interior, different ceiling heights, layout of furniture, spatial filters, material comfort (visual, haptic). 2) Avoidance of spatial hierarchy and atomization: small, partitioned rooms are less flexible than open spaces with no hierarchy in size, accessibility, exteriorization, spatial layout and sequences (neutrality) (Nieto 2014). 3) Lack of functional specialisation (flexibility, adaptability): architectural elements (partitions, structure, technical elements) should be as compact and non-intrusive as possible. 4) Extracting domestic functions from the unit to communal, shared spaces: the more we share, the better social relations we have (spatial gradation from public to private through collectivization strategies (Nieto 2013). 5) Thermal comfort: indoor hygrothermal conditions affect quality of life, preventing dwellers to use shared spaces when they are not thermally comfortable. 6) Universal design practices to avoid architectural barriers. 7) Hygiene and sanitary conditions in shared and communal spaces. We will explore the hybridised of these possibilities with AI solutions to support healthy social habits among old people. In its intention of contributing to enable a ‘meaningful existence’ for the older people by preventing their social isolation, AISOLA complies with the European Union (EU) and international institutions frameworks for agefriendly environments: 1) with three European Innovation Partnership (EIPs), ‘Smart cities and communities’ (EU n.d.), ‘Active and healthy aging’ (EU, EIP n.d.) and an incipient cross-EIP action spanning these previous objectives (EU, EIP n.d.) aiming to convey the concept of ‘smart age-friendly cities’; 2) with the United Nation’s (UN) 2030 Sustainable Development Goals (UN 2016), specifically the ones that the UN Economic Commission for Europe has related with aging (UNECE n.d.); 3) with the EU’s Triple Win Strategy, aiming to improve quality of life, efficiency of health care, and the expansion of the EU’s “silver economy” industry (EU 2005); 4) with the recommendations launched by the World Health organization ‘Global age friendly cities’ (WHO 2008); and finally, 5), with Urban Agendas traced by the UN-Habitat (2017), the EU (2016), and those particularized at the national level by several countries. Hence, due to AISOLA’s compliance with official frameworks for smart age-friendly environments, the project serves as a starting point for applying personal European Research Council grant proposals (starting, consolidator and advanced grants), as well as for other Horizon Europe call such as FET Open, Marie Curie and European wide project calls. Domestic funding sources will also be carefully considered and applied, in specific Academy of Finland, and together with company partners such as Business Finland. RQ3. AI assessment of older people’s social isolation. Emphasis on the Japanese ‘Society 5.0’ concept and Finnish ‘Aurora’ vision. We frame AISOLA theoretically within various contemporary technological paradigms namely ‘ambient assisted living’, ‘smart cities’, ‘smart houses’, which can be bounded with the overarching Japanese concept of ‘Society 5.0’. This novel notion, which refers to the potential latter societal stage of development where technology is humancentred and society is knowledge intensive through the combination of data, information and knowledge (Deguchi et al. 2020). The concept includes as a key goal to achieve ‘the merging of cyberspace with the physical space’, in pursuing to revolutionise the living spaces and habits of the public through an iterative and recurrent cycle of data gathering, analysis, information production and its application in the ‘physical space’ or ‘real world’ for the resolution of social problems, by providing goods and services that granularly address manifold latent needs (Ibidem), like precisely is the one AISOLA is addressing: older people’s social isolation in pandemic times. Hence, AISOLA aligns with these principles on AI technology solutions for addressing social isolation phenomena, and their intermingling with the real-world. Likewise, dealing with the real-world's premises implies high levels of diverse complexity; hence, the multidisciplinary approach of the project. One of the problems that AI entails is its ‘opacity’ both for the users and for knowledge fields and practices other than ICT ones, who might find their utilities difficult and/or risky to understand and to be implemented in their work. Thus, AISOLA aims to explain both the logic behind the AI system we will be exploring, its utilities and assets, through an exhibition targeting a broad audience. This goal is aligned with the efforts that Finnish administration is doing to make AI services ‘transparent’ in the pioneering platform created by the cities of Helsinki and Amsterdam together with the company ‘Saidot’ (Saidot n.d.). It has been released in early October 2020, aiming to explain these 5

Rosana Rubio-Hernández

systems and what are the risks that they entail. Further, in the midterm the AISOLA’s outcomes will be further used as a guideline for technology development of a platform. In addition, our research could be the first step to contribute to a catalogue of transparent AI services for older people offered by the city of Tampere, which could join to the mentioned platform, as well as the one developed within the Aurora AI Programme of Finnish National Government. Research groups involved There are five research groups involved in AISOLA comprising the fields of architecture, social psychology, gerontology, and AI technology. In addition, expert members of the various active projects related with AISOLA will contribute to the project by giving feedback during three workshops scheduled in the project’s workplan (see Project plan, pp. 8-12). -Wireless positioning team (TLTPOS) . Expertise: is an established research group at TAU Electrical Engineering unit (Faculty of Information Technology and Communication Sciences (ITC)), focusing on research related to outdoor and indoor positioning and tracking algorithms, location-aware communication and interference management solutions, privacy-aware tracking, wearable computing, and signal processing solutions for the Internet of Things, 5G, 6G, and beyond 6G connectivity. . Role in AISOLA: TECHNOLOGICAL dimension. Technology consultant in WP3, addressing the connectivity solutions of AI solutions in terms of wireless positioning, communications, and sensing capabilities, support on statistical analysis of collected data (e.g., sensor data), collaboration in paper writing in WP4. . Related projects: H2020 A-WEAR (www.a-wear.eu), Aka ULTRA (https://projects.tuni.fi/ultra/). . PI and researcher: Prof. Elena Simona Lohan.

Advisory Board The potential members of AISOLA’s Advisory Board will be expert researchers from the mentioned related projects, who will be named in conjunction of the launch of the project, in case it is granted. Project plan

Overall logic of the project activities

The project will be addressed through a mix-method research approach, targeting a sample of 15-25 older people recruited in assistance with the Sointu Seniorpalvelut. Methods comprise factual and empirical data gathering and analysis, from quantitative and qualitative perspectives, being the overall logic of the project activities as follows: 1) During the first six months of the project will be dedicated to the application of ethical permissions, and to design the two empirical studies that will be run later and do preparatory work, as well as to study Sointu Seniorpalvelut’s publicly available material (information of buildings and their surroundings as well as public transport routes and other services offered by the municipality, vision and programs of the institution, archival disclosable data, press and social media information related). 2) During the following twelve months, two complementary studies run in parallel. One based on qualitative and quantitative data gathering, through semi-structured interviews, walking interviews, and structured observation of the participants’ daily habits and their spatial context, together with the social aspects related. The other one using AI technology to track the participants’ habits together with quantitative subjective measures of people’s social isolation. This will be performed in two phases (Phase I and Phase II) so the data gather first by each experiment will inform the second phase process. The results will be an AI ‘detection and prediction’ model perfected by the implementation of the contextual complexity. In addition, the project will provide a series of ideas of potential hybrid measures (i.e. AI solutions and spatial-social innovations) to set the theoretical and empirical bases to create, later, in future developments of the project, a platform to assess social isolation of older people, i.e. to detect it and to assist in finding ways to prevent it. Finally, these results will be disseminated in academic forums and through an exhibition targeting broader audiences.

Figure 1. Overall structure of the project 8

Core members -Spatial & Speculative Research in Architectural Design (SPREAD) . Expertise: SPREAD is an emergent research group at the Tampere University (TAU) School of Architecture (Faculty of Built Environment BEN) combining theoretical and practical knowledge and expertise, with research in architectural design. Expertise in architectural, urban and landscape design strategies and methods, hybrid architectural solutions, contemporary Nordic architecture, implications of degrees of privacy in the design of the built environment (spatial gradation of intimate and communal spaces), service architecture for economicallyecologically-socially sustainable solutions, architecture for an aging society, and smart living environments (the hybridization of data and matter). . Role in AISOLA: SPATIAL dimension. Coordinator (WP1), co-responsible of WP4, qualitative structured field observations and analysis of Sointu’s premises, exhibition curation and design, and academic papers writing in WP4. . Related projects: ‘Loneliness and the built environment: philosophical, societal and technological perspectives’ (LOBE). Funded project for interdisciplinary research with national and international partners within Sustainable Welfare Systems, a four-year transdisciplinary phenomenon-oriented research initiative at Tampere University. An upcoming book (Datutop 40) G(l)aces on Loneliness and the Built Environment (Nieto & Rubio eds. forthcoming). Contribution to the Routledge publication, Data, Matter, Design (Melendez, Diniz, Del Signore eds. 2020). ‘Architectural atlas of Finnish rituals. Mapping past and present healthy social habits’ (AARI), proposal for the 2020 Kone Foundation call (decision in progress). ‘Smart extended kitchen for the older people’ a prospective project within an international consortium (Polytechnic University of Madrid, La Sapienza Università di Roma, Tokyo Institute of Technology and University of Tokyo). Within the INSO platform, the research group participated in ‘SOCIETAL’ and, currently in ‘SocialBlock’. This latter project is addressing the benefits of sharedness and social interaction in the communal premises of hybridised architectural and urban environments with the help of social technologies. We will gain input from the ‘hybrid concept scenarios’ developed in this project that integrate technologies and spatial-social innovation for the purpose of enhance social connectedness and sustainability. We will provide them with outputs about our dual empirical methodology and on the improvements achieved in AI ‘detection and prediction’ social loneliness. Workshops we2 and we3 are schedule to overlap with SocialBlock’s timeframe. SPREAD is also a member of the COST Actions ‘Net4age-friendly. International interdisciplinary network on smart healthy Age-friendly environments’ and ‘Sheldon. Smart habitat for an independent older people life’, within the working groups ‘4.1. Solutions for ageing well at home’, and ‘4.2. Solutions for ageing well in the community’. . Researchers: Postdoc. Researcher Rosana Rubio. . PI: Assoc. Prof. Fernando Nieto.

-Centre of Excellence on Research in Ageing and Care (CoE AgeCare), Gerontology Research Centre (GEREC) . Expertise: CoE AgeCare and GEREC virtual research centre are collaborative efforts in aging research run jointly by the University of Jyväskylä and Tampere University, that gathers experts in social gerontology, health studies, environmental gerontology, care policy, family care, social wellbeing of older people, health of older people, aged care, old age housing policies and housing needs of older people, family care and role of family carers, special needs of people with memory problems on care and housing. . Role in AISOLA: Providing knowledge on special aspects affecting well-being of older people, their health and care needs, as well as housing situation, and dimensions of age-friendly living environments. Coordination of WP2, planning and conducting empirical qualitative studies, responsible for ethical permissions for WP2 data gathering issues, texts for result dissemination and academic papers writing in WP4. . Related projects: ‘CoE AgeCare 2018-2025’ (www.jyu.fi/agecare, PI Prof Teppo Kröger, JYU, leaders Marja Jylhä TAU, Outi Jolanki TAU, Sakari Taipale JYU, Sirpa Wrede HY) is a multidisciplinary joint centre of the University of Jyväskylä, Tampere University and University of Helsinki. CoE AgeCare studies the questions of ageing, health of ageing population, agency of older people, housing and care policies, digitalization and migration in national and global contexts. CoE AgeCare will provide a large multidisciplinary network of researchers working in different fields of care research, and long-term resources for the researchers to prepare new projects. ‘Social wellbeing and older people-project’ (SoWell https://research.uta.fi/sowell/ 2018-2022, PI prof. Marja Jylhä, Co-PI Outi Jolanki) studies the aspects and conditions of social well-being of older people, as well their opportunities to participate in community and society. SoWell studies also the role of digitalisation and use of technology in wellbeing of older people. It will offer a point of comparison for AISOLA through existing longitudinal qualitative interview and group discussion data of people aged 65+, as well as qualitative data on connections of well-being and use of technology through national survey conducted in winter 2021. ‘Wellbeing and Later Life in a Digital Ageproject’ (AgeWell, 2020-2021, PI Outi Jolanki) is a seed-corn funded collaborative project between Tampere University and Brunel University (UK). This project maps the linkages between well-being and technology use from the perspective of older people themselves, and prepare a larger research collaboration. It will offer literature review on connections of wellbeing and technology use of older people, which is under preparation, and the report written to describe the overall findings will benefit reports and articles written in the AISOLA project as well. . Researchers: Postdoc. Researchers and Adjunct Prof. Mari Aaltonen, Postdoc. Linda Enroth, and Doc. Researcher Outi Tamminen. . PI: Adjunct Prof., Research manager Outi Jolanki.

-Emerging Technologies Laboratory (ETLab) . Expertise: is a consolidated research group at TAU Social Psychology unit (Faculty of Social Sciences) conducting social psychological research on new modes of social interaction and their research focuses on emerging technologies such as social robots, artificial intelligence and augmented, extended and mixed reality. The lab consists of over ten researchers and five on-going projects and has recently conducted field experiment on augmented reality (e.g. Noreikis et al. 2019, Savela et al. 2020), and nationally representative survey experiments on robots and AI (Latikka et al. forthcoming, Oksanen et al. forthcoming, Savela et al. 2020). ETLab have also studied factors impacting the use of social robots (e.g. Savela et al. 2018, Latikka et al. 2019). Social psychological expertise of the team covers also inter-generational interaction and group behaviour that is at the core of social psychology.

-Future Automation Systems and Technologies Laboratory (FAST-Lab) . Expertise: FAST-Lab is a consolidated research group within TAU Automation Technology and Mechanical Engineering unit (Faculty of Engineering and Natural Sciences ENS) that does research in automation, industrial informatics, industrial cyber-physical systems, robotics and artificial intelligence. The main application domains are factory automation, healthcare automation and smart mobility building the future smart factories, smart healthcare and smart cities. The objective of FAST-Lab is to enable seamless knowledge integration of humans and machines/robotsand creating smart environments by capitalising on the advances made in ICT. FAST-Lab has been participating in 16 European research projects since its inception, and is currently participating as one of the partners in the following four EU funded research projects: Zero-Defect Manufacturing Platform (ZDMP; H2020); Robotic tEchnologies for the Manipulation of cOmplex DEformable Linear objects (REMODEL; H2020); Smart Human Oriented Platform for Connected Factories (SHOP4CF; H2020); Challenging environments tolerant Smart systems for IoT and AI (CHARM; H2020-ECSEL). . Role in AISOLA: TECHNOLOGICAL dimension. Sensor-based data gathering, create training datasets to model the behaviour of the AI engine, responsible for ethical permissions for WP3 data gathering issues, texts for result dissemination and paper writing. Responsible for WP4. . Related projects: H2020 ZDMP (https://www.zdmp.eu/) and H2020–ECSEL CHARM (https://cordis.europa.eu/project/id/876362). . Researchers: Project Researcher Samuel Afolaranmi, Project Researcher Saigopal Vasudevan. . PI: Prof. José L. Martínez Lastra.

Producción académica. Arquitectura, comunidad, individualidad

. Role in AISOLA: SOCIAL PSYCHOLOGY dimension. Co-coordination of WP4, co-conduct empirical studies within WP2 and WP3, collaborative result dissemination and academic papers writing in WP4. . Related projects: Within the INSO platform SOCIETAL pilot project, and SocialBlock. Robots and Us: Social Phycological Dimensions (https://www.tuni.fi/en/research/interacting-robots). . Researchers: Doctoral Researcher Rita Latikka. . PI: Prof. Atte Oksanen.

Rosana Rubio-Hernández

-Wireless positioning team (TLTPOS) . Expertise: is an established research group at TAU Electrical Engineering unit (Faculty of Information Technology and Communication Sciences (ITC)), focusing on research related to outdoor and indoor positioning and tracking algorithms, location-aware communication and interference management solutions, privacy-aware tracking, wearable computing, and signal processing solutions for the Internet of Things, 5G, 6G, and beyond 6G connectivity. . Role in AISOLA: TECHNOLOGICAL dimension. Technology consultant in WP3, addressing the connectivity solutions of AI solutions in terms of wireless positioning, communications, and sensing capabilities, support on statistical analysis of collected data (e.g., sensor data), collaboration in paper writing in WP4. . Related projects: H2020 A-WEAR (www.a-wear.eu), Aka ULTRA (https://projects.tuni.fi/ultra/). . PI and researcher: Prof. Elena Simona Lohan. Advisory Board The potential members of AISOLA’s Advisory Board will be expert researchers from the mentioned related projects, who will be named in conjunction of the launch of the project, in case it is granted. Project plan Overall logic of the project activities The project will be addressed through a mix-method research approach, targeting a sample of 15-25 older people recruited in assistance with the Sointu Seniorpalvelut. Methods comprise factual and empirical data gathering and analysis, from quantitative and qualitative perspectives, being the overall logic of the project activities as follows: 1) During the first six months of the project will be dedicated to the application of ethical permissions, and to design the two empirical studies that will be run later and do preparatory work, as well as to study Sointu Seniorpalvelut’s publicly available material (information of buildings and their surroundings as well as public transport routes and other services offered by the municipality, vision and programs of the institution, archival disclosable data, press and social media information related). 2) During the following twelve months, two complementary studies run in parallel. One based on qualitative and quantitative data gathering, through semi-structured interviews, walking interviews, and structured observation of the participants’ daily habits and their spatial context, together with the social aspects related. The other one using AI technology to track the participants’ habits together with quantitative subjective measures of people’s social isolation. This will be performed in two phases (Phase I and Phase II) so the data gather first by each experiment will inform the second phase process. The results will be an AI ‘detection and prediction’ model perfected by the implementation of the contextual complexity. In addition, the project will provide a series of ideas of potential hybrid measures (i.e. AI solutions and spatial-social innovations) to set the theoretical and empirical bases to create, later, in future developments of the project, a platform to assess social isolation of older people, i.e. to detect it and to assist in finding ways to prevent it. Finally, these results will be disseminated in academic forums and through an exhibition targeting broader audiences.

Overall logic on how the research groups work together AISOLA’s research questions are answered in close interdisciplinary collaboration from the architectural and urban design, social-psychology, gerontology and technological fields. We have articulated a series of group actions and tools and a work package (WP1), in order to ensure the collaboration of the research groups, the collaborator in data collection (Sointu Senioripalvelut) and the Advisory Board. Given the restriction posed by the current pandemic situation, the actions are planned to take place mainly on-line. . Meetings. Formal internal meetings of the core groups’ researchers will be established weekly, in a regular basis. PIs will meet with all groups regularly in a monthly basis. The PI responsible for each WP (see table 1) will organise and lead the corresponding meetings. . Internal workshops (w). These three hands-on meetings (w1-3) are articulated to actively integrate members of the core research groups, to merge their work in progress and to plan next steps. . External (we). These four hands-on meetings aim for coordinating the core research groups with Sointu Senioripalvelut (we1,3&4). Some of these encounters (we2&3) are also scheduled to receive input from the Advisory Board, based on results presented by the AISOLA’s researchers, and the other way around, to ensure output communication to the related ongoing research projects. . Collaborative tools. We will use Microsoft Teams software for meetings and workshops, as well as digital co-creation software to facilitate hands-on work during the workshops, such as Miro or Mural programs. Work packages The work is structured in four work packages (WP) within which the various tasks are organised leading to a series of deliverables (d). Table 1 summarises the information about the WP, which are explained in more detail below. Table 2 shows the workflow of the project. WP name

Description

WP1 Coordination & Management

Project management External and internal workshops organization

1 (+3)

WP2 Empirical data gathering

Empirical research of the contextual conditions of older people, from spatial-social perspectives

14 (+5)

WP3 Techno-data gathering

WP4 Results formatting & impact

Sensor-based daily habits data gathering. Machine learning processes. AI system development. Quantitative subjective measures

Deliverables (d)

d2.1. Comprehensive report 1

6 (+5) d3.1. Techno-data report

FASTLab FASTLab, TLTPOS ETlab All core groups

d3.2. Comprehensive report 2

d4.1. Conference paper d4.2. Journal article manuscrit d4.3. AISOLA’s exhibition

CoE Age Care/GEREC SPREAD ETlab CoE Age Care/GEREC

6 (+5) Academic writing / AISOLA’s exhibition curation, design and production

Responsible Involved SPREAD

ETlab/SPREAD All core groups All core groups All core groups

Table 1. Work plan overview The number of person months is expressed as numbers of PM paid by the project. A (+) followed by a number means that some PIs spend their own time additionally (TLTPOS’s PI is included in PM since she is the researcher as well).

Figure 1. Overall structure of the project

-WP1. Project coordination and management SPREAD . Description: WP1 is meant to organize and coordinate the regular meetings across core research groups and PIs meetings, the internal workshops (w1-3), and the external ones: with partner Sointu Senioripalvelut service

Producción académica. Arquitectura, comunidad, individualidad

Rosana Rubio-Hernández

provider (we1,3&4), and to receive feedback from project’s Advisory Board (we2&3). The aim of WP1 is to ensure the integration of the interdisciplinary work within the consortium, and to articulate input/output communication with the other projects related. all in all, WP1 goal is to ensure reaching AISOLA’s goals. In addition, SPREAD, as coordinator, will keep track of time schedules, deliverables and budgetary issues. . Tasks: we1. First external and kick-off workshop for all core groups and Sointu Senioripalvelut service provider, for AISOLA’s overall planification and WP2 and WP3 preparation. w1. First internal workshop. Presentation of WP2 preliminary work based on archival material. Next steps for WP2 and WP3 development. we2. Second external workshop for all core groups and the Advisory Board for input/output communication on WP2 and WP3 work in progress, and to plan next steps. we3. Third external workshop for all core groups, Sointu Senioripalvelut, and the Advisory Board to present preliminary data gathered and conclusions in WP2: comprehensive report 1 (d2.1) on spatial-social explorations, and WP3: techno-data report (d3.1). w2. Second internal workshop to coordinate WP2 and WP3 next steps, and to check in conference paper (d4.1). we4. Fourth and closing external workshop for all core research groups and Sointu Senioripalvelut, to present the final results and conclusions of WP2 and WP3: comprehensive report (d3.2). w3. Third and final internal workshop to coordinate WP4: journal paper writing (d4.2), and AISOLA’s exhibition materials production (d4.3). -WP2. Empirical study on the contextual conditions CoE AgeCare / GEREC . Description: WP2 seeks to understand the contextual conditions of older people that visit the various premises and their activities (Lähitori) run by Sointu Senioripalvelut service provider (Kautakaharjukeskus, Keinupuistokeskus, Kuuselakeskus, and Taatalakesku), during one year (July 2021-July 2022), from spatial-social perspectives. The main data sources for this empirical study are: 1) existing materials provides by the collaborating facility (e.g. publicly available material on building and their surroundings, open source archival materials); 2) structured observations at the facilities and related surroundings; and 3) semi-structured thematic interviews with a total of approximately 15-25 older people, consisting on series of 2-3 meeting with each participant, and walking interviews inside and outside the premises. . Tasks: . Spatial. SPREAD will focus on the analysis of the existing materials (premise’s blueprints, and activities schedules), and field qualitative structured observations of people’s habits, premises, and places in the urban area frequented by the older people. The information will be delivered visually, through analytical maps and diagrams, where the implication of spatial morphology and materiality impact on social interaction and daily habits will be shown. . Social / Gerontological. CoE AgeCare/GEREC will be involved in planning the interviews and recruits the study participants in collaboration with Sointu Senioripalvelut. Inclusion criteria: residents above 65 years old with no severe cognitive nor physical impairment, living independently outside the service house but visit to get certain services. Together with ETLab they conduct the semi-structured interviews with the older people including the transcriptions of the materials and data-analysis. Findings obtained in WP2 will serve the project aims, as well as work in WP3. . Deliverables: d2.1. Comprehensive report 1. It includes the contextual conditions of older people related to Sointu Senioripalvelut facilities, from spatial and social perspectives. The report serves as basis for academic publication as well as results to be integrated to WP3. -WP3. Experiment of the AI-based sensor-technology implementation FASTLab . Description: WP3 focuses on designing and setting up the implementation of sensor-based data collection of the various events which take place inside and outside the housing facilities of the older people. It also focuses on determining the most suitable AI techniques to manage the abundant sensor output data received from wearables, to create training datasets to model the behaviour of the AI engine, and to process the sensor data to determine the performance indices, which will be used to determine the emotional state of the occupants, thereby detecting and predicting probable cases of social isolation. Another aspect of AI which can be exploited, is to create behaviour prediction models of the elderly, which can point out any anomalies in their behaviour patterns, when they are exhibited. The implementation of the data collection and manipulation phase is estimated to take place over the duration of one year (July 2021 – July 2022). The inputs to the AI engines developed, would predominantly include: 1) Sensor data from wearable devices worn by the older people to aid in the determination of their social interaction activities and patterns; and 2) Subjective measures of social isolation of the older people performed by ETLab. . Tasks: .Technological. FASTLab and TLTPOS will define and set up the control environment for gathering the sensor data in a reliable manner and ethically manage the data gathered to ensure the safety and privacy of the elders involved. FASTLab and TLTPOS will also be responsible for implementing machine learning algorithms for the extraction of process information. The primary Real-time Location System (RLTS) identified to collect the positional data of the elders include: the utilization of wearable devices to track and log their indoor movement and activities, using either Wi-Fi or Bluetooth

Low Energy or RFID technologies; and to utilize the Global Positioning System (GPS) data from their mobile phones or similar devices to track and log their outdoor movement and activities. To properly build the AI model for determining the extent or presence of social isolation, multiple classifier algorithms must be considered and tested. An appropriate suggestion for this implementation can be a model based on the stratified ten times ten-fold cross validation technique as seen in Campos et al. (2016), which involves the use of classifier algorithms such as AdaBoost (AB), and J48, to mention a few. It has successful implementations for contextually similar applications, where the input data is of a limited nature. If there is an imbalance in the datasets obtained from the sensor outputs, they can be resampled by applying Synthetic Minority Oversampling Technique (SMOTE), to prevent inadvertent biases in the nature of the data gathered, which can negatively affect the performance of the classifier algorithms. The behaviour prediction engine can be an implementation of an AdaptiveNeuro-Fuzzy Inference System (ANFIS), which can be used to analyse and model human mobility activities, thereby recognizing and predicting the mobility activities of the older people through GPS data obtained from their mobile devices (cf. Arsalan et al. 2017). . Social. ETLab. Will conduct the subjective measures of social isolation to be assessed in relation to objective measures. . Deliverables: d3.1. Techno-data report. It will contain details of data analysis and synthesis, and preliminary conclusions to be integrated in WP2 work. d3.2. Comprehensive report 2. It integrates the data gathered, analysed and synthesized over the course of WP2 and WP3. It also documents a way forward for the development of potential hybrid solutions (i.e. technological and spatial-social), to prevent the feeling of isolation in old people, which will be the seed for future projects. -WP4. Results. Formatting & impact ETLab/SPREAD . Description: This WP consists on research material processing for academic and broader audiences impact purposes. . Tasks: . Paper writing. ETLab will be the responsible to coordinate WP4’s deliverables targeting academia: a conference paper (d4.1) and a journal paper (d4.2). . AISOLA’ Exhibition. SPREAD is the responsible of curating the exhibition, designing the visual material and its production, aiming to communicate the research in an accessible and legible way for a broad audience, targeting endusers (older people, families, caregivers, and aged care service providers), stakeholders, and policy makers in the area of well-being and health and social care in the city of Tampere, and at a national level. To contribute to make AI solutions ‘transparent’ to society is also a goal. The show will depict didactically three sets of information: 1) summary research process conducted, including the AI technology used; 2) detected causes for older people social isolation; 3) Prospective hybrid solutions (i.e. technological and spatial-social innovations) for preventing older people social isolation. As a way of example, we could comment one instance of such potential innovation. There is a dial-a-ride service bus in the city of Tampere that offers transportation to older people to run errands such as grocery shopping. This service is commissioned by the city of Tampere and it provides door-to-door transport service for all people who need assistance with transportation. We have observed that in the impasse between having finished shopping and the mini-bus arriving to pick them up there is a moment for people to socialize in a certain area of a supermarket. We find that there is room for developing this service easier and friendly to use, and that technology together with spatial innovation have a role in it: Could this opportunity be enhanced spatially by improving the quality and utilities of the waiting area? Could this activity be programmed more intentionally to enhance the experience by implementing AI solutions? Could AI actively manage (promote or cancel) the social encounter due to health contingencies, such as the ones posed by COVID-19? Other situations might occur at the domestic and the community scales, be related with daily habits such as cooking and eating, leisure and sports activities, among many other scenarios. . Deliverables: d4.1. Conference paper. This publication will gather information about the project in progress, reporting the data gathered in the Phase I of the empirical research (WP2&3). Some possibilities of conference forums are: GSA (Gerontological Society of America) annual conferences; IAGG (International Association of Gerontology and Geriatrics) international and regional conferences; NKG (Nordic Gerontology Congress); ESA (European Sociological Association) conferences; and ESA Ageing in Europe research network conferences. d4.2. Journal paper. This article will report the entire research conducted and final conclusions reached. Some possible journals are: Engaging Science, Technology, and Society; Nordic Journal of Architectural Research; Journal of Gerontology (Social Sciences); Ageing & Society; European Journal of Ageing Studies; Technology in Society (OA) d4.3. AISOLA’s Exhibition. To be shown in a public place in Tampere (e.g. at Tampere University Premisses, an exhibition space belonging to the municipality) or at one of the Sointu Senioripalvelut (e.g. Keinupuistokeskus in Hervanta).

Producción académica. Arquitectura, comunidad, individualidad

Rosana Rubio-Hernández

2021 1

WP1 WP2 WP3 WP4

we1

6 w1 d2.1

Phase I

2022 8

we2

we3 d2.2 d3.1

we4

d4.2

d4.3

Phase II d3.2 d4.1

Table 2. Gantt chart WP. Work Packages. we. External workshops. W. Internal workshops. D. Deliverables.

integration of WP2 & WP3 data

Integration of other projects carried out by the research groups As already commented, we have planned a work package (WP1) for coordination purposes, including to ensure collaboration with other researchers (see Advisory Board, p. 8) working on projects related with AISOLA. Specifically, external workshops (we2&3), will serve to integrate inputs form these projects and, the other way around, for AISOLA to contribute to them. These projects are described in the section ‘Research groups involved’ (see pp. 6-8). Budget Table 3 shows the overall budget and budget distribution by research group. Arch. SS. Tech.

Research groups SPREAD ETLab CoE AgeCare/GEREC FASTLab TLTPOS

Consortium

TOTAL salaries other costs TOTAL budget

Budget 2021 45.0 K € 22.5 K € 26.0 K € 22.5 K €

Budget 2022 45.0 K € 22.5 K € 26.0 K € 22.5 K €

Total budget (full cost) 90.0 K € 45.0 K € 52.0 K € 45.0 K €

PM 8 6 6 6

9.0 K €

18.0 K €

125.0 K €

250.0 K €

18.5 K €

1.5 K €

20.0 K €

143.5 K €

126.5 K €

270.0 K €

Table 3. Project budget and approximate PMs Notes about the budget: Salary costs are calculated according to full-cost model with a coefficient of 3. Budget is almost fully for salaries (93%). Other costs: 15.0 K € for wearables; 0.5 K € for gifts for participants in the empirical studies; 3.0 K € for transcription of surveys; 1.5 K € for exhibition expenses.

Ethics Ethical statement is requested from the ethical committee of Tampere University and the permission to conduct a study on older people is obtained from the City of Tampere, and if deemed necessary also from the hospital district of Pirkanmaa (PSHP Pirkanmaan sairaanhoitopiiri). Participation will take place only after a “Declaration of Consent” by the participants. In addition, we will follow the Responsible Conduct of Research in Finland set forth by the Finnish National Board on Research Integrity (TENK). Risks Ethical permissions will take about three to six months, depending on the meeting schedule of the Ethical committee of the university. In prevision of this, data gathering will start in month seven or eight of the project (July /August 2021). On being successful in this call, application for permissions will be filed in Dec. 2020, in order to start WP2 and WP3 on time in July 2021. In case the permissions are granted earlier, the experiments would start when they are obtained. Other risks the project might face is the one derived from the sanitary measures imposed by the COVID19 crisis. Besides the previous reasons mentioned, to start latter next year, and during the summertime, might facilitate the experiments, gaining time for the second wave of the pandemic to remit. In any case, the different tasks will comply with the sanitary protocols dictated by both Tampere University and Sointu Senioripalvelut. The meetings and workshops among the research groups will take place on-line, and the interviews with the participants will be conducted in appropriate spaces, maintaining the physical distancing and, when possible, outdoors. Producción académica. Arquitectura, comunidad, individualidad

References Ahlava, A., Hertsberg, M., Nieto, F., Suominen, J., Tynkkynen, P. 2018. Happy together vs. melancholy of loneliness. Disruptive practices on community and privacy. In Human Cities Challenging the City Scale 2014-2018. Investigation. Saint-Étienne: Cité du design. Austin, J., Dodge, H.H., Riley, T., Jacobs, P.G., Thielke, S. and Kaye, J. 2016. A Smart-Home system to unobtrusively and continuously assess loneliness in older adults. IEEE Journal of Translational Engineering in Health and Medicine, 4, 1–11. Baumeister, R.F. and Leary, R. 1995. The need to belong: Desire for intermpersonal attachments as a fundamental human motivation. Psychological Bulletin, 117, 3, 497-529. Beutel, M.E., Klein, E.M., Brähler, E., Reiner, I., Jünger, C., Michal, M., Wiltink, J., Wild, P.S., Münzel, T., Lackner, K.J., and Tibubos, A.N. 2017. Loneliness in the general population: prevalence, determinants and relations to mental health. BMC Psychiatry, 17,1, 97. Campos, W., Martinez, A., Sanchez, W., Estrada, H., Favela, J., Perez, J. 2016. Inferring social isolation in older adults through ambient intelligence and social networking sites. Computación y Sistemas, 20, 1, 143–52. Collier, D.1999. Data, field work and extracting new ideas close range. APSA-CP Newsletter Winter, 1-6. Deguchi, A., Hirai Ch., Matsuoka, H., Nakano, T., Oshima, K., Tai, M. and Tani, S. 2020. What Is Society 5.0? In Hitachi-UTokyo Laboratory (ed.), Society 5.0. A People-centric Super-smart Society (pp. 8-40). Tokyo: The University of Tokyo. European Union.n.d. Smart Cities. accessed Oct. 10, 2020, https://ec.europa.eu/info/eu-regional-and-urbandevelopment/topics/cities-and-urban-development/city-initiatives/smart-cities_en. _____. European Innovation Partnership. n.d. “Active and Healthy Aging,” accessed Oct. 10, 2020. https://ec.europa.eu/eip/ageing/home_en. _____. 2005. Perspectives and Innovation Strategies for Smart Specialization (RIS3) in the wider context of the Europe 2020 Growth Strategy. Luxembourg: European Union. _____. 2016. Urban Agenda for the EU. Luxembourg: European Union. _____. n.d. “Smart Age-friendly Cities / Age-friendly Smart Cities”. accessed Oct. 10, 2020. https://ec.europa.eu/eip/ageing/library/smart-age-friendly-cities-age-friendly-smart-cities_en Goonawardene, N., Toh, X. And Tan, HP. 2017. Sensor-driven detection of social isolation in community-dwelling elderly. In Zhou, J. and Salvendy, G.(eds), Human Aspects of IT for the Aged Population. Applications, Services and Contexts. Springer, Cham, 378–92. Harper, S. 2006. Aging Societies. Myths, Challenges, and Opportunities. London: Hodder Education. Huynh, S., Tan, H-P. and Lee, Y. 2017. Towards unobtrusive mental well-being monitoring for independent-living elderly. WPA '17: Proceedings of the 4th International on Workshop on Physical Analytics. ACM, New York, 1–6. Jamieson, L. and Simpson, R. 2013. Living Alone. Globalization, Identity and Belonging. New York, Palgrave Macmillan. Latikka R., Turja T., & Oksanen A. 2019. Self-efficacy and Acceptance of Robots. Computers in Human Behavior, 93(April):157–163. Le Corbusier. 1943/1991. Talks with the Students, (Hudson, NY: Princeton Architectural Press. Martinez, A., Ortiz, V., Estrada, H. and Gonzalez, M. 2017. A predictive model for automatic detection of social isolation in older adults. In Jung, J.J., Muñoz, A., Novais, P. and Egerton, S.(eds), 2017 International Conference on Intelligent Environments (IE). IEEE Computer Society, Tokyo, 68–75. Mijuskovic, B.L. 2020. Theories of Consciousness and Loneliness. In Nieto F. and Rubio R. (eds.) G(l)azes on Loneliness and the Built Environment. Datutop, 40. Nieto, F. and Rubio, R. 2020. G(l)azes on Loneliness and the Built Environment. Datutop, 40. Nieto, F. 2013. The System as a Place. Three Collectivization Strategies of the Contemporary Domestic Space. In Proyecto, Progreso, Arquitectura 9 “Hábitat y habitar”. Seville: University of Seville, Secretariat of Publications. Nieto, F. 2014. Normalizing Utopia. A Project of Systematization of Regulations on Social Housing. Doctoral Dissertation. Department of Architectural Design. School of Architecture in Madrid. Technical University of Madrid. Noreikis, M., Savela, N., Kaakinen, M., Xiao, Y., & Oksanen, A. 2019. Effects of Gamified Augmented Reality in Public Spaces, IEEE Access, 7, 148108–148118. Online Etymology Dictionary.n.d. Accessed Oct. 10, 2020. https://www.etymonline.com Pérez-Gómez, A. 2016. Attunement: Architectural Meaning after the Crisis of Modern Science. Cambridge, MA: MIT Press. Petersen, J., Austin, D., Kaye, J.A., Pavel, M. and Hayes, T.L. 2014. Unobtrusive in-home detection of time spent out-of-home with applications to loneliness and physical activity. IEEE Journal of Biomedical and Health Informatics, 18, 5, 1590–96. Petersen, J., Austin, D., Mattek, N. and Kaye, J. 2015. Time out-of-home and cognitive, physical, and emotional wellbeing of older adults: A longitudinal mixed effects model. PLoS ONE, 10, 10, 1–16. Perlman, D. and Peplau, L.A. 1981. Toward a social psychology of loneliness. Personal relationships, 3, 31–56. Sanchez, W., Martinez, A., Campos, W., Estrada, H. and Pelechano, V. 2015. Inferring loneliness levels in older adults from smartphones. Journal of Ambient Intelligence and Smart Environments, 7, 1, 85–98. Saidot.n.d. Accessed Oct. 10, 2020. https://www.saidot.ai/ Savela, N., Turja, T., & Oksanen, A. 2018. Social acceptance of robots in different occupational fields: a systematic literature review. International Journal of Social Robotics, 10(4), 493–502. Savela, N., Oksanen, A., Kaakinen, M., Noreikis, M., & Xiao, Y. 2020. Does Augmented Reality Affect Sociability, Entertainment, and Learning? A Field Experiment. Applied Science, 10, 1392. Savela, N., Kaakinen, M., Ellonen, N., & Oksanen, A. 2020. Sharing a work team with robots: The negative effect of robot co-workers on in-group identification with the work team. Computers in Human Behavior. Advanced online publication. https://doi.org/10.1016/j.chb.2020.106585 Statistics Finland. 2020. Living alone has become more common especially in the age groups of young and elderly people 2019. Accessed Oct. 10, 2020. http://www.stat.fi/til/asas/2019/asas_2019_2020-05-20_tie_001_en.html UNECE.n.d. 2018 Policy Seminar on Ageing and the Sustainable Development Goals. Accessed Oct. 10, 2020. http://www.unece.org/index.php?id=49374 United Nations. 2017. New Urban Agenda. New York: United Nations. _____. 2016. Transforming the World: The 2030 Agenda for Sustainable Development. New York: United Nations. Vesely D. 2010. Architecture as a Humanistic Discipline. In Soumyen Bandyopadhyay, Jane Lomholt, Nicholas Temple and Renée Tobe (eds.), The Humanities in Architectural Design. A Contemporary Perspective, London: Routledge, pp.197-198, 200. Victor, C.R. 2020. The Languages of Loneliness: Developing a Vocabulary for Researching Social Health. In Nieto F. and Rubio R. (eds.) G(l)azes on Loneliness and the Built Environment. Datutop, 40. Victor, C.R., Scambler, S.J., Bowling, A., and Bond, J. 2005. The prevalence of, and risk factors for, loneliness in later life: a survey of older people in Great Britain. Ageing and society, 25, 6, 357–375. Walsh, L., Kealy, A., Loane, J., Doyle, J. and Bond, R. 2014. Inferring health metrics from ambient smart home data. In Zheng, H., Hu, X., Berrar, D., Wang, Y., Dubitzky, W., Hao, J-K., Cho, K-H. and Gilbert, D.(eds), 2014 IEEE International Conference on Bioinformatics and Biomedicine (BIBM). Belfast, 27–32. World Health Organization. 2018. The Global Network for Age-friendly Cities and Communities: Looking back over the last decade, looking forward to the next. Geneva: World Health Organization.

Rosana Rubio-Hernández

Publicaciones indexadas. Resultado del proyecto SOCIETAL

Latikka, Rita, Rosana Rubio-Hernandez, et al. “Older adults’ loneliness, social isolation and physical ICT in the era of ambient assisted living: a systematic literature review”. Journal of Medical Internet Research (aceptado para su publicación). ISSN: 1438-8871. Indicios de calidad: Open Access Journal, EBSCO, SCOPUS, etc. JUFO (nivel 2). Factor de impacto: 5.03 (2019).

Older adults’ loneliness, social isolation and physical ICT in the era of ambient assisted living: a systematic literature review

Rita Latikkaa*, ORCID 0000-0003-3798-0017 Rosana Rubio Hernandezb, ORCID 0000-0001-6241-3933 Elena Simona Lohanc, ORCID 0000-0003-1718-6924 Juho Rantalaa, ORCID 0000-0002-6507-6749 Fernando Nieto Fernándezb, ORCID 0000-0003-2383-7850 Arto Laitinena, ORCID 0000-0002-4514-7298 Atte Oksanena, ORCID 0000-0003-4143-5580 Faculty of Social Sciences, Tampere University, Tampere, Finland; bFaculty of Build Environment, Tampere University, Tampere, Finland; cFaculty of Information Technology and Communication Sciences, Tampere University, Tampere, Finland a

*Corresponding author: Rita Latikka, MSocSci, Faculty of Social Sciences, Tampere University, Kalevantie 5, 33100 Tampere, Finland, rita.latikka@tuni.fi, Tel. +358 442738148, ORCID 0000-0003-3798-0017 Word count: 6486

Abstract

Loneliness and social isolation are circumstances that can permeate all ages of life. With the increasing number of old people, partial solutions to assess loneliness and social isolation in demographically ageing societies have been sought from the field of information and communication technology (ICT). This systematic literature review investigates the research conducted on older adults’ loneliness and social isolation and physical ICT solutions, namely robots, wearables, interconnected sensors, and other smart devices in the era of ambient assisted living. The data were collected in April 2020 from seven bibliographic databases. A preliminary search resulted in 1,001 entries which were screened based on pre-defined inclusion criteria. The final dataset consisted of 24 empirical studies. Our results demonstrate that some, but not all, forms of physical ICT can help in the process of overcoming loneliness and social isolation among older adults. Two main areas of research identified are detection and prediction, as well as alleviation of such circumstances. Further, preliminary findings show that the experience of loneliness itself associates with intention and actual uses of systems. The review detects several research gaps including a need for greater considerations of contextual complexity in living and acknowledging the health associations of the changed perceived loneliness. Further, there are no systems aiming to detect, predict and alleviate older adults’ social isolation or loneliness. Study implications and main open-ended challenges are discussed. The study contributes to the ongoing discussion on combating the loneliness and social isolation of seniors from a multidisciplinary perspective.

Keywords: loneliness; social isolation; older adults; physical ICT; systematic literature review

Acknowledgments This work was supported by The Intelligent Society Platform (INSO) of Tampere University. Disclosure statement The authors report no conflict of interest. Data availability statement The data that support the findings of this study are available from the corresponding author, [RL], upon reasonable request.

Producción académica. Arquitectura, comunidad, individualidad

Rosana Rubio-Hernández

Proyectos de investigación financiados. The Academy of Finland

LOBE Loneliness and the Built Environment 01-10 / 31-12-2019 LOBE With this project, we ask ourselves questions such as how the built environment enhances the creation of intimacy ties helping us overcome our insularity. Being this a relevant issue, knowing from psychologists that the sense of trust in others and the development of empathy are the highest goals and protections against loneliness, investigation on emerging building typologies such as new hybrid solutions could tie into this discussion. Likewise, we are interested in how the environmental conditions are able to enhance people´s intentionality, enabling or cancelling their capacity to undertake positive personal purposes and agency, which are also acknowledged as tools against the feeling of loneliness. LOBE complements other SPREAD’s projects on the issue of loneliness and social isolation (SOCIETAL and HipoTesis numbered series 8). As a result of this research, we propose to organise a one-day seminar to elaborate on the possible spatial implications of the loneliness feeling within the framework of current philosophical, societal and technological premises. For this purpose, we suggest three keynote speakers to address the topic from different backgrounds and a subsequent discussion in the form of a multidisciplinary round table. The results of the session will be published and students attending it will get academic credits.

Seminar schedule 12.00

Welcome words by Antti Lönnqvist Dean of the Faculty of Built Environment

12.05

Introduction to the seminar by Fernando Nieto Associate Professor Rosana Rubio Postdoctoral Research Fellow

12.15

Keynote lecture by Prof. Ben Lazare Mijuskovic California State University Dominguez Hills [Philosophy & Psychology]

13.10

Keynote lecture by Prof. Christina R. Victor Brunel University London [Health & Society]

14.05

Coffee break

14.30

Keynote lecture by Prof. Juhani Pallasmaa Aalto University Helsinki (Prof. Emeritus) [Architecture & Perception]

15.25

Round table with the speakers moderated by Fernando Nieto & Rosana Rubio

16.30

Seminar ends

Ben Lazare Mijuskovic Theories of Consciousness and Loneliness Christina R. Victor The Language of Loneliness Juhani Pallasmaa The Positiveness and Negativeness of Loneliness

LOBE

Seminar on Loneliness and the Built Environment. Philosophical, Societal and Technological Perspectives

December 16th, 2019. From 12:00 to 4:30 pm Rakennustalo RO107 Faculty of Built Environment Hervanta Campus, Tampere University Hosted by SPREAD research group https://research.tuni.fi/spread/ Funded by TAU Sustainable Welfare Systems

Duración: 3 meses Entidades Participantes: TAU Sustainable Welfare Systems research initiative Investigador responsable: Fernando Nieto nº de investigadores participantes: 2 Financiación: 10.000 E Contribución: Redacción del proyecto. Organización de reunión científico- técnica. Moderadora de la mesa redonda. Edición de actas del seminario y contribución con un artículo. Resultados: -Libro: Nieto Fernández, Frenando y Rosana Rubio -Hernández. (eds.). Loneliness and the Built Environment. DATUTOP Occasional Papers 40. Tampere: Tampere University Press, 2021. -Seminario: LOBE. Loneliness and the built environment seminar , 16-12-2019

Organización de reuniones científico-técnicas y exposiciones. Resultado del proyecto LOBE

LOBE “I believe all human feeling and thinking can be ‘charted’ between two poles: loneliness and the desire to belong. The only human absolute is loneliness, and all else emanates from it and is dependent on that source”. B.L. Mijuskovic, Feeling Lonesome: The Philosophy and Psychology of Loneliness Nowadays, there are broad sectors of society that, for various reasons, are suffering from loneliness. Even this situation is being perceived as a kind of epidemic. It is pertinent to analyse this phenomenon to understand if this situation does not really belong to a normality, which has not been sufficiently understood and managed. There is no doubt that loneliness is at the heart of most psychiatric illnesses and has an inextricable relation to hostility and, as such, we should confront it. It is also true that current socio-economic, political, environmental and technological premises are triggering undesired situations that are increasing the loneliness feeling in society.

Seminar schedule 12.00

Welcome words by Antti Lönnqvist Dean of the Faculty of Built Environment

12.05

Introduction to the seminar by Fernando Nieto Associate Professor Rosana Rubio Postdoctoral Research Fellow

12.15

Keynote lecture by Prof. Ben Lazare Mijuskovic California State University Dominguez Hills [Philosophy & Psychology]

13.10

Keynote lecture by Prof. Christina R. Victor Brunel University London [Health & Society]

14.05

Coffee break

14.30

Keynote lecture by Prof. Juhani Pallasmaa Aalto University Helsinki (Prof. Emeritus) [Architecture & Perception]

15.25

Round table with the speakers moderated by Fernando Nieto & Rosana Rubio

16.30

Seminar ends

Producción académica. Arquitectura, comunidad, individualidad

104

Nonetheless, loneliness could also be considered not as an illness but as a feeling consubstantial with human condition. It is both a universal experience (we all are individual beings), and a private one (because of the personal, qualitative variations on how each person feels lonely). There are nuances, ambiguities and the depth and complexity of emotions form a psychological perspective. There are varied and conflicting philosophical explanations of the phenomenon. On the one hand, there is the point of view of materialist, behaviourist and empiricist paradigms, which consider that loneliness is caused by contextual factors, therefore being a contingent and transient experience. Whereas, on the other hand, there are other traditions that consider the lonesome feeling as an innate, permanent and unavoidable condition generated by the activity of consciousness. All in all, we seem to lead to grasp that we are facing an extremely intricate phenomenon. Counter the feeling of loneliness in its negative consequences, on the view of its complex nature, is a systemic problem due to multiple causes, ranging from individual cognitive capabilities and affective motives to the tensions and contradictions in the social and physical environments we are immersed in. From our perspective as architects, we ask ourselves if architecture could be defined as the environment were the Mijuskovic´s two human poles of loneliness and the desire to belong are negotiated. It is this reading of architecture what has motivated the very idea of the ‘Loneliness and the Built Environment: Philosophical, Societal and Technological perspectives’ seminar we are organizing at Tampere University.

Speakers Biographies

The topic we are addressing is very much aligned with the research interests of the Spatial and Speculative Research in Architectural Design (SPREAD) research group at Tampere University (TAU), Faculty of Built Environment (BEN). Its work focuses on interpreting space as the core of architectural practice, speculating and reflecting on spatial qualities in architecture by exploring contemporary societal needs encompassed with disciplinary theories. In this sense, we are very much interested in tackling the problem of properly designing the spatial gradation between the privacy and community poles, which relates to the feeling of loneliness as we are describing it herein. We ask ourselves questions such as how the built environment enhances the creation of intimacy ties helping us overcome our insularity. Being this a relevant issue, knowing from psychologists that the sense of trust in others and the development of empathy are the highest goals and protections against loneliness, investigation on emerging building typologies such as new hybrid solutions could tie into this discussion. Likewise, we are interested in how the environmental conditions are able to enhance people´s intentionality, enabling or cancelling their capacity to undertake positive personal purposes and agency, which are also acknowledged as tools against the feeling of loneliness. Issues of accessibility, ergonomics or spatial readability are at stake here.

Ben Lazare Mijuskovic Theories of Consciousness and Loneliness Christina R. Victor The Language of Loneliness

The one-day seminar we are celebrating on December 16th, 2019 at TAU BEN, is to feed two ongoing multidisciplinary research projects led by SPREAD, which are framed in the context of loneliness. Both projects focus specifically on the inherent contradiction in Ambient Assisted Living technologies that, on the one hand, aim to solve a social requirement of independence, autonomy and active life when ageing and, on the other, pose the risk of an increase in the sense of loneliness in old people.

Juhani Pallasmaa The Positiveness and Negativeness of The seminar will elaborate on the possible spatialLoneliness implications of the loneliness feeling within the framework of current philosophical, societal and technological premises.

LOBE

Seminar on Loneliness and the Built LOBE has ben possible thanks to the TAU Sustainable WelEnvironment. Philosophical, Sociefare Systems (SWS) research initiative. SWS Per willspectives is to tal and Technological strengthen TAU’s research profile on welfare systems, to provide an arena in which all three focal areas of TAU (health, society and technology)16th, are integrated producing hightoscientific December 2019. From 12:00 4:30 pm quality and policy-relevant research, to develop new ways of Rakennustalo RO107 workingFaculty across disciplinary and organizational boundaries, to of Built Environment expand beyond the academia by reaching out to the society Hervanta Campus, Tampere University and to collaborate with the key stakeholders in the field. SWS is a four-year research initiative funded by the Academy of Finby euros. SPREAD research group land withHosted 3.9 million

https://research.tuni.fi/spread/ Funded by TAU Sustainable Welfare Systems

Ben Lazare Mijuskovic is Associate Professor of Philosophy at California State University, Dominguez Hills. He does research in Applied Philosophy and History of Philosophy in the Humanities Department. He did his undergraduate work at the University of Chicago and holds a MA in Literature and a PhD in Philosophy, both from the University of California at San Diego. His current project is ‘Consciousness and Loneliness’, published by Brill. While current research claims that loneliness is passively caused by external conditions and hence transient and avoidable, by contrast, the he argues that loneliness is actively constituted by acts of reflexive self-consciousness (Kant) and transcendent intentionality (Husserl) and it is therefore universal and unavoidable. Mijuskovic’s work employs an interdisciplinary and history of ideas perspective including philosophy, psychology, sociology, literature and theology. He is also a licensed therapist.

Christina R. Victor is Professor of Gerontology and Public Health and Vice Dean (Research) in the College of Health and Life Sciences, as well as the Ageing Studies Theme Leader in the Institute of Environment, Health and Societies, both at Brunel University London. She started her academic career as a geographer with a particular interest in the spatial distribution of health and illness and access to, and provision of, health and social care. She holds a BA in Geography from Swansea University and a M Phil in medical geography from Nottingham. It was whilst working at the Medical School in Cardiff that she developed her interests in gerontology and her PhD investigated outcome after discharge for older people in Wales. She now focuses her interests in public health/population medicine on to the experiences of old age and later life.

Juhani Pallasmaa is Professor Emeritus of Architecture, former Dean at the Helsinki University of Technology and former Director of the Museum of Finnish Architecture. He holds a Master of Science in Architecture from Helsinki University of Technology and an Honorary Doctorate from Washington University in St. Louis. He has written numerous articles on cultural philosophy, environmental psychology, phenomenology, and theories of architecture and the arts. Among Pallasmaa’s many books on architectural theory is The Eyes of the Skin: Architecture and the Senses, a book that has become a classic of architectural theory. He has lectured widely in Europe, North and South America, Africa and Asia. Pallasmaa has practice as an architect, building both residential and public buildings, since 1983, when he established his architecture firm in Helsinki: Arkkitehtitoimisto Juhani Pallasmaa K.

Rosana Rubio-Hernández

105

Libros. Como editora. Resultado del proyecto LOBE

THE

BUILT

DATUTOP 40

LONELINESS AND

LONELINESS AND THE

THE BUILT

ENVIRONMENT

ISBN 978-952-03-1938-0 (pdf) ISBN 978-952-03-1937-3 (print) ISSN 0359-7105

Nieto & Rubio (eds.)

DATUTOP School of Architecture Tampere University Occasional Papers 40

ENVIRONMENT

BUILT ENVIRONMENT

106

Architecture can be defined as the environment mediating the two human poles of loneliness and the desire to belong. It is this reading of architecture that Juhani Pallasmaa motivated the organisation of a seminar Javier Echeverría on loneliness and the built environment at the Tampere University Faculty of Atxu Amann y Alcocer Built Environment in December 2019. The seminar addressed the phenomenon Flavio Martella from a multidisciplinary perspective. The Lola S. Almendros invited keynote speakers represented the fields of philosophy and psychology, Fernando Nieto public health, and architecture. The three Rosana Rubio seminar lectures became the articles included in the present publication. In addition to these, two extra articles offer further perspectives on the topic from symmetrical – physical and virtual – viewpoints. The full set of texts offers an equidistant and unprejudiced outlook on the question of loneliness with the built environment as the common ground. Christina R. Victor

DATUTOP 40

Producción académica. Arquitectura, comunidad, individualidad

Nieto & Rubio (eds.)

ISBN 978-952-03-1938-0 (pdf) ISBN 978-952-03-1937-3 (print) ISSN 0359-7105

Ben L. Mijuskovic

BUILT ENVIRONMENT

DATUTOP School of Architecture Tampere University Occasional Papers 40

LONELINESS AND

LONELINESS AND THE

Architecture can be defined as the environment mediating the two human Christina R. Victor poles of loneliness and the desire to belong. It is this reading of architecture that Juhani Pallasmaa motivated the organisation of a seminar Javier Echeverría on loneliness and the built environment at the Tampere University Faculty of Atxu Amann y Alcocer Built Environment in December 2019. The seminar addressed the phenomenon Flavio Martella from a multidisciplinary perspective. The Lola S. Almendros invited keynote speakers represented the fields of philosophy and psychology, Fernando Nieto public health, and architecture. The three Rosana Rubio seminar lectures became the articles included in the present publication. In addition to these, two extra articles offer further perspectives on the topic from symmetrical – physical and virtual – viewpoints. The full set of texts offers an equidistant and unprejudiced outlook on the question of loneliness with the built environment as the common ground.

DATUTOP 40

Ben L. Mijuskovic

DATUTOP 40

Fernando Nieto and Rosana Rubio (editors)

Nieto Fernández, Frenando y Rosana Rubio -Hernández. (eds.). Loneliness and the Built Environment DATUTOP Occasional Papers 40. Tampere: Tampere University Press, 2021. Libro completo 167 pgs. ISBN: 978-952-03-1938-0 (pdf). 978-952-03-1937-3(print) (Ver a continuación una selección de páginas)

Fernando Nieto and Rosana Rubio (editors)

Rosana Rubio-Hernández

107

DATUTOP School of Architecture Tampere University Occasional Papers 40 Issue Editors: Fernando Nieto Rosana Rubio Series Editors: Minna Chudoba Gareth Griffiths Series International Editorial Board: Daniel García Escudero – Barcelona Klaske Havik – Delft Sari Hirvonen-Kantola – Oulu Dörte Kuhlmann – Vienna Kimmo Lapintie – Helsinki Raine Mäntysalo – Helsinki Ola Wetterberg – Gothenburg

CONTENTS

LONELINESS AND THE BUILT ENVIRONMENT

Publisher: School of Architecture Tampere University PO Box 600 FIN-3304 TAMPEREEN YLIOPISTO Finland

Acknowledgements

Introduction: Perspectives on Loneliness Fernando Nieto and Rosana Rubio

Theories of Consciousness and Loneliness Ben Lazare Mijuskovic

The Languages of Loneliness: Developing a Vocabulary for Researching Social Health Christina R. Victor

Loneliness and Solitude in Architecture: Estrangement and Belonging in the Existential Experience Juhani Pallasmaa

Techno-Architecture and Online Loneliness Javier Echeverría, Atxu Amann y Alcocer, Flavio Martella and Lola S. Almendros

Loneliness in Place Fernando Nieto and Rosana Rubio

109

Discussion: Mediated Loneliness Ben Lazare Mijuskovic, Christina R. Victor, Juhani Pallasmaa, Fernando Nieto and Rosana Rubio

135

Notes on the contributors

165

ISBN 978-952-03-1938-0 (pdf ) ISBN 978-952-03-1937-3 (print) ISSN 0359-7105 Printed in Finland by Grano Oy

Producción académica. Arquitectura, comunidad, individualidad

108

Fernando Nieto and Rosana Rubio (editors)

Rosana Rubio-Hernández

109

ACKNOWLEDGEMENTS

Acknowledgements The present book as well as the seminar Loneliness and the Built Environment (LOBE seminar) held in Tampere in December 2019 were made possible thanks to the contributions of the guest speakers, Ben Lazare Mijuskovic, Christina R. Victor, and Juhani Pallasmaa, whose enlightened work on loneliness and solitude inspired the seminar. We are grateful to them for generously accepting our invitation to travel to Tampere to share their knowledge with the Tampere University community. Conceptually, we are also indebted to our research colleagues working at the SOCIETAL project (see the Introduction), Arto Laitinen, Rita Latikka, Elena Simona Lohan, Atte Oksanen, and Juho Rantala, all of whom contributed to the elaboration of our approach to the issue of loneliness from different perspectives, as well as to tracing the role that technology plays in its detection and alleviation. Likewise, the thoughtful articles published in Understanding and Designing Place (DATUTOP 38) inspired us and have been important sources on which we have built. The seminar and publication have been supported institutionally by the Tampere University Faculty of Built Environment and its Dean Antti Lönnqvist, who kindly agreed to open the event held at the Tampere School of Architecture. Financially, both the seminar and the publication have been backed by the Sustainable Welfare Systems (SWS) programme, a profiling initiative at Tampere University funded by the Academy of Finland. By crossing disciplinary boundaries within the realms of health, society and technology, SWS aims to support phenomenon-based research in order to improve the governance and implementation of welfare systems and policies in the knowledge and information society.

Ben Lazare Mijuskovic Theories of Consciousness and Loneliness Christina R. Victor The Language of Loneliness Juhani Pallasmaa Loneliness and Solitude in Architecture

LOBE

Seminar on Loneliness and the Built Environment. Philosophical, Societal and Technological Perspectives

DATUTOP series editors Minna Chudoba and Gareth Griffiths gave us the opportunity to publish the contents of the seminar and the additional texts in the Tampere School of Architecture’s publication series devoted to architectural theory. The latter’s work in proofreading and copy-editing the texts has been invaluable. The attentive presence of the audience during the seminar and the detailed contributions of Richard Pieper and Gareth Griffiths at the roundtable discussion enriched the session and the debate. Likewise, we greatly appreciate the contributions of the students who attended the seminar as part of their curricula activities, giving us insightful feedback with their essays based on its content. The assistance of many people at Tampere University was crucial for the preparation and smooth running of the seminar. Arto Jalonen documented the event with his camera, his photos constituting the basis for the choice of images that illustrate this book. Mari-Sohvi Miettinen took care of the audience interventions during the roundtable and the recording of the discussion, as well as being responsible for its transcription. As the editors of this book, we wish to express our sincere gratitude to all the above-mentioned persons and to thank them for their generous contribution to the seminar and to this publication. Fernando Nieto and Rosana Rubio

Producción académica. Arquitectura, comunidad, individualidad

110

Rosana Rubio-Hernández

111

LONELINESS AND THE BUILT ENVIRONMENT

Introduction: Perspectives on Loneliness Fernando Nieto and Rosana Rubio

‘I believe all human feeling and thinking can be ‘charted’ between two poles: loneliness and the desire to belong. The only human absolute is loneliness, and all else emanates from it and is dependent on that source.’ (B. L. Mijuskovic, Feeling Lonesome: The Philosophy and Psychology of Loneliness, 2015)

Nowadays, there are broad sectors of society that, for various reasons, suffer from loneliness. This situation is even perceived as a kind of epidemic. It is certainly pertinent to analyse such a phenomenon in order to understand whether the situation really is part of a normality that has not been sufficiently understood and managed. There is no doubt about the implications of loneliness in many psychiatric diseases and its inextricable relation to hostility. As such, we should confront the issue head on. It is also true that current socio-economic, political, environmental, and technological premises are triggering undesired situations that are increasing the feeling of loneliness in society. Nonetheless, loneliness could also be considered not as a medical condition or illness but rather as a feeling consubstantial with the human condition. It is both a universal experience (i.e. we all are individual beings), and a private one (i.e. because of the many ways a person experiences being lonely). From a psychological perspective, there are nuances, ambiguities and emotional intricacies to consider. There are varied and conflicting philosophical explanations of the phenomenon. On the one hand, there is the viewpoint of materialist, behaviourist, and empiricist paradigms, which consider loneliness to be caused by contextual factors, and therefore a 11

Producción académica. Arquitectura, comunidad, individualidad

112

contingent and transient experience. On the other hand, there are those traditions that consider the feeling of loneliness as an everlasting, inevitable condition that is immanent to the operation of consciousness. All in all, these viewpoints seem to lead us to the understanding that we are facing an extremely intricate phenomenon. In view of its complex nature, countering the feeling of loneliness in terms of its negative consequences is a systemic problem due to multiple causes, ranging from individual cognitive capabilities and affective motives to the tensions and contradictions in the social and physical environments we are immersed in. From our perspective as architects, we ask ourselves whether architecture could be defined as the environment where Mijuskovic’s two human poles of loneliness and the desire to belong are negotiated. It is this reading of architecture that motivated the organisation of a seminar on loneliness and the built environment, titled ‘Loneliness and the Built Environment: Philosophical, Societal and Technological Perspectives (LOBE seminar)’, which took place at the Tampere University Faculty of Built Environment on December 16, 2019. The seminar addressed the phenomenon from a multidisciplinary perspective, with the Tampere University’s strategic focus areas of health, society, and technology as the breeding ground for the forum. The invited keynote speakers represent the fields of philosophy and psychology, public health, and architecture. The three lectures were later transformed by the authors into the articles included in the present publication. In addition to them, two additional articles offer further perspectives on the topic from symmetrical – physical and virtual – viewpoints. In his article “Theories of Consciousness and Loneliness”, Ben Lazare Mijuskovic establishes the theoretical background

PERSPECTIVES ON LONELINESS

of the seminar, delving into four themes around loneliness: first, that humans are innately lonely; second, that loneliness is a priori; third, that loneliness has consequences; and fourth, that there are remedies to loneliness. In the first theme, Mijuskovic argues that the fear of loneliness is the universal ‘existential’ condition of each of us, which motivates all our actions. In the second theme, he justifies loneliness based on ‘a theory of consciousness that assumes the mind is both immaterial and active; reflexively selfconscious (Kant) and transcendently intentional (Husserl)’ and, therefore, universal and unavoidable. His approach contrasts with the currently predominant research approach that claims loneliness is caused by external factors; hence being transient and avoidable. In the third theme, Mijuskovic explains how loneliness directly involves the dynamics of hostility, anxiety, and depression, leading to both destructive and self-destructive behaviours. Finally, in the fourth theme, he elaborates on the remedies to alleviate loneliness in terms of positively promoting empathy as the means to secure intimacy. Mijuskovic also elaborates on the role of the arts and architecture in this endeavour. In her article “The Languages of Loneliness: Developing a Vocabulary for Researching Social Health”, Christina R. Victor addresses issues of contemporary research on loneliness within the context of social health. Firstly, she defines, with the needed precision, the specificity of the concept, distinguishing it from other related yet distinct concepts. Secondly, she discusses the difficulty encountered in measuring loneliness, and states that there is a broad consensus that ‘loneliness is an experience that is identified by individuals themselves and is not something that can be identified or observed by others’. Thirdly, she refers to loneliness in later life and how its reception and representation have been transformed,

Rosana Rubio-Hernández

113

LONELINESS AND THE BUILT ENVIRONMENT

through policy and practice, from being a social issue to become a public health problem. Finally, Victor proposes a reframing of the research agenda on contemporary loneliness: instead of tackling it from a medicalised point of view, it should be done from a positive perspective that promotes healthy social relationships. In his article “Loneliness and Solitude in Architecture: Estrangement and Belonging in the Existential Experience”, Juhani Pallasmaa elaborates on the two related – yet paradoxically opposed – feelings of loneliness and solitude. Through a series of short chapters, he develops a number of ideas such as the consideration of solitude as being a ‘strengthened way of belonging’; the need of the creative mind for solitude in order to produce meaningful work; or that architecture and urban planning possess the power to unite and make us belong to a shared reality and, thus, counter loneliness. Pallasmaa reflects also on the loss of our capacity to dwell in space and time, due to today’s ways of life, which nihilates the value of solitude as a positive mental state; and argues that the role of architecture to mediate between us and the world is disappearing, becoming unable to integrate us with our existential reality. In their article titled “Techno-Architecture and Online Loneliness”, Javier Echeverría, Atxu Amann y Alcocer, Flavio Martella and Lola S. Almendros reflect on how the information revolution of the late 20th century modified traditional boundaries and created hybrid conditions that are, simultaneously, material and informational: an information layer overlaps the material one. They elaborate on suggestive concepts and subjects to grasp how the new set of relationships and realities that they describe may influence the feeling of loneliness. The authors argue that all these concepts constitute a ‘techno-habitat’ in which there is a lack of 14

PERSPECTIVES ON LONELINESS

proper architectural reflection, one being built mostly by software engineers. This topic raises an interesting disciplinary question on how architectural knowledge, traditionally involved with materiality, can be transferred into the immaterial informational world, where the criteria of ‘organization, decentralization, interchangeability and continuous transformation’ have substituted key architectural categories such as ‘harmony, purity and perfection’. The ontologically distinct ‘offline’ and ‘online’ worlds are discussed, arguing that despite their impossible reconciliation they are open for critical and creative experimentation. The final article “Loneliness in Place” constitutes our proposal as editors of this publication and incipient researchers on the interweaving of the subjective feeling of loneliness with the objectivity of the reality that the built environment indicates. Through a terminology connected to the everlasting dualism of individuality and collectivity, we elaborate on some possible spatial implications for the feeling of loneliness, and vice versa, how space in its broadest sense connects this feeling to the physical reality while contributing to its alleviation. Deliberately contrasted yet forming a continuous discourse, the two sets of terms allude to very concrete ideas that possess a myriad of possible interpretations and simultaneously a considerable assemblage of symbolic and physical meanings. In conclusion, the round-table discussion held at the end of the seminar has been transcribed with thorough attention to its original content. The three different perspectives of the speakers were contrasted against each other and in the light of the audience’s points of view. Hence, the topics were re-elaborated and enriched during the discussion. Among the issues addressed were, for instance, the different spatial scales in which loneliness occurs (i.e., 15

Producción académica. Arquitectura, comunidad, individualidad

114

LONELINESS AND THE BUILT ENVIRONMENT

the city, the community and the home); the concept of architecture as a ‘mediator’ between ourselves and the world; the stigmas and prejudices around the feeling of loneliness; the role of ‘emphatic’ thinking in design; and the positive aspects of solitude. Overall, the set of articles included in the present publication implies the initiation of an investigation of the theme of loneliness and the built environment. Our interest lies in the problem of properly designing the spatial gradation between the poles of privacy and community, which relates to the feeling of loneliness as described here. This is done by focusing on the interpretation of space as the core of the architectural practice, and speculating and reflecting on spatial qualities in architecture by exploring contemporary societal needs encompassed within disciplinary theories. Nevertheless, we have asked ourselves, firstly, how the built environment, as a counterbalance to the pervasive information and communication technologies (ICT), enhances the creation of intimacy, thus helping us overcome – physically – our insularity. Knowing from psychologists that the sense of trust in others and the development of empathy are the highest goals and protections against loneliness, we believe that they could be tied into this discussion so as to investigate emerging building typologies, such as new hybrid solutions and urban models that promote collective ways of living, including the culture of sharing and the enhancement of the sense of belonging at their core. Secondly, we have asked how the environmental conditions are able to enhance people’s intentionality, be it enabling or cancelling their capacity to undertake positive personal purposes and agencies, which are also acknowledged as tools against the feeling of loneliness.1 One of the initial motivations of this investigation was to

PERSPECTIVES ON LONELINESS

detach the feeling of loneliness from its hackneyed meanings – very much present in the societal debates on the issue – whilst simultaneously attaching to it a spatial notion that is deliberately undefined in physical terms, and therefore left unresolved and opened up to each person’s imagination. The difficulty in associating this feeling with the physical reality – at least the one we found as researchers – might be the reason why, at the discretion of their authors, none of the viewpoints included in this publication are illustrated with images. Note 1. In this regard, at the time this book is being written, we are working on three multidisciplinary research projects addressing this issue of loneliness and its physical dimension. The project ‘Social Robots and Ambient Assisted Living: The Independence and Isolation Balance’ (SOCIETAL) focusses on the alleviation and detection of loneliness within the context of older adults by means of smart environments and technologies. The project ‘Intelligent social technologies enhancing community interaction and sustainable use of shared living spaces in superblocks’ (SocialBlock) develops co-design studies and concepts on how intelligent social technologies and spatial innovations may be used to enhance community interaction and shared spaces in order to promote the sustainable development of urban living areas within the context of the Hiedanranta area in Tampere. The project ‘Implementation of contextual complexity in AI-based assessment systems of older people’s social isolation’ (AIsola) aims to depart from detection and prediction models to assess social isolation among older adults and to advance systems that contribute to its avoidance. The research groups involved in these projects belong to four different faculties at Tampere University: Faculty of Built Environment, Faculty of Social Sciences, Faculty of Information Technology and Communication Science, and Faculty of Management and Business. They are supported financially by the socalled Intelligent Society (INSO) platform, an Academy of Finland profiling initiative that seeks to strengthen cooperation on the Tampere University’s strategy axis society–technology during the years 2019-2023.

Rosana Rubio-Hernández

115

LONELINESS AND THE BUILT ENVIRONMENT

Loneliness in Place

Fernando Nieto and Rosana Rubio ‘Our intimate life, our life in solitude, is a dialogue with all men.’1 (Miguel de Unamuno)

There are no conclusive facts to which one could refer in order to demonstrate that architectural practices affect solitary living and, conversely, how loneliness is spatialised in the built environment. Although architecture as a humanistic discipline undoubtedly deals with the dual human condition of essential insularity and necessary sociability, ‘no matter what happens in the world of human beings, it happens in a spatial setting’.2 Likewise, given the multifaceted characteristics of the causes and consequences of loneliness, from psychological to political aspects, it seems evident that it has a tangible reflection on spatial arrangements. Loneliness and solitude are extremely complex human feelings, which have been addressed by multiple disciplines, ranging from the social and natural sciences to the arts. The present article draws from the hybrid condition of the discipline of architecture as a synthesis of science and the humanities. Thus, it attempts to examine the architectural implications of these two unwanted and desired emotional states; and, vice versa, it seeks to relate how these feelings are manifested in the built environment. Starting out from an act of introspection, and following the ancient tradition of ‘commonplace books’, we have collated a series of concepts that gather together other people’s ideas together with our own commentaries and reflections, as a way of stablishing a ‘dialogue with all men’.3 Our aim is to open a space of thought around ‘proverbial wisdom’ that relates the human feelings of 109

Producción académica. Arquitectura, comunidad, individualidad

116

loneliness and solitude with architecture theories and practices. We have grouped these fragments of knowledge under a series of terms associated with space-related manifestations – ‘Vital Space’, ‘Island’, ‘(In)habit’, ‘Sharedness’, ‘Exchange’ and ‘In-betweenness’ – which constitute an incomplete and ongoing conceptual framework around forms of individuality and community and their spatial reflection through a continuous act of ‘crowded solitude’.4

Vital Space In his seminal 1966 book The Hidden Dimension, Edward T. Hall crosses his disciplinary lines as an anthropologist to trace a framework for architectural space and city planning as a system of communication. The objective of the American anthropologist is to trace not a verbal but a basic ‘underlying organizational system’ that would ‘increase self-knowledge and decrease alienation’ among people.5 Hall named the technique ‘proxemics’. Proxemics interrelates his theories and observations of man’s use of space, rooting them in biology, physiology, and cultural idiosyncrasies. On that basis, Hall establishes a hierarchical organization of space, distinguishing between ‘intimate’, ‘personal’, ‘social’ and ‘public’ distances, accounting for man’s perception of them;6 an experience that is ‘not just visual, but ‘multisensory’.7 Hall acknowledges the role of the different senses in spatial perception, categorizing them into two groups: ‘the distance receptors (eyes, ears, and nose)’ and ‘the immediate receptors (skin and muscles)’.8 Furthermore, he maintains that there are many sensory worlds, depending on the groups of people and their cultures, leading to the statement that the environments that people build are expressions of a ‘filteringscreening process’.9 Depending on the culture, some receptors are

NIETO AND RUBIO

enhanced while others are suppressed and this has consequences on spatial layouts and qualities such as materiality.10 In the end, Hall’s goal is to provide architects and city planners with a technique that leads to a system of conventions, which spatial designers might adopt in order to organize the living environment and facilitate human communication. Unveiling the ‘hidden dimensions’, and accounting for its ‘silent language’, might be a valuable design instrument to ease people’s social relationships while balancing individuals’ needs, which might have implications on facilitating a personal space, and therefore solitude, while preventing social isolation and, consequently, loneliness. Artists have discovered and applied resources related to proxemics without being conscious of it, as Hall himself acknowledges in the chapter ‘Art as a Clue to Perception’.11 The history of the visual arts is full of conventional representational resources that enable artists to represent reality and to communicate with the observer. But, more importantly, it is worth highlighting what some artists have found besides the conventions addressed by Hall: something key to human existence, disclosing seminal reasons about what triggers the building of man’s environment. This is evident, for instance, in the case of sculptor Alberto Giacometti and poet W. H. Auden. Giacometti devoted his life to obsessively searching for a ‘primal vision’ and to destroy all the representation laws and conventions of art. He achieved it, precisely, by exploring the void between humans, ‘between nothingness and being’,12 attempting to capture his only interest: ‘reality’ – rather than its representation. Jean-Paul Sartre once said of Giacometti: ‘[…] first of all, it is the man who has created the distance, and it makes sense in a human space: it separates Hero from Leandro and Marathon from

110

111

Rosana Rubio-Hernández

117

LONELINESS AND THE BUILT ENVIRONMENT

Athens, but not a pebble from another pebble. […] An exhibition of Giacometti is a town. He sculpted men who cross a square without seeing each other; they cross themselves hopelessly alone and yet they are together.’13 Sartre understands Giacometti well due to his own experience: ‘One night in April 1941 I understood what this is: I had spent two months in a prison camp, that is, inside a can of sardines, and had had the experience of absolute proximity: my skin was the border of my vital space; day and night I felt against me the heat from a back or a hip. It didn’t bother me: the others were still myself. That first night of freedom I pushed the door of a cafe [...]. I was immediately afraid – or almost –: [...] The few customers seemed to me farther away than the stars [...] I had found bourgeois society: I needed to resume life ‘at a respectful distance’. [...] This is the case with Giacometti: for him distance is not a voluntary isolation, nor a setback: it is a requirement, a ceremony, a sense of difficulties. It is the product – he said it himself – of powers of attraction and repulsive forces.’14

It is not by chance that the chapter of Hall’s book titled “Distances in Man”15 opens with the following prologue, poem, The Birth of Architecture, by W. H. Auden, from the collection titled Thanksgiving for a Habitat: Some thirty inches from my nose The frontier of my Person goes, And all the untilled air between Is private pagus or demesne. Stranger, unless with bedroom eyes I beckon you to fraternize, Beware of rudely crossing it: I have no gun, but I can spit.16

The title of Auden’s poem eloquently evokes the genesis of 112

NIETO AND RUBIO

architecture as the negotiation of one’s basic territorial unit, a pagus, and that of the ‘stranger’, both realms separated by a hidden boundary, whose measure he sets at thirty inches. Just as for Giacometti, it is through tensions, the ‘powers of attraction and repulsive forces’ that human space is created. The poems that follow this prologue in Thanksgiving for a Habitat are a sequence of appreciative verses about Auden’s house in Kirchstetten in Austria. The poems constitute a panegyric about the poet’s ‘vital space’, which do nothing but abound on the following idea: the house is a shelter, even an extension of the human body, and simultaneously a place for sociability of the ‘rational animal’.17 The house itself and the objects within it seem to stem from its inhabitants and the ‘untilled air between’ them; becoming an amalgamation orchestrated by the management of the demesne’s hidden dimensions. Architecture is constantly in search of the agreement between conventions and going beyond them, in a continuous re-thinking, re-dimensioning and re-designing of the human’s vital space.

Island The modern notions of ‘loneliness’ and ‘aloneness’ date from the nineteenth century, arising in parallel with the emergence of the ideology of the metropolis and, with it, with the rise of the ‘individual’;18 the ‘modern, rational and secular versions of ‘identity’;19 and changes in states such as ‘sociability’, ‘community’, ‘belonging’, and the ‘self ’.20 Prior to that, the word did not carry today’s emotional and psychological connotations. ‘Oneliness’ (today an obsolete word) was the term that conveyed a sense of physical or geographical isolation’, writes historian Fay Bound 113

Producción académica. Arquitectura, comunidad, individualidad

118

LONELINESS AND THE BUILT ENVIRONMENT

Alberti, and supporting this argument by referring to the early 18th century writer Daniel Defoe’s Life and Adventures of Robinson Crusoe, where still the modern concept of loneliness does not feature, being a narration about the long-term seclusion of a castaway on a remote tropical island.21 The island is nowadays a recurrent spatial metaphor, which helps to internalise ‘oneliness’, to convey what we currently understand as loneliness: lonely people often verbalise their mood like the feeling of ‘being an island’; an island as a clearly demarcated territory bounded by impassable limits between oneself and the rest of the world, which impose a painful detachment from society. It is a feeling of uncanniness and anomality. However, this is just one of the possible interpretations of the figurative maritage between loneliness and the island. Among all the suggestions that the island metaphor carries, there is that of being a space suitable for ‘utopia’, in all its forms and modalities. Interestingly, there is a primary ambivalence in the very word devised by Thomas More in his 1516 novel Utopia about an ideal society located in an idyllic island: ‘utopia’, a play on the words eutopos, ‘good place’ and outopos, ‘non-place’. Islands are at once wonderlands, ideal and magical territories and places where anything and the extraordinary are possible, but also the home of the exiles from the ordinary, the condemned, the convicts, and the plagued. It is in this last sense that the contemporary meaning of loneliness is paralleled with that of the island, as a territory where people confine themselves or where society ‘insulates’ what it finds troubling to allocate or what it envisions as potential threats to its integrity. Islands have been places to banish religious, intellectual and political dissidents, whose names have become indissolubly linked to that of the territory where they were sent into exile: St. John

NIETO AND RUBIO

on Patmos, Napoleon on St. Helena and Elba, Víctor Hugo on Guernsey, Unamuno on Fuerteventura, and Nelson Mandela on Robben Island. Similarly, islands have served to imprison criminals: Al Capone on Alcatraz. Sanitary reasons have also proved the island suitable for the ‘internment’ (fascinatingly, from the French interner: ‘send to the interior’) of the insane and infected; a paradigmatic example of which is the Lazzaretto Vecchio in the Venetian Lagoon away from the terraferma, which housed a hospital to quarantine plague victims from the 15th century till the end of the 17th century. The last three examples mentioned are satellite islands in urban settlements (Cape Town, San Francisco, and Venice) that have served traditionally to expel, confine and even marginalize ‘anomalous’ citizens. That is also the case of Hart Island in New York City. This one-mile-long island in the northeastern Bronx, at the western end of Long Island Sound, has been, not only today but historically, a place for the City of New York authorities to displace social aspects and dynamics that they have found troubling to allocate within the City’s area and its civic limits. While some structures were planned for Hart Island but remained unbuilt, such as a segregationist amusement park targeting negro citizens, others were functioning in different periods, sometimes overlapping in time, including a potter’s field.22 From 1875 until today, Hart Island is the one New York City public cemetery that has acted as a temporary burial ground during sanitary crises (including the Spanish Flu, AIDS and COVID-19 epidemics) as well as for the homeless, poor people, stillborn babies, and unclaimed, unidentified or anonymous bodies. In this last respect, the island has long borne the stigma of many New Yorkers’ anomalous anonymity, potentially because of a likewise anomalous loneliness:

114

115

Rosana Rubio-Hernández

119

LONELINESS AND THE BUILT ENVIRONMENT

another ‘contemporary epidemic’, as some have described it, and not without controversy. It is difficult to visualise loneliness at the urban scale: when living alone, people do not show recordable traces that differ significantly from those living with a family or others. However, it is when the person living alone passes away that disturbances in the norm become evident. In a sea of big data, the tracking of citizens’ energy consumption patterns and, increasingly, the registering of their vital signs, show islands of inactivity becoming indicators of deaths of those living alone. While these behavioural irregularities are immaterially recorded in the digital realm, it is in the physical realm where the condition of living alone is spatialised: as materialised through the dead body. What is reflected by the massive burials taking place on Hart Island, if not the New Yorkers’ loneliness (there is no record testifying that these people have experience existential, emotional or social loneliness during their lifetime), is at least their ‘oneliness’, in the sense of the physical, geographical, and metaphorical isolation of those New Yorkers from any societal bond. Each of the bodies buried on Hart Island are islands in themselves, and it is a cruel coincidence that all of them end up unified in an actual island that represents them. Strikingly, as Peter Sloterdijk points out, the well-known classical legend that explains the genesis of certain islands in the rocks thrown into the sea by the Olympian Gods to the giants, leads to an interpretation of the island as a tomb of giants or as the caps of sarcophagi for the enemies of the Gods.23 If what we are visualizing on Hart Island is not just New York’s ‘oneliness’ but also potential clues of an even deeper problem, its loneliness,24 the struggle for designers and planners, from the perspective of David Harvey’s Marxist economic geography, is the 116

NIETO AND RUBIO

advancement of ‘more socially just’ and ‘politically emancipatory’ practices and not giving in to those kinds of ‘Gods’, ‘to those dictations imposed by uncontrolled capital accumulation, backed by class privilege and gross inequalities of political-economic power’.25 This instance, which is a telling and painful example of the dimension of isolated living in cities as well as an updated symbol of the contemporary identification of loneliness with the outopian connotations of the island, would disappear, opening a way to recover the eutopian dimension inherent in this metaphor.

(In)habit The English words ‘habit’ (custom) and ‘inhabit’ (dwell), share an etymological origin: habere (to have). The frequentative of habere is habitare.26 Frequentative means that the action occurs repeatedly; so, ‘habit’ and ‘inhabit’ can be read as ‘having repeatedly’; for example, the routine that you frequently have is your habit, or the physical place that you have continuously is the place that you inhabit. Language reveals how our recurring acts of everyday life, the ‘typical human situations’, as Dalibor Vesely puts it,27 intertwine with the physical place or space we occupy. They are originally ‘attuned’, using Alberto Pérez-Gómez’s term.28 Architecture’s fundamental role is to mediate in such a tuning so as to enable a meaningful existence. Therefore, to grasp the intricate nature of human habits, and the feelings they relate to, is thus a central question that puzzles designers, who, overtime, have adopted different techniques to tackle this issue; for instance, technologies that allow the parametrisation and visualisation of habits, to grasp their spacio-temporal implications. When the functionalist logic, proper to the industrial realm, 117

Producción académica. Arquitectura, comunidad, individualidad

120

LONELINESS AND THE BUILT ENVIRONMENT

was adopted by architectural practices at the beginning of the 20th century, efficiency became the leitmotiv of the design of the dailylife environment. The above-mentioned ‘attunement’ consisted of ‘mechanically’ encompassing habits and the inhabitable space. The pioneers of the visual management techniques applied to industrial realms went on to develop movement charting techniques for that purpose, which were then later transferred to optimise domestic space. Nowadays, the smart technology – equally transferred from the industrial realm, in this case, from the systems-of-systems approach – allows one to delve even further into the mechanical procedures of the human body, penetrating its physiology and psychology, including the feeling of loneliness, supposedly reflected in daily domestic habits. In this latter case, the inhabitable space is the medium with which to gather data rather than its consequent result, as it was in the former instance. An image particularly well-known within architectural circles is the chronocyclegraph that Sigfried Giedion included in his 1948 book Mechanization Takes Command, in which the architectural historian examines retrospectively the impact of mechanization on daily life. This long-exposure photograph, taken in 1924 by the American corporate consultant company Gilbreth Inc., ‘shows the light path of the point of a rapier used by an expert fencer’.29 It is obvious that with this suggestive image, Giedion wanted to convey an aestheticised vision of mechanisation, enabling simultaneously both the visualisation of the sequence of instants that make up a movement and its spatialisation. The time-and-motion studies of the founders of the Gilbreth Inc., Frank and Lillian Gilbreth, pioneers of industrial-organisational psychology, together with American women’s domestic engineering studies,30 had a great influence on the conception of early Modernist residential

NIETO AND RUBIO

programmes, especially in the influential housing development programme ‘New Frankfurt’ under the direction of architect Ernst May, and where the Austrian architect Margarete SchütteLihotzky oversaw the study of daily domestic habits and designed accordingly the space where they unfolded. Schütte-Lihotzky’s investigations on the optimization of motion habits led to her most celebrated contribution, the so-called Frankfurt Kitchen; the utmost pragmatist domestic space derived from a prevailing scientistic paradigm, the ultimate goal of which is the reduction in building costs and the easing and optimisation of women’s domestic labour, so as to allow them to dedicate their liberated time, in principle, to more pleasant and meaningful activities. In line with this tracking and measuring of daily habits, current smart-home models and wearables are being tested to perform health metrics. Research is being conducted to ‘detect’ and ‘predict’ older adults’ physical and sociopsychological decline, including their loneliness, based on their daily domestic habits.31 The collated big data is processed through intelligent algorithms that trace the inhabitants’ behavioural profile. To ‘teach’ the algorithms, the researchers correlate these factual scores with ground truth measurements; i.e., subjecting the inhabitants to scientifically approved loneliness scales.32 Based on the correlation of the results of both quantitative methods, the researchers raise conclusions that relate the spatialisation of habits (e.g., the time spent in certain rooms or outdoors) and loneliness. The results of the refereed studies seem to back up a practical, reliable, and cheap way to open up the terra incognita of the feeling of loneliness, like the early 20th century pioneers of the visual management accomplished to unveil the hidden dynamics of movements in the domestic space. However, in these contemporary instances,

118

119

Rosana Rubio-Hernández

121

LONELINESS AND THE BUILT ENVIRONMENT

researchers seem also not to take architectural characteristics into any significant consideration in their experiments, neither do they coordinate with architectural and urban design practices that could extract conclusions and attune the architectural space with healthy habits that ameliorate the feelings of loneliness in the senior population. Both episodes, the modern and the contemporary, have good socio-economic intentions as their final goals: on the one hand, to procure affordable living spaces in a post-war situation or to provide gerontological assistance in a scenario of demographic change and potential shortage of caretakers; and on the other hand, to free women from hard domestic labour or to facilitate older adults’ independence and to age-in-place. However, when framing both approaches to the attunement of architecture habits within philosopher Albert Borgmann’s ‘device paradigm’, and his notion of ‘focal events’ as practices and elements able to trigger and gather meaningful human habits, the architectural results seem questionable in both cases. The Frankfurt Kitchen, besides its unquestionable efficiency, resulted in an ‘inconspicuous’ and ‘neutral’ space as possible in everyday life:33 it was reduced to perform just its prosaic and preprogramed function, resulting in a de-flavoured version of the complex implications that the architectural space we call ‘kitchen’ entails. Regarding the contemporary sensing technologies and big data processing, they constitute a technological system that does not generate by itself ‘focal events’; in fact, their ‘unobtrusiveness’ is, eloquently, one of the characteristics determining the success of the system.34 In order to have a meaningful impact, smart technologies probably need to be approached as part of a system conceived from a multidisciplinary and interdisciplinary perspective, unified 120

NIETO AND RUBIO

under a humanistic perspective,35 from the architectural ‘unifying understanding’ of ‘typical humane situations’.36 The Frankfurt Kitchen and the smart-home paradigm, as it is currently formulated, seem to be the result of the idolatry – or even superstitious idea – of quantitative studies as applied to architecture in supposedly improving the life of the ‘chimerical man’, a man that ‘does not exist’, as referred to by Le Corbusier, as opposed to what he called ‘our own’ man, meaning an everyday man.37 On being cautious with seductive and potentially deceitful practices, a ‘whole batch of plans that have the wheel revolving around a fictious pivot’ could be avoided.38 What kind of kitchen would have been designed if the problem to be addressed would have been how to contribute to the consolidation of social bonds around culinary habits, rather than mere efficiency? What would the social consequences have been? How would the smart-home be if the problem to be addressed would be how to avoid loneliness or the social isolation of older adults, rather than its detection or prediction? And what would be its impact on people’s lives?

Sharedness In his writings on individuality and the so-called ‘forms of sociation’, George Simmel39 points to the Renaissance as the period that created what we call ‘individuality’, which involved the liberation of the individual subject from the communal forms that were characteristic of the Middle Ages. Those forms of community entailed the constriction of the individual’s activities and life impulses through homogenisation in groups, which in the end blurred the boundaries between individuals.40 For Simmel, the Renaissance brought an emphasis 121

Producción académica. Arquitectura, comunidad, individualidad

122

LONELINESS AND THE BUILT ENVIRONMENT

on uniqueness and selfhood, which resulted in a so-called individualism of ‘distinction’, which carried a conspicuous feeling of self-aggrandisement.41 On the other hand, an individualism of ‘freedom’ was used by individuals in the 18th century to self-assert themselves against the constrictions imposed by society. According to Simmel, freedom and equality do not exempt individuals from personal responsibility, which configures a ‘natural law’ based on a ‘fiction of isolated and identical individuals’, depicting the modern effort for differentiation that distinguishes them from one another.42 This is visualised by Simmel with the metaphor of the frame in artworks, which simultaneously connects and separates them and their surroundings, whilst at the same time symbolises the contradictory aspiration of individuals for group belonging and their assertion for autonomy.43 When addressing the gathering place between individuality and forms of collectivity, Simmel makes a play on words distinguishing between the ‘individuation of collectivities’ and the ‘indeterminacy of collective individualities’, to state that ‘the sense of individuality has overstepped the boundary of the individual, as it were, and has absorbed the social aspect of the person that normally constitutes the antithesis to his individual aspect.’44 However, he points out that it is in the fact of sharing with others where the individual discovers his own selfhood and freedom, in the end revealing himself ‘to bear the loneliness of its own quality.’45 Therefore, the idea of sociation with others as a way of overcoming the tightness of individuals’ boundaries becomes the trigger of their own freedom as individuals. The expansion of those limits beyond one’s individuality by overlapping and sharing them with others is something that architecture has contributed to construct as the physical mediator between individuals in space.

NIETO AND RUBIO

Exchange Interaction through social relations lays at the core of Simmel’s sociology, which considered the forms of social interaction to be more important than its actual content.46 According to him, the autonomy of personality and its isolation makes us identical to others, which is compensated by the possibility of interaction with them. As one of the forms of social interaction,47 the concept of ‘exchange’ implies an added worth in the sense that, when produced, the sum of values after an act of interaction between parties is greater than what it was before, giving each party more than previously possessed. Exchange as a ‘pattern of sociation’ possesses a spatial dimension, too. It is within space that the exchange of conditions that conciliate the individual and communal spheres is produced. In his seminal 1909 text “Bridge and Door”, Simmel delves into the spatial dimension of separation and connectedness through a distinction between the human and natural dimensions: ‘[T]he objects remain banished in the merciless separation of space; no particle of matter can share its space with another and a real unity of the diverse does not exist in spatial terms. And, by virtue of this equal demand on self-excluding concepts, natural existence seems to resist any application of them at all. Only to humanity, in contrast to nature, has the right to connect and separate been granted, and in the distinctive manner that one of these activities is always the presupposition of the other. By choosing two items from the undisturbed store of natural things in order to designate them as ‘separate’, we have already related them to one another in our consciousness, we have emphasized these two together against whatever lies between them. And conversely, we can only sense those things to be related which we have previously somehow isolated from one another; things must first be separated from one another in order to be together.’48

122

123

Rosana Rubio-Hernández

123

LONELINESS AND THE BUILT ENVIRONMENT

Simmel elaborates on the natural symbiosis between separateness and connectedness with a physical metaphor, ‘spatialising’ his ideas about the limits of individuality by confronting the metaphors of the bridge and the door.49 This confrontation qualifies a distinction on how the simultaneity of separateness and connectedness occurs in objects and in human beings. In spatial terms, according to Simmel, the bridge is the epitome of path building, whilst the door is the representation of the boundary point. Both concepts could in turn be the two physical modes in which exchange may be produced. On the one hand, the bridge acquires an aesthetic value insofar as it makes visible the separated elements it connects, be they the banks of a river or the two sections of a discontinued road. It therefore makes the separation visible. By contrast, the door visualises the connectedness and separateness as two sides of the same act, depicting a reversible boundary insofar as it may be removed by its opening.50 Both bridge and door represent the possibility of exchange. The door allows the interchange not only of its own character as a boundary but also that of the elements it separates (or connects) on both sides. By contrast, the bridge, having an aesthetic value, makes visible the connection between the extremes it gathers ‘not only resisting spatial separation but also giving aesthetic and symbolic form to this dominance of volition over space’.51 Moreover, the bridge may be crossed indistinctly in both directions, whilst the door, when traversed, produces a different meaning depending on the entry or exit direction one takes to cross it. Architecture consequently possesses the capacity of positing the limits, while suggesting a meaning to them through a physical presence, aiming at solving the individual’s needs for intimacy and solitude, the encounter between them and their integration with the environment, through an aesthetic presence. 124

NIETO AND RUBIO

In-betweenness Among the spatial forms that Simmel distinguishes, the boundaries of space exert an important influence on social interactions, framing the pieces or units in which it is divided.52 Simmel states: ‘[A] society is characterized as inwardly homogeneous because its sphere of existence is enclosed in acutely conscious boundaries; and conversely, the reciprocal unity and functional relationship of every element to every other one gains its spatial expression in the enclosing boundary… People seldom appreciate how marvellously the extensity of space accommodates the intensity of sociological relationships here, how the continuity of space, precisely because it nowhere contains an absolute objective border, therefore permits us to lay down anywhere such a boundary subjectively.’53

The idea of in-betweenness as a space of boundaries has been used in architecture in the revision of the first modernity at the second half of the 20th century. The expansion of boundaries has introduced spatial thickness as an overcoming of the dichotomies between inside-outside, private-public, and individual-collective, which is done through the negotiation between poles to obtain transitional spaces. The gradation of privacy in physical terms was analysed in the seminal 1963 book Community and Privacy by Serge Chermayeff and Christopher Alexander, who blurred the polarization in this dichotomy between extremes in architecture and urbanism through the notion of threshold.54´The authors delve into overcoming the dichotomy between private and public spheres, which expands the distinction between individuality and collectivism poles: ‘In cultures both present and past where recognition of the dichotomy or separation of public and private has not been 125

Producción académica. Arquitectura, comunidad, individualidad

124

LONELINESS AND THE BUILT ENVIRONMENT

overcome by complexities, as it is in modern industrialized society, there is clear physical expression of the need for varying degrees of privacy and the integrity of domains corresponding to these. There are many examples of hierarchical arrangements of space provided by history at many levels of sophistication.’55

Their main thesis advocates for the introduction of ‘transition points’ that may become transitional spaces between domains or realms with different degrees of privacy. Whilst this is produced at all scales, it is the so-called ‘urban anatomy’ that becomes a mediator between privacy and community living: ‘Privacy is most urgently needed and most critical in the place where people live, be it house, apartment, or any other dwelling. […] It is our further contention that to contain this kind of dwelling, and to develop both privacy and the true advantages of living in a community, an entirely new anatomy of urbanism is needed, built of many hierarchies of clearly articulated domains. Such an urban anatomy must provide special domains for all degrees of privacy and all degrees of community living, ranging from the most intimately private to the most intensely communal. To separate these domains, and yet allow their interaction, entirely new physical elements must be inserted between them. It is because these new elements of separation emerge as vital and independent units in their own right that a new urban order may develop from the hierarchy of domains. Only when the habitat of urbanizing man is given such an order shall we perhaps restore to urban life a fruitful balance between community and privacy.’56

Both spheres of community and privacy may be connected according to the characteristics of the transitional elements that may participate on the basis of the conditions of the elements at both sides in a spatial gradation. This is an in-between condition that, as a threshold, looks two ways at once by inducing a reciprocal state, where ‘provision for voluntary communality rather than

NIETO AND RUBIO

inescapable togetherness is essential’.57 The architecture of in-betweenness provides simultaneously both the possibility of solitude and the avoidance of unwanted social isolation – both situations very much needed in urban contexts. *** The first three concepts described above – ‘Vital space’, ‘Island’, and ‘(In)habit’ – are essentially related to the individual sphere of the subject and its relationship to the phenomenon of loneliness: ‘Vital space’ as the connection between oneself and the immediate surrounding; ‘Island’ as the physical epitome of the idea of ‘oneliness’, a territorial metaphor for the boundaries between individuals and their social sphere; and the act of ‘Inhabitation’ as the way of purposefully ‘attuning’ the space that surrounds one through the practice of habits. Thus, the act of habitation is directly connected to the grasping of routines and customary modes of action, the practices of everyday life.58 The three concepts may be considered as the spatial manifestations of the practice of individuality, inasmuch as it is through our everyday habits in the space of inhabitation how we determine the will or unwantedness of our solitary or connected living. These practices may be grouped in systems of everyday relations, as far as they are able to trigger connected ways of operating regarding space. According to Michel de Certeau: ‘(T)he examination of such practices does not imply a return to individuality. The social atomism which over the past three centuries has served as the historical axiom of social analysis posits an elementary unit – the individual – on the basis of which groups are supposed to be formed and to which they are supposed to be always reducible […] Analysis shows that a relation (always social) determines its terms, and not the reverse, and that each individual is

126

127

Rosana Rubio-Hernández

125

LONELINESS AND THE BUILT ENVIRONMENT

a locus in which an incoherent (and often contradictory) plurality of such relational determinations interact.’59

Beyond the individual sphere, the collective dimension of the subject was considered in the last three concepts – ‘Sharedness’, ‘Exchange’ and ‘In-betweenness’ – by exploring the spatial dimension of the modes of interaction with others. These latter concepts, built upon the sociology of space and theory of architecture, have acted as counterparts to the previous three concepts, drawing upon the relationship between the practices of collectivism and individuality, between community and privacy. In order to grasp the notion of loneliness through spatialisation, the objective in delving into these six concepts has been to understand the implications of space in the physical relationships between the individual and communal spheres. They constitute the inception of a terminology that might become the above-mentioned ‘commonplace book’, allowing for the desired dialogue with all men. Notes 1. Miguel de Unamuno, “Soledad”, in Ensayos, Vol. VI (Madrid: Publicaciones de la Residencia de Estudiantes, 1918), 45. 2. Edward T. Hall, The Hidden Dimension (New York: Anchor Books, 1990), xi. 3. Unamuno, “Soledad”, 45. 4. Mario Benedetti, “Rostro de vos”, in El amor, las mujeres y la vida (México: Santillana, 1997), 44. 5. Hall, The Hidden Dimension, x, xii. 6. Ibid., 114-125. 7. Ibid., xi. 8. Ibid., 41-60. 9. Ibid., 2. 10. E.g., traditional Japanese paper screens are adequate to isolate a 128

NIETO AND RUBIO

room, since their auditory space is screened, because for them devices that intervene in the visual space suffice for the purpose of gaining intimacy. Ibid, 45. 11. Ibid, 77-80. 12. Jean-Paul Sartre, “The Search for the Absolute”, in the Catalogue of the Alberto Giacometti exhibition at the Pierre Matisse Gallery in New York (New York: Pierre Matisse Gallery, 1948), 3. 13. Jean-Paul Sartre, “Sartre y Giacometti”, Debats vol. 20, 1987, 23. 14. Ibid. 15. Hall, The Hidden Dimension, pp. 113-125. 16. W. H. Auden, “Thanksgiving for a Habitat”, in Collected Poems (New York: Modern Library, 2007), 687. 17. Ibid, 688. 18. Fay Bound Alberti, “This ‘Modern Epidemic’: Loneliness as an Emotion Cluster and a Neglected Subject in the History of Emotions”, Emotion Review, vol.10, no3, 2018, 242. 19. Charles Taylor, Sources of the Self: Making of the Modern Identity (Cambridge: Cambridge University Press, 1992). 20. R. Potter (ed.), Rewriting the Self: Histories from the Renaissance to the Present (London: Routledge, 1997). 21. Bound Alberti, “This Modern Epidemic”, 245. 22. The structures installed at Hart Island have included: a training ground for the United States Colored Troops; a Union Civil War prison camp; a psychiatric institution; a quarantine sanatorium for yellow fever and tuberculosis epidemics; a homeless shelter; a boys’ reformatory; a jail; and a drug rehabilitation centre. ‘Hart Island Timeline’, New York Correction History Society: http://www.correctionhistory.org/html/ timeline/html/hartline.html (accessed 2.2.2021) 23. Peter Sloterdijk, Foams: Spheres Volume III: Plural Spherlology (Los Angeles: Semiotext (e)), 241. 24. The New Yorkers who die alone are mostly poor people or people of colour or both. It is a demonstratable fact that the ones that experience the highest levels of loneliness are the poor social groups, given the deterioration of their social networks, proportionally to their poverty levels. Thomas Scharf, “Social exclusion of older adults in deprived urban communities of England”, European Journal of Ageing, 2 (2005): 76-87. Ethnicity is also an important indicator of loneliness. Richard L. Allen and Hayg Oshagan, “The UCLA Loneliness Scale”, Personality and 129

Producción académica. Arquitectura, comunidad, individualidad

126

LONELINESS AND THE BUILT ENVIRONMENT

Individual Differences, 19, (1995):185-195. Given this, to a certain degree we could infer that Hart Island reflects not only New York’s levels of ‘oneliness’, but also those of loneliness generally. 25. David Harvey, The Condition of Postmodernity (Cambridge, MA: Blackwell, 1990). 26. Online Etymology Dictionary: https://www.etymonline.com (accessed 1.7.2020). 27. Dalibor Vesely, “Architecture as a Humanistic Discipline”, in Soumyen Bandyopadhyay, Jane Lomholt, Nicholas Temple and Renée Tobe (eds.), The Humanities in Architectural Design. A Contemporary and Historical Perspective (London and New York: Routledge, 2010), 197-198, 200. 28. Alberto Pérez-Gómez, Attunement: Architectural Meaning after the Crisis of Modern Science (Cambridge, MA: MIT Press, 2016). 29. Siegfried Giedion, Mechanization Takes Command: A Contribution to Anonymous History (New York: Oxford University Press, 1948), 29. 30. Domestic manuals based on the scientific organization of labour, written by the Americans Catherine Beecher, Christine Frederick and Lillian Gilbreth, constituted the leitmotiv of social housing in Germany during the heroic years of Modernism. All these books registered exhaustively the housekeeper daily habits aiming for the optimisation of their movements within the domestic space. Carmen Espegel and Gustavo Rojas, “The trail of American domestic engineers in European social housing”, Proyecto, Progreso, Arquitectura, 18 (2018): 58-73. 31. This assertion is based on the work done in the research projects ‘Social Robots and Ambient Assisted Living: The Independence and Isolation Balance’ (SOCIETAL) and ‘Implementation of contextual complexity in AI-based assessment systems of older adults’ social isolation’ (AIsola), which are part of ongoing research carried out by the authors on the mutual implications between the built environment and the phenomena of loneliness and social isolation. Both projects are being developed during the period 2019-2022 by multidisciplinary teams at different faculties at Tampere University, combining the disciplines of architecture, philosophy, social psychology, gerontology, mechanical engineering, and electrical engineering. 32. In the specific case of loneliness, the scales used include, for example, the ‘De Jong Gierveld Loneliness Scale’, the ‘Lubben Social Network Scale’, and the ‘UCLA Loneliness Scale’.

NIETO AND RUBIO

33. Albert Borgmann, Technology and the Character of Contemporary Life. A Philosophical Inquiry (Chicago, IL: The University of Chicago Press, 1987), 41-44, 48. 34. ‘Nowadays, we find the ideas of availability, inconspicuousness, and spatial indifference in smart-home and smart-city ideologies but they were strongly present already in the machine metaphors of the modern architecture’. Pekka Passinmäki, “Technology, Focality and Place: on the Means and Goals of Architecture”, in Understanding and Designing Place, DATUTOP 38 (Tampere: Tampere University, 2019), 74. 35. For instance, in the case of loneliness, there is no doubt that smart health interventions might help in assessing the problem but, of course, they do not solve it in its entire complexity. 36. Vesely, “Architecture as a Humanistic Discipline”, pp. 197-198, 200. 37. Le Corbusier, Talks with the Students (Hudson, NY: Princeton Architectural Press, 1991), 45. 38. Ibid., 5. 39. At the start of the 20th century, the German sociologist Georg Simmel (1858-1918) broadly wrote on individuality and social forms within the field of sociology of space. Simmel’s sociology has constituted since then a reference for the social dimension of space, in which not only social theorists or sociologists, but also urban scientists and architectural theorists have constructed modern theories of spatial sociology. The two most important of Simmel’s texts on the sociology of space are ‘On Spatial Projections of Social Forms’ and ‘The Sociology of Space’, both published in 1903 and included in his subsequent book Soziologie (1908). David Frisby, “Social space, the city and the metropolis”, in Simmel and Since: Essays on Georg Simmel’s Social Theory (London, New York: Routledge, 1992), 71-84. 40. George Simmel, “Freedom and the Individual”, in On Individuality and Social Forms (Chicago: The University of Chicago Press, 1971), 217. 41. In relation to this idea of the individualism of distinction, some authors have pointed out how popular culture in modern times ‘stresses the dangers of aloneness and, by contrast, the virtues of group-mindedness’ to explain the idea of ‘lonely success’. This is exemplified, for instance, in the well-known 1943 novel by Ayn Rand The Fountainhead, in which an architect embodies this notion. David Riesman, Nathan Glazer and Reuel Denney, The Lonely Crowd: A study of the changing American character (New Haven CN: Yale University Press, 1961), 155-156.

130

131

Rosana Rubio-Hernández

127

LONELINESS AND THE BUILT ENVIRONMENT

42. Simmel, “Freedom and the Individual”, 220. 43. Georges Teyssot, A Topology of Everyday Constellations (Cambridge, MA: MIT Press, 2013), 270. 44. Ibid, 265-267. 45. Simmel states that ‘all relations with others are thus ultimately mere stations along the road by which the ego arrives at its self ’. Ibid., 223. 46. George Ritzer, Sociological Theory (New York: McGraw-Hill, 2011), 166. 47. Simmel’s other forms of social interaction are conflict, domination, prostitution and sociability. Simmel, On Individuality, 41-140. 48. George Simmel, “Bridge and Door”, in Simmel On Culture: Selected Writings, edited by David Frisby and Mike Featherstone, translated by Mark Ritter (London: Sage Publications, 1997), 170-171. Originally published as “Brücke und Tür”, Der Tag, 15 September, 1909. 49. When referring to Simmel’s assertion of human nature being formed by separation and unification, Georges Teyssot talks about a human being as ‘an inhabitant of confines, a creature living enduringly on the frontier; yet, at the same time, he has no secure limits by which to enclose himself ’. Teyssot, A Topology, 269. 50. Simmel, “Bridge and Door”, 172. 51. Iain Borden, “Space beyond: spatiality and the city in the writings of Georg Simmel”, The Journal of Architecture, 2:4 (1997): 313-335. 52. The other spatial forms that are confronted in social interaction are ‘the exclusiveness or uniqueness of space, the fixing of social forms in space, spatial proximity and distance and the movement of space’. Frisby, Simmel and Since, 75. 53. George Simmel, “The sociology of space”, in Simmel on Culture, 141. Originally published as “Soziologie des Raumes”, Jahrbuch für Gesetzgebung, Verwaltung und Volkswirtschaft, 27, 1903. 54. Teyssot evokes Walter Benjamin’s ‘threshold magic’ produced by places of transition. Teyssot, A Topology, 87. Architects such as Alison & Peter Smithson used the notion of ‘threshold’ in their revision of the Modern Movement. See Hadas Steiner, “Life at the Threshold”, October 136 (2011), 133-55. This was later put into practice by Aldo van Eyck and Herman Hertzberger and other members of the Dutch Forum Group, part of the structuralist movement in architecture during the second half of the 20th century. 55. Serge Chermayeff and Christopher Alexander, ‘Historic Integrity’

NIETO AND RUBIO

(chapter: Anatomy of Urbanism), in Community and Privacy: Toward a New Architecture of Humanism (New York: Doubleday & Company, Inc.Garden City, 1963), 130. 56. Chermayeff and Alexander, ‘The Search for Privacy’ (chapter: Erosion of the Human Habitat), in Community and Privacy, 38-39. 57. Chermayeff and Alexander ‘A Family Hearth’ (chapter: Anatomy of Privacy), in Community and Privacy, 204. 58. Teyssot, A Topology, 8. 59. Michel de Certeau, The Practice of Everyday Life (Berkeley, CA: University of California Press, 1988), xi. The translations of quotes into English are by the authors.

132

133

Rosana Rubio-Hernández

129

Proyectos de investigación financiados. The Academy of Finland

SocialBlock Intelligent social technologies enhancing community interaction and sustainable use of shared living spaces in superblocks 01-04-2020 / 31-12-2021

SocialBlock More than half of the global population live in urban areas and this number is growing. At the same time, people often live alone and experience loneliness and lack of interaction with other people around them. Addressing these phenomena requires innovations in urban development and in the ways in which residents use the city. The goal of this interdisciplinary project is to explore how intelligent technologies can be used to enhance community interaction and motivate residents to share spaces in order to advance sustainable development of urban living areas. This will be done in the context of a Nordic Superblock, a new planning, housing and living concept utilised in Hiedanranta – in collaboration with City of Tampere. Nordic Superblock is a combination of city blocks that share yards, common spaces, such as saunas, gyms, laundry rooms, workshops and utilities for instance cars, e-bikes, tools and sustainable energy and recycling infrastructure. SocialBlock project combines expertise of six research groups from four faculties addressing social psychology and human-technology interaction, urban planning and building design, and technical analyses of smart buildings and their infrastructure. Researchers conduct co-design studies of concepts to motivate residents to interact with each other and share living spaces in the superblock. A central outcome is a set of demonstrators of intelligent social technologies such as social robots, shared augmented reality and embedded multimodal displays. These outcomes are evaluated by end-users and experts. The contributions of this project will be both scientific and practical, leading to both research articles, functional specifications and policy implications. The project serves also as a starting point for new national and international projects. SocialBlock project is in the core of Tampere University’s new strategy by conducting research on human-centered, intelligent technologies and advancing people’s wellbeing in sustainable cities.

Duración: 1 año y 8 meses Entidades participantes: Tampere University Intelligent Society Platform and the Academy of Finland Investigador responsable: Kaisa Väänänen nº de investigadores participantes: 10 Financiación: 298.000 E Contribución: Investigadora. Producción y difusión de reslutados. (Ver a continuación el documento presentado a la convocatoria)

Project proposal for INSO call, March 2nd, 2020

SocialBlock

Intelligent social technologies enhancing community interaction and sustainable use of shared living spaces in superblocks (SocialBlock) Kaisa Väänänen (coordinator), Aino Ahtinen, Nasim Beheshtian, Kalle Kähkönen, Markus Laine, Rita Latikka, Simona Elena Lohan, Fernando Nieto , Atte Oksanen, Rosana Rubio Hernandez

Abstract

More than half of the global population live in urban areas and this number is growing. At the same time, people often live alone and experience loneliness and lack of interaction with other people around them. Addressing these phenomena requires innovations in urban development and in the ways in which residents use the city. The goal of this interdisciplinary project is to explore how intelligent technologies can be used to enhance community interaction and motivate residents to share spaces in order to advance sustainable development of urban living areas. This will be done in the context of a Nordic Superblock, a new planning, housing and living concept utilised in Hiedanranta – in collaboration with City of Tampere. Nordic Superblock is a combination of city blocks that share yards, common spaces, such as saunas, gyms, laundry rooms, workshops and utilities for instancee cars, e-bikes, tools and sustainable energy and recycling infrastructure. SocialBlock project combines expertise of six research groups from four faculties addressing social psychology and human-technology interaction, urban planning and building design, and technical analyses of smart buildings and their infrastructure. Researchers conduct co-design studies of concepts to motivate residents to interact with each other and share living spaces in the superblock. A central outcome is a set of demonstrators of intelligent social technologies such as social robots, shared augmented reality and embedded multimodal displays. These outcomes are evaluated by end-users and experts. The contributions of this project will be both scientific and practical, leading to both research articles, functional specifications and policy implications. The project serves also as a starting point for new national and international projects. SocialBlock project is in the core of Tampere University’s new strategy by conducting research on human-centered, intelligent technologies and advancing people’s wellbeing in sustainable cities.

Societal need for the project The societal need for SocialBlock project stems from two trends: growing ratio of urban population and individualistic way of living. The urban population is growing and simultaneously the need for buildings occupying people is increasing (Northfield, 2016). In the coming years governments will need to tackle climate change and accelerating inequality in cities. Designing smart buildings is an essential approach to improve environmental sustainability (Buckman et al. 2014). This will require innovations in urban development and in the ways in which residents use the city. Individualism is one of the most essential markers of late modern Western societies. Although it provides possibilities for self-expression, self-determination and solitude, it also corrodes social resources people have (Putnam, 2000). In other words, individualistic societies also form a ground for loneliness within societies. This leads hence to a paradox noted already by the classic of sociology Émile Durkheim (1893/1983)when individuals become more autonomous and seemingly liberated from social bonds, they become more dependent on society. Nonetheless, there are studies that demonstrate that the best case for reduced loneliness is to maintain strong degree of multiple forms of social integration while living in an individualist society (Swader, 2019). Social deprivation can be considered a violation of a social human right (Brownlee, 2013) but still, for certain groups of society, to maintain such a “multiple forms of social integration“, is not easy, and thus are deprived of this social human right. That is the case for many elderly people (e.g., Jylhä, 2004; Routasalo and Pitkälä, 2003) and groups with special needs (Kearns et. al, 2013). Still, living isolated is not sustainable socially nor economically for any resident group. To advance Producción académica. Arquitectura, comunidad, individualidad

132

Rosana Rubio-Hernández

133

Project proposal for INSO call, March 2nd, 2020

SocialBlock

some level of collective and social behaviour there must be a strong common interest between people, leading to sense of belonging and motivation to interact between the members of their community (Baumeister & Leary, 1995). Both of these phenomena - urban population growth and loneliness – are harmful to sustainable development of the society, and hence advancing sustainability viewpoint is the foundational motivation behind this research. From the environmental sustainability perspective, the aim is to reduce the need for large private living areas and make the use of living spaces more effective. This can be achieved by advancing the attractiveness of shared mixed-use areas offered in so-called hybrid buildings. On a larger urban planning scale, in a superblock, the focus needs to be broadened to designing and building of resident-friendly neighbourhoods, where sharing of spaces for certain live activities can be supported. From the social sustainability perspective, there is an urge to fight against people’s experience of loneliness. The aim is to increase social belonging and interaction between community members, while allowing solitude when people want it. In urban areas, this challenge can be approached by offering structural and technological means to advance community interaction and inclusion. The aim is to increase urban residents’ wellbeing on both individual and community levels. Both of the above viewpoints lean on the fundamental idea that “sharing is sustainable”. Both sustainability needs can be supported on one hand by the attractive design of buildings and spaces but also by intelligent technologies that motivate people to be social and share their living spaces. This project tackles the sustainability perspectives by enhancing community interaction and use of shared spaces with social technologies in a context of superblock, an architectural, urban living area construct – a neighbourhood – consisting of several blocks of buildings united by common infrastructure.

SusBuild: In SusBuild pilot project, the aim was to gain understanding of building residents’ perceptions and expectations on how intelligent interactive technology solutions could motivate the use of shared spaces in neighbourhoods. Technology-mediated solutions for advancing sustainable behaviour were ideated together with residents in co-design sessions. The pilot project findings revealed people’s interests in using social robots and mobile applications for advancing environmental sustainability in their living community. However, it was also found that it is important to design such smart technologies in such a way that they do not interfere with the smooth routines of residents’ everyday lives. SOCIETAL: In SOCIETAL pilot project, we addressed the question of balance between independence and isolation posed by the use of technologies: Ambient Assisted Living (AAL), Social Robots (SR), Internet of Things (IoT), Artificial Intelligence (AI) and Information and Communication Technologies (ICT) in elderly care. We undertook a systematic literature review and we found that none of the studies analysed potential implications of the physical space (architectural and urban environment) in the results. Thus, there seems to be a specific research gap on studies that relate to both digital and physical realms when addressing loneliness feeling in elderly population. From the Architecture perspective, Koolhaas (2016) noted how the city, which used to be the domain of the architects, is now mostly in the hands of technologists. SOCIETAL findings confirm this need of addressing smart living environments from a holistic and multidisciplinary perspective.  The findings of both pilot projects act as a strong basis for this new, larger and very interdisciplinary INSO project, combining research from six fields complementing each other.

134

SocialBlock

Research goal and questions The overall societal goal of this project is to advance the development of sustainable living in urban environments. The more specific scientific goals of the project are: • To form novel understanding of how smart interactive technologies and related AI solutions can advance sustainable living and people’s sense of belonging to their urban community. • To gain insights of how smart buildings and neighbourhoods should be designed in a new sociotechnical unit of Nordic Superblock. Figure 1 presents the intertwining of SocialBlock project’s viewpoints to aim at common goal of advancing community interaction and use of shared spaces by using novel social technology solutions.

Figure 1: Interdisciplinary viewpoints contributing to the SocialBlock project’s central goal.

Links to the INSO pilot projects and their results

Producción académica. Arquitectura, comunidad, individualidad

Project proposal for INSO call, March 2nd, 2020

The main research questions are: RQ1: How can smart technologies help improve urban inhabitants’ sense of community and motivate them share spaces in their neighbourhood? RQ2: What are the mutual design implications of the intelligent technology solutions and design of shared spaces in superblocks? Motivation and scope behind the research questions RQ1 - Emphasis on the perspectives of social psychology and Human-Technology Interaction The first research question is grounded on basic social needs that people have cross-culturally. Humans have a need to for social belonging and social relationships are a major determinant of wellbeing for people at large (Baumeister & Leary, 1995; Ryan & Deci, 2000; Thoits, 2011). We aim to investigate whether smart technologies can help us to build sense of belonging and community among habitants of superblocks. Previous research has found potentials on interactive technologies to support community building and social connectedness on other contexts. For example, smart interactive technologies can enhance social connectedness for older people living at home (Morris et al. 2014). Moreover, social robots are also capable of creating social connectedness among unfamiliar people (Beheshtian et al. 2020). RQ1 also involves understanding technologies as possible mediators that help people to sustain meaningful relationships with each other, while acknowledging that new technologies portray also challenges for everyday interactions. For example, elderly people might not be accustomed to use new technologies. These types of digital divides are important to understand while investigating superblocks. Also, we pay attention that basic human needs are grounded on face-to-face interactions and sometimes new technologies

Rosana Rubio-Hernández

135

Project proposal for INSO call, March 2nd, 2020

SocialBlock

might alter meaningful interactions. For example, young people are communicating excessively via mobile phones in social media but might not be able to greet their neighbors in living surroundings. Based on earlier research (Nkwo et al. 2018), social influence is an effective way to motivate behavior in many domains, including sustaiable living (Midden et al., 2018). New information and communication technologies empowered by the recent surge of AI capabilities can offer means for motivating people to change their behaviour. Persuasive technologies can be used to drive social influence and belonging (Oinas-Kukkonen and Harjumaa 2009) and support people’s ability to accomplish target behavior. Various technological solutions that can entice people to communicate and share living spaces will be explored with people (residents of the buildings) in co-design sessions. The tried solutions are based on intelligent technologies such as social robots, virtual agents and gamified applications used on mobile devices and public displays. Earlier research has shown that smart buildings can advance sustainability of living in smart cities (e.g. To et al, 2018; Hagert & Bradley, 2017). In SocialBlock project, principles of intelligent technology design are formed to function as a basis to study further the solutions for sustainable and social use of smart buildings. Project proposal for INSO call, March 2nd, 2020

SocialBlock

RQ2 - Emphasis on the perspectives of architecture, urban planning and technical requirements Scientifically, Nordic Superblock concept is attached to neighborhood unit discussion which stems from Clarence Perry proposal of 1929 (Mehaffy & Rogers 2014: Park et al. 2015). Later it has evolved to new Western (Mehaffy & Rogers 2014) and Asian (Kan et al. 2017) mixed use urban forms. It provides new planning and living concept that enhances sharing of communal spaces, sustainable energy infrastructure, smart technologies, and utilities. The understanding of architectural typologies in a hybrid manner (spatially and functionally, as well regarding the tenancy regime) is embedded in the concept of superblock. Architectural programmes are not any more monofunctional but mixed-use, intertwining diverse building types. Hybrid solutions promote functional mixture, spatial complexity and social diversity. The use of shared spaces in living environments is increased as far as they can act as third places (Oldenburg 1989) and even fourth places (Simões Aelbrecht 2016) in addition to the so-called first and second ones. The promotion of co-solutions (co-living, co-working...) increases the use ratio of communal spaces and fosters social interaction between dwellers (Laine et al. 2020). Technological additions (social robots, devices integrated in architecture...) are meant to be non-obtrusive and vice versa, architecture should allow accessible (design-for-all) spaces for human-technology interaction. Policy implications aimed at are related with the architectural briefings promoted by public institutions when new developments are planned. Several aspects can be considered in relation to regulations or policy implications: 1) The increase in the ratio of communal spaces in relation to private space in housing developments. In superblock level this can be done by combining the ratios together. As the unit is bigger this enables better quality and more variation for individual resident. Public housing initiatives should be forerunner in this sense since the interests they pursue are different than those of the private market. 2) Housing regulations should allow a decrease in the minimum surface requirements for private uses, for the benefit of the increase in the communal spaces or shared spaces within the community (semi-private spaces). 3) In Finland, as in many other countries, regulations do not allow to have dwelling uses in office buildings, while the opposite is possible. Functional hybridization blurs this distinction between first and second places (through home office, co-living or co- working solutions).

Motivation and scope – summary This project tackles the sustainability perspectives by enhancing community interaction and use of shared spaces with social technologies in a context of superblock, an architectural, urban living area construct consisting of several buildings united by common infrastructure. The superblock model has been an innovative land-use intervention that aims to reclaim space for people, reduce motorized transport, and promote sustainable mobility, health and active lifestyles (Müller et al.

Producción académica. Arquitectura, comunidad, individualidad

136

Project proposal for INSO call, March 2nd, 2020

SocialBlock

2019; Rueda 2018). In this project, we focus on Nordic Superblock that is an idea developed together with City of Tampere, professional planners and citizens starting in Spring 2017. More specifically, the project will contribute to Nordic Superblock development in Hiedanranta, Tampere, Finland. The development idea for the area is to create new kind superblock planning model to implement urban structure that will enhance social and environmental sustainability. Solutions utilising intelligent technologies embedded in the architecture of smart buildings in the superblock can enable transformations that reduce loneliness (Echeverria et al., 2020) and advance sharing. Based on the scientific research questions RQ1 and RQ2, the project will formulate pragmatic contributions related to SocialBlock. Contributions - summary The following are the main scientific contributions of the project: 1. Novel concepts of how smart interactive technologies and related AI solutions can advance sustainable living and people’s sense of belonging to their urban community. 2. Principles for how smart buildings and neighbourhoods should be designed in a new sociotechnical unit of Nordic Superblock in a way that invites people to share spaces. 3. Knowledge on how AI techniques such as intelligent user interfaces, sensor-based data analysis and social robots can advance sharing; including an analysis of unwanted consequences. The main pragmatic contributions are: 4. Demonstrators of intelligent technical solutions for community interaction. 5. Technical specifications for superblocks, architecture and construction of the smart buildings. 6. Policy implications on the design of the Nordic Superblock in Hiedanranta, Tampere. Based on the multidisciplinary cooperation between the research groups in SocialBlock project, research will continue on a larger scale by establishing further collaboration projects.

Interdisciplinary research consortium Human-Centered Technology (IHTE) research group is part of unit of Computing in the ITC faculty. IHTE's mission is to improve people’s quality of life and sustainability of human activities by conducting design research of novel interactive technologies, including human-centered AI (HCAI) and social robots. The research is multidisciplinary and combines engineering and technology development with psychological, sociological and design understanding. In this project, IHTE will focus on studying the use of novel social technologies - such as social robots or mixed reality – in the “sustainable shared living” context, and designing and prototyping the human-technology interactions for the field study. Participating in running the empirical study, and analyzing the results to form design implications for AI and technology interactions in smart buildings and superblocks. Related projects: Human-Centered AI solutions for the Smart City (Kaupunkiseudun ihmiskeskeiset tekoälyratkaisut, KITE) and an ITC faculty-funded doctoral research project of Nasim Beheshtian, focusing on using social robots in smart buildings to advance sustainability (Beheshtian et al., 2020). Researchers: Dr. Aino Ahtinen, MSc Nasim Beheshtian. PI: Prof. Kaisa Väänänen Emerging Technologies Lab conducts social psychological research on new modes of social interaction and their research focuses on emerging technologies such as social robots, artificial intelligence and augmented, extended and mixed reality. The lab consists of over ten researchers and five on-going projects. They will cover social scientific and social psychological angle in the SocialBlock project. The lab has recently conducted field experiment on augmented reality (e.g. Noreikis et al., 2019; Savela et al. 2020) and nationally representative survey experiments on robots and AI (Latikka et al., forthcoming; Oksanen et al., forthcoming; Savela et al, forthcoming). They have also studied factors impacting the use of social robots (e.g. Savela et al., 2018; Latikka et al., 2019). Social psychological expertise of the team covers also inter-

Rosana Rubio-Hernández

137

Project proposal for INSO call, March 2nd, 2020

SocialBlock

generational interaction and group behavior that is at the core of social psychology. The team will design and implement with others a survey on the role of smart technologies in increasing social interaction and social belonging in superblocks. Related projects: Robots and Us (Finnish Cultural Foundation, 2018–2020), Augmented Reality and Social Interaction (collaboration between Tampere and Aalto Universities 2018– 2020). Researchers: Rita Latikka and Nina Savela. PI: Prof. Atte Oksanen Politics of Space and the Environment (POLEIS) in the MAB faculty is studying conceptually and empirically how Nordic Superblock development idea and especially its sustainable shared living dimension could be integrated in a feasible way to the use of novel social technologies. The team is led by university lecturer Markus Laine who has extensive experience in the fields of environmental policy, urban development, planning and citizen participation. He is a pioneer in Finnish urban futures development. He was PI in DAC (Academy of Finland Strategic Funding project Dwellers in Agile Cities, DAC 2016-2019) subproject Enabling City received the first prize in Tampere University’s societal impact awards 2019. The DAC researchers also won first prize in the Finnish housing reform architect competition 2019.2016-2019. Related projects: Research projects Enabling City (2016-2019), and Business Finland project RECIDI (2015-2016), have strong co-creative and experimental approach to sustainable urban development. Ongoing projects include “Why to Turku? The attractiveness of Housing in Turku region and Superblock R&D project with the City of Tampere. The results of DAC and RECIDI and ongoing projects contribute directly to the CISS Superblock project. Researchers: Veera Turku, Niina Nieminen. PI: Dr. Markus Laine Spatial & Speculative Research in Architectural Design (SPREAD) is a research group at the Tampere University School of Architecture (BEN Faculty) combining practical knowledge and expertise with research in architectural design. Expertise in architectural design strategies and methods, hybrid architectural solutions, contemporary Nordic architecture, implications of degrees of privacy in the design of the built environment (spatial gradation of living and communal spaces), service architecture for economically-ecologically-socially sustainable solutions. SPREAD’s role in the project relates to the implications of the implementation of technology solutions in the built environment through spatial design solutions at architectural and urban design scales. Related projects: Loneliness and the Built Environment: Philosophical, Societal and Technological Perspectives (LOBE). Funded project for interdisciplinary research with national and international partners within Sustainable Welfare Systems (SWS), a four-year transdisciplinary phenomenon-oriented research initiative at Tampere University. An upcoming book (Datutop 39) on ‘Loneliness and the Built Environment’ can also give input to SocialBlock. Researchers: Rosana Rubio. PI: Assoc. Prof. Fernando Nieto

Project proposal for INSO call, March 2nd, 2020

SocialBlock

processing solutions for the Internet of Things, 5G and beyond 5G connectivity. TLTPOS team will offer expertise in addressing the connectivity solutions of social robots and other intelligent social technologies in terms of wireless positioning, communications, and sensing capabilities. E.g., research questions will focus on how 5G and beyond 5G solutions would fit for social robots’ application in the superblock context, what will be the tradeoffs between cost, energy consumption and performance. EE-ITC team can also support statistical analysis of collected data (e.g., sensor data) from other teams. PI: Dr. Simona Elena Lohan

Project plan Research approach The primary research approach research through design (Zimmerman et al., 2007) in which conceptual research findings are extracted in the process of designing novel artefacts – in this case, technical solutions and building and neighbourhood designs. This approach follows the constructive research tradition and is both explorative and human-centric. SocialBlock consortium leans on its interdisciplinary expertise to contribute to the advancements of future intelligent society. Participatory design will be used to bring different stakeholders, including City of Tampere, to the co-creation of the results. Cooperation plan The research questions are solved in tight interdisciplinary collaboration between the consortium researchers - social scientists, technology specialists and smart building designers. The early stage of the research focuses on gaining insights on the human (residents’) psychological and practical needs regarding sharing behaviour in the superblock, as well as their perceptions of the technical solutions supporting the sharing and community interaction behaviour. Partly parallelly with this, the conceptualisation of space and superblock design implications will be conducted in a series of workshops. Based on these analyses, technical specifications will be formed to guide development of the superblock. Theory and practice will be tightly intertwined throughout the project. The project consists of interlinked conceptual and practical research work. Figure 2 shows the overall structure of the project consisting of six Work Packages (WP).

Research group Construction Management and Economics (CME) is a part of the Civil Engineering unit in the BEN faculty and focuses on construction management and sustainable development of the built environment. Generally, our role is to unfold the modern multidimensional and tricky phenomena in cooperation with private and public sectors. For this purpose, our work benefits from our broad international research networks. Our activities can be characterised as techno-economic research with relating analyses, modelling and interventions. In this project our research addresses co-design/engineering for the use of social technologies in building projects. Related projects: Managing collaborative design processes in construction projects (20152019), main results in Tampere University Dissertations 130. Researchers: Marko Keinänen (doctoral student). PI: Prof. Kalle Kähkönen Wireless positioning team (TLTPOS) is an expert member in the consortium, giving input to WPs 4-6. The team is an established research group within the Electrical Engineering unit of the ITC Faculty, focusing on research related to outdoor and indoor positioning and tracking algorithms, locationaware communication and interference management solutions, wearable computing, and signal Producción académica. Arquitectura, comunidad, individualidad

138

Figure 2: Work Package structure on an approximate timeline (detailed descriptions are below)

Rosana Rubio-Hernández

139

Project proposal for INSO call, March 2nd, 2020

SocialBlock

Work packages to organize the activities

Work package descriptions

The work is divided into six interlinked work packages, as was outlined above. Table 1 shows key information about the WPs and they are described in more detail below the table.

WP1 - Concept definition and management. In this work package the consortium partners will have workshops to define the key concepts and scenarios that are addressed in the other work packages. Defining key concepts on a detailed level is important to form a theoretical foundation for the interdisciplinary work. The work will start by creative writing of scenarios from the superblock residents’ viewpoints (including resident personae descriptions). This will enable the consortium to focus on specific types of user needs and intelligent solutions throughout the project. Second, this work package will review existing AI technologies that are potential to function as social technology solutions in the defined scenarios. Based on this review, WP2 and WP3 can start planning of the empirical research (survey and co-design with residents). Third, this WP coordinates the research conducted in SocialBlock and keeps track of the time schedules and deliverables. The consortium PIs will have monthly meetings to discuss progress, results and next steps.

Table 1: Work plan overview. The number of person months is expressed as: number of PM paid by the project (+ number of PM that the PIs spend their own time additionally).

Work package (WP) name WP1: Concept definition and management

Description

Deliverables

PMs

Defining the personas and scenarios for community interaction in shared spaces

Personas and scenarios of community interaction

2 (+2) 04/20- IHTE 08/20 All groups involved

Review and benchmarking of suitable AI technologies

WP2: Studies of technologymediated community interaction

Timing Responsible & involved groups

Review report of AI & technologies for smart buildings

Workshops to define the key concepts and to plan the details of the interdisciplinary research process Surveys and survey Report of potential 7 (+1) 09/20- Emerging of social 12/20 Technology lab experiments on people’s perceptions of community technologies for sup Involved: IHTE, interaction, belonging, erblocks POLEIS and potential use of shared spaces.

Interviews of residents of an existing superblock (e.g. Jätkäsaari), and ethnographic field observation. WP3: Co-design and Human-centered co-design Interactive mockups 8 (+1) 09/20- IHTE 06/21 evaluation of AI of interactive technology of the AI technology demonstrators for demonstrators that utilize AI Involved: solutions shared spaces Emerging techn ologies, POLEIS, Evaluations of demonstrators in a CME, SPREAD superblock WP4: Technical spe Techno-economic analysis of smart cifications and buildings utilizing intelligent social space design technologies implications Conceptualizing the design implications to the superblock

Report of smart 6 (+2) 10/20- POLEIS building technical 10/21 Involved: CME, specifications and SPREAD, IHTE social requirements

Policy brief input to the City of Tampere WP5: Joint articles Writing of interdisciplinary scientific Two to three Jufo- 5 (+2) 06/21- SPREAD rated articles 12/21 publications Involved: All WP6: Research Horizon Europe applications (ERC, 1-3 4 (+3) 01/21- CME 12/21 project applications Marie Curie, FET-Open, JPI Urban applications by diffe Involved: All Europe, New Horizon 2020 etc.) rent subsets of research groups Applications to Academy of Finland, SRC, Business Finland

Producción académica. Arquitectura, comunidad, individualidad

140

Project proposal for INSO call, March 2nd, 2020

WP2 - Studies of technology-mediated community interaction. Social psychological empirical research includes surveys and survey experiments on of people’s perceptions of community interaction, belonging, and potential use of shared spaces. In addition to quantitative approach, interviews of residents of an existing superblock (e.g. Jätkäsaari) and ethnographic field observation serve as part of the field work. By versatile research methods, WP2 aims to report and discuss the potentiality of social technologies for superblocks. WP3 - Co-design and evaluation of AI demonstrators for shared spaces. The main point of departure for WP3 are the principles and solutions for participatory design (PD). Co-design workshops are organized to design AI solutions. They are demonstrated as mockups and evaluated as part of building designs with potential residents and experts. Also the potential unwanted consequences are addressed. These studies are related to the Superblock case project. The workshops are to be participated by main partners of the case project. City of Tampere will be invited in these activities to ensure the transition of SocialBlock findings to Hiedanranta planning practice. WP4 - Technical specifications and space design implications. First, techno-economic analyses of obtained design solutions are to be produced. These include estimates over cost and structural implications for building design and related common spaces. Second, case studies of socio-spatial dimensions of existing best practice communal spaces are done in order to map the features that need to be included to the intelligent social technologies enhancing community interaction. Third, a synthesis of main results from WPs 1-3 is to be completed to form a technical specification for the main societal needs of sustainability. This provides basis for policy proposal where the possibilities of intelligent social technologies for designing smart buildings are to be unveiled. WP5 - Joint articles. In this work package, two to three multidisciplinary papers will be written based on the results obtained in WPs 1-4. The aim is to be publish in open source journals that are JUFO rated. Some possibilities of dissemination forums for publishing research results: • Journal of Urban Design, Taylor & Francis • NAF/NAAR Symposium 2020 on Northernness - Designing for sustainable living, working, and well-being in the North, http://arkitekturforskning.net/na/announcement/view/59 • Behaviour and Information Technologies (BIT), Taylor & Francis • Personal and Ubiquitous Computing (PUC), Springer • https://journal.fi/architecturalresearchfinland WP6 - Project applications. The project is a starting point for personal European Research Council grant proposals (starting, consolidator and advanced grants) as well as on other Horizon Europe call such as FET Open, Marie Curie and European wide project calls. Domestic funding sources will also

Rosana Rubio-Hernández

141

Project proposal for INSO call, March 2nd, 2020

SocialBlock

be carefully considered and applied, in specific Academy of Finland, and together with company partners, Business Finland. Connection to other projects carried out by the research groups All research groups have related research projects that can both give input to SocialBlock and gain from its findings. These related projects are described above in the section Interdisciplinary research consortium.

Budget Table 2 shows the overall budget and budget distribution by research groups and years. The coordinator group (IHTE) has the longest-term researcher, and the two other groups conducting empirical research (Emerging technologies and POLEIS) both have seven person months. Note that these resources are part-time (at least partly) and hence the work of the hired researchers is spread from approximately June 2020 to September 2021. Additionally, the six PIs of the involved research groups will work using their own resources and thus the work can start in April 2020 and will continue until December 2021, I.e. the whole duration of the INSO project phase. Table 2: Project Budget and approximate person months Research group Budget 2020 Budget 2021 Total budget Human40 + 1 + 1 = 42 50 + 1 + 1 = 52 94 Centered Technology (IHTE) / Computing sciences Emerging technologies 10 + 1 = 11 50 + 1 = 51 62 / Social psychology POLEIS / Urban 30 + 1 = 31 30 + 1 = 31 62 planning SPREAD / Architecture 30 10 40 Construction 20 20 40 Management and Economics (CME) TOTAL 134 Keur (45%) 164 Keur (55%) 298 Keur

Person months 10

7 7 4 4 32 pm

Notes about the budget: • Salary costs are calculated with full-cost model. • The research groups with higher budget will be conducting the resource-intensive empirical and survey studies. • Budget is almost fully salary budget (see Table 2). The numbers after the + sign signify study participant gifts and travel costs as follows: IHTE group will have 1 Keur per year for travel costs and another 1 Keur per year for participant gifts (20 eur per participant). Emerging Technologies lab and POLEIS group will have each 1 Keur per year for travel costs. These three groups conduct the empirical study in WP3 and hence need some domestic travel budget. • Additionally, EE-ITC group will be an expert partner in the project (without budget), contributing to Work Packages 1 and 4-6 (concept creation, technical requirements, paper writing and future project preparation).

10 Producción académica. Arquitectura, comunidad, individualidad

142

Project proposal for INSO call, March 2nd, 2020

SocialBlock

References Baumeister, R.F. & Leary, M.R. (1995). The need to Belong: Desire for Interpersonal Attachments as a Fundamental Human Motivation. Psychological Bulletin, 117, 497–529. Beheshtian, N., Kaipainen, K., Kähkönen, K., & Ahtinen, A. (2020). Color game: a collaborative social robotic game for icebreaking; towards the design of robotic ambiences as part of smart building services. In Proceedings of the 23rd International Conference on Academic Mindtrek (pp. 10-19). Brownlee, K.  (2013). A Human Right Against Social Deprivation. The philosophical Quarterly, 63(251), 199–222.  Buckman, A., Mayfield, M., & Beck, S. (2014). What is a Smart Building?, Smart and Sustainable Built Environment, 3(2), 92–109.    Durkheim, E. (1893/1983). The Division of Labour in Society (original title De la division du traivaille social). London: MacMillan.  Echeverría, J. et al. Techno-architecture and online loneliness, in Nieto Fernández, F., & Rubio Hernández, R. (Eds.) (2020). Loneliness and the Built Environment. Philosophical, Societal and Technological Perspectives. (DATUTOP; Vol. 39). Tampere: Tampere University, School of Architecture. Hagert, P. & Bradley K. (2017). Transitions on the home front: A story of sustainable living beyond eco-efficiency. Energy Research & Social Science, Vol. 31, pp. 240-248. Jylhä, M. (2004) Old Age and Loneliness: Cross-Sectional and Longitudinal analyses in the Tampere Longitudinal Study on Aging. Can J Aging; 23(2): 157-168. Kan, Har Ye, Forsyth, A., & Rowe, P. (2017). Redesigning China’s superblock neighbourhoods: policies, opportunities and challenges, Journal of Urban Design, 22:6, 757-777. Kearns, A. et. al. Loneliness, Social Relations, and Health and Well-Being in Deprived Communities. (2015). Psychology, Health & Medicine, Vol. 20, issue 3. pp 332-344. Koolhaas, R. (2016). Le territoire intelligent. AMC. Le moniteru architecture vol. 254, p.16. Laine, M., Helamaa A., Kuoppa, J., & Alatalo E. (2020) Bricolage in Collaborative Housing in Finland: Combining Resources for Alternative Housing Solutions, Housing, Theory and Society, 37:1, 101117. Latikka R., Turja T., & Oksanen A. (2019). Self-efficacy and Acceptance of Robots. Computers in Human Behavior, 93(April):157-163. Mehaffy, M., Porta, S., & Romice, O. (2015). The neighbourhood unit on trial: a case study in the impacts of urban morphology. Journal of Urbanism: International Research on Placemaking and Urban Sustainability, 8(2): 199-217. Midden, C., Mccalley, T., Ham, J., & Zaalberg, R. (2008). Using Persuasive Technology to Encourage Sustainable Behavior, Workshop Paper at the 6th International Conference on Pervasive Computing (1):83–86. Morris, M. E., Adair, B., Ozanne, E., Kurowski, W., Miller, K. J., Pearce, A. J., ... & Said, C. M. (2014). Smart technologies to enhance social connectedness in older people who live at home. Australasian journal on ageing, 33(3), 142-152. Nkwo, M., Orji, R., & Ugah, B. (2018). Mobile Persuasion: Promoting Clean and Sustainable Environment, Proceedings of AfriCHI’18. Windhoek, Namibia, ACM, 1-5. Noreikis, M., Savela, N., Kaakinen, M., Xiao, Y., & Oksanen, A. (2019). Effects of Gamified Augmented Reality in Public Spaces, IEEE Access, 7, 148108-148118. Northfield, R. (2016). Greening the smart city. Engineering & Technology, 11(5), 38-41. Oinas-Kukkonen, H. & Harjumaa, M. (2009). Persuasive systems design: Key issues, process model, and system features. Communications of the Association for Information Systems, 24(1), 28.

11 Rosana Rubio-Hernández

143

Project proposal for INSO call, March 2nd, 2020

SocialBlock

Oldenburg, R. (1989). The Great Good Place: Cafes, Coffee Shops, Community Centers, Beauty Parlors, General Stores, Bars, Hangouts, and How They Get You Through the Day. New York: Paragon House. Park Y. & Rogers G. (2014). Neighborhood planning theory, guidelines, and research: can area, population and boundary guide conceptual framing? Journal of Planning Literature 30(1): 18-36. Routasalo, P. & Pitkala, K.H. (2003). Loneliness among older people. Rev. Clin. Gerontol. Vol. 13, p 303-311. Ryan, R. M., & Deci, E. L. (2000). Self-determination theory and the facilitation of intrinsic motivation, social development, and well-being. American psychologist, 55(1), 68–78. Savela, N., Oksanen, A., Kaakinen, M., Noreikis, M., & Xiao, Y. (2020). Does Augmented Reality Affect Sociability, Entertainment, and Learning? A Field Experiment. Applied Science, 10, 1392. Simões Aelbrecht, P. (2016). ‘Fourth places’: the contemporary public settings for informal social interaction among strangers, Journal of Urban Design, 21:1, 124-152. Scudellari, J., Staricco, L., & Vitale Brovarone, E. (2019). Implementing the Supermanzana approach in Barcelona. Critical issues at local and urban level, Journal of Urban Design, DOI: 10.1080/13574809.2019.1625706 Swader, S. C. (2019). Loneliness in Europe: Personal and Societal Individualism-Collectivism and their connection to Social Isolation, Social Forces, Vol 97, Issue 3, 1307-1336. Thoits, P. (2011). Mechanisms Linking Social Ties and Support to Physical and Mental Health. Journal of Health and Social Behavior, 52,145–161. To, W.M., Lai, L.S.L., Lam, K.H., & Chung, A.W.L. (2018). Perceived Importance of Smart and Sustainable Building Features from the Users’ Perspective, Smart Cities, 163–75. Zimmerman, J., Forlizzi, J., & Evenson, S. (2007). Research through Design as a Method for Interaction Design Research in HCI. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, CHI’07, ACM, 493–502.

12 Rosana Rubio-Hernández

145

Participación en congresos. Resultado de la línea de investigación Arquitectura, comunidad, individualidad

NAF/NAAR Symposium 2021 Aarhus School of Architecture, Denmark 3–4 November 2021 Call for papers: Concepts of transformation

Title

Typologies of Sharedness

Subtitle

From utility to spatial experience at the new urban development of Hiedanranta in Tampere, Finland

Abstract

This paper traces the state of the art of architectural and urban typologies of shared spaces, as a backup for the interdisciplinary research project ‘Intelligent social technologies enhancing community interaction and sustainable use of shared living spaces in superblocks’(SocialBlock). The goal of the project is to explore how a combination of intelligent technologies and spatial innovations can enhance community interaction and motivate residents to share spaces to advance sustainable communities in urban areas. This is done in the context of a Nordic superblock, a planning strategy applied in the new urban development of Hiedanranta in Tampere, which consists of city blocks that share outdoor and indoor common spaces. The project draws from the hypothesis that the motivation for shared spaces in urban areas has changed from modernist utilitarian and affordability reasons to the aim of fulfilling personal and collective experiences of daily life with a spatial dimension. Being the reasons for this transformation grounded in the contemporary context of the welfare state and in the need for balancing individualism and collectivism in society, we frame our study within philosopher Albert Borgmann’s perspective of ‘device paradigm’, i.e., the intimate relationship between people, spaces, things, and technological devices that shape meaningful social habits and rituals. Thus, the main question addressed is how architectural and urban typologies fulfil the necessities brought by this scenario of transformation, and how they provide the conditions to activate the possibilities of sharedness in both functional and experiential dimensions, therefore what their spatial consequences are. Based on literature sources and case study analysis methodologies, the authors establish a state of the art on sharedness by describing firstly the rationale behind the transformation in the needs for sharing; secondly, by gathering and analysing diverse typologies of sharedness as a combination of spatial and functional arrangements, and thirdly, by discussing the findings and rising conclusions against the SocialBlock project to trace its way forward. (314 words)

Keywords

Sharedness, architectural typologies, urban typologies, superblock, community, individuality and collectivism.

Nieto-Fernández, Fernando & Rosana RubioHernández “Typologies of Sharedness. From utility to spatial experience at the new urban development of Hidanranta in Tampere, Finland”. Congreso: NAF/NAAR Symposium 2021 Entidad organizadora: Nordic Association of Architectural Research Lugar de celebración: Aarhus School of Architecture, Dinamarca. 3 / 4 -11 2021 Actas: Sí (En proceso) (Ver resumen. Actas en proceso)

References

. Research project ‘Intelligent social technologies enhancing community interaction and sustainable use of shared living spaces in superblocks’ (SocialBlock) <https://projects.tuni.fi/socialblock/> . Nieto Fernández, F.; Rubio Hernández, R. (Eds.). 2021. Loneliness and the Built Environment.

Producción académica. Arquitectura, comunidad, individualidad

146

Rosana Rubio-Hernández

147

Participación enParticipación congresos. Resultado en congresos. de la Resultado línea de investigación de la línea de Arquitectura, investigacióncomunidad, Arquitectura, individualidad comunidad, individualidad

Solas en el estado del bienestar Cuatro escenas finlandesas

Katerina Psegiannaki. Universidad Autónoma de Madrid Rosana Rubio Hernández. Tampere University Francisco García Triviño. Universidad de Alcalá Fernando Nieto Fernández. Tampere University Resumen Esta comunicación plantea el análisis arquitectónico de una serie de escenas relacionadas con situaciones de soledad, tanto no deseada como elegida, en el contexto del estado del bienestar en Finlandia. Estas escenas nos permiten presentar algunas medidas institucionales que, aplicadas en situaciones cotidianas, ayudan a combatir la primera y apoyar la segunda. El país nórdico, modelo del estado del bienestar, facilita con sus políticas sociales la soledad deseada como una manera de reforzar la identidad individual de las personas. Reivindicando la emoción y los vínculos relacionales para la construcción de la identidad y no solo la razón y la individualidad, se presentan cuatro casos concretos de políticas sociales implantadas por las instituciones finlandesas, a nivel estatal y municipal. Su interés reside en las implicaciones espaciales que plantean y que en algunos casos generan nuevos programas arquitectónicos. Tras una descripción de los casos de estudio específicos, se propone el dibujo arquitectónico como herramienta no únicamente de comunicación sino también de análisis y diagnóstico de los espacios donde tienen lugar las escenas estudiadas, con el objetivo de extraer conclusiones extrapolables a otros contextos.

Psegiannaki, Katerina, Francisco G. Triviño, Rosana Rubio -Hernández y Fernando Nieto Fernández “Solas en el estado del bienestar. Cuatro escenas finlandesas” Congreso: Primer congreso internacional feminista de arquitectura y cuidados Entidad organizadora: ETSAM. Instituto de la Mujer. Ministerio de Igualdad Lugar de celebración: ETSAM. 10-2021 Actas: Sí (En proceso) (Ver resumen. Actas en proceso)

Palabras clave Finlandia, estado del bienestar, ayudas sociales, individualidad-colectividad, etnografía arquitectónica

Producción académica. Arquitectura, comunidad, individualidad

148

Rosana Rubio-Hernández

149

Participación en Participación congresos. Resultado en congresos. de laResultado línea de investigación de la línea deArquitectura, investigación comunidad, Arquitectura, individualidad comunidad, individualidad

Arquitectura, comunidad e individualidad

Una línea de investigación en la Escuela de Arquitectura de la Universidad de Tampere Autores: Fernando Nieto Fernández (Universidad de Tampere, Escuela de Arquitectura); y Rosana Rubio Hernández (Universidad de Tampere, Escuela de Arquitectura). Palabras Clave arquitectura, comunidad, individualidad, soledad/aislamiento social, tecnología

Resumen Esta comunicación presenta la línea de investigación ‘Arquitectura, comunidad e individualidad’ que desarrolla el grupo de investigación SPREAD (Spatial and Speculative Research in Architectural Design) en la Escuela de Arquitectura de la Universidad de Tampere (Finlandia) 1. Dicha línea de trabajo explora la capacidad de la arquitectura para actuar como mediadora entre dos rasgos inherentes a la condición humana: el deseo de pertenencia a una comunidad y su individualidad consustancial 2. El trabajo que realizamos se inscribe en el marco general del “Primer Congreso Internacional Feminista de Arquitectura y Cuidados” por abordar el fenómeno contemporáneo de ‘las soledades’ desde la disciplina del proyecto arquitectónico y urbano, abarcando, entre otros aspectos, cuestiones de género y de reparto de responsabilidades en ‘los cuidados’. Esta línea de investigación se desarrolla a través de los proyectos multi y transdisciplinares LOBE, SOCIETAL, AIsola y SocialBlock. SPREAD aporta al conjunto de estas investigaciones objetivos y métodos que contribuyen a dar respuestas, desde el campo de la arquitectura, a una cuestión multifacética como es la de conciliar las necesidades individuales con las de la colectividad.

Nieto-Fernández, Fernando & Rosana Rubio-Hernández “Arquitectura, comunidad e individualidad: Una línea de invesigación de la Escuela de Arquitectura de la Universidad de Tampere” Congreso: Primer congreso internacional feminista de arquitectura y cuidados Entidad organizadora: ETSAM. Instituto de la Mujer. Ministerio de Igualdad Lugar de celebración: ETSAM. 10-2021 Actas: Sí (En proceso) (Ver resumen. Actas en proceso)

La línea de investigación se inició en 2019 y algunos de los proyectos en curso inscritos en ella tienen continuidad hasta finales de 2022. Todos ellos han sido financiados por dos plataformas (Sustainable Welfare Systems y The Intelligent Society Platform) que, recibiendo fondos de la Academia de Finlandia, tienen por objetivo reforzar los ejes de investigación estratégicos y multidisciplinares en la Universidad de Tampere, como son la sostenibilidad de los sistemas de bienestar y salud y el desarrollo tecnológico centrado en el ser humano. 2 Esta dualidad que expresamos aquí está basada en la teoría del filósofo Ben L. Mijuskovic, quien sostiene que “todo lo que sentimos, pensamos, decimos y hacemos ocurre entre dos polos emocionales y cognitivos de la conciencia humana: entre su reflexiva insularidad autoconsciente (Kant) y el deseo intencional de trascender su soledad (Huserl)” (Mijuskovic, 2021). 1

Producción académica. Arquitectura, comunidad, individualidad

150

Rosana Rubio-Hernández

151

Publicaciones indexadas. Como editora. Colaboración independiente con HipoTesis

www.hipo-tesis.eu | 2020 | ISSN 2340-5147

Intimidad y|en|comunidad

Intimacy and|in|or Community

Revista digital científica sobre investigación en Arquitectura y Humanidades | Online Scientific Journal about Research in

Architecture and Humanities

Issue Hipo 8 “Intimacy and/in/or Community” e-ISSN: 2340-5147

Contacto Editorial | Editorial Office Revista “HipoTesis” Lugar de edición | Edited in: Madrid Plataforma HipoTesis | HipoTesis Platform www.hipo-tesis.eu, hipo@hipo-tesis.eu La Serie Numerada de la revista HipoTesis está registrada como revista científica en el directorio Latindex, Sistema Regional de Información en Línea para Revistas Científicas de América Latina, el Caribe, España y Portugal.

HipoTesis Numbered Issues is indexed as a scientific journal at Latindex, Information System for Scientific Journals in Latin America, Caribe, Spain and Portugal.

Serie Numerada

Numbered Issues

Esta publicación posee el sello “I”

Hipo-Tesis Serie Numerada; Hipo 6 “Presentes Futuribles, Futuros Presentables” se publica bajo licencia Creative Commons AttributionNonCommercial-ShareAlike 4.0 International (CC BYNC-SA 4.0). Los permisos de las imágenes utilizadas en este número han sido obtenidos por los propios autores de los artículos. La imagen de portada es propiedad de los editores de la revista | The rights of the images shown

here have been granted to us by the authors. Artwork on the cover belongs to the editors of the magazine

Directores-Editores HipoTesis Serie Numerada | Directors-Editors

HipoTesis Numbered Issues

Francisco A. García Triviño, Fernando Nieto Fernández y Katerina Psegiannaki

Directora-Editora invitada | Guest Director-Editor Rosana Rubio Hernández

Comité Científico | Advisory Board

Manuel Gausa Navarro. Profesor Titular de Proyectos y Composición en el Dipartamento di Progettazione e Costruzione Dell’Architettura (DIPARC). Facoltà di Architettura. Università degli Studi di Genova (UDS) Juan Herreros Guerra. Catedrático en el Departamento de Proyectos Arquitectónicos (DPA). Escuela Técnica Superior de Arquitectura de Madrid (ETSAM). Universidad Politécnica de Madrid (UPM) Xavier Monteys Roig. Catedrático en el Departamento de Proyectos Arquitectónicos (PA). Escuela Técnica Superior de Arquitectura de Barcelona (ETSAB). Universitat Politècnica de Catalunya (UPC) Federico Soriano Peláez. Catedrático en el Departamento de Proyectos Arquitectónicos (DPA). Escuela Técnica Superior de Arquitectura de Madrid (ETSAM). Universidad Politécnica de Madrid (UPM)

Consejo Editorial | Editorial Board

Jacobo García-Germán Vázquez. Profesor Asociado en el Departamento de Proyectos Arquitectónicos (DPA). Escuela Técnica Superior de Arquitectura de Madrid (ETSAM). Universidad Politécnica de Madrid (UPM) Juliana Torres de Miranda. Profesora Adjunta en el Departamento de Projetos (PRJ). Escola de Arquitetura. Universidade Federal de Minas Gerais (UFMG) Pedro Urzáiz González. Profesor Contratado Doctor en el Departamento de Proyectos Arquitectónicos (DPA). Escuela Técnica Superior de Arquitectura de Madrid (ETSAM). Universidad Politécnica de Madrid (UPM)

Cubierta | Cover

Francisco A. García Triviño

Nieto Fernández, Fernando y Rosana RubioHernández (eds.). HipoTesis Serie Numerada 8 (2021). “Intimidad y / en / o Comunidad”. ISSN: 2340-5147. (en imprenta) Indicios de calidad: revisión por pares. Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, Registro de Publicacionesde Finlandia JUFO (Nivel 1). (Ver índice e introducción a continuación)

www.hipo-tesis.eu | 2020 | ISSN 2340-5147

Intimidad y|en|comunidad

Intimacy and|in|or Community

Índice | Index Autores | Authors

Páginas | Pages

HipoTesis

pp. 2-6

“ Casa de Muñecas Infinita”. Una imagen poética de la Pandemia (2020) | “Endless Doll House Project”. A Poetic Image of the Pandemic (2020) | Recepción: 14-10-2020, Aceptación: 23-12-2020

Mara Sánchez Llorens Fermina Garrido López Gonzalo Lozano Arce

pp. 7-26

El espacio íntimo. La redefinición de las relaciones en la ciudad contemporánea | The Intimate Space. The Redefinition of Relationships in the Contemporary City | Recepción: 05-10-2020, Aceptación: 23-12-2020

Federica Martella

pp. 27-38

Historias sonoras del COVID-19. Nueva intimidad, nueva comunidad | Sound Stories of COVID-19. New Privacy, New Community | Recepción: 30-10-2020, Aceptación: 23-12-2020

Cristina Palmese José Luis Carles Arribas

pp. 39-48

La casa expandida (o como volver a querer volver a casa) | The Expanded House (or How to Want to Come Back Home Again) | Recepción: 06-10-2020, Aceptación: 23-12-2020

Idoia Costa Diez

pp. 49-57

Oaxaca, la Tierra se mueve. Un modelo de resistencia posthumana para la preservación de la intimidad en comunidad | Oaxaca, Earth

Elena Pérez Guembe

pp. 58-75

Títulos | Titles Presentación | Introduction

Intimacy and|in|or Community

autoexpresión, diferenciación y de autodeterminación, al liberarse de los rasgos comunitarios y de la alienación que esto supone. Aunque, no obstante, sabemos que el individualismo también conduce a la atomización social, la indiferencia hacia los otros, el egoísmo e incluso al narcisismo. Quizá, como apuntaba Herman Hertzberger en sus Lessons for Students in Architecture, ambas visiones de la vida son producto o expresión de la misma condición humana, por lo que animaba a la destrucción de la falsa alternativa entre individualismo y colectivismo.

Intimacy and/in/or Community

Enunciadas aquí, a modo de sugerencia, solo algunas de las aproximaciones que se han hecho en torno al complejo tema de la polaridad entre los ámbitos de lo individual/íntimo/privado y de lo colectivo/común/público, el número 8 de HipoTesis Serie Numerada abre la posibilidad de reflexionar de nuevo sobre el tema, así como sobre el solapamiento y potencial conciliación de las dos áreas. La revista propone traer el debate a los nuevos escenarios que se presentan ante nosotros en estos inciertos comienzos del siglo XXI, donde incluso, si tomáramos las palabras de Auden con literalidad, la demarcación elemental entre ambas esferas se ha visto alterada.

In 1965 W. H. Auden's book About the House was published. It included the poem Thanksgiving for a Habitat, which contained these verses titled The Birth of Architecture as a prelude. Auden outlined in them the boundaries of his intimacy in a ‘brutally’ ironic manner, expressing the vital nature of the border interspace where the limits of his private sphere, one’s personal realm, are negotiated.

moves. A Model of Posthuman Resistance for the Preservation of Intimacy in Community | Recepción: 14-10-2020, Aceptación: 23-122020

www.hipo-tesis.eu | 2020 | ISSN 2340-5147

Intimidad y|en|comunidad

Intimacy and|in|or Community

Presentación | Introduction Intimidad y/en/o comunidad “A unas treinta pulgadas de mi nariz se levanta mi frontera, y todo ese aire intacto es mi privado pagus, mi heredad. Extraño: a menos que con ojos de almohada te invite a intimar, ten cuidado de invadirla rudamente. No tengo pistola, pero sé escupir.”

En 1965 se edita el libro de W. H. Auden, About the House. En él figura el poema Thanksgiving for a Habitat y como preámbulo al mismo, estos versos que llevan por título The Birth of Architecture. En ellos Auden traza de un modo ‘brutalmente’ irónico los linderos de su intimidad, expresando el carácter vital de ese intersticio fronterizo donde se negocian los límites de su mundo privado. Estamos hablando del ámbito personal. Dos años antes, en 1963, se había publicado el libro Community and Privacy. Ese texto de Serge Chermayeff y Christopher Alexander, que impregnó de modo fulgurante el debate académico arquitectónico de la segunda mitad de esa década, extendía el alcance del postulado personal y poético de Auden, articulando una serie de consejos prácticos capaces de jerarquizar los requisitos necesarios, partiendo de la unidad básica de la vivienda hasta su unión abarcando agrupaciones mayores de carácter urbano, para evitar lo que, según ellos, se estaba produciendo en las ciudades: una pérdida creciente de la posibilidad de aislarse, con la consiguiente pérdida de la capacidad de reflexión individual, de tener intimidad y del disfrute de la soledad. Hoy sabemos también que a este problema se añade el opuesto: un exceso de

Producción académica. Arquitectura, comunidad, individualidad

154

aislamiento social no deseado, que provoca lo que incluso se ha calificado como la epidemia de nuestro tiempo, la soledad no deseada. Ambos problemas están relacionados: como nos enseñan los filósofos, la intimidad es lo opuesto a la soledad no deseada. En su libro A Topology of Everyday Constellations, Georges Teyssot distingue dos sistemas opuestos en el desarrollo urbano a partir del siglo XVIII, definidos por dos espacios que se contraponen: el espacio del lujo y el espacio del caos. El primero representa el sistema de orden de los edificios públicos, cuyo modo de establecimiento más efectivo en la sociedad se basa en el lujo y su ostentación, el único considerado como verdadera Arquitectura ─lo monumental como regulador del carácter urbano─. El segundo define el espacio privado de las viviendas como el negativo restante ─lo particular como fondo indistinguible de la ciudad─, magma incontrolable apremiado de regulación dada su falta de cualidades estéticas. Así, con este análisis genealógico, Teyssot reconoce unas connotaciones de valor asociadas al ámbito construido de lo público y de lo privado, que hemos heredado. Con anterioridad, Hannah Arendt en La condición humana había ampliado el campo de reflexión sobre lo privado y lo común, llevándolo al área de lo sociopolítico. Utiliza metafóricamente los conceptos griegos de oikos (la casa), para referirse a lo individual y contingente, y polis (la ciudad), como lugar de lo común y trascendente, que reúne a todas las generaciones pasadas, presentes y futuras. En el ámbito de la polis, defiende Arendt que lo inesperado y la novedad es posible, ya que en él el hombre es libre. Por contra, en el ámbito del oikos los hombres están condicionados por sus circunstancias particulares. Frente a esta toma de postura abiertamente favorable a lo común frente a lo individual, vemos como el individualismo se constituye como uno de los rasgos más significativos de las sociedades occidentales contemporáneas, sostenido, precisamente, en sus posibilidades de

Intimidad y|en|comunidad

www.hipo-tesis.eu | 2020 | ISSN 2340-5147

“Some thirty inches from my nose The frontier of my Person goes, And all the untilled air between Is private pagus or demesne. Stranger, unless with bedroom eyes I beckon you to fraternize, Beware of rudely crossing it: I have no gun, but I can spit.”

Two years earlier, in 1963, the book Community and Privacy had been published. This text by Serge Chermayeff and Christopher Alexander, which blazingly permeated the academic debate in architecture during the second half of the 1960s, extended the scope of Auden's personal, poetic postulate. It articulated a series of practical advices that were capable of hierarchising the necessary requirements, starting from the basic housing units and their combination to encompass larger urban clusters. This was in order to avoid what was taking place in the cities according to the authors: an increasing loss of the possibility of isolation, with the consequent demise of the capacity for individual reflection and intimacy, and of the enjoyment of solitude. Nowadays we also know that this problem entails the opposite one: an unwanted excess of social isolation, causing undesired loneliness: the socalled epidemic of our time. Both problems are related: like the philosophers show us, intimacy is the opposite of loneliness.

Intimidad y|en|comunidad

Intimacy and|in|or Community

In his book A Topology of Everyday Constellations, Georges Teyssot distinguishes two opposite systems in urban development from the 18th century onwards. They are defined by two opposing spaces: the space of luxury and the space of chaos. The former represented the orderly system of public buildings, whose most effective way of establishment in society was based on luxury and its ostentation. It implied the only system truly considered Architecture since monuments acted as regulators of the city character. The latter defined the private space as the remaining negative represented by housing buildings, whose particularity formed the indistinguishable background of the city, an uncontrollable magma of buildings to be regulated due to its lack of aesthetic qualities. With this genealogical analysis, Teyssot recognizes some value connotations associated with the public and private built spheres we have inherited.

Hertzberger pointed out in his Lessons for Students in Architecture, both visions of life are the product or expression of

the very human condition, the reason why he encouraged the destruction of the false alternative between individualism and collectivism. These are just a few approaches suggested around the complex issue of the polarisation between the individual/intimate/private and collective/common/public realms. HipoTesis Numbered Issues’ 8th issue offers the possibility of reflecting again on the subject and the overlap and potential reconciliation of the two areas. Its aim is to bring the discussion to the new scenarios of these uncertain start of the 21st century where, if Auden's words are literally considered, even the elementary demarcation between both spheres has been altered.

Previously, in The Human Condition Hannah Arendt had broadened the scope for reflection on the private and common spheres by bringing it into the socio-political realm. She had metaphorically used the Greek concepts of oikos (the house), concerning the individual and contingent, and polis (the city), as a place of the common and transcendent, bringing together past, present and future generations. With the polis realm, Arendt defends that the unexpected and the novelty is possible, since there the individuals are free. On the contrary, in the oikos realm men are conditioned by their specific circumstances. Unlike this stance explicitly favourable to the common sphere versus the individual one, we see how individualism becomes itself one of the most significant features of contemporary western societies, sustained, precisely, by its possibilities of self-expression, differentiation and self-determination, once it has released from the community features and alienation it entails. Although, nevertheless, we know individualism also leads to social atomization, indifference towards others, selfishness and even narcissism. Perhaps, as Herman

Rosana Rubio-Hernández

155

01.02. Arquitectura y materialidad

Proyecto de investigación subvencionado. Business Finland

Build4Clima Creating New Business from Healthier and Circular Carbon Positive Buildings 01-10 / 31-12-2019

Build4Clima Is a multidisciplinary project to promote circular economy, healthier living environment and carbon neutrality in the construction industry. Our vision is to mitigate climate change with materials that support people’s health and well-being. We aim to transform the biomaterial market for new and renovated buildings with construction processes that not only support carbon neutrality but also carbon sequestration over their lifetime.

Duración: 10 meses (01-02-2020 /9-11-2020) Entidades participantes: Tampere University, VTT Technical Research Centre of Finland and Business Finland. Investigador responsable: Fernando Nieto and Alina Ruonala-Lindgren. nº de investigadores participantes: 13 Financiación: 66.500 E Contribución: Investigadora y producción de resultados. Resultado: Informe de investigación (25 +132 pgs.) (Ver aquí parte del informe que se ha hecho público. El resto no es posible incluirlo en cumplimiento de una clausula de confidencialidad)

Informe de investigación. Resultado del proyecto Build4Clima

RESEARCH REPORT VTT-R-1308-20 4 (24)

RESEARCH REPORT

VTT-R-1308-20

Contents Preface................................................................................................................................... 3 Contents ................................................................................................................................. 4 1. Introduction ....................................................................................................................... 5 2. Goal .................................................................................................................................. 8 3. Work description ............................................................................................................... 8 4. Results.............................................................................................................................. 9 4.1 4.2 4.3 4.4

Interviews ................................................................................................................. 9 Questionnaire and workshop .................................................................................. 11 Material and technology review............................................................................... 13 Legislation standards and assessment systems review .......................................... 15

5. Tools for achieving low carbon buildings ........................................................................ 19 5.1 Low carbon building ................................................................................................ 19 5.2 Environmental management of buildings ................................................................ 19 5.3 Steering for low carbon construction ....................................................................... 19

Build4Clima final report

Build4Clima - Building for a Healthy Climate Authors:

Producción académica. Arquitectura y materialidad

160

6. Conclusions and recommendations ................................................................................ 20 APPENDICES ...................................................................................................................... 21 6.1 Appendix 1: Insights to Table 2. .............................................................................. 21 6.2 Appendix 2: Expanded roadmap table .................................................................... 24

Pekka Tuominen, Alina Ruonala-Lindgren, Tiina Pöhler, Katariina Torvinen, Sirje Vares, Tomi Erho, Tatu Vienamo, Simon Kay-Jones, Rosana Rubio Hernandez, Johanna Lahti, Sofie Pelsmakers, Fernando Nieto Fernandez

Rosana Rubio-Hernández

161

Producción académica. Arquitectura y materialidad

162

Rosana Rubio-Hernández

163

Tesis doctoral

El vidrio y sus mácaras El sueño de la arquitectura de cristal 2016

El vidrio y sus máscaras El sueño de la arquitectura de cristal (Vol. I / Vol. II) Según Heidegger, la esencia de la arquitectura, de la construcción, descansa en un no espacio: en la materia con que se construyen las fronteras que otorgan espacios, irradiando sobre ellos aquello que los caracteriza. Si hay alguna materia, de las utilizadas por la arquitectura a lo largo de su historia para construir fronteras, que haya mantenido una especial relación con la luz y la visión, dando un carácter inconfundible a los espacios ‘aviados’por ellas, esta es el vidrio; algunas de las etimologías de su nombre: zakû (ser claro), hyalos (diáfano) o vitrum (ver), así lo evidencian. Posiblemente, sea la pregnancia de este modo fascinante de relacionarse con la luz, la que ha hecho del vidrio, a lo largo del tiempo que lleva siendo usado en arquitectura, y aún antes, el material que ha provocado en el imaginario humano la ilusión de ser aquel en que, en último término, podrían llegar a sublimarse todos los demás, dando lugar con ello a lo que en la tesis hemos denominado ‘el sueño de la arquitectura de cristal’. Siendo la luz siempre energía, consideraremos en la tesis ‘luzenergía’, a aquella que ilumina y calienta; es una luz científica y mesurable. Cuando la luz se ‘hace visible’ desvelando un mensaje ‘contenido’ en el vidrio, hablaremos de ‘luz-información’. Esta luz, no puede medirse científicamente.La luz-energía y la luzinformación, se manifiestan al conjuro de la arquitectura de vidrio. Es la segunda la que ha conformado las fronteras de vidrio enmascarado, y la que se estudia con más detenimiento en la tesis. Los distintos modos de usar en arquitectura la infinita combinatoria de las propiedades de absortancia, reflectancia, transmitancia y translucencia del vidrio, ha condicionado al hombre en su manera de ‘ver’ el mundo. Unas veces, ‘inmerso’ en él, puesto que solo lo separa del mismo, una frontera transparente, y ‘deseadamente’ invisible: ese modo de usar el vidrio, ha sido el sueño imposible de una parte importante de la arquitectura del siglo XX.

Otras veces, para ‘aislarse’ de él, el hombre ha manipulado la luz y el vidrio para construir mundos diferentes. Las fronteras de vidrio enmascarado de color, mosaicos, vidrieras, pantallas y lo que hemos llamado vidrios complejos (con un cometido similar al que Schiller atribuía al coro en la tragedia griega, aislar a esta del ‘mundo real’, para mantener su libertad poética), son las fronteras que han construido el sueño posible de la arquitectura de cristal. Ambas actitudes, en distintos momentos de la historia de la arquitectura, han sido dos formas de querer materializar un mismo sueño. La tecnología y el arte forman parte de la cultura producida por la sociedad y como señala Lévi-Strauss, esa cultura imprime orden; por el contrario, la sociedad, entendida como el conjunto de relaciones que los hombres mantienen entre sí, produce desorden. Del equilibrio entre esos extremos, surge el progreso, incluido el de la arquitectura de cristal. Las fronteras de vidrio que analizamos en la tesis–que avían espacios para la espiritualidad, el fasto y el espectáculo o, desde otro punto de vista, para las distintas manifestaciones del poder: la iglesia, la monarquía, el estado o el mercado– también han surgido de esa concomitancia entre el desorden y el orden; y forma parte de ese desorden, la aventura que ha impulsado al genio individual de místicos, alquimistas, geómetras, abades, reyes, inventores, poetas y arquitectos, a explorar, como escribe Apollinaire: “vastos y extraños territorios donde el misterio en flor, se ofrece a quien quiera cogerlo, hogueras nuevas de colores nunca vistos, mil fantasmas imponderables a los que dar cuerpo”.

UNIVERSIDAD POLITÉCNICA DE MADRID. ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA

EL VIDRIO Y SUS MÁSCARAS

VOLUMEN 1

VOLUMEN 2

TESIS DOCTORAL. ROSANA RUBIO HERNÁNDEZ. ARQUITECTO. 2015

Directores: Dr. Gabriel Ruiz Cabrero Dr. Sergio Martín Blas Resultados: -Sobresaliente cum laude -Mención internacional -Premio Extraordinario de Doctorado UPM 2015-2016 -Primera Mención. XII Concurso Bienal arquia/tesis 2019 -4 artículos en revistas indexadas -1 ponencia en congreso -1 libro completo -Participación en 1 libro (Ver a continuación resultados)

Méritos en period de formación. Resultados de la tesis doctoral

Producción académica. Arquitectura y materialidad

166

Rosana Rubio-Hernández

167

Premio de investigación. Resultados de la tesis doctoral

Producción académica. Arquitectura y materialidad

168

Rosana Rubio-Hernández

169

Publicaciones indexadas. Resultados de la tesis doctoral

Rosana Rubio-Hernández “El orígen del sueño de la arquitectura de cristal. Una aproximación” Constelaciones 7. (2019): 17-30. ISSN: 2340177X. Indicios de calidad: revisión por pares. Avery Index to Architectural Periodicals, Emerging Source Citation Index, Latindex, ErihPlus, MIAR, Dialnet, EBSCO Information Services, Rebiun.

CONSTELACIONES nº7, febrero 2019 Revista de Arquitectura de la Universidad CEU San Pablo Architecture Magazine of CEU San Pablo University Periodicidad anual Annual periodicity

CONSTELACIONES

COMITÉ DE REDACCIÓN EDITORIAL COMMITTEE Dirección Directors Juan García Millán Santiago de Molina Jefa de Redacción Editor in Chief Covadonga Lorenzo Cueva Secretario de Redacción Editorial Clerk Rodrigo Núñez Carrasco Maquetación y producción Design and production Clara Martínez-Conde Rubio Julia Ruiz-Cabello Subiela Responsable Web Web Page Manager María Isabel Castilla Heredia Diseño Original Original Design Juan Roldán Martín

CONSEJO EDITORIAL EDITORIAL BOARD Beatriz Colomina. School of Architecture, Princeton University, New Jersey Carmen Díez Medina. Escuela de Ingeniería y Arquitectura, Universidad de Zaragoza María Antonia Frías Sargadoy. Escuela Técnica Superior de Arquitectura, Universidad de Navarra Juan Miguel Hernández Léon. Escuela Técnica Superior de Arquitectura, Universidad Politécnica de Madrid Juan José Lahuerta Alsina. Escuela Técnica Superior de Arquitectura, Universidad Politécnica de Cataluña, Barcelona Eduardo Leira Sánchez. Ex director del Plan General de Ordenación Urbana, Madrid Joaquín Medina Wamburg. Facultad de Aquitectura Diseño y Urbanismo, Universidad de Buenos Aires Zaida Muxí Martínez. Escuela Técnica Superior de Arquitectura, Universidad Politécnica de Cataluña, Barcelona José Joaquín Parra Bañón. Escuela Técnica Superior de Arquitectura, Universidad de Sevilla Víctor Pérez Escolano. Escuela Técnica Superior de Arquitectura, Universidad de Sevilla Fernando Pérez Oyarzún. Escuela de Arquitectura y Diseño, Pontificia Universidad Católica, Santiago de Chile Judith Sheine. School of Architecture and Allied Arts, University of Oregon, Portland Andrés Walliser Martínez. Global Design, New York University, Nueva York

ISSN 2340-177X Depósito legal M-13872-2013 © de los textos, sus autores © de las imágenes autorizadas © Revista Constelaciones © Escuela Politécnica Superior, Universidad CEU San Pablo Universidad CEU San Pablo Escuela Politécnica Superior Urbanización Montepríncipe, s/n Alcorcón, 28925. Madrid (España) constelaciones@eps.ceu.es www.uspceu.es www.revistaconstelaciones.wordpress.com Edición Edition Fundación Universitaria San Pablo CEU Madrid, España Impresión Printing VA Impresores Impreso en España Printed in Spain Distribución Distribution CEU Ediciones

INDEXACIÓN INDEXING Índices Index Latindex Avery Index ErihPlus MIAR Bases de datos Data bases Dialnet Índices en evaluación Evaluation Index Web of Science Scopus Dulcinea EBSCO Sherpa Romeo

Los textos que componen Constelaciones se obtienen mediante convocatoria pública. Para que los trabajos recibidos entren en el proceso de selección de los artículos a publicar deben ser trabajos originales no publicados anteriormene, con una extensión recomendada de 3.000 palabras, título, resumen (un máximo de 150 palabras) y palabras clave (un mínimo de cuatro palabras), en español y en inglés. Tras haber cumplido estos requisitos (y los correspondientes incluidos en las normas editoriales de la revista, disponibles para consulta en formato digital desde el comienzo de la convocatoria), tiene lugar un proceso de revisión y evaluación de los artículos previa aceptación de los mismos para su publicación. Para acometer dicho proceso, y con el fin de asegurar la calidad de los contenidos, la revista Constelaciones recurre a evaluadores externos a la institución editora y anónimos (cada artículo es evaluado por dos de ellos) encargados de someter a crítica los mismos. Todos los artículos de investigación publicados en esta revista han pasado por dicho proceso. Texts included in Constelaciones are obtained by public announcement. Only original papers that have not been previously published will be included in the process of selection of articles. They should not exceed 3.000 words and should include a title, an abstract (no more than 150 words) and keywords (a minimum of four words), in Spanish and English. After having fulfilled these requirements (and those included in magazine editorial standards, available for consultation from the beginning of the Call for Papers), occurs a process of review and evaluation of articles upon acceptance of them for publication. To undertake this process, and in order to ensure the quality of the contents, Constelaciones turns to external and anonymous evaluators to the institution (each article is evaluated by two of them) responsible for the critic. All the articles published in this journal have undergone this process.

Todos los derechos reservados. Esta publicación no puede ser reproducida, ni en todo ni en parte, ni registrada, ni transmitida, ni almacenada en ninguna forma ni por ningún medio, sin la autorización previa y por escrito del equipo editorial. En este número se han utilizado algunas imágenes de las que no se ha podido identificar al propietario de los derechos. En estos casos hemos entendido que las imágenes son de libre uso. En caso de identificar alguna de estas imágenes como propia, por favor, póngase en contacto con la redacción de Constelaciones. Los criterios expuestos en los diversos artículos de la revista son responsabilidad exclusiva de sus autores y no reflejan necesariamente los que pueda tener el equipo editoral. El equipo editorial de la revista no se responsabiliza de devolver la información enviada a la redacción a no ser que se le solicite expresamente. All rights reserved. This publication cannot be reproduced, in whole or in part, nor registered, transmitted or stored in any form or by any means, without the written permission of the Editorial team. In this issue some images were used without knowing the owner of the rights. In these cases, we have understood that the images are free of use. In case you identify any of these images as your own, please, contact with the Editorial staff of Constelaciones. The opinions expressed in this issues's articles are entirely the responsibility of their authors and are not necessarily shared by the editors of this journal. The publisher don’t take responsibility for returning submitted material which is not expressly requested.

Producción académica. Arquitectura y materialidad

172

Rosana Rubio-Hernández

173

Fecha recepción Receipt date 30/09/2018 Fechas evaluación Evaluation dates 21/01/2018 & 6/11/2018 Fecha aceptación Acceptance date 11/01/2018 Fecha publicación Publication date 01/06/2018

El origen del sueño de la arquitectura de cristal. Una aproximación The dream of crystal architecture: looking at the origins Rosana Rubio Hernández Dra. Arquitecta. Profesora asociada Universidad Camilo José Cela

La arquitectura moderna y contemporánea hace un uso creciente del vidrio, al tiempo que la tecnología ha ido permitiendo mayores fantasías y libertades formales. Para entender el poder de seducción de este material, debemos remontarnos en el tiempo. El vidrio, por su comportamiento ante la luz, a la que parece “capturar”, estuvo siempre ligado a lo mítico, a lo mágico, al misterio; temas todos difíciles de confinar en el ámbito estrictamente científico (2). Este material ha provocado en el imaginario colectivo occidental la ilusión ser aquel a través del cual poder acceder a una anagogía (elevación y enajenación del alma por la contemplación de las cosas divinas), dando lugar a lo que hemos llamado el sueño de la arquitectura de cristal. Un sueño que surge hace más de tres mil años en el Mediterráneo oriental y que pensamos que prevalece. Las propiedades, únicas en la naturaleza, de color, transparencia y reflectancia de algunos materiales y también del vidrio hecho por el hombre, que trataba de imitarlos, han asociado a este material artificial con los valores más estimados de las piedras preciosas. Esas piedras preciosas, presentes siempre en los ajuares de las monarquías teocráticas de la antigüedad, por su rareza, belleza y escasez, representaban de alguna forma la legitimidad del mandato de quienes las portaban. Por otra parte, el culto solar, siempre presente en aquellas culturas, posibilitaba establecer una relación natural entre el dios-sol y aquellos objetos, que brillaban como él. El sol es calor, luz y fuente de vida, como lo es el fuego. Casi todas las mitologías hablan del hallazgo y dominio del fuego, y quienes lo dominan, son héroes, dioses o semidioses; al fuego, precisamente, está ligado el origen del vidrio. La génesis del vidrio artificial, según conjeturan muchos estudiosos, surge del fructífero encuentro, en el seno de las culturas mesopotámicas, entre los artesanos metalúrgicos hurritas, maestros dominadores del fuego, y alfareros asentados en el este de la Media luna fértil; es decir, con la combinación de dos tecnologías que consiguieron emular las fuerzas y procesos de la naturaleza: la metalúrgica y la alfarera (3).

Palabras clave Keywords Aquitectura, cristal, vidrio, luz, sol, divinidad, literatura medieval, textos sagrados, anagogía Architecture, crystal, glass, light, sun, divinity, medieval literature, sacred texts, anagogy

Resumen

Abstract

La historia de la arquitectura de vidrio se ha visto animada por un sueño estimulado por las particulares propiedades de interacción de este material con la luz. El artículo se aproxima a la génesis de ese sueño y sus primeras manifestaciones, en forma de leyendas sobre fantásticos edificios de cristal, transcritas en textos sagrados o literarios, y hace referencia a las arquitecturas en las que se ha materializado y a algunos de los arquitectos a los que ha inspirado. Se concluye, que la pervivencia en el tiempo de este sueño, se debe a la capacidad otorgada al vidrio como vía para acceder indistintamente a “anagogías” (elevación y enajenación del alma por la contemplación de las cosas “divinas”), de carácter religioso o laico

17 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

174

The history of glass architecture has been animated by a dream, stimulated by the particular interaction properties of this material with light. The article approaches to the genesis of that dream and its first manifestations, in the form of legends about fantastic glass buildings, transcribed in sacred or literary texts. It refers also to the architectures in which it has been materialized and some of the architects it has inspired. We conclude that the survival of this dream in time is due to the capacity granted to glass as a way to access indistinctly to "anagogies" (elevation and alienation of the soul by the contemplation of "divine" things), whether religious or secular

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

The use of glass in modern and contemporary architecture is increasing, and technology now facilitates greater fantasies and freer forms. To understand the seductive power of this material, we must go back in time. The behaviour of glass in the presence of light, which it seems to "capture", has always been associated with mythology, magic and mystery, all difficult to confine to the strict realm of science (2). In the Western imagination, glass has conjured up the dream of being a gateway to an anagogy (the elevation and alienation of the soul through the contemplation of divine things), leading to what we call the dream of crystal architecture, a dream that began more than 3000 years ago in the Eastern Mediterranean and, we believe, is still prevalent today. The unique colour, transparency and reflective properties of natural substances and also certain artificial materials like glass —produced by people who strove to replicate them— led this man-made ‘crystal’ to be associated with the most highly appreciated values of precious stones. These stones, ever-present in the trousseaux of ancient theocratic monarchs on account of their scarcity and beauty, symbolised the legitimacy of the owner’s mandate. Sun worship, also pervasive in these cultures, provided a natural link between the solar deities and the objects that shone like them. The sun is heat, light and a source of life, like fire. The discovery and control of fire is mentioned in most ancient mythologies, and those who possessed this knowledge were heroes, gods or demigods. And in turn, fire is linked to the source of glass. 18 • Constelaciones nº7, 2019. ISSN: 2340-177X

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

175

La primera referencia escrita a un mar de vidrio frente al trono de un dios, aparece en el siglo I, ya dentro del contexto judeo-cristiano, en el Apocalipsis atribuido al apóstol Juan:

Así, las sociedades mesopotámica y egipcia, dominadoras de la tecnología del vidrio y con importantes cursos fluviales, a lo largo de los que se desarrollaron sus centros urbanos, y que reflejaban al igual que lo hacía el vidrio, aquello a lo que adoraban, el sol, crearon una mítica en la que este, divinidad y fuente de vida, se asociaba con el agua y con el vidrio.

“Delante del trono arden siete antorchas de fuego […] y hay una especie de mar transparente semejante al cristal” (6).

En el siglo XIV a. C., en Egipto, hace su aparición el primero de los mitos en que se relaciona al vidrio con la divinidad. El faraón Amenhotep IV había instaurado el culto de Atón, el sol, cambiando su propio nombre por el de Akenatón (resplandor de Atón), fundando una nueva capital en el 1366 a. C., a la que llamó Aketatón (horizonte de Atón); una ciudad pura, desligada de los cultos anteriores. Cuenta alguna leyenda que su palacio estaba pavimentado con vidrio dispuesto sobre agua corriente. Esta leyenda puede estar relacionada con lo que nos narra el egiptólogo Jacques Pirenne, en la descripción de los palacios de Aketatón a partir de los datos arqueológicos disponibles: “[…] En el suelo, una serie de estanques […] tenían los bordes inclinados y sobre ellos se habían pintado en vivos colores, nenúfares y lotos que parecían salir del agua. […] Desde este pórtico hasta un pequeño templo se extendía un jardín […] donde el agua tenía un papel preponderante” (4).

Algo después, la historia del suelo de cristal, aparece en Israel, ligada al rey Salomón, en el Targum Shenī, cuya fecha de redacción, aunque incierta, puede estar en torno al siglo VII. En él podemos leer:

Fig. 1: “Estanque en un jardín. Fragmento de un fresco de la tumba de Nebamun”, c.1350 a.C.

Los bordes de los estanques del palacio se revestían de piezas de fayenza silícea pintada, con representaciones de escenas acuáticas; su acabado vítreo brillante, junto con el agua representada en ellas, bien pudieron dar lugar al mito de un suelo de vidrio dispuesto sobre agua corriente. (Fig. 1) Lo cierto es que el reinado de Akenatón coincidió con una etapa de esplendor de la industria del vidrio en Egipto, habiéndose encontrado restos de una importante factoría en las ruinas de Aketatón, cerca de Tellel-Amarna (5). Many historians believe that the origins of manufactured glass can be traced back to the fortuitous encounter in Mesopotamia between Hurrite metal craftsmen, masters of fire, and potters who lived in the eastern zone of the fertile crescent, in other words, the combination of two technologies that emulated the forces and processes of nature: metallurgy and pottery (3). Mesopotamian and Egyptian societies, with their dominion of glass technology and control of major rivers, built their cities along these watercourses as a reflection, like glass, of their object of adoration, the sun. They shaped legends that linked this divinity and source of life to water and glass. The first such myth that connected gods to glass first appeared in 14th century B.C. Egypt, under the reign of Amenhotep IV. This Pharaoh, responsible for the worship of Aton, the sun, changed his own name to Akhenaten (the radiance of Aton) and founded a new capital in 1366 B.C., Aketaton (Aton's horizon), a pure city, disconnected from previous cults. Legend has it that his palace was paved with glass laid above running water. This legend could be related to Egyptologist Jacques Pirenne’s description of the palaces in Aketaton, based on archaeological information: "[…]On the ground, a series of ponds [...] with sloping edges decorated in vivid colours with water lilies and lotuses that seemed to emerge from the water. [...] Between this gateway and a small temple there was a garden [...] in which water also played a predominant role." (4) Silica faience tiles were laid around the edges of the palace ponds, painted with representations of water scenes. Their glossy vitreous finish and the water depicted in them may well have been the source of the myth of a glass floor laid over running water. (Fig. 1) 19 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

176

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

“Después de tres años, la reina de Saba llegó al reino de Salomón […] Benaiah la condujo al rey, quien, cuando oyó que venía, se sentó en su habitación de cristal. Cuando la reina vio al rey sentado allí, pensó de corazón que estaba sentado en agua y de hecho así lo dijo. Y se levantó el vestido para cruzar el agua, con lo que el rey se dio cuenta de que su pie era peludo. Le dijo, “Tu belleza es belleza de mujer, y tu pelo es pelo de hombre; el pelo resulta atractivo en un hombre, pero en una mujer es vergonzoso” (7). Aquí, la referencia a la arquitectura de vidrio y la sugerencia de asemejarse a aguas reflectantes es bastante directa; además vemos cómo se le confiere al material la capacidad de “revelar” lo que de otro modo permanecería oculto: es decir, la verdadera naturaleza de la Reina. En este mismo siglo, la tradición musulmana recoge el mismo relato en el Corán, con alguna variante (8). En la sura 27, puede leerse:

It is certainly true that Akhenaten’s reign coincided with a period of splendour for Egypt’s glass industry. Remains of a large factory have been found in the ruins of Akhenaten, near Tell-el-Amarna (5). The first written reference to a sea of glass before the throne of a god is from the 1st century A.D., in the Revelation attributed to St. John: "In front of the throne were seven torches of burning fire [...] and also there was something like a sea of glass, like crystal. " (6) Some time later, the story of the glass floor reappeared in Israel, in the Targum Shenī, thought to date from around the 6th century A.D., linked to King Solomon: "At the end of three years, the Queen of Sheba came to the kingdom of Solomon [...] She was conducted by Benaiah to Jerusalem, and when the King was told that the Queen of Sheba had just arrived, he went to sit in his glass pavilion. When she saw the king sitting in his glass pavilion, she thought within herself that the King sat upon water, and so proceeded to draw up the hem of her dress so that she could pass over without getting wet. The King saw her legs full of hair. He said, “Thy beauty is the beauty befitting women, but thy hairs are the hairs befitting men. Hair on a man’s body is comely, but uncomely on a woman’s.” (11) In this legend, the reference to glass architecture and the resemblance of reflective waters is quite straightforward. Moreover, in this case, glass is endowed with the ability to "reveal" something which would otherwise remain hidden: the true nature of the Queen.

20 • Constelaciones nº7, 2019. ISSN: 2340-177X

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

177

“Se le dijo: ¡Entra en el palacio! Cuando lo vio, creyó que era un estanque, y puso sus piernas al descubierto. Salomón dijo: Es un palacio enlosado de cristal. Ella exclamó: ¡Señor mío! He sido injusta conmigo. Con Salomón, yo me someto a Dios, Señor de los mundos” (9). Resulta atractivo pensar que todas estas leyendas pueden tener un origen mítico común, en la supuesta relación del pueblo judío con el egipcio, tal como es narrada en la Biblia, en tiempos de la XIX Dinastía, estando aún reciente el recuerdo del faraón Akenatón (10). En esa época pudo tener lugar, en el caso de haber sucedido, el éxodo del pueblo judío (narrado en el Éxodo, pero del que no hay ninguna prueba histórica ni arqueológica que lo constate), desde Egipto hasta Judea, y con ellos las leyendas sobre el palacio de Akenatón transmitidas y magnificadas oralmente de generación en generación (11). En esa huida, el paso del Yam Suf (Mar Rojo) sería en realidad el paso del lago Menzala o el lago Sirbonis: “El agua poco profunda de este último permite atravesarlo a pie por varios puntos, y el que va por la angosta franja de terreno que separa la laguna del Mediterráneo se encuentra rodeado de agua” (12). De hecho, el trasiego de pueblos por ese paso entre Asia Menor y Egipto, cuando ambos continentes estaban unidos, se haría por esa zona y el recuerdo de grandes superficies de agua somera y espejeante, puede ser el origen de la imagen recurrente del “andar sobre las aguas” o “sobre un mar de cristal” en la literatura judía (13). Aunque en los relatos bíblicos no se menciona el vidrio propiamente dicho como material de construcción del Templo de Salomón, In this same century, Muslim tradition picked up the same story, repeated in the Qur'an, with a variation (8). Sura 27 recites: "It was said to her, “Go inside the palace.” And when she saw it, she thought it was a deep pond, and she bared her legs. He said, “It is a palace paved with glass.” She said, “My Lord, I have done wrong to myself, and I have submitted with Solomon, to God, Lord of the Worlds.”" (9) It would be nice to think that all these legends have a common mythical origin, the purported relationship between the Jewish and Egyptian people at the time of Dynasty XIX, described in the Bible, when memories of Pharaoh Akhenaton were still fresh (10). This was the time of the flight of the Jews from Egypt to Judea —if indeed it happened— narrated in Exodus, despite the lack of historical or archaeological proof. No doubt they took with them the legends of Akhenaton’s palace, passed on from generation to generation and magnified through oral tradition (11). The Yam Suf (Red Sea) passage used in their flight was actually a ford on Lake Menzala or Lake Sirbonis: "The shallow waters of the latter can be crossed on foot at several points, and he who traverses the narrow strip of land that separates the lagoon from the Mediterranean is surrounded by water." (12)

sí se habla del oro que revestía el Debir junto a la madera de cedro (14), que unidos al vidrio en las versiones apócrifas, constituirán en conjunto una simbología arquitectónica en torno al fenómeno de la luz, que se perpetuará a lo largo de los siglos, y que servirán de inspiración a leyendas posteriores en distintas tradiciones, que se hacen eco de ello, probablemente por su presentación del Rey como figura ejemplar, al aunar grandes poderes tanto espirituales como materiales. En el año 537, según cuenta la tradición, el día de la consagración de Santa Sofía, dijo Justiniano: “Salomón, te he vencido” (15). Ciertas o no, esas palabras muestran el legítimo orgullo del emperador ante su magnífica obra; pero también ponen de manifiesto, la vigencia de todas estas tradiciones “cristalinas” de las que venimos hablando, condensadas en las descripciones apócrifas del Templo de Salomón. Lo cierto es que Justiniano “construye”, no un suelo sino un cielo de vidrio de fondo de oro sobre su templo, dando así continuidad al sueño de la arquitectura de cristal, materializándolo, por vez primera, de forma significativa (Fig. 2): en Santa Sofía los muros revestidos de vidrio se convierten en un elemento de transmisión del simbolismo de la luz capaz de “iluminar” al hombre. En la época en que la primera arquitectura bizantina está produciendo sus mayores logros, en los primeros siglos del cristianismo, la luz anagógica ocupa el pensamiento de los Padres de la Iglesia, influido por el neoplatonismo de autores como Plotino. Se escapa al cometido de este artículo ahondar en cómo se elaboró la “estética de la luz” en el cristianismo a partir del pensamiento clásico (16), pero nos parece oportuno, en el marco de nuestros objetivos, citar, como testimonio, un fragmento de un texto fundacional de la Patrística, las Confesiones de Agustín de Hipona, donde se alude al papel trascendente de la luz para alcanzar el conocimiento divino: “¿No es cierto que vuelven a Vos muchos […] recibiendo aquella luz que a los que la reciben les da juntamente potestad para hacerse hijos vuestros?” (17).

Fig. 2: Dibujo de Santa Sofía. FOSSATI, Gaspare: “Aya Sofia Constantinople”, 1852.

Although biblical accounts do not specifically mention glass as a building material in King Solomon’s temple, they do speak of gold cladding on the Debir, used in conjunction with cedar wood (14). These materials, along with glass, appear in the Apocrypha as an architectural symbol for the phenomenon of light. In the course of the following centuries, they continued to inspire legends in different traditions, probably due to the projection of the king as an exemplary figure, the confluence of great power, both spiritual and material. In 537 A.D., on the day of the Hagia Sophia cathedral’s consecration, tradition has it that Justinian declared, "Solomon, I have beaten you" (15). True or not, these words do reflect the Emperor's legitimate pride in his magnificent achievement. They also reflect the ongoing potential of the above-mentioned "crystalline" traditions, condensed in the apocryphal descriptions of Solomon's Temple. What we do know for certain is that Justinian "built" not a floor but a ‘heaven’ of glass with a golden background to crown his temple, and thus continued the dream of crystal architecture. Hagia Sophia marked the first time that this dream was materialised on a large scale (Fig. 2), with glass-clad walls that transmit the symbolism of light that can "illuminated" humanity.

The transit of peoples between Asia Minor and Egypt at a time when the two continents were connected probably took place across such a passage in this area. The origin of the recurrent image of "walking on water" or "over a sea of glass" found in Jewish literature may thus well be memories of large expanses of shallow, reflective water (13). 21 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

178

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

22 • Constelaciones nº7, 2019. ISSN: 2340-177X

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

179

Continuando con nuestra narración, en el Digenes Akrites, poema épico de finales del siglo IX o principios del X, que tuvo gran éxito en Bizancio desde el imperio medio, volvemos a encontrar los suelos “de agua”. “Pavimentó el suelo con ónice tan suavemente pulido, que aquellos que lo veían se engañaban creyendo que era agua congelada en hielo” (18). Por ello, durante siglos, el suelo de mármol de Santa Sofía se imaginó como un “mar helado”. Esta percepción de la piedra como una sustancia líquida congelada, condujo a descripciones similares de otras iglesias medievales, orientales y occidentales, evocando simultáneamente el caos primigenio y las imágenes teológicas del mar sobre el que los devotos “caminan sobre el agua” (19). En la literatura árabe de la Alta Edad Media, la asociación de la arquitectura de vidrio con Salomón, adquiere un tono sobrenatural. Este rey aparece siempre ligado a la construcción de edificios fantásticos, con la ayuda de genios sometidos mágicamente. En las Historias de los Profetas de ath-Tha’ālibī, se lee: “Salomón ve cómo se levanta del fondo del mar un pabellón, […] como una cúpula, hecha de cristal y azotada por las olas […] La ciudad del aire es erigida por los genios siguiendo el mandato de Salomón, que les mandó construir una ciudad o un palacio de cristal de cien mil brazas de extensión y mil pisos de altura […] con una cúpula airosa y más ligera que agua […] transparente, de modo que la luz del sol y de la luna puedan penetrar a través de sus paredes” (20). In the first centuries of Christianity, when the greatest works of early Byzantine architecture were produced, anagogical light filled the thoughts of the church fathers under the influence of neoplatonist authors like Plotinus. Although the manner in which the "aesthetics of light" became elaborated in Christianity on the basis of classical philosophy (16) lies beyond the scope of this text, we consider it worthwhile, within the context at hand, to quote part of a core Patristic text, the Confessions of Saint Augustine, in which Augustine of Hippo refers to the transcendental role of light in reaching divine knowledge: "Are there not many who… are illuminated by that light which gives those who receive it power to become Thy sons?” (17) Continuing the narrative, the Digenes Akrites, an epic poem from the late 9th or early 10th century which met with great success in Byzantium since the middle empire, once again mentions "watery" land. "The floor he paved with onyx stones, so firmly polished that those who saw it might think water was there, congealed in ice." (18) For centuries, Hagia Sophia’s marble floor was imagined to be an "icy sea". This perception of stone as a frozen liquid substance led to similar descriptions of other medieval Eastern and Western churches, regarded as evocations of the primeval chaos and theological images of the sea on which the faithful "walked on water" (19).

La combinación de agua y luz para elaborar una atmósfera arquitectónica fantástica, fue recurrente en las cortes islámicas de este periodo y es evocada claramente en el palacio de la Alhambra, apareciendo también en narraciones, con el vidrio como elemento añadido, como la que refiere el pabellón construido para el rey de Toledo, Yahyā ibn Ismā’il al-Ma’mūn en el siglo XI: “Construyó en medio de su palacio un lago, en el centro del cual edificó un pabellón con vidrieras y con incrustaciones de oro. El agua se conducía a la parte alta del pabellón mediante un ingenioso dispositivo inventado por sus ingenieros (21), de manera que el agua descendía desde la cumbrera en un sinfín regueros que se unían entre sí. De esta manera, el pabellón de vidrio se encontraba bajo una lámina de agua que se deslizaba a través del cristal y que fluía incesantemente, mientras al-Ma'mūn se sentaba en el interior sin mojarse; y hasta las antorchas podían encenderse en él, produciendo, por lo tanto, un espectáculo asombroso y maravilloso” (22). Las tradiciones judeo-cristiana y musulmana se unificarán en otras de carácter ecléctico, propiciadas por la convivencia de ambas culturas durante la Edad Media. Todas estas tradiciones van a formar el trasfondo literario que acompañará el nacimiento y desarrollo del estilo gótico que, con sus vidrieras, será otro paso más, tras Bizancio, en la materialización del sueño de la arquitectura de cristal. La luz anagógica vuelve a ser el leitmotiv de la arquitectura religiosa de la mano del Abad Suger, que “inventa” el gótico en la basílica de Saint-Denis, interpretando y “aplicando” los escritos de un seguidor de Plotino, el Seudo Dionisio Areopagita: In Tales of the Prophets, ath-Tha'ālibī writes: "Solomon saw a pavilion rise from the bottom of the sea, [...] like a dome, made of glass and whipped by the waves [...] The city in the air was built by genies under Solomon's orders, who commanded them to build a city or a palace of crystal one hundred thousand fathoms in length and a thousand storeys high [...] with an airy dome, lighter than water [...] transparent to let the light of the sun and the moon penetrate its walls." (20) These stories attribute Solomon with extraordinary powers that explain the subsequent association of his name with alchemy and Kabbalistic orders. The combination of water and light to create fantastic architectural atmospheres was a recurrent theme in the Islamic courts of the time. This is clearly evoked in the Alhambra palace, also mentioned in contemporary descriptions, where glass is an added element. A description of the pavilion built in the 11th century for the King of Toledo, Yahyā ibn Ismā'il al-Ma'mūn, says that:

In the Late Middle Ages, the association between glass architecture and King Solomon took on a supernatural dimension in Arabic literature. Solomon was constantly associated with the construction of fantastic buildings, aided by magically subjected genies.

"In the middle of his palace he built a lake, and in the centre, he built a pavilion with stained-glass windows and gold inlays. The water was channelled to the top of the pavilion by means of an ingenious device invented by his engineers (21), in such a way that the waters descended from the ridge in endless streams and merged together again. The glass pavilion was thus beneath a sheet of water that slid through the glass and flowed incessantly, while al-Ma'mūn sat inside without getting wet. Torches could even be lit in there, producing an amazing, marvellous spectacle." (22)

23 • Constelaciones nº7, 2019. ISSN: 2340-177X

24 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

180

Estos relatos dotan a Salomón de poderes que hacen comprender la vinculación posterior de su nombre, con la alquimia y las logias cabalísticas.

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

181

“Nosotros, los hombres, no podríamos en modo alguno elevarnos por vía puramente espiritual a imitar y contemplar las jerarquías celestes sin ayuda de medios materiales que nos guíen como requiere nuestra naturaleza. Cualquier persona reflexionando se da cuenta de que la hermosura aparente es signo de misterios sublimes. […] Las luces materiales son imagen de la copiosa efusión de luz inmaterial” (23). Suger elige la luz como canal de la belleza divina, a través de materiales como los metales preciosos, las gemas o las vidrieras de Saint-Denis, para hacerla llegar, por medio del sentido de la vista, hasta el hombre. Si en la arquitectura Bizantina la luz sobre, o la luz desde, los mosaicos de vidrio de fondo de oro, construyó un cielo titilante, en la catedral gótica, la luz a través de las vidrieras construyó una envolvente radiante; en ambos casos con el fin de alcanzar anagógicamente lo inteligible (24). Siguiendo con nuestro trasfondo literario, vemos, cómo en La carta del Preste Juan, un texto anónimo que comenzó a circular por Europa hacia el 1165, este personaje mítico, mitad rey y mitad sacerdote, muy popular entre los siglos XII y XVI, relata que en su palacio el techo es “[…] de zafiros brillantísimos, mientras que los esplendorosísimos topacios han sido dispuestos entre aquellos para que los zafiros, al modo de un cielo sin nubes, y los topacios, al modo de las estrellas, iluminen el palacio. En verdad que el pavimento está formado por grandes losas de cristal” (25). Y ante las puertas de ese palacio, hay un espejo de grandísimo tamaño, colocado sobre un inverosímil tinglado de columnas y plataformas superpuestas, al que se asciende por peldaños de pórfido, serpentina, alabastro, cristal, sardónice, amatista, jaspe y ámbar, en el que puede verse y conocerse por los vigilantes, todo cuanto a favor y en contra del rey se hace (26). In the Middle Ages, Judeo-Christian and Muslim traditions merged with those of a more eclectic nature, propitiated by the cohabitation of the two cultures. All these traditions formed a literary backdrop to the emergence and development of Gothic architecture. Gothic stained glass windows were a major step forward in the materialization of the dream of glass architecture following the decline of Byzantium. Anagogical light once again became the leitmotiv for religious architecture in the hands of Abbot Suger, the "inventor" of the Gothic in the Saint-Denis Basilica, where he interpreted and "applied" the texts of Pseudo Dionysus Areopagite, a follower of Plotinus:

El poema Parzival, escrito por Wolfram von Eschenbach a principios del siglo XIII, retoma el relato de Chrétien, y en él describe el Santo Grial como una piedra preciosa, que Lucifer había desprendido de la corona de Dios cuando le estaba desterrando del paraíso, y que Adán guardaba en una cueva (28). Esta alusión a que la piedra sagrada que contiene la luz divina está guardada en una cueva, conjuga las imágenes de la luz y la sombra que son habituales en los escritos místicos y que serán recurrentes en tradiciones alquímicas posteriores (29). Hacia el 1250, un escriba de La carta del Preste Juan, añadió al texto la descripción de una Capella vítrea; esta arquitectura “escrita”, de cristal, es coetánea de la Saint-Chapelle de París (Fig. 3) (30). En el Jüngerer Titurel, narrada en el último tercio del siglo XIII, por Albrecht von Scharfenberg, y que reproduce gran parte del texto de la Carta del Preste Juan, se cuenta que el Grial, está guardado en las montañas de Monserrat, que en el poema se describen como un acantilado de ónix, en el que, después de ser desbrozado y pulido por Titurel, aparecen milagrosamente las trazas de un monasterio.

Fig. 3: MONTREUIL, Pierre: “Sainte-Chapelle”, 1241-1248

"[…]Its heaven, that is its roof, is of the clearest sapphire, and the brightest topazes, in the manner of stars, illuminate the palace. Indeed the floor is of large crystal flagstones.”(25) Moreover, in front of the gates of this palace is a gigantic mirror that rests on an implausible set of columns and superimposed platforms, reached by a staircase of porphyry, serpentine, alabaster, crystal, sardonyx, amethyst, jasper and amber, in which everything done for and against the king can be discovered and known by the watchmen (26).

"We men can in no way elevate ourselves by purely spiritual means in order to imitate and contemplate the celestial hierarchies without the aid of material resources that guide us as required by our nature. Any thinking person will realise that apparent beauty is a sign of sublime mysteries. [...] Material lights are an image of the copious effusion of immaterial light." (23)

In the mid-12th century, Chrétien de Troyes, the maximum exponent of the new “Le Roman” literary genre in France, the cradle of the Gothic, popularised stories about the realm of King Arthur and the Holy Grail in Perceval ou Li Contes del Graal. In this book, Perceval comest to the castle where the Grail is guarded by the Fisher King. When he is shown the Grail, it manifests all its divine attributes, full of precious stones, shining like the sun. (27) Another anonymous 12th century text, Folie d'Oxford, describes a Palais de verre suspended between heaven and earth.

Suger chose light as a channel for divine beauty, employed in the form of precious metals, gems and the stainedglass windows in Saint-Denis to allow it to reach humans through our sense of sight. In Byzantine architecture, the light on or from the glass mosaics with their gold background constructed an extremely attractive heaven, while in the Gothic cathedral, the light through the stained glass windows created an enveloping radiance, in both cases aimed at attaining the intelligible in an anagogy (24).

Wolfram von Eschenbach’s early 13th century poem Parzival takes up Chrétien's story in its description of the Holy Grail as a precious stone held by Adam in a cave that Lucifer had removed from God's crown when he was banished from Paradise (28). This reference to the idea of a sacred stone containing divine light that is stored in a cave conjugates the images of light and shadow, recurrent in subsequent essays on alchemy (29).

Continuing this literary overview, the Letter of Prester John, an anonymous text that began to circulate in Europe around 1165, contains a description of the palace of this mythical priest-king figure, popularised between the 11th and 16th centuries:

Around 1250, an addendum to the Letter of Prester John included a description of a vitreous chapel. This "written" glass architecture was contemporary to the Saint-Chapelle in Paris (Fig. 3) (30).

25 • Constelaciones nº7, 2019. ISSN: 2340-177X

26 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

182

Por esos mismos años, Chrétien de Troyes como máximo representante del nuevo género literario “le roman” (que aparece en Francia, cuna del gótico, a mediados del siglo XII), inaugura la popularidad de los relatos en torno al mundo artúrico y el tema del Grial, con su obra Perceval ou Li Contes del Graal. En el libro, Perceval consigue llegar al castillo en donde el Grial está al cuidado del Rey Pescador. Cuando el Grial le es mostrado, este, manifiesta todos los atributos de la divinidad: brilla como el sol y está lleno de piedras preciosas (27).También del siglo XII, es el texto anónimo conocido como Folie d’Oxford, donde aparece un Palais de verre suspendido entre el cielo y la tierra.

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

183

Su exterior era como una corona gigante con el techo de oro y esmalte que resplandecía al sol. Rubíes resplandecientes culminan las torres y la luz de un carbunclo en la cúspide de la torre central, guía el camino de los templarios. En el interior la luz es mística y las ventanas no tienen vidrio sino piedras preciosas; el suelo era un mar de cristal, y como si se mirara a través de una fina capa de hielo, se podían ver olas y peces bajo él; un detalle este último que desvela su relación con las leyendas del palacio de Salomón (31). Igualmente, la literatura secular de la Baja Edad Media creó nuevos atributos para el simbolismo del cristal, no solo relativas a la espiritualidad, sino movilizando ideas que también se relacionan a la condición humana más terrena, y que se traslucirán en los periodos posteriores, romántico y expresionista. Por nombrar alguna de estas obras, habría que citar Tristan de Gottfried von Strassburg, completado hacia 1210, donde el autor narra los amores de Tristán e Isolda y describe la Gruta de los Amantes, lugar maravilloso en cuyo centro hay un lecho tallado en cristal de roca, que simboliza el amor transparente y puro (32); o The Temple of Glass de John Lydgate, ya de principios del siglo XV, donde el protagonista cae en un profundo sueño y es transportado a un templo de cristal, que se halla en una helada montaña (33).

El simbolismo en torno al cristal, el vidrio, las piedras preciosas, la luz y el oro, de la Baja Edad Media se mantendrá vivo en la alquimia a lo largo de los siglos posteriores y aunque el predominio de las ciencias positivas durante lo que se denomina Edad Moderna, entre los siglos XV y XVIII, mantendrá aparentemente inactivo el sueño de la arquitectura de cristal, podemos encontrar alguna manifestación del mismo en la pintura flamenca de finales del siglo XV y principios del XVI (Figs. 4 y 5) (36). El descubrimiento de América, en el siglo XV, amplia el conocimiento de las tierras conocidas, y lo descubierto en ellas es tan sorprendente y fascinante como las invenciones literarias de los siglos precedentes. Copérnico y Galileo abren nuevas posibilidades de asombro, mirando al cielo; y la publicación en 1605 de la primera parte del Quijote, asesta el golpe definitivo a las novelas del ciclo artúrico, de las que hemos hablado. No obstante, el sueño de la arquitectura de cristal, sigue latente.

Una obra tardía, que resume prácticamente todas estas tradiciones medievales literarias del simbolismo del cristal, es la obra de Francesco Colonna, publicada en Venecia en 1499, titulada Hypnerotomachia Poliphili (34), en la que sincréticamente se unifican las metáforas creadas por los místicos religiosos, la alquimia y la poesía de amor cortesano. Además de piedras preciosas y exóticos materiales en una abundancia desbordante, en la narración aparecen “[…] jardineras cuyas plantas, en lugar de ser naturales, estaban hechas todas de purísimo vidrio, arquitrabes, frisos y cornisas […] proyectándose debidamente sobre el capitel de vidrio de las columnas, un jardín […] pavimentado con círculos de vidrio” (35). In the final third of the 13th century by Albrecht von Scharfenberg penned Jüngerer Titurel, which reproduces much of the Letter of Prester John. It claims that the Holy Grail is stored in the Montserrat range, near Barcelona, described in the poem as a cliff of onyx in which, after being cleaned and polished by Titurel, the traces of a monastery appear miraculously. Its facade is like a giant crown with a gold and enamel roof that shines in the sun. Sparkling rubies cap the towers and the light of a carbuncle at the pinnacle of the central tower guides the Templars’ path. Inside, the light is mystical and the windows are not glass but precious stones. The floor is a sea of glass, as if one were looking through a thin layer of ice, with waves and fish beneath, a detail that belies a connection to the legends of King Solomon’s palace (31). Secular literature in the Late Middle Ages also conjured up new attributes for the symbolism of glass, related not only to spirituality but also to the earthly human condition. This aspect was subsequently elaborated on in the Romantic and Expressionist periods. In one such work, Gottfried von Strassburg’s Tristan, completed around 1210, the author narrates the love of Tristan and Isolde and describes the Lovers’ Grotto, a marvellous place with a bed in the centre carved out of rock crystal, a symbol of pure, transparent love (32). In John Lydgate's early 15th century Temple of Glass, the hero falls into a deep slumber and is carried to a crystal temple on a frozen mountain (33). One of the late works from this period that summarises nearly all these medieval literary traditions of crystalrelated symbolism, Hypnerotomachia Poliphili (34) published by Francesco Colonna in Venice in 1499, syncretically blends the metaphors shaped by religious mystics, alchemy and the poetic genre of courtly love. Precious stones and exotic materials in boundless abundance appear in the story, along with, 27 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

184

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Fig. 4: BOSCH, Jheronimus: “El jardín de las delicias”, 1490-1500. (Tríptico cerrado: “La Creación del Mundo”)

Fig. 5: PATINIR, Joachim: “El paso de la laguna Estigia”, 1520-1524.

"pots with plants which are not natural but made of pure glass, architraves, friezes and cornices [...] projected onto the glass capitals of the columns, a garden [...] paved with glass circles." (35) The symbolism of crystal, glass, precious stones, light and gold from the early Middle Ages was kept alive by alchemy in the following centuries, although the prevalence of positive science in the so-called Modern Age, between the 15th and 18th centuries, seemed to defuse the dream of glass architecture, we can find some manifestation of it in Flemish painting at the end of the 15th and early 16th centuries (Figs. 4 & 5) (36). The discovery of America in the 15th century expanded European knowledge of other lands, with new images that proved to be no less astonishing and fascinating than the literary inventions of the preceding centuries. Copernicus and Galileo opened up more astonishing frontiers by gazing at the sky, and the publication of the first part of Don Quixote in 1605 dealt a final blow to the Arthurian novels. Nevertheless, the dream of crystal architecture stayed alive, albeit in a latent state. A dream that emerged more than 3000 years ago in the eastern Mediterranean advanced in the course of the centuries and spread westwards. It reappeared vigorously in the 17th century thanks to the use of mirrors in architecture. The Palace of Versailles became a paradigm, with spaces once again dominated by the reflection of light on glass, symbolizing the magnificence of a Sun King who merged religious and secular power. 28 • Constelaciones nº7, 2019. ISSN: 2340-177X

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

185

NOTAS 1. Empleamos la palabra “cristal” en el título, en lugar de “vidrio” por ser la que aparece en los textos que citamos en el artículo como origen de la mítica en torno a la arquitectura de vidrio. Según su acepción etimológica (del griego Κρυσταλλος (Kristallos)), cristal significa hielo, un material que irradia luz y color, como lo hace también la cristalería fina y que además recuerda a las estructuras cristalográficas naturales. La palabra vidrio se emplea en el texto para referirnos al material de construcción en sí, en sus aspectos más ligados a la técnica. 2. La luz, y por lo tanto el vidrio por su relación con ella, estuvo desde el principio investida de una capacidad de provocar “elevación y enajenamiento del alma en la contemplación de las cosas divinas”. DRAE. Para más información sobre el sentido anagógico de la luz en la arquitectura gótica y bizantina ver: NIETO ALCAIDE, V. La luz, símbolo y sistema visual: El espacio y la luz en el arte gótico y del Renacimiento. Madrid: Ediciones Cátedra, 1978. 3. A este respecto consultar: KURINSKY, S. The Glass Makers: an Odyssey of the Jews. The First Three Thousand Years, Nueva York: Hippocrene Books, 1991, pp. 31-52. MOOREY, P. R. S. Ancient Mesopotamian Materials and Industries: the Archeological Evidence. Oxford: Oxford University Press, 1994, p. 190. TAIT, H. (Ed.). Five Thousand Years of Glass. Londres: British Museum Press, 1995, p. 2. WHITEHOUSE, D. Glass Short History. Londres: British Museum Press, 2012, p. 17. 4. PIRENNE, J. Historia de la civilización del Antiguo Egipto, vol. II. Barcelona: Editorial Éxito, 1963, p. 31. 5. Para más información sobre las evidencias arqueológicas de la producción de vidrio en Amarna y sobre la propia ciudad, ver: LABOURY, D. Akhenatón, el primer faraón Monoteísta de la Historia. Madrid: La esfera de los libros, 2012. NICHOLSON, P.T. Brilliant Things for Akhenaten. The Production of Glass, Vitreous Materials and Pottery at Amarna Site 045.1. Oxford: The Egypt Exploration Society, 2007. 6. Apocalipsis 4: 5-6. En este libro también se describe Jerusalén como si se tratara de una preciosa pedrería (posible reflejo de la gloria divina): “[…] La plaza de la ciudad es de oro puro, transparente como el cristal” Ibíd. 21:18-21. La imagen de la Nueva Jerusalén, que es la ciudad sobrenatural habitada por los salvados, fue un referente en la concepción de la catedral gótica y adoptada en el siglo XX por el Expresionismo, como utopía urbana.

NOTES 1. (1) "Crystal" is employed in the title instead of "glass" due to the former term’s attribution in the cited texts as the origin of the mythical image of glass architecture. Etymologically —from the Greek Κρυσταλλος (Kristallos)— crystal means ice, a material that radiates light and colour, like fine glassware. The term is also a reminder of its natural crystallographic structures. In this text, the word “glass” is used to refer to the building material and its technical aspects. 2. From the outset, light —and hence glass, due to their interrelationship— has been invested with the ability to produce an "elevation and alienation of the soul in the contemplation of divine things". (DRAE). For more information on the anagogical sense of light in Gothic and Byzantine architecture see: NIETO ALCAIDE, V. La luz, símbolo y sistema visual: El espacio y la luz en el arte gótico y del Renacimiento (Light, symbol and visual system: space and light in Gothic and Renaissance art). Madrid: Cátedra, 1978. 3. On this aspect, see: KURINSKY, S. The Glass Makers: an Odyssey of the Jews. The First Three Thousand Years. New York: Hippocrene Books, 1991, pp. 31-52. MOOREY, P.R.S. Ancient Mesopotamian Materials and Industries: the Archaeological Evidence. Oxford: Oxford University Press, 1994, p. 190. TAIT, H. (Ed.). Five Thousand Years of Glass. London: British Museum Press, 1995, p. 2. WHITEHOUSE, D. Glass, A Short History. London: British Museum Press, 2012, p. 17. 4. IRENNE, J. Historia de la civilización del Antiguo Egipto Vol. II. Barcelona: Éxito, 1963, p. 31. 5. For more archaeological evidence of glass production in Amarna and the city itself, see: LABOURY, D. Akhenatón, el primer faraón Monoteísta de la Historia (Akhenaten, history’s first monotheistic pharaoh). Madrid: La esfera de los libros, 2012. 4. NICHOLSON, P.T. Brilliant Things for Akhenaten. The Production of Glass, Vitreous Materials and Pottery at Amarna Site 045.1. Oxford: The Egypt Exploration Society, 2007. 6. Revelation 4:5-6. Jerusalem is also described here like a precious stone (perhaps a reflection of divine glory): "[...] The main street of the city was pure gold, as pure as transparent glass." Ibid. 21:21. The image of New Jerusalem, the supernatural city inhabited by the saved, was a point of reference in the conception of the Gothic cathedral and adopted in the 20th century by expressionists as an urban utopia.

Durante el largo tiempo que ha durado el sueño de la arquitectura de cristal, el vidrio ha hecho surgir arquitecturas al servicio del poder de la iglesia, la monarquía, el estado o el mercado. Si, como hemos visto, la luz en la cultura occidental se ha asociado siempre con la revelación y la “anagogía”, religiosa o laica, el vidrío ha sido la vía de acceso a la misma, en esas arquitecturas. Y todo ello, como dijimos al comienzo, como resultado de la seducción producida en el hombre por el potencial de misterio latente en el mismo, puesto al descubierto al entrar en relación con la luz.

30 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

186

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

187

7. GINZBERG, L. The Legends of the Jews. vol. IV: Bible times and characters from the Joshua to Esther. Filadelfia: The Jewish publication society of America, 1913, p. 145. El Targum Shenī es una paráfrasis en arameo del Libro de Ester, adornado con una gran cantidad de materiales apócrifos, incluido el episodio que hemos narrado, que no aparece en su predecesor, datado entre el siglo V y el II a.C. 8. GINZBERG, L. The Legends of the Jews. vol.VI: Notes to Volumes III and IV. From Moses in the Wilderness to Esther. Filadelfia: The Jewish publication society of America, 1946, p. 289. 9. Corán. Barcelona: Editorial Planeta, 2014, p. 332. 10. Sobre las especulaciones que históricamente han relacionado o identificado a Moisés con Akenatón, ver: ASSMANN J. Moisés el egipcio. Madrid: Oberón Grupo Anaya, 2003. KRAUSS R. Moïse le Pharaon. Mónaco: Les Editions du Rocher, 2000. FREUD, S. Moisés y la religión monoteísta. Buenos Aires: Editorial Losada, 1960. 11. Éxodo 14, 15-23. 12. BEN-SASSON, H. (Ed.). Historia del pueblo judío. Desde los orígenes hasta la Edad Media, Madrid: Alianza Editorial, 1988, p. 61. 13. Mateo 14: 22-33. 14. Reyes 6: 15-20. 15. KRAUTHEIMER, R. Arquitectura Paleocristiana y Bizantina. Madrid: Ediciones Cátedra, 2011, p. 241. 16. A este respecto consultar: BRUYNE, E. de. La estética de la Edad Media. Madrid: Antonio Machado libros, 2010. De Bruyne despliega en este libro un panorama completo del camino que siguieron los autores medievales para proponer sus definiciones estéticas, basándose en la Biblia, las obras filosóficas de la antigüedad, y la literatura patrística griega y latina. 17. HIPONA, A. Confesiones. Madrid: Espasa Calpe, 1983, p. 158. 18. YARZA, J., GUARDIA, M., y VICENS, T. (Eds.). Arte Medieval. Vol. 1, Alta Edad Media y Bizancio, Barcelona: Gustavo Gili, 1982, p. 285. 19. BARRY, F. Walking on Water. Cosmic Floors in Antiquity and the Middle Ages. The Art Bulletin, 2007, 89(4), pp. 627-656. Sobre esta idea arquetípica de los pavimentos como mares ( y de los techos como cielos) ver también: LETHABY, W.R. Architecture Mysticism and Myth. Nueva York: Macmillan & Co. 20. BARGEBUHR, F. El palacio de La Alhambra en el siglo XI. México: Graduate College, State University of Iowa, 1966, p. 60. 21. Según Bargebuhr, se evidencia en todas estas narraciones, el conocimiento que el mundo islámico tenía de los “ingenios” bizantinos, entre los que se encontraban los hidráulicos. Ibíd. pp. 99-103. 22. BARGEBUHR, F. The Alhambra: A cycle of Studies on the Eleventh Century in Moorish Spain. Berlín: Walter de Gruyter and Co., 1968, p. 144. 23. AREOPAGITA, S.D. Obras completas del Seudo Dionisio Areopagita. Madrid: Biblioteca de Autores Cristianos, 1995, p.121. 24. Las fuentes literarias bizantinas recogen, desde una interpretación anagógica, que la luz “emanaba” directamente de los mosaicos; de ahí que nos refiramos a la luz por ellos reflejada, o luz-sobre, como luz-desde. Por otro lado, en relación a la luz gótica que atraviesa las vidrieras, luz-a través, utilizamos el adjetivo radiante para caracterizar su envolvente, haciendo referencia al término rayonnement que emplea Viollet-le-Duc en la entrada “Vitrail” de su Dictionnaire raisonné, donde explica el efecto de irradiación, que se produce en las catedrales góticas, al incidir la luz en los vidrios de diversos colores, haciendo que estos interactúen entre sí. VIOLLET-LE-DUC, E. “Vitrail”, en Dictionnaire raisonné de l’Architecture française du xi au xvi siècles. París: F. de Nobele, 1967, p. 384. 25. Anónimo. La carta del Preste Juan. Madrid: Ediciones Siruela, 2004, p. 103. 26. Ibíd. p. 101. 27. CIRLOT, V. Figuras del destino. Mitos y símbolos de la Europa medieval. Madrid: Ediciones Siruela, 2005, pp. 145-71.

31 • Constelaciones nº7, 2019. ISSN: 2340-177X

Producción académica. Arquitectura y materialidad

188

7. GINZBERG, L. The Legends of the Jews. vol. IV: Bible times and characters from the Joshua to Esther. Philadelphia: The Jewish Publication Society of America, 1913, p. 145. The Targum Shenī is an Aramaic paraphrase of the Book of Esther, adorned with a considerable amount of apocryphal material including this episode, which does not appear in its predecessor, dating from between the 5th and the 2nd centuries BC. 8. GINZBERG, L. The Legends of the Jews. Vol. VI: Notes to Volumes III and IV. From Moses in the Wilderness to Esther. Philadelphia: The Jewish Publication Society of America, 1946, p. 289. 9. Qur'an [online]. [Consulted 18/12/2018]. Available in: http://www.wrighthouse.com/religions/islam/Quran/27-ant.php 10. For speculations that have historically related or identified Moses with Akhenaten, see: ASSMANN J. Moses the Egyptian. Harvard University Press, 1998. KRAUSS R. Moïse le Pharaon. Monaco: Les Editions du Rocher, 2000. FREUD, S. Der Mann Moses und die monotheistische Religion. New York: Knopf, 1939. 11. Exodus 14, 15-23. 12. BEN-SASSON, H. (Ed.). A History of the Jewish People. Cambridge: Harvard, 1985, p. 61. 13. Matthew 14: 22-33. 14. Kings 6: 15-20. 15. KRAUTHEIMER, R. Early Christian and Byzantine Architecture. Baltimore: Penguin, 1965, p. 241. 16. In this regard, see: BRUYNE, E. de. The Esthetics of the Middle Ages. New York: Frederich Ungar, 1969. In this book, de Bruyne provides a thorough overview of the path taken by medieval authors to arrive at their aesthetic definitions, based on the Bible, ancient philosophical treatises and Greek and Latin patristic literature. 17. HIPPO, A. Confessions [online]. [Consulted 18/12/2018]. Available in: https://en.wikisource.org/wiki/ The_Confessions_of_Saint_Augustine_(Outler)/Book_VIII 18. YARZA, J., GUARDIA, M., and VICENS, T. (Eds.). Arte Medieval. Vol. 1, Alta Edad Media y Bizancio, Barcelona: Gustavo Gili, 1982, p. 285. 19. BARRY, F. Walking on Water. Cosmic Floors in Antiquity and the Middle Ages. The Art Bulletin, 2007, 89(4), pp. 627-656. On this archetypal idea of floors as seas —and roofs as skies— see also: LETHABY, W.R. Architecture, Mysticism and Myth. New York: Macmillan & Co. 20. BARGEBUHR, F. The Alhambra Palace of the Eleventh Century. Journal of the Warburg and Courtauld Institutes 19: 1956, p. 60. 21. Bargebuhr claims that the Islamic world's knowledge of Byzantine "ingenuities" including hydraulics, is evidenced in these stories. Ibid. pp. 99-103. 22. BARGEBUHR, F. The Alhambra: A cycle of Studies on the Eleventh Century in Moorish Spain. Berlin: Walter de Gruyter and Co., 1968, p. 144. 23. AREOPAGITA, S.D. Obras completas del Seudo Dionisio Areopagita. Madrid: Biblioteca de Autores Cristianos, 1995, p.121. 24. Byzantine literary sources, in an anagogical interpretation, speak of the light that "emanates" directly from the tiles, hence our reference to the light reflected by, on or from them. When describing the Gothic light that traverses stained glass windows —light through— we use the adjective radiant to describe its sense of envelopment, also in reference to the term rayonnement employed by Viollet-le-Duc in the entry "Vitrail" of his Dictionnaire raisonné, where he explains the effect of irradiation in Gothic cathedrals, where light strikes glass of different colours, triggering their interaction with each other. VIOLLET-LE-DUC, E. "Vitrail", in Dictionnaire raisonné de l'Architecture française du xi au xvi siècles. Paris: F. de Nobele, 1967, p. 384. 25. Anonymous. Prester John: The Legend and Its Sources. London: Routledge, 2015, p. 92. 26. Ibid. p. 101. 27. CIRLOT, V. Figuras del destino. Mitos y símbolos de la Europa medieval. Madrid: Ediciones Siruela, 2005, pp. 145-71.

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

28. La mayoría de las leyendas en torno al Santo Grial parten de fuentes orientales. La versión de Eschenbach específicamente se inspira en un poeta provenzal que a su vez había escrito su versión a partir de un manuscrito árabe. FRANKL, P. The Gothic: Literary Sources and Interpretations through Eight Centuries. Princeton, University Press Princeton, 1960, pp. 177-9. 29. BLETTER, R. Bruno Taut and Paul Scheerbart’s Vision: Utopian Aspects of German Expressionist Architecture (Nueva York). Tesis doctoral inédita, Columbia University, 1973, p. 280. 30. FRANKL, P. op. cit., pp. 175-76. 31. Ibíd. pp. 180-82. 32. Ibíd. p. 173. 33. Ibíd. p. 194. 34. COLONNA, F. Sueño de Polífilo. Barcelona: Acantilado, 2008. 35. Ibíd. pp. 243-44. 36. El simbolismo religioso del cristal lo vemos plasmado en dos cuadros flamencos: “El jardín de las delicias”, de El Bosco y “El paso de la Laguna Estigia”, de Patinir. En El Bosco: “Se representa el cosmos como un globo de vidrio en cuyas paredes la luz se refracta. El globo que usaban los emperadores como signo de su dominio del mundo aparece aquí suspendido en la nada porque está rodeado de una oscuridad impenetrable que simboliza el mundo antes de la Creación”. BELTING, H. El Bosco. El jardín de las delicias. Madrid: Abada Editores, 2016, p.21. En el Patinir: “[…] se aprecian dos enormes construcciones translúcidas de formas esféricas. Una de ellas podría ser una fuente de cristal [posiblemente la “fuente de la vida”], a pesar de su gran tamaño relativo, ya que parece que de ella manan cuatro chorros de agua que vierten en un plato circular; la otra, […] es de la misma “naturaleza”, es decir, corresponde a idéntico repertorio de formas esféricas y posee la misma apariencia de inmaterialidad, textura vítrea y transparencia[…]” MADERUELO, J. Joachim Patinir. El paso de la laguna Estigia. Madrid: Abada Editores, 2012, p.23 37. La historiadora estadounidense, Rosemarie Haag Bletter, recoge en su tesis, citada anteriormente, que algunas de las leyendas que hemos incluido en el artículo son fuentes de inspiración de la facción cristalina del movimiento expresionista alemán. Nuestra aportación con este escrito consiste en ampliar tanto las fuentes citadas por esta autora, como las influencias de las mismas en otros movimientos coetáneos y posteriores al Expresionismo. De hecho, las imágenes de las utopías modernas que se incluyen en el artículo, pueden verse como las ilustraciones de las que carecen las fuentes literarias referidas, ya que en la antigüedad solo se materializaron en los arquetipos de la iglesia bizantina y de la catedral gótica. (38) Para una explicación más extensa de la pervivencia del sueño de la arquitectura de cristal en estos autores, ver: RUBIO HERNÁNDEZ, R. El vidrio y sus máscaras. El sueño de la arquitectura de cristal (Madrid). Tesis doctoral inédita, ETSAM, Universidad Politécnica de Madrid, 2016.

32 • Constelaciones nº7, 2019. ISSN: 2340-177X

28. Most legends concerning the Holy Grail are from Eastern sources. Eschenbach's version was inspired by a Provençal poet, who in turn had written his version on the basis of an Arabic manuscript. FRANKL, P. The Gothic: Literary Sources and Interpretations through Eight Centuries. Princeton, University Press Princeton, 1960, pp. 177-9. 29. BLETTER, R. Bruno Taut and Paul Scheerbart's Vision: Utopian Aspects of German Expressionist Architecture (New York). Unpublished Ph. D. thesis, Columbia University, 1973, p. 280. 30. FRANKL, P. op. cit., pp. 175-76. 31. Ibid. pp. 180-82. 32. Ibid. p. 173. 33. Ibid. p. 194. 34. COLONNA, F. Hypnerotomachi [online]. [Consulted 18/12/2018]. Available in: http://www.gutenberg.org/files/18459/18459-h/18459-h.htm. 35. Ibid. pp. 243-44. 36. The religious symbolism of glass is reflected in two Flemish paintings: “The Garden of Earthly Delights”, by El Bosco and “Charon Crossing the Styx”, by Patinir. In El Bosco’s: "The cosmos is represented as a glass globe on whose walls light is refracted. The globe that the emperors used as a sign of their dominion of the world appears here suspended in the nothingness because it is surrounded by an impenetrable darkness that symbolizes the world before the Creation ". BELTING, H. El Bosco. El jardín de las delicias. Madrid: Abada Editores, 2016, p.21. In Patinir’s: "[...] we can see two huge translucent spherically shaped constructions. One of them could be a crystal fountain [possibly the "Fountain of Living Waters"], despite its large relative size, since it seems that four jets of water flow from it into a circular dish; the other, [...] is of the same "nature", that is, corresponds to the same repertoire of spherical shapes and has the same appearance of immateriality, glassy texture and transparency [...]." MADERUELO, J. Joachim Patinir. El paso de la laguna Estigia. Madrid: Abada Editores, 2012, p.23 37. In her Ph.D. thesis (op. cit.), U.S. historian Rosemarie Haag Bletter explains that some of the legends mentioned in the present text were a source of inspiration for the ‘Crystal Chain’ of the German Expressionists. Our aim with this paper is to expand on the sources mentioned by Bletter and their influence on other contemporary and subsequent movements. The images of modern utopias mentioned here are illustrations of concepts that are lacking in the cited literary sources, since the only physical manifestations in ancient times were the archetypes of the Byzantine church and the Gothic cathedral. 38. For a more extensive explanation of the continuity of the dream of crystal architecture in these authors, see: RUBIO HERNÁNDEZ, R. El vidrio y sus máscaras. El sueño de la arquitectura de cristal (Glass and its masks. The dream of glass architecture). Madrid: Unpublished Ph.D. thesis, ETSAM, Universidad Politécnica de Madrid, 2016.

Rosana Rubio Hernandez. El origen del sueño de la arquitectura de cristal The dream of crytal architecture 17-30 pp.

Rosana Rubio-Hernández

189

Publicaciones indexadas. Resultados de la tesis doctoral

Rosana Rubio-Hernández “A Wall for all Seasons. Un modelo sostenible de “piel” tersa de vidrio” RITA 8 (2017): 54-61. ISSN: 2340-9711. Indicios de calidad: revisión por pares, ESCI (WoS), Scopus, Avery Index, Latindex, MIAR, Actualidad Iberoamericana, DOAJ, InfoBase Index, Dialnet, ISOC.

Producción académica. Arquitectura y materialidad

192

Rosana Rubio-Hernández

193

Producción académica. Arquitectura y materialidad

194

Rosana Rubio-Hernández

195

Producción académica. Arquitectura y materialidad

196

Rosana Rubio-Hernández

197

Producción académica. Arquitectura y materialidad

198

Rosana Rubio-Hernández

199

Publicaciones indexadas. Resultados de la tesis doctoral

Rosana Rubio-Hernández “El espacio urbano fulgurante. Anagogía laica en Times Square” Zarch 9 (2017):198-212. ISSN: 2341-0531. Indicios de calidad: revisión por pares. Avery Index to Architectural Periodicals, Avery Catalog, DOAJ, ERIH Plus, Dialnet, ISOC, Latindex, MIAR.

Producción académica. Arquitectura y materialidad

202

Rosana Rubio-Hernández

203

Producción académica. Arquitectura y materialidad

204

Rosana Rubio-Hernández

205

Producción académica. Arquitectura y materialidad

206

Rosana Rubio-Hernández

207

Producción académica. Arquitectura y materialidad

208

Rosana Rubio-Hernández

209

Producción académica. Arquitectura y materialidad

210

Rosana Rubio-Hernández

211

Producción académica. Arquitectura y materialidad

212

Rosana Rubio-Hernández

213

Producción académica. Arquitectura y materialidad

214

Rosana Rubio-Hernández

215

Publicaciones indexadas. Resultados de la tesis doctoral

Rosana Rubio-Hernández “Once Palabras para acercarse al vidrio” Zarch 4 (2015):144-157. ISSN: 2341-0531. Indicios de calidad: revisión por pares. Avery Index to Architectural Periodicals, Avery Catalog, DOAJ, ERIH Plus, Dialnet, ISOC, Latindex, MIAR.

Producción académica. Arquitectura y materialidad

218

Rosana Rubio-Hernández

219

Producción académica. Arquitectura y materialidad

220

Rosana Rubio-Hernández

221

Producción académica. Arquitectura y materialidad

222

Rosana Rubio-Hernández

223

Producción académica. Arquitectura y materialidad

224

Rosana Rubio-Hernández

225

Producción académica. Arquitectura y materialidad

226

Rosana Rubio-Hernández

227

Producción académica. Arquitectura y materialidad

228

Rosana Rubio-Hernández

229

Producción académica. Arquitectura y materialidad

230

Rosana Rubio-Hernández

231

Contribuciones en congresos. Resultados de la tesis doctoral

Rosana Rubio-Hernández “Round About a Wall for all Seasons” 11/13-12-2017 Tipo de participación: Ponencia seleccionada, revisión por pares Congreso: 1er Congreso Iberoamericano redfundamentos. Experiencias y métodos de investigación. Madrid. Entidad organizadora: redfundamentos Lugar de celebración: Madrid Publicación en actas: ISSN: 2531-1840, pp. 871-884.

Producción académica. Arquitectura y materialidad

234

Rosana Rubio-Hernández

235

Producción académica. Arquitectura y materialidad

236

Rosana Rubio-Hernández

237

Producción académica. Arquitectura y materialidad

238

Rosana Rubio-Hernández

239

Producción académica. Arquitectura y materialidad

240

Rosana Rubio-Hernández

241

Producción académica. Arquitectura y materialidad

242

Rosana Rubio-Hernández

243

Producción académica. Arquitectura y materialidad

244

Rosana Rubio-Hernández

245

ROSANA RUBIO HERNÁNDEZ

EL VIDRIO FRONTERAS Y MÁSCARAS Rosana Rubio Hernández

Rosana Rubio Hernández

Libros. Resultados de la tesis doctoral

El vidrio es una de las materias que ha intervenido en la construcción de lo que Heidegger (hablando de arquitectura), denominó “fronteras”. Y lo ha hecho de una forma ambigua, compleja y elusiva, mediando entre la luz y la mirada. Las propiedades ópticas de este material desencadenan una serie de aspectos perceptivos, emotivos y semánticos, que desbordan su estudio desde un punto de vista meramente científico.

EL VIDRIO FRONTERAS Y MÁSCARAS

El texto reflexiona sobre veintidós palabras, acompañadas de una serie de imágenes, que hacen referencia a esos aspectos, y que nos ayudan a entender cómo la arquitectura hace uso de algunas de las cualidades más inaprensibles de este material paradójico; propiedades que en ocasiones se emplean de forma premeditada, y que, otras veces, se activan de forma imprevista, añadiendo máscaras, capas de misterio, a la materia.

EL VIDRIO. FRONTERAS Y MÁSCARAS

ROSANA RUBIO HERNÁNDEZ

ediciones

asimétricas

Rosana Rubio-Hernández. El vidrio. Fronteras y máscaras ediciones

asimétricas

Madrid: Ediciones Asimétricas, 2019. Libro completo 85. pgs. IPrólogo de Juan Navarro Baldeweg. ISBN: 978-84-17905-05-7. (Ver a continuación una selección de páginas)

Rosana Rubio-Hernández

247

ÍNdice

SER Y NO SER por Juan Navarro Baldeweg

PRESENtACIóN

transparencia

Desmaterialización

Materialización

Desaparición

Obliteración

Retícula

Pixelación

Diseño y maquetación María Fernández Hernández Roberto Rodríguez Cuesta imagen de cubierta Ventana frente al Pyhäjärvi en Tampere Fotografía de la autora isbn 978-84-17905-05-7 Depósito Legal M-22494-2019 impresión Estilo Estugraf Impresores

imPrEso En EsPaña/PrintED in sPain Queda prohibida la reproducción total o parcial de cualquier parte de este libro, incluida la cubierta, por cualquier medio, aun citando la procedencia, sin la autorización expresa y por escrito del editor.

Libertad

Vigilancia

Extrañamiento

Jerarquía

Intimidad

Seducción

Ensimismamiento

Mímesis

Narcisismo

tiempo

Inmortalidad

Fantasmagoría

Silencio

tacto

Fragilidad

EPÍLOGO

NOtAS

PROCEDENCIA DE LAS IMÁGENES

BIBLIOGRAFÍA

Ser Y No Ser

El vidrio: fronteras y máscaras de Rosana Rubio es un texto que cautiva por su contenido y también por su bella exposición formal. Los ejemplos de arquitectura elegidos para analizar y describir los efectos del vidrio como material constructivo son muy apropiados y precisos, pero también, en ocasiones, el propio texto pide crecer y se expande en sugerentes derivas; es un escrito que ofrece una muy amplia visión de su uso y consecuencias en la arquitectura y es verdaderamente concentrado y ágil en su expresión. Este libro está lleno de incitaciones a seguir o a ampliar las exploraciones abiertas por él mismo en muy diversos aspectos y dimensiones, algo a lo que su autora además invita. Más allá de sus propiedades fundamentales en lo funcional, es decir, permitir la visión entre interior y exterior, introducir la luz e iluminar los espacios interiores de lo construido y a la vez ser un filtro térmico, Rosana Rubio nos guía en el examen de una amplia casuística del empleo de este material y nos hace ver cómo la percepción de su comportamiento es causante de un gran repertorio de vivencias cambiantes, sorprendentes e incluso paradójicas. El vidrio es filtro o frontera de variables físicas y es máscara capaz de acentuar o negar vínculos hacia dentro o hacia afuera de los edificios. Permite acercar a nuestra experiencia cotidiana las imágenes amplias de la ciudad o el paisaje y también que sus actividades internas sean exhibidas como en un escaparate; otras veces, ser opaco e imponer una imagen como cortina muda o de expresiva elocuencia solo hacia lo circundante. Muchas observaciones de este texto se dirigen al vidrio como pro9

Producción académica. Arquitectura y materialidad

248

Rosana Rubio-Hernández

249

ductor de situaciones inesperadas o elusivas y de comportamientos contrarios. Así la autora nos muestra cómo el gran arquitecto sueco Sigurd Lewerentz empleó el vidrio como un verdadero mago en las obras de las iglesias de San Pedro en Klippan y San Marcos en Estocolmo para conseguir efectos contrarios. En el primer caso, dispuso el vidrio adosado al exterior del muro cubriendo el hueco sin marco, sujeto con grapas, de manera que, por un lado, se acusa y se hace muy presente el material en su estado puro en el exterior, pero a la vez, ocurre que al ser visto desde el interior su presencia desaparece o se desmaterializa. En la otra obra mencionada, ocurre lo contario: el vidrio se hace invisible desde el exterior. Se ha cubierto el hueco por la cara interior del muro, presentándolo también sin marco y con grapas de manera que desde fuera desaparece y el aspecto de lo construido, como dice Rosana Rubio, adquiere la apariencia de obra inacabada o en ruinas. A diferencia de otros materiales constructivos, la riqueza visual del vidrio es otorgada en gran medida por la variedad figurativa ajena. Podemos decir que el vidrio es un material especialmente sensible y comunicativo que afecta y es afectado por lo complementario. Muestra en su apariencia un poder con el alcance y la peculiar viveza de una joya. Las transparencias, los reflejos, los destellos imprevistos y los efectos especulares entintan y crean un dinamismo visual que caracteriza las casas, la calle, la plaza o la ciudad entera. Es muy pertinente en este contexto el comentario de Rosana Rubio basado en las observaciones respecto al silencio de John Cage. El silencio nos permite sentir la sonoridad impremeditada, lo casual sin estructura, proporción o ritmo deliberados. De modo similar, los efectos accidentales que se producen por la transparencia, la reflexión, la naturaleza, en fin, del cristal nos pueden alejar mucho de situaciones previsibles, de lo obligado o, como dice el propio Cage, lo autoritario. Ese regalo no debe ser desatendido: hemos de saber valorar y gozar de la experiencia sonora circundante inesperada, abierta al azar e igualmente debemos valorar lo que el vidrio proporciona en su apertura a lo complementario: introducir el afuera en lo construido y así vivificarlo e imponer en él un sinfín de acentos fortuitos. 10

ralda es luz envolvente condensada en el canto de la mesa: una luz captada en toda la superficie y transportada a sus bordes por la capacidad conductiva interna de la masa de vidrio junto a la reflexión en sus paredes limitantes. De modo que el vidrio en hilos, como en la fibra de vidrio o en la fibra óptica, posee la misma capacidad de ser vehículo y llevar mensajes heliográficos. En ese sentido me parece apropiado ampliar la mención que hace Rosana Rubio en su libro acerca de un reloj de sol, y "no de sombra", un receptor que capta la luz solar y la conduce a unos terminales en los que se reproducen localmente unas manchas o puntos de luz. Quisiera aquí ampliar este tema diciendo que lo esencial de la instalación mencionada1 es llevar el sol allí donde no está el sol. Ampliemos imaginativamente ese transporte instantáneo: pensemos en el espacio soleado, la parte diurna del planeta, y en la posibilidad de conducir esa luz a la parte nocturna, dando lugar a un encendido de puntos o manchas discretas de luz según el movimiento rotatorio del planeta. La luz del sol es diseminada o descompuesta en un puntillismo de estrellas artificiales, es decir, en un literal firmamento terrestre. Este texto reúne bajo una lista de palabras los efectos perceptivos, afectivos y semánticos del vidrio como material constructivo. Así por ejemplo las palabras: transparencia, desaparición, retícula, pixelación, extrañamiento, ensimismamiento, tiempo, silencio, tacto, fragilidad, entre otras. Y dentro de ese contexto asociado a las palabras mencionadas me gustaría detenerme en un ejemplo que refleja, en su conjunto, el profundo marco conceptual del libro que el lector tiene en sus manos. Rosana Rubio examina con especial detenimiento la casa del arquitecto inglés Sir John Soane en el 12-14 de Lincoln’s Inn Filds en Londres, pues es un ejemplo en el que se exhiben muchos efectos mágicos del vidrio y especialmente de los espejos. En esta casa, lo objetivo y lo virtual se confunden. Incluso, a causa de los abundantes espejos, se incorpora al espectador en el espectáculo. Estar conscientemente es percibir el propio estar. La mirada se encuentra alojada en sí misma: ver es verse viendo. 1. Juan Navarro Baldeweg. Proyecto de un reloj de sol en el río Charles. Boston, Cambridge, 1972.

Producción académica. Arquitectura y materialidad

250

En rigor y según los casos, al reflejar lo externo, obstruye o impide la vista en la dirección de exterior a interior o, libre de reflejos, facilita la visión interior. La autora incide en ese aspecto ambivalente del vidrio capaz de excluir o incluir, de abrirse o cerrarse al entorno. Con un ejemplo esclarecedor nos invita a percatarnos del comportamiento del vidrio mediante el saber del fotógrafo de arquitectura Julius Schulman, que manejó las variables cristalinas de las casas para lograr en sus imágenes fotográficas el equilibrio exacto entre la iluminación natural exterior y una visión diáfana del espacio interno en virtud del control preciso de su iluminación artificial.

Presentación La frontera no es aquello en lo que termina algo sino, como sabían ya los griegos, aquello a partir de donde algo comienza a ser lo que es (comienza su esencia). […] Espacio es esencialmente lo aviado (aquello a lo que se ha hecho espacio), lo que se ha dejado entrar en sus fronteras. […] De ahí que los espacios reciban su esencia desde lugares y no desde “el” espacio. Martin Heidegger. Construir, habitar, pensar Una máscara no es en principio lo que representa, sino lo que transforma.

Si toda la arquitectura es como cualquier arte transitivo y nos transporta a vivencias complejas de una realidad subyacente más universal que es capaz de activar todos los sentidos, el vidrio es un material que se dirige esencialmente a uno solo de ellos: su ámbito natural es lo óptico. El vidrio se impone en lo visible, vive en lo visible y produce y amplifica la animación de lo visible. La cualidad de los vidrios comunes en nuestras casas es pura o principalmente visual, no se distingue, por ejemplo, por tener un atractivo táctil (salvo cuando por la condensación, el vaho superficial invita a escribir o dibujar sobre él). Sin embargo, la mayor parte de los materiales constructivos, como la piedra o la madera, se pueden tocar, son gratificantes al tacto o, al menos, suscitan por sinestesia esa dimensión perceptual. Los vidrios en la antigüedad eran expresivos de su origen como material blando y su apariencia retenía algo del carácter maleable que estimula ser acariciado. La imagen del exterior, a través de ese cristal, también se ablanda y difumina. Sin embargo, el vidrio más común usado en la arquitectura actual ha pasado de lo blando a lo duro, plano, pulido y liso sin especial atractivo táctil. La maleabilidad inherente a la fabricación del vidrio, no obstante, permite hoy también un complejo e interesante repertorio de vidrios impresos con variados relieves que, a la par que a lo óptico, invitan al tacto o recuperan también por sinestesia su valor háptico. El vidrio transporta la luz que ilumina la cara de la mesa y la lleva transfigurada a un borde, una línea luminosa que siempre nos atrajo por lo misterioso de su luz, como de piedra preciosa. La luz esme11

Hay una abolición, un ocultamiento de la arquitectura, un "ensimismamiento" tal vez, como lo califica Rosana Rubio, pero también hay que señalar que lo sorprendente es que en esta casa, en realidad, hay a la vez afirmación y negación de su arquitectura. Se oculta o se destaca y ambas cosas ostentosamente. Abunda en su experiencia el juego de los opuestos. Soane nos muestra algo muy personal y concreto: una enorme colección de dibujos de arquitectura, maquetas, esculturas, grabados… pero también algo muy universal; hay una abundancia y riqueza como en una wunderkammer, y sin embargo a la vez, es capaz de hacernos ver y sentir las más radicales coordenadas esenciales de una casa universal subyacente y omnipresente. Pocos edificios como este muestran tan a las claras su enraizamiento en las energías y procesos naturales: en la luz que viene de lo alto por numerosos claraboyas, luz entintada en amarillo como luz del sol que baña los interiores, y en la gravedad que afecta a las formas estructurales que acusan su gravamen o, por el contrario, invitan a ser interpretadas como en vuelo. Hay hechos de equívoca expresividad. Hay muros sin espesor aparente en los que se ha creado un vacío virtual al insertar espejos entre las dos caras. La pared se desmaterializa convertida en dos livianas bambalinas. Parece que Soane, según su idea de arquitectura como poesía, consiguió activar simultáneamente un fondo doble para ella y dar paso a figuras y objetivos contradictorios, consiguió hacernos sentir lo que ella es y lo que no es. Y en esa oscilación advertimos la presencia de una arquitectura más honda y siempre en vilo, magnificada, activada en sí y en el interés de su apreciación sensual e intelectual. Este libro de Rosana Rubio nos muestra las capacidades ambivalentes del vidrio que nos permite acercarnos a él y sentir su plenitud u ocultarse enmascarándose: ser él y ser otra cosa, es decir, imponer en la arquitectura una naturaleza dúplice, ser y no ser lo que se es.

Juan Navarro Baldeweg Octubre de 2019 13

un material enmascarado, en el más amplio sentido de la palabra: se enmascara incluso cuando apela a la transparencia o se convierte en espejo. Cuando en 1924 Aby Warburg empieza a escribir su Atlas Mnemosyne, “un repertorio muy amplio de imágenes, y otro, mucho menor, de palabras” como dice Fernando Checa, con la intención de explicar visualmente la historia de la creación artística, está recurriendo a un procedimiento que es antiguo en la historia de la humanidad: el de intentar abarcar la comprensión de algo nombrándolo de múltiples maneras; no son otra cosa las letanías marianas o los nombres de Dios (el Innombrable).

Lévi-Strauss. La voie des masques

Siguiendo a Heidegger, para quien (hablando de arquitectura) una "frontera", un límite, es la línea de intercambio a partir de la cual el espacio empieza a ser lo que es, se puede decir que uno de los fines de la arquitectura es la construcción de fronteras; con la consecuente paradoja que consiste en que la arquitectura, para ocuparse del espacio, ha de hacerlo ocupándose de la materia que lo delimita. El papel del vidrio como mediador en la delimitación de espacios arquitectónicos, o de distintas situaciones lumínicas, térmicas y visuales, ha inspirado a lo largo del tiempo múltiples modos de utilizarlo, dependiendo de la prioridad que se haya concedido a esos fines. De este modo, las propiedades del vidrio, de transmisión, reflexión y absorción de la luz, combinadas en una gama de variantes casi infinita y percibidas por la mirada subjetiva del observador, han hecho posible que el mismo material haya servido para construir fronteras en las que dichas propiedades se activan, unas veces con premeditación pero otras muchas de forma imprevista.

Borges, en El libro de los seres imaginarios, decía que no estaba escrito para una lectura consecutiva y quería que los curiosos lo frecuentaran “como quien juega con las formas cambiantes que revela un caleidoscopio”. Con estos criterios, y en un intento de acercarnos al vidrio como frontera en arquitectura, hemos optado por reunir una colección de fragmentos que, unidos, sean capaces de crear un "espacio de pensamiento warburgiano" en torno al material.1 Se trata de una serie de reflexiones que se apoyan en veintidós palabras y en una serie de imágenes; pero podían ser más o menos y su orden puede cambiar como cambia, con cada vuelta, el orden de los cristales en un caleidoscopio.

Precisamente, la capacidad del vidrio para adaptarse a tantos modos de presentarse ante nosotros, y para poder ser interpretado de tantas formas diferentes, es la que nos lleva a considerarlo 16

transParencia

Esta parte [un pórtico] ofrece un excelente refugio en caso de tormenta, pues está cerrada a los lados por vidrieras transparentes. […] Esta

En el diccionario de la RAE se dice que transparente es un “cuerpo a través del cual pueden verse los objetos claramente”.

estancia [el comedor] está provista por todos sus lados de puertas y ventanas […] y así, parece que mira hacia tres mares. […] A la izquierda del comedor […] hay un amplio dormitorio […] que por una de sus ven-

La subjetividad que implica el entendimiento de lo que es ver los objetos claramente, complica la definición de transparencia en los vidrios. Subjetividad que se ve reforzada por diversos factores como son: el color de los mismos, su despiece, su ubicación, su planicidad o curvatura y, por supuesto, la relatividad del juicio sobre ese valor, impuesto por la época.

tanas, orientada hacia el este, recibe la luz del sol por la mañana, y por la otra, orientada hacia el oeste, la recoge por la tarde. […] Una galería cerrada […] se halla provista de ventanas a uno y otro lado. Estas son abundantes en el lado que da hacia el mar y tienen sus correspondientes ventanas enfrente, en la parte que da hacia el huerto. […] un pequeño gabinete de estudio que puede añadirse al dormitorio o separarse de él por medio de vidrieras transparentes. […] Y todos estos lugares

El color y la reflectancia de los vidrios empleados en las vidrieras medievales, el entramado de plomo que los une y su situación en la parte más alta de las altas naves de la catedral hacen que el conjunto de ellos, que uno a uno en nuestras manos permitirían ver casi claramente los objetos a su través, se perciban como traslúcidos.

(el mar, la finca y los bosques) se ven desde otras tantas ventanas de tal modo que uno puede observarlos por separado o, si lo prefiere, al mismo tiempo.

De la lectura de ese texto, si no conociésemos la fuente, sería difícil adivinar si se trata de la descripción de una villa romana del siglo I o de una casa moderna. Pero la arqueología nos ha dado a conocer

Respecto al juicio de la época, la interacción de la luz con el vidrio, a través de la visión, permite la percepción de los objetos; sabemos que el hombre solo es capaz de percibir un pequeño tramo del espectro electromagnético, al que se denomina “luz visible”; esto, en lo que respecta a la fisiología ocular; pero si entendemos que la visión es, tal como hoy se entiende, un fenómeno psicofísico, tendremos que fijar también nuestra atención en la percepción psíquica o subjetiva de aquello que se mira. Si el ojo, como mecanismo fisiológico, no parece haber sufrido cambios importantes a lo largo del tiempo, la forma de ver, por parte del observador, sí que ha experimentado grandes variaciones provocadas por la cultura y los avances técnicos. Hoy es difícil poder conocer con absoluta certeza lo que percibían en la antigua Roma o en la Edad Media ante el vidrio usado en las arquitecturas de esas épocas, pero conocemos un texto que nos da una idea de lo que un hombre del siglo I, Plinio el Joven, entendía por transparencia: 18

F1. Ventana. Calke Abbey, Derbyshire, Inglaterra, 1704.

Rosana Rubio-Hernández

251

Desmaterialización Si la referencia para evaluar la dureza de un material la da el diamante en la escala de Mohs, en una hipotética escala de transparencia, el mayor valor lo obtendría la ausencia del material. Sin llegar a este ideal, en determinadas condiciones luminosas, los vidrios transparentes desaparecen, se desmaterializan.

F2. Mies van der Rohe. Casa Lange, Krefeld, Alemania, 1929. Fuente: Archiv der Krefelder Kunstmuseen, Krefeld, Alemania.

las planchas de vidrio romano de la época a la que se refiere Plinio, y con el concepto que tenemos actualmente de lo que es la transparencia, esas ventanas que se describen en el texto distarían bastante de serlo: lo que en la Antigüedad se consideraba transparencia, ahora lo llamamos translucidez. La transparencia de la ventana de la Calke Abbey no diferiría mucho de la transparencia de las ventanas romanas. [F1] En este caso, el tetón dejado por la ciba, los anillos concéntricos que se forman al rotarla y las juntas entre los vidrios (de pequeño tamaño) contribuyen a que la transparencia sea relativa si la comparamos, por ejemplo, con la ventana de la Casa Lange de Mies. [F2] Quién sabe si en el futuro se lograrán eliminar completamente los reflejos del vidrio flotado que merman la invisibilidad que debería poseer la transparencia absoluta.

Si un edificio con fachada de vidrio tiene un interior con una intensidad de iluminación mayor que la exterior, la visión que ofrece ese vidrio desde el exterior está prácticamente desprovista de reflejos y eso le da una condición de gran transparencia. En la arquitectura moderna esta condición ideal de transparencia absoluta ha tenido más importancia en el imaginario creado por las fotografías publicadas en libros y revistas que en la propia arquitectura construida. Un buen conocedor del potencial que esta cualidad aportaba a las imágenes fue el fotógrafo Julius Shulman. Él es el más conocido, pero no el único de los que utilizaron con profusión esta técnica en la postguerra americana como exponente propagandístico del American Way of Life. Shulman, en su libro The Photography of Architecture and Design: Photographing Buildings, Interiors, and the Visual Arts, explica de forma muy didáctica su técnica fotográfica y en concreto, en el capítulo que titula “the Basic House”, desvela sus trucos de iluminación y de óptica para lograr la transparencia total del vidrio, fotografiando los edificios al atardecer y revelando y potenciando intencionadamente el interior frente al exterior con iluminación artificial: “[…] esto expresa el diseño interior mejor que en una vista diurna y tiene el potencial de abrir el apetito editorial del director de arte de una revista!”. Muy conocida es la preparación de su famosa fotografía de la Stahl House de Pierre Koenig.

Sigurd Lewerentz, que utilizó, como un mago, los efectos ópticos, y entre ellos los que desmaterializan al vidrio, nos dejó al respecto varias lecciones en sus edificios, en los cuales exploró diferentes maneras de colocarlo en las fachadas, de tal modo que unas veces desaparece al ser visto el edificio desde el exterior (como sucedía en los fotografiados por Shulman, pero usando recursos que no son de fotógrafo sino de arquitecto), y otras al verse desde el interior. En 1960 Lewerentz acaba de construir con gruesos muros de ladrillo la Markuskyrkan en Estocolmo, acristalando las ventanas de la nave de la iglesia con vidrios aislantes colocados de plastón en la cara interior del hueco y sobrepasando el tamaño del mismo, sin marco y sujetos a la fábrica con unos perfiles metálicos solamente en los laterales. El efecto conseguido con ello, al verse desde el exterior, y como consecuencia de la sombra arrojada por los profundos huecos, es el de un edificio que hubiese perdido todo aquello que no es visualmente matérico, para mantenerse en pie convertido en una firmitas despojada, a modo de ruina antigua (ya para Vitrubio, a juzgar por la omisión del vidrio en su tratado, la ventana era el hueco y no el vidrio). En las largas y frías noches de Estocolmo, vemos el interior iluminado de esa ruina hueca, a través de unas perforaciones que no tienen vidrio, como una cálida promesa en medio de un bosque de abedules.

Esa frontera está lacerada por hornacinas que parecen antiguas ventanas tapiadas, por llagas que han perdido el mortero (y sirven a fines acústicos), por bocas abiertas a la negrura de una cámara invisible (por las que se insufla el aire caliente), por protuberancias cuya sombra no sabemos si señala un lleno o un vacío; su espesor es incierto y variable. El ladrillo, como el vidrio, se presta a los juegos de ilusionismo de Lewerentz. Y esa frontera la construyen también el techo y el suelo, del mismo material cerámico herido como los muros (la iglesia está presidida por un tapiz de Sven Erixons que muestra las huellas ensangrentadas de los pies de Cristo camino del Calvario): en el techo, los lucernarios son como rompimientos de gloria hacia el cielo y en el suelo aparece una grieta geológica, hacia las entrañas de la tierra, por la que se filtra el agua que rebosa de la concha bautismal, pautando con su goteo el paso del tiempo.

Producción académica. Arquitectura y materialidad

252

Salgamos ahora de Sankt Petri Kyrka y veamos qué ocurre con esos vidrios desmaterializados de los que hemos hablado antes: Lewerentz los materializa aprovechando la reflexión del material. Con el sutil cambio de adosarlos a la cara exterior del muro, en lugar de hacerlo a la cara interior como en Markuskyrkan, a la luz del día, aparecen como cuadros que representan el jardín circundante. El espesor del vidrio aislante y el aspecto pastoso del mastic sellante, transforma al vidrio en parte de la fábrica cerámica y, con ello, Lewerentz le devuelve su cualidad de roca silícea. En otro lugar de esa misma iglesia, la sala de espera, un banco de ladrillo surge del muro, especializando para la ocasión el material, que, como hemos dicho, inunda paredes, suelos y techo. [F4] A la derecha, dos huecos atraen nuestra atención; los separa, a modo

En esta frontera construida, solo en apariencia, de intuiciones, de hallazgos fortuitos, de arrepentimientos, que Lewerentz trabaja como si de un edificio recuperado se tratase, como tantas veces se hizo en la Antigüedad, el espacio empieza a ser iglesia y el mundo exterior desaparece, dejándonos la sola constancia de su existencia en la luz consentida por sus huecos inmateriales.

En estas ventanas, vistas desde el interior durante el día, la línea de encuentro, que en los laberintos de feria nos guiaba para saber de la existencia del vidrio que no veíamos, desaparece y con ella el vidrio, produciéndose el efecto, no de una ruina como en Markusyrkan, sino de una arquitectura en perpetua construcción, sugerida por esa aparente falta de acristalamiento. [F3] Las cuatro únicas ventanas que iluminan la nave de la iglesia, agujeros que taladran los muros, se disponen altas, con lo que a través de ellas solo se aprecia la luz de un cielo, la mayor parte de los días blanquecino, o la negrura de la noche, como si el vidrio, en lugar de transparente, fuera, alternativamente, traslúcido o tintado. F3. Sigurd Lewerentz, Markuskyrkan (una de las ventanas de la nave de la iglesia), 1960, Estocolmo

F4. Sigurd Lewerentz, Sankt Petri Kyrka. (Vista desde el interior de la “ventana geminada” de vidrio y espejo, en la sala de espera de la iglesia), Klippan, 1966.

de parteluz, un machón de ladrillo de medio pie; son verticales y estrechos; el de la izquierda, un poco más ancho y más bajo, coronado por una lámpara sobre su dintel (que convierte ese punto en el foco de atención de la estancia), parece conducir a una habitación contigua. Al acercarnos a ellos, en la penumbra, suceden dos cosas: el hueco de la derecha nos deja atisbar el patio de entrada; el otro nos produce un sobresalto, pues en él vemos una figura que viene a nuestro encuentro: se trata de un espejo. La fuga de las líneas de perspectiva de las juntas de ladrillo, reflejadas en el espejo, tan próximas a las líneas de perspectiva (reales) de la jamba de la ventana y la atinada distancia del borde del espejo a la jamba del hueco (real), nos han confundido. La vista es un sentido que se precipita en sus apreciaciones y al que es fácil engañar: si hubiésemos observado con mayor atención los huecos, nos habríamos percatado, mirando el borde inferior del mayor de ellos, de que en ese lugar el muro carece de grosor.

DesaParición En la desaparición (invisibilidad), como en los efectos de desmaterialización y materialización, juega un papel primordial la luz (de hecho, como sabemos, la luz no se ve).2 De las múltiples maneras en que se produce este fenómeno, solo en algunas interviene el vidrio. Dos formas de conseguir la desaparición son: el camuflaje, que puede lograrse con la transparencia y el reflejo, y el espejismo, relacionado con el índice de refracción del material en que se propaga la luz, no necesariamente el vidrio, ni necesariamente transparente. Camuflar es "disimular dando a algo el aspecto de otra cosa": los estampados de los uniformes militares de campaña tienen el aspecto del medio en el que se van a usar (desierto, jungla, etc.). Una casa blanca con grandes ventanas rodeada de árboles se vuelve casi transparente cuando brilla el sol. Las paredes blancas actúan como

Aquí, Lewerentz, rizando el rizo, consigue simultáneamente la desmaterialización del espejo (y con él, del muro) y la materialización de unas jambas inexistentes, que dan paso a una habitación inexistente.

pantallas de proyección en las que las sombras multiplican los árboles, y los paños de vidrio se transforman en espejos en los que los árboles se repiten. El resultado es una perfecta transparencia; la casa pasa a ser parte de la naturaleza.

En este texto, Moholy-Nagy explica una desaparición por camuflaje, fruto del efecto combinado de las sombras y de la reflexión. El aire también es espejo cuando se estratifica por efecto de la variación de su densidad debido a un gradiente de temperatura. El espejismo no es otra cosa que una ilusión óptica debida a que el aire que está próximo a una superficie caliente es menos denso que el que está más alejado de ella. En una situación de proximidad a una superficie fuertemente calentada por el sol, sea el suelo del desierto, una carretera asfaltada, un muro, cuando miramos objetos próximos a esa superficie, la luz que procede de ellos llega a nuestros ojos siguiendo dos trayectorias diferentes: una recta, que permite ver los objetos reales y la otra curvada, por efecto de la refracción variable sobre las distintas capas de aire, lo que genera

Pocos años después, en 1966, Lewerentz construye en Klippan otra iglesia con sus dependencias parroquiales, la Sankt Petri Kyrka. Y esta vez extiende su magia a todas las ventanas del complejo, introduciendo un cambio: los vidrios, igualmente aislantes y colocados de plastón, se disponen en el exterior del muro, también sobrepasando el tamaño del hueco y sujetos a la fábrica con unas grapas aún más elementales que los perfiles de la iglesia de Estocolmo, en lo que parece una renuncia progresiva a sus conocimientos del pasado como fabricante de las carpinterías IDEStA. 22

materialización

Cuando el vidrio desaparece se produce una confusión que ha sido utilizada como diversión y como arte. En los laberintos de vidrio de las ferias, una buena estrategia para encontrar la salida es la de seguir la pista que ofrecen los encuentros de los vidrios con el pavi-

mento, donde es imposible ocultar el truco y una línea los revela. Si en estos laberintos se introdujeran líneas de encuentro mentirosas, es decir, que simulasen el perímetro de vidrios que no existen, como en las instalaciones de Fred Sandback, la confusión sería absoluta.

Esos huecos construyen y dan pleno sentido a la frontera de fábrica, dejando entrar selectivamente aspectos de un exterior que acaban formando parte del “avío” interior del edificio.

Rosana Rubio-Hernández

253

Pixelación

Este es precisamente el trabajo que actualmente se realiza en el campo de los llamados “metamateriales” (materiales cuyas propiedades se deben a su estructura y no directamente a su composición química), una de cuyas aplicaciones es lograr la invisibilidad a base de una serie de antenas que generan campos electromagnéticos: lo que se consigue combinando las constantes ε: "permitividad" (que describe cómo un campo eléctrico afecta y es afectado por un medio) y μ: "permeabilidad magnética" (que describe la capacidad de una sustancia o medio para atraer y hacer pasar a través de él un campo magnético); se puede obtener así un índice de refracción negativo (algo que no se da en la naturaleza), abriendo la posibilidad de elaborar espejismos artificiales (que en este campo se denominan “mantos de invisibilidad”) con lo que el vidrio y otros materiales transparentes dejan de ser los únicos invisibles.

F5. Sigurd Lewerentz, Sankt Petri Kyrka (ventana de una de las habitaciones de las dependencias parroquiales vista desde el exterior), Klippan, 1966.

imágenes ficticias sobre la superficie caliente; la capa de aire caliente convierte temporalmente esa superficie de la que hablamos en un espejo.

En los últimos años se observa una tendencia, por parte de artistas y arquitectos, a usar imágenes digitales como fuente de inspiración de su trabajo. Gerhard Richter, dentro de la gran diversidad de técnicas que emplea en sus obras, ha explorado ampliamente el tema del vidrio de color y de los espejos y ha utilizado la pixelación como recurso gráfico en una vidriera: la Kölner Domfenster, conocida como Glasverpixelung (“Pixelación en vidrio”), para la catedral de Colonia. [F9]

Quizá, en el futuro, los efectos visuales y utilidades del vidrio se logren con metamateriales. Aunque eso, probablemente, no supondría el fin del uso del vidrio en arquitectura: la nanofotónica investiga las posibles aplicaciones de los cristales fotónicos,3 para corregir otros aspectos funcionales de este material que hoy en día provocan situaciones de deficiencia (visual) o ineficiencia (energética).

F8. Charles Rennie Mackintosh: Hill House for William Blackie, Helensburgh, Escocia. 1904. Puerta y ventanas del vestíbulo.

En el pasado el uso de la retícula venía condicionado por circunstancias técnicas: conseguir grandes superficies acristaladas, dados los tamaños de fabricación del vidrio, solo era posible utilizando retículas.

De este modo, el muro del Pecile de la Villa Adriana, con una altura de nueve metros y una longitud aproximada de doscientos quince metros, se hace invisible. En Sankt Petri Kyrka, Lewerentz, combinando la reflectancia de unos vidrios y la sombra de un alero, construye un falso espejismo en una parte de la fachada de las dependencias parroquiales. [F5]

En la actualidad este recurso suele obedecer a decisiones proyectuales y sirve para enfatizar el plano acristalado. En 1947, Barragán construye su casa de tacubaya en Ciudad de México. La ventana del salón de esa casa, al igual que algunas de las ventanas que en el siglo XIX pintó Caspar David Friedrich, posee la retícula mínima que conforma el plano cartesiano: esa cruz de la razón pone orden a un mundo que con frecuencia se muestra incomprensible.

Por otro lado, desde la formulación de las ecuaciones de Máxwell (que han abierto una nueva forma de entender la materia, no desde el punto de vista de su composición atómica, sino por sus relaciones con los campos electromagnéticos), sabemos que los espejismos, como otros efectos ópticos de los materiales, pueden llegar a fabricarse. 28

obliteración

retícula

Yayoi Kusama intenta resolver con una proliferación incontenida de puntos, multiplicados a su vez por espejos, su obsesión por la obliteración: obliteración de la superficie, del espacio y de sí misma. tema que se recoge en la película de 1967, Kusama’s Self-Obliteration y en sus Infinite Rooms: [F6] emplea la repetición infinita para anular, borrar su existencia individual.

La retícula aparece ligada a la pintura desde los primeros tratados de perspectiva del siglo XV que con Alberti llegan al conocido como "procedimiento con punto de distancia". Pero su omnipresencia en el arte surge con la pintura de comienzos del siglo XX.

pintura y comienza a usarlo en relación con el mundo exterior. Se trata

En arquitectura, con la liberación de la necesidad del muro portante, la retícula estructural había hecho su aparición ya en el XIX.

No sabemos si Kusama ha leído El Aleph. No lo parece, pues si hubiese leído el cuento de Borges sabría que un solo punto del espacio puede contener todos los puntos del universo, en el cual es muy fácil desaparecer. [F7] F6. Yayoi Kusama, Mirror Room (Pumpkin). 1991. Museo de arte contemporáneo de Hara, Japón. F7. Antony Gormley, Infinite Cube II, 2018. Gormley evoca El Aleph en esta escultura, compuesta por una retícula tridimensional de leds y vidrio espejado que debe ser observada en una habitación oscura.

La obra revisita algunas de las inquietudes que motivan el trabajo del artista, expresadas a través de las cartas de colores, como son: el distanciamiento de las temáticas figurativas (como ya hicieron en sus vidrieras los artistas de la Bauhaus), la incorporación de la probabilidad como procedimiento artístico frente a la intervención personal del artista (en el caso de la Kölner Domfenster mediante un programa informático) y la exploración de la temática Pop al 33

Esta obra no compone ninguna imagen pero nos propone una reflexión profunda y polémica sobre el contenido de las imágenes que consumimos y sobre cuestiones relativas a la codificación y decodificación de información; a lo que contribuye el contexto arquitectónico de la catedral, como tipología arquitectónica en la que tradicionalmente se han puesto en juego estos temas.

La retícula ejerce un extraño magnetismo sobre el hombre; podemos sentir que nos atrapa en su red pero también que su monótona isotropía nos abre las puertas de lo infinito.

de un deseo de envolver todo, de crear una especie de piel que la cubre incluso a ella.

Richter utiliza en esta vidriera, de veintitrés metros de altura por nueve de ancho aproximadamente, once mil quinientos cuadrados de 94 x 94 mm, soplados y coloreados en masa, siguiendo recetas medievales. Los setenta y dos colores distintos de que consta se distribuyeron en media vidriera aleatoriamente mediante un programa informático, repitiéndose simétricamente en la otra mitad.

convertir en obras de arte objetos de consumo (como son las cartas de color comerciales). El interés de Richter por el tema de las cartas de color cobra una nueva dimensión al cambiar los pigmentos de sus Cartas de los años sesenta y setenta por la luz coloreada que pasa a través del vidrio y por su deseo de emplear la técnica de la vidriera como un tradicional medio de información de masas, que queda explicitado por su empeño en construirla según técnicas medievales.

La comisaria de una de sus exposiciones, Frances Morris, explica: En esta película Kusama recoge el gesto repetitivo que se origina en su

Situada en el transepto sur, se le encargó al artista en 2002 para ocupar el lugar de la que había sido destruida en la Segunda Guerra Mundial. En principio, el programa iconográfico del encargo incluía la representación de seis mártires; esta temática fue abandonada por Richter al cabo de un tiempo ya que, según sus palabras, no se sentía capaz de acometerla. Es por ello que para resolver el vitral, acudió a su trabajo anterior (desarrollado entre 1966 y 1970) sobre cartas de color; en concreto a sus obras: 4096 Farben y Glass Window, 625 colours.

Las fronteras de vidrio, mediante la retícula, transforman el mundo tridimensional en bidimensional: una vez que acomodamos nuestro enfoque al plano de la retícula, esta construye un primer plano. [F8] Ortega y Gasset en La deshumanización del arte explica el mecanismo de acomodación ocular cuando miramos a través de una ventana:

Otra obra artística reciente que emplea la pixelación de la imagen como argumento para una vidriera es la realizada en 2009 por el artista norteamericano Spencer Finch,4 para el High-Line de Nueva York. Su título, The river that flows both ways, es la traducción de Muhheakantuck, el nombre que daban los nativos americanos al Hudson, río representado en esta cristalera dispuesta en una de las fachadas del Chealsea Market, atravesado por esa vía ferroviaria elevada y en desuso que discurre en paralelo al Hudson y que Diller y Scofidio han transformado en un parque lineal urbano.

Imagínese que estamos mirando un jardín a través del vidrio de una ventana. Nuestros ojos se acomodarán de suerte que el rayo de la visión penetre el vidrio, sin detenerse en él, y vaya a prenderse en las flores y frondas. Como la meta de la visión es el jardín y hasta él va lanzado el rayo visual, no veremos el vidrio, pasará nuestra mirada a su través, sin percibirlo. Cuanto más puro sea el cristal menos lo veremos. Pero luego, haciendo un esfuerzo, podemos desentendernos del jardín y, retrayendo el rayo ocular, detenerlo en el vidrio. Entonces el jardín desaparece a nuestros ojos y de él solo vemos unas masas de color confusas que parecen pegadas al cristal. Por tanto, ver el jardín y ver el vidrio de la ventana son dos operaciones incompatibles: la una excluye a la otra y requiere acomodaciones oculares diferentes.

Al leer esta descripción dudamos de que nuestro "rayo de la visión" fuera capaz de detenerse en un vidrio actual de gran tamaño, recién limpiado. La retícula nos facilitaría esa labor. 30

Producción académica. Arquitectura y materialidad

254

F9. Gerard Richter. Kölner Domfenster (Glasverpixelung). Catedral de Colonia. Vidrios soplados y coloreados en masa. 23 x 9 m. Vista general.

En un descenso en barco por el Hudson, en un solo día, Finch fue tomando una fotografía de la superficie del agua cada minuto, con una cámara digital, a lo largo de setecientos minutos. De cada una de estas fotos seleccionó un único píxel, que definiría el color de cada uno de los vidrios rectangulares idénticos en que se dividen las ventanas del edificio. Organizados esos vidrios-píxel cronológicamente, el tiempo se representa espacialmente en la retícula de la vidriera, leyéndose de izquierda a derecha y de arriba abajo y mostrando ordenadamente la variedad de tonos del agua del río. 35

Rosana Rubio-Hernández

255

El autor sugiere de forma poética, el aspecto cambiante del cercano río a lo largo del día, movilizando metáforas que relacionan el vidrio con el agua o sugiriendo imágenes de la superficie del río congelado y recordando el papel del Hudson como vía de tránsito de mercancías lo que, en cierto modo, lo identifica con la línea férrea, que en su día fue de transporte de mercancías y que hoy es lugar de paso y recreo de miles de ciudadanos. Otra obra de Finch es West (Sunset in My Motel Room Monument Valley) de 2007, que consiste en una retícula, esta vez formada por nueve monitores dispuestos en tres filas de tres, cercanos a una pared y de espaldas al espectador; en ellos se van sucediendo imágenes fijas de las que solo percibimos el tono dominante que se refleja en la pared: un efecto óptico similar al que tiene lugar con la visión distante de las vidrieras en las catedrales góticas. En esta obra la imagen portadora de información, queda transformada en un puro resplandor de luz, en su condición más estricta de "medio sin mensaje", como hubiese dicho McLuhan. La arquitectura, como el arte, ha utilizado recientemente la pixelación en la composición de fachadas. Comentaremos dos ejemplos. tuñón y Mansilla resuelven el revestimiento de vidrio lacado del MUSAC de León como una vidriera exterior de grandes piezas de color, que reproducen la ampliación de la imagen digital de una vidriera del lado norte de la catedral gótica de la ciudad; la conocida como El halconero. Dicha imagen se amplía pixelándose en tres mil puntos que se hacen corresponder con las tres mil piezas de vidrio rectangular, con cuarenta y dos colores diferentes, que revisten mil setecientos sesenta y cuatro metros cuadrados de fachada del edificio.

Las fachadas de este edificio tienen en común con las vidrieras góticas el que en la distancia pueden percibirse como composiciones no figurativas, mientras que en una mirada cercana adivinamos en ellas personajes y momentos icónicos de la historia de la televisión holandesa.

Vigilancia […] fijar la salubridad, la limpieza, el orden y la industria en estas mansiones infestadas hasta ahora de corrupción física y moral: aumentar la seguridad disminuyendo el gasto en vez de hacerlo mayor, y todo esto por una idea sencilla de arquitectura, es el objeto de su obra.

Susanne Komossa en su libro Colour in Contemporary Architecture comenta: [El revestimiento de vidrio coloreado] ofrece la sensación visual de una catedral secular, enfatizando las diferentes partes que constituyen el todo mientras claramente se distinguen las unas de las otras.

tanto la técnica de deposición del color a base de pasta cerámica, como la de conformación del vidrio, contribuyen al efecto logrado. Las planchas de vidrio, de doce milímetros de espesor, se fabrican por la técnica del molde de arena, sobre el que previamente se han marcado las huellas de paneles DM estriados mediante una fresadora de control numérico. Con este procedimiento innovador de moldeado que aprovecha las nuevas técnicas de fabricación digital se recupera el aspecto artesanal del vidrio medieval. Por otra parte, este relieve rayado del vidrio recuerda, atávicamente, a las líneas de las imágenes de la televisión analógica con lo que, una vez más, parece que la influencia se invierte y la vidriera, precedente de las pantallas, se inspira en estas últimas.

Jeremy Bentham. El panóptico

Cuando en 1780, Bentham propone su modelo de edificio carcelario con unos criterios eminentemente utilitaristas y eficaces, está inaugurando una corriente de pensamiento que va a extenderse y calar profundamente en los comportamientos sociales y que no se limitará al mundo de la arquitectura.

de proporciones. El arte de la vivienda será adquirido por gentes valerosas, pero lo discutirán los intereses, las inercias, las vanidades, y habrá

luego una impresión original, pero mucho me temo que la impresión en el interior sea menos original, pues al menos la mitad del espacio queda consecuentemente desprovisto de luz, y esto es ir demasiado lejos con la originalidad.

A lo que Le Corbusier responde quince días después en el mismo periódico: Y ahora el último reproche injurioso de Perret: mis ventanas no proporcionan luz. Este punto me pone furioso […]. Yo me esfuerzo por producir espacios luminosos, es mi objetivo principal, y justamente esto es lo que las personas de costumbres fijas.

A finales de ese mismo año, Le Corbusier y Jeanneret comienzan a proyectar una pequeña casa para la madre del primero, a orillas del lago Leman. Y esa casa, como subraya Bruno Reichlin, convierte el motivo de la querella en un manifiesto: una larga ventana apaisada de once metros, se erige como protagonista del proyecto. En su obra Almanach d'architecture moderne de 1926, Le Corbusier reproduce una fotografía del paisaje que podía contemplarse desde la ventana de la casa del lago, junto a un dibujo en el que representa 41

2. toda ventana selecciona aquello que el que la construye quiere que miremos. Dice Perret (citado por Marcel Zahar):

Cuando en 1961 Gyorgy Kepes invita a John Cage a contribuir con un artículo en el libro Module, Proportion, Symmetry, Rhythm, Cage, según dice, se muestra “acorralado” por lo que él entendía que era el hilo conductor de los temas en los que se mostraba interesado Kepes que, al decir de Cage, habían sido tomados del Modulor de Le Corbusier: "[…] allí estaban todas las palabras, además de una explicación del amor de Le Corbusier por la música".

los números hacen brotar la cosecha de prodigiosas relaciones: enrejado

mas molestas e inadecuadas al extenderlas exageradamente ya sea en

libertaD

Hombres y máquinas se ponen de acuerdo, sensibilidad y matemática,

[…] movido por una veleidad puramente formal, crea ventanas de for-

hace que la imagen de mis fachadas resulte un poco extraña a los ojos de

tras citar un párrafo del Modulor, concretamente aquel que dice:

Decía Perret en la entrevista:

longitud o en anchura. Desde el exterior, este recurso produce desde

Se puede decir que desde aquel primer momento, en que la idea de Bentham tiene una aplicación que basa el logro de sus objetivos en la adecuada ordenación geométrica del espacio construido y la elección del lugar asignado al vigilante, hasta nuestros días, esa vigilancia saludable ha progresado tanto en el campo de los artilugios mecánicos y ópticos aplicados como extensiones de la vista (cámaras, escáneres, drones, etc.), como en aquellos casos en los que la fisicidad de los elementos que constituyen el panóptico ha desaparecido, dejando su lugar a intangibles digitales. El concepto de transparencia ha informado esta idea, unas veces de forma metafórica y otras de modo real, con el vidrio como protagonista. La posibilidad de observar todo aquello que el vidrio envuelve, o la de ver todo aquello que queda fuera del vidrio que nos envuelve, paga el precio de una servidumbre: la del desligamiento de la percepción por el resto de los sentidos y la de provocar sensaciones de posesión o pertenencia ilusorias. Por no hablar del embotamiento visual que puede producir la sobreabundancia de imágenes. La opinión de los arquitectos no ha sido unánime a la hora de valorar esta última cuestión. A este respecto, hablemos de una ventana famosa (el vidrio y la ventana casi siempre han ido de la mano).

En los ejemplos vistos hasta aquí, se emplea de forma literal el procedimiento de fragmentación de la imagen digital haciendo la equivalencia un vidrio igual a un píxel, pero en el caso del edificio Netherlands Institute for Sound and Vision, Neutelings y Michiel Riedijk, en colaboración con Kleurconcept Jaap Drupsteen, emplean una iconografía procedente del mundo de la imagen electrónica aunque sin utilizar la pixelización.

Cage envía a Kepes un texto titulado Rythm Etc. en el que se muestra contrario a cualquier consideración sobre la proporción y a cualquier sistema que implicase algo similar a lo que en música significaba la armonía tradicional, que en aquella época también era objeto de sus críticas, y estima que la arquitectura de vidrio, es decir la transparencia de esa arquitectura, hacía de ella una arquitectura antiautoritaria.

A finales del año 1923, con motivo de la visita que hizo al Salón de Otoño de París, Auguste Perret, en una entrevista concedida al Paris Journal, lanzó una serie de acusaciones contra Le Corbusier que darían origen a una larga y conocida controversia entre ambos arquitectos. Entre otras opiniones, en las que tachaba la arquitectura de Le Corbusier de "nuevo academicismo formalista", que además incurría en claros errores constructivos, introdujo un ataque a sus ventanas y fue esto lo que más mella hizo en el arquitecto suizo.

La ventana, que es un hombre (con su analogía antropomórfica), nos permite contemplar un espacio completo, la calle, el jardín, el cielo. La ventana apaisada nos condena a la contemplación de un panorama eterno.

El primer punto justifica el enfado de Perret y su puntualización: la ventana apaisada del Palais de Bois no es una ventana; es un lucernario y sirve para iluminar; el hombre no forma parte de ella. F10. John Cage en su casa de Stony Point con sus vecinos y amigos, la familia Epstein, sentados en el umbral (entre el bosque y el interior de la casa), que se forma al abrir completamente el gran paño de vidrio.

En las últimas frases se refiere a su casa de Stony Point. [F10] Desafortunadamente y de modo paradójico, la bondad de esta arquitectura antiautoritaria con fachadas de vidrio, en la cual, en cierto modo, se soslayan los problemas de proporción, fiando la bondad del resultado al reflejo de árboles, nubes o hierba, al contrario de lo que suponía Cage, ha conducido con demasiada frecuencia a otro autoritarismo anticompositivo, no por rechazo de las proporciones sino por desconocimiento de las mismas.

F11. Paul Virilio. Fotografía de un puesto de vigilancia.

El segundo punto pone de manifiesto una cuestión que no señaló Perret, y es que la mirada horizontal, que según Jeanneret justificaba el uso de la ventana apaisada, es también la mirada de la vigilancia y del barrido visual: los búnkeres militares, con un carácter eminentemente práctico, y formalmente cercanos en ocasiones a algunas arquitecturas modernas, como ya observó Paul Virilio en 1975, hacían uso de estos huecos apaisados; y la efectividad de la elección de esa forma, quedaba fuera de toda duda. [F11]

a Perret, sentado junto una ventana apaisada que, supuestamente, pertenece al Palais de Bois, que Perret acababa de construir en París. Acompaña las imágenes de un comentario irónico en el que felicita a Perret por su "bonita ventana apaisada".

que decretarlo centro de las preocupaciones urbanísticas y dueño del

Perret reacciona airadamente y contesta: "La ventana apaisada no es en absoluto una ventana. Una ventana, ¡es el hombre en sí mismo!". Y respondiendo al argumento de Jeanneret, de que el ojo humano mira en horizontal, replica con sequedad: "Desprecio las panorámicas".

dominio edificado. Por ley.

Cage hace el siguiente comentario: Esto es llamado Arte. Su forma es la de la tiranía. La inflexibilidad social se sigue de la concepción inicial de la proporción. La línea trazada allí entre

Este episodio ha sido ampliamente comentado por la historiografía arquitectónica moderna, por lo que añadiremos solo dos comentarios:

dos puntos, primero se convierte en una red y finalmente en tridimensional. A no ser que encontremos algún camino para salir estamos perdidos. Cuanto más vidrio, mejor, digo yo. Este año, no solamente las ventanas se

1. No tenemos constancia de que la "ventana apaisada" que Le Corbusier atribuye a Perret en el Palais de Bois, existiese, tal como nos la representa en su caricatura. Sí existían lucernarios apaisados.

abrirán, aunque son pequeñas: toda una pared se desliza cuando tengo la fuerza o la ayuda para empujarla. ¿Y en qué entro? (Me atrae como un imán). No en la proporción. En la confusión de un bosque descuidado.

Producción académica. Arquitectura y materialidad

256

Rosana Rubio-Hernández

257

intimiDaD

extrañamiento

La casa primera y oníricamente definitiva debe conservar su penumbra.

La transparencia de los cerramientos de vidrio, paradójicamente, acentúa la disociación entre espacios contiguos pues estos quedan unidos visualmente pero desligados desde la percepción por el resto de los sentidos; se genera así una relación incompleta. Esta relación puede ser incluso frustrante al acentuarse el papel de la vista, de la mirada, en detrimento del oído, del olfato, del tacto.

Gaston Bachelard. La poética del espacio

Penumbra e intimidad son palabras que evocan imágenes que van unidas en nuestra memoria. El vidrio de la arquitectura moderna, con su "homogeneización niveladora", produce situaciones que son todo lo contrario a lo que sugiere la fotografía de Stieglitz; [F15] se aviene mal con la penumbra y por tanto no acostumbra a favorecer la intimidad.

Este extrañamiento ha ido aumentando a medida que el vidrio mejoraba técnicamente. Antes del vidrio aislante, el vidrio monolítico era un material que, ante la diferencia de temperatura entre dos espacios, registraba esa diferencia en forma de condensación o, digámoslo de otro modo, representaba esa variación: la máscara del vaho o de la condensación transformaba el vidrio transparente en una pantalla cambiante que respondía a los cambios de temperatura y de humedad. F12. Alison y Peter Smithson, Upper Lawn, Wiltshire, 1959-1962. Fotografía de Georg Aerni.

presentes qué lugar de la casa, rodeada como sabemos de unos prados maravillosos y unos espléndidos árboles, elegirían para charlar con un amigo o leer o, simplemente, descansar; unánimemente le respondieron que el vestidor o el cuarto de baño. Y comenta a continuación: Eso quiere decir que, aun en las construcciones en que no haya vecinos sino únicamente paisaje alrededor, también se necesita crear algunos muros para lograr rincones de ambiente íntimo y es posible que todo esto venga de la necesidad que tenemos —como mamíferos que somos— de penumbra. Estas penumbras pueden considerarse también como una necesidad del ser humano, un asunto de carácter espiritual que representa la idea de recogimiento.

Cuenta Barragán que con ocasión de la visita que hizo con un grupo de personas a una casa de vidrio en Connecticut (aunque no da el nombre, queda claro a través de su descripción que se trata de la casa de Philip Johnson), preguntó a las señoras

F13. Gordon Bunshaft, Manufacturer’s Trust Company (vista desde la Quinta Avenida), Nueva York, 1954. Fotografía de Ezra Stoller.

En muchas casas icónicas de la Modernidad, con carpinterías aún poco perfeccionadas y vidrios no aislantes, se empañaban los cristales y, además, dada su situación frecuente en entornos no urbanos, podía oírse desde su interior el trino de los pájaros, el susurro de las hojas de los árboles movidas por el viento, el olor de la tierra húmeda.

Es de suponer que la taquillera del Skandiateatern [F16] habría agradecido no tener que exponer su intimidad de un modo que, evidentemente, no es indispensable para vender entradas.

F15. Alfred Stieglitz, Sunrays, Paula, 1889. F16. Erick Gunnard Asplund, taquilla del Skandiateatern, Estocolmo, 1923.

Pocos fotógrafos de arquitectura se han interesado por el fenómeno de la condensación en el vidrio; hemos encontrado una fotografía (tomada en 2001) del pabellón Upper Lawn de los Smithson, donde el empañado de los vidrios y los escurridos que produce son evidentes. [F12] Esta casa se terminó de construir en 1962 (una fecha relativamente reciente en el listado de casas icónicas de la Modernidad) con vidrios sencillos. Posteriormente, en el 2002, el estudio Sergison Bates, encargado de su restauración para unos nuevos propietarios, sustituyó estos vidrios por unos dobles. El interior de la casa de vidrio contemporánea, hermética y perfectamente climatizada, nos priva del disfrute del entorno en su plenitud, provocándonos una extrañeza similar a la que nos produce el contemplar un cuadro hiperrealista. 44

En ocasiones la transparencia crea una sensación de posesión o pertenencia que no pasa de ser una mera ilusión, como ilustra elocuentemente Ezra Stoller en la fotografía de la caja fuerte del Manufacturer's trust Company, [F13] visible desde la calle a través de un gran vidrio. Este es un recurso que ha sido utilizado algunas veces con fines perversos o pornográficos, empleando el calificativo con que denomina Byung-Chul Han a las situaciones en que, al decir de Baudrillard, se produce la "promiscuidad total de la mirada con lo que se ve, una contigüidad epidérmica del ojo y de la imagen".

haciéndolos más deseables y lo que en principio obedecía a criterios de higiene ahora garantiza la homogeneidad. Solo hemos de ser prudentes y mirar el precio.

JerarQuía En La sociedad de la transparencia dice Byung-Chul Han: La transparencia es un estado de simetría. La sociedad de la transparencia aspira a eliminar todas las relaciones asimétricas.

Y más adelante, en ese mismo libro: En contraposición al mundo de la verdad en Platón, a la actual sociedad de la transparencia le falta aquella luz divina que implica una tensión

El cine también ha representado recurrentemente el extrañamiento de la incomunicación y el conflicto haciendo un uso ambiguo de la transparencia y de la reflectancia, interponiendo un Two-way Mirror entre personajes enfrentados.

metafísica. La transparencia carece de trascendencia. […] El medio de la transparencia no es ninguna luz, es más bien una irradiación sin luz que, en lugar de esclarecer, lo penetra todo y lo hace transparente. En contraposición a la luz, es penetrante y atraviesa. Actúa, además, homogenei-

Las arquitecturas de vidrio con sus enjoyados luminosos añadidos inundan los centros de las megaurbes actuales y convierten la ciudad en una estantería de supermercado, en una acumulación de signos y de información. La transparencia se relaciona bien con la información. Para ByungChul Han, transparencia e información son conceptos que corren parejos y en esa convivencia tampoco parecen tener cabida la penumbra ni la intimidad. Los vidrios de las pantallas de información nos envuelven como una película homogeneizadora que, lejos de ser transparente, solo simula serlo; como los espejos.

zando y nivelando mientras que la luz metafísica engendra jerarquías y distinciones y, con ello, crea órdenes y orientaciones.

En 1903 Emil Bloch inventó los Two-way Mirrors, lo que dio lugar a una larga serie de aplicaciones basadas en la transparencia unidireccional de tales vidrios (que en uno de sus lados funcionan como espejos con la ayuda de una fuente de luz en ese lado). tales aplicaciones abarcan desde salas de interrogatorios y ejecuciones hasta observatorios ocultos para estudios de mercado, big brothers y peep shows. [F14] Con ellos la simetría puede ser subvertida y la jerarquía (esta vez no engendrada por una luz metafísica precisamente) vuelve a ser un hecho.

ensimismamiento El espejo es al tiempo el más transparente y el más opaco de los vidrios; puede abrirnos mundos ilusorios que se multiplican hasta el infinito y por eso mismo impedirnos vislumbrar la salida de ellos. En la antigua Grecia, el huso y el espejo eran símbolos de la mujer; representaban sus quehaceres. El espejo, como útil femenino que se abre a su mirada, evoca también un espacio cerrado, frente a la apertura de ideas que presidía el ágora, donde las mujeres no tenían cabida. En la película L'année derniére à Marienbad, Alain Resnais y Alain Robbe-Grillet despliegan ante nosotros una pesadilla que está construida con situaciones banales: "la historia de una persuasión […] en medio de un laberinto de falsas pistas, de variantes, de fracasos, de repeticiones". La puesta en escena de esta historia está construida como un trampantojo: todo lo que en ella aparece contribuye a confundirnos. Los sonidos, fragmentos de frases, campanadas de reloj, músicas apasionadas y ruido de cristales rotos parecen siempre fuera de lugar; no sabemos si corresponden a lo que vemos o a lo que no vemos: a lo que está fuera de campo. Las imágenes de los jardines del balneario con sus perspectivas barrocas, los pavimentos en damero, los pasillos interminables y los salones en los que se multiplican los espejos, todo ello crea en nosotros la sensación de que ese escenario es infinito.

F14. Wim Wenders. Paris Texas (escena en un Peep show), 1984.

Pero la repetición de las acciones y movimientos de los personajes y la duplicación especular de las imágenes, la simetría como forma completa en sí misma, nos demuestran justamente lo contrario: el balneario es una cárcel de la que los personajes no parecen poder librarse. "¿Qué hacen cuando no están en el hotel? A uno le viene la intención de responder: ¡nada! Fuera del hotel no existen", dice Robbe-Grillet. 46

Producción académica. Arquitectura y materialidad

258

Rosana Rubio-Hernández

259

Entre 1792 y su muerte en 1837, John Soane, en su casa de Lincoln's Inn Fields en Londres, [F19] crea el escenario donde exhibe sus intereses como arquitecto, mostrando en él planos, representaciones artísticas y maquetas de sus propios edificios, pero desvelando al tiempo su identidad como connoisseur y coleccionista, no solo de fragmentos de arquitecturas antiguas, sino también de obras de arte (esculturas y pinturas), y objetos arqueológicos, originales o copias. Además, acompasa esta escenografía, que le sirve al tiempo de aula para sus clases, con la del entorno doméstico, en la que el mobiliario, libros, monedas, cerámicas y un sinfín de otros objetos decorativos crean su hogar, que se funde íntimamente con el espacio profesional y con el museo. Se construye así un particular gabinete de curiosidades que se distingue de otros propios del XIX precisamente en que la casa alberga la colección pero esta, a su vez, forma parte de ella al quedar reflejada en los múltiples espejos que se intercalan con los demás objetos. Esta infinitud recolectada de fragmentos y ruinas es a la vez memento mori y proyección del deseo de inmortalidad de Soane. Los espejos en Lincoln’s Inn Fields constituyen una inmensa colección en sí misma (cuando Soane muere hay en la casa más de cien) que, lejos de ser objetos de anticuario, evidencian su interés por los avances técnicos y estilísticos. Esos espejos eran fruto de la tecnología más avanzada de la época: un innovador sistema industrial de vidrio colado. Además, compendian todos sus usos a la moda de finales del siglo XVIII y comienzos del XIX: psiques, espejos de pared (algunos enfrentados: glaces a répétition), en los machones entre ventanas, como insertos en columnas y pilastras, en nichos y enmarques de la construcción, sobre las chimeneas, en las hojas de puertas, en contraventanas, en las partes traseras de vitrinas, incrustados en el mobiliario o intercalados con el vidrio de las ventanas y, sobre todo, espejos convexos de varios tamaños y en localizaciones diversas que, como Claude Mirrors de interior,5 hermosean la realidad que hay frente a ellos, creando la ilusión de que esta, además de un bello paisaje, es abarcable y comprensible. 54

F19. Sir John Soane, Lincoln’s Inn Fields House (comedor), Londres, 1792-1837.

Producción académica. Arquitectura y materialidad

260

F31. Escena de la película Die Suffragette, dirigida por Urban Gad en 1913. La actriz Asta Nielsen representando a una sufragista apedreando un escaparate. Fotograma de la película.

En el comedor el retrato replicado de Soane vigila y contempla ensimismado su legado infinito y cautivo. 55

En 1921, la película de Chaplin, The Kid, mostraba una ingeniosa colaboración productiva entre el vagabundo y el chico, en la que el primero iba reponiendo los cristales que previamente rompía a pedradas el pequeño; demostrando con ello, cómicamente, que la destrucción es en muchas ocasiones motor de la economía. La noche del 9 al 10 de noviembre de 1938, como parte del pogromo contra los judíos, en Alemania, tuvo lugar, en lo que se conoce como Noche de los cristales rotos, la destrucción de las cristaleras de más de siete mil comercios y almacenes de propiedad judía.

El vidrio, confirmándolo, es un material bastante duro, pero muy poco dúctil; es decir: es frágil.

La cristiandad medieval a menudo se embriagaba con las imágenes que representaban aquello a lo que rendía culto. La intensidad de esa tentación ocular puede explicar la aparición periódica de movimientos iconofóbicos en el seno de la Iglesia. Cuando en el año 726, durante el reinado de León III, se desencadenan en Bizancio las primeras manifestaciones de la iconoclastia, se inaugura una política de hostilidad hacia las imágenes religiosas que se prolongará hasta el año 843 y que, además de traducirse en la destrucción de iconos, arremeterá contra aquello que hay de mayor fragilidad en las iglesias bizantinas: el vidrio. Lo más duro de esa persecución comenzó el año 765; aquel año todas las iglesias de Constantinopla fueron despojadas de su decoración. Podemos suponer que gran parte de esa decoración eran mosaicos.

F30. Vidrieras reconstruidas de la Lady Chapel de la catedral de Wells, Inglaterra.

El viernes 18 de noviembre de 1910, en lo que desde entonces se conoce como Black Friday, las sufragistas inglesas que se dirigían hacia la Cámara de los Comunes en Londres, en protesta por el rechazo en la Cámara del proyecto de Ley de Conciliación, que habría ampliado el derecho de las mujeres a votar en Gran Bretaña e Irlanda, fueron duramente reprimidas por la policía. La batalla campal, derivó en rotura de vidrios de escaparates. Este método de protesta pasó a ser habitual entre las sufragistas. [F31]

El color amarillo de los vidrios de algunas claraboyas de Lincoln’s Inn Fields contribuye, con el tinte de la luz filtrada por ellas, a crear un ambiente de dulce marchitamiento, como de ramo de flores secas o de papel oxidado por su exposición prolongada a la luz o, mejor, de fotografía antigua, en el momento que esta técnica, aliada de la Historia, suplente de la memoria o, como explican Sontag y Barthes,6 memento mori, iniciaba su andadura.

Resulta cosa sabida que, en ocasiones, lo dúctil sale mejor parado que lo duro. En Occidente, la fábula esópica conocida como La caña y el olivo, con sus múltiples variantes, y en Oriente el Tao Teh King donde se nos dice que "lo débil vence a lo fuerte y lo flexible a lo rígido", inciden en esa enseñanza.

Pero desde otro punto de vista imposible de confinar en el orden físico, a lo largo de la Historia, la fragilidad del vidrio ha propiciado una serie de acontecimientos en los que, por motivos diversos, este material ha sido objeto de la ira de los hombres.

En 1830, en plena Revolución Industrial, los movimientos sociales obreros y las organizaciones sindicales comienzan a tener presencia en los países europeos. Sus protestas reivindicativas, en ocasiones, se manifestaron sonoramente con la destrucción de cristales en los comercios, viviendas e instituciones de las clases dominantes. Entre los manifestantes estaban los obreros de las industrias vidrieras que destruían así el bien de consumo en que se había convertido su fuerza de trabajo a cambio de una exigua compensación económica; en su caso, la rotura de cristales cobraba un valor simbólico.

todos estos vidrios reflectantes hacen que la casa sea, además de un gabinete de curiosidades, una caja catóptrica que multiplica y concentra las colecciones, que recoge y dispersa, a un tiempo, la aglomeración reinante, disolviendo el espacio físico en una mezcla de imágenes reales y reflejadas y su repetición remite, como en L’année derniére à Marienbad, a una recurrencia temporal.

FragiliDaD

Puede considerarse la fragilidad como la susceptibilidad de la estructura de un material a la destrucción sin deformación plástica. En el caso del vidrio esa fragilidad se debe a la escasa velocidad con que se relajan en él las tensiones mecánicas que se generan cuando se aplica un esfuerzo determinado. Esto, desde el punto de vista mecánico.

las tropas de Oliver Cromwell. Los fragmentos de vidrio que dejó tras de sí este ataque iconoclasta fueron después recuperados y vueltos a reconfigurar, posiblemente por artesanos locales, de forma más o menos aleatoria, de modo que los espacios englobados por los trazados geométricos estructurales del paño de la ventana se rellenan ahora sin orden ni concierto narrativo, con un criterio de restauración bastante heterodoxo. La impresión producida en el espectador posiblemente no difiere mucho de la que pudo causar la vidriera original hasta que uno no fija su atención y busca la coherencia de las imágenes que componen la vidriera y advierte el cambio. Además, con la sensibilidad artística contemporánea, al interés que despiertan estos vitrales recompuestos contribuye el que en un primer momento recuerdan compositivamente a algunas pinturas de Klee o Mondrian o a las vidrieras de Albers; y, en una lectura más atenta, el carácter inquietante de la colocación aleatoria de los fragmentos (ya que la mayor parte de ellos representa una fracción de una escena realista colocada fuera de lugar), nos remite a las creaciones más oníricas del Surrealismo o del Dadaísmo. [F30]

F29. San Apolinar Nuevo, Rávena, Italia. Siglo VI. Detalle de los mosaicos de la banda inferior de la fachada sur de la iglesia.

Dos siglos antes, con la vuelta a la ortodoxia cristiana después del periodo de herejía arriana, en el año 556, los mosaicos de la banda inferior de San Apolinar Nuevo en Rávena fueron rehechos por mandato de Justiniano. Es probable que las figuras de la procesión de vírgenes y mártires que, conducidos por San Martín y los Magos, salen del palacio del emperador, dirigiéndose hacia la Virgen y el Niño, fuesen originalmente las del monarca ostrogodo teodorico y su corte. Entre las columnas del palacio, tras las cortinas blancas bordadas en oro, se observan aún las sombras de esos personajes eliminados y en algunas columnas se ven sus manos cortadas, que no se molestaron en eliminar. [F29] Se trataba de una damnatio memoriae. En el siglo XVII, entre agosto de 1642 y mayo de 1643, durante la guerra civil inglesa, los Parlamentarios arremetieron contra las vidrieras góticas de Inglaterra. Estas habían sido ejecutadas con anterioridad a la separación entre la Iglesia de Inglaterra y Roma y por tanto, de algún modo, representaban aquello contra lo que luchaban 73

invernadero protector, un “Palacio de Cristal”, donde una sociedad libre de tensiones, viviría dedicada al placentero culto del Baal capitalista, formulando "una nueva escatología como dogma del consumo". Instalados en ese final de la historia, los vidrios templados y los vidrios laminados de seguridad, habrán acabado con muchas de las posibilidades de expresión, que hemos descrito, viniendo a ser sustituidas por otras menos inocentes.

En los primeros casos expuestos, asistimos a un ataque hacia lo que se representa en el vidrio y tiene una equivalencia en la quema de libros, que ha sido otro de los recursos más utilizados en la Historia para hacer desaparecer aquello con lo que no se está de acuerdo, o no interesa que sea conocido: la temperatura de combustión del papel y la fragilidad del vidrio, ayudan a conseguirlo. En la Modernidad, las acciones colectivas reseñadas, son reivindicativas, de protestas de clase, de género o de raza. Hay que reconocer que la rotura de cristales produce siempre una incómoda convulsión; hasta cuando se rompe una copa en casa, se produce un pequeño revuelo. Incluso existe una Teoría de las ventanas rotas. En un artículo sobre criminología y sociología urbana, aparecido en marzo de 1982 en The Atlantic Monthly, con el título "Broken Windows", se puede leer: Considerando un edificio con unas cuantas ventanas rotas, si estas no se reparan, la tendencia será que los vándalos rompan más. Posiblemente, si está desocupado, lo invadirán.

Estima Sloterdijk, que “la historia verdadera, con sus viajes por mar y sus guerras de conquista”, conllevaba una actuación “al aire libre”, mientras que tras “el final de la historia” (momento al que al parecer tendemos, según el filósofo), en una paz perpetua, la vida social debería quedar recluida en un caparazón o inmenso 76

Rosana Rubio-Hernández

261

Contribución en libros. Resultados de la tesis doctoral

Rosana Rubio-Hernández “El vidrio y sus máscaras. El sueño de la arquitectura de cristal” En Tesis recientes, ed. Alvaro Soto. Madrid: Fundación COAM, 2018. ISBN: 978-84-9665681-9. Indicios de calidad: Conferencia invitada en el COAM. 17-04-2017

Producción académica. Arquitectura y materialidad

264

Rosana Rubio-Hernández

265

Producción académica. Arquitectura y materialidad

266

Rosana Rubio-Hernández

267

Producción académica. Arquitectura y materialidad

268

Rosana Rubio-Hernández

269

Producción académica. Arquitectura y materialidad

270

Rosana Rubio-Hernández

271

Proyectos de investigación financiados. Beca de la Fundación La Caixa

CLC Colored Liquid Crystal prototype 01-06-2007 / 31-05-2008

CLC. Colored Liquid Crystal prototype The research constists on the development of a switchable material that changes its optical properties when a low voltage is applied, modulated, and monitored by a microcontroller. It consists of three elements: the actual CLC, which is a multilayered film system, a microcontroller, and a software interface. Sensors and actuators are also implemented to conform not only an active material but also an interactive one. CLC’s performance and qualities are unique and unprecedented. It is simultaneously a fixed-color transparent material and a clear one whose level of tincture can be altered dynamically and depending on its orientation. In the realm of sustainability, CLC offers improvements over the dichroic and other coloration techniques because it is composed of raw materials, with no pigments or metals added, thus easy to recycle separately. The fact that the image is obscured but not scattered, as in the common liquidcrystals, can be understood as another way of achieving privacy or experiencing a spatial sequence in a new different way, darkening the material without becoming completely opaque. If the CLC can filter both visible and thermal radiation, the use of the material is compelling in terms of energy savings. It would be beneficial in a space that calls for low illumination levels but requires thermal gains for heating and energy saving purposes in cold weather. The fact that the passage of electricity does not alter the smart quality of the CLC, as it does in the case of other techniques, such as the electrochromism, is an evident advantage in terms of durability.

Duración: un año Entidades participantes: GSAPP, Columbia University Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 1 Financiación: 1 año de créditos académicos en la GSAPP y de manutención financiado por la Beca de la Caixa Resultados: -Tesis del curso Advanced Architectural Research. GSAPP, Columbia University. High-Pass -Patente provisional en EEUU -Participación en la 16 Bienal de Venecia. -3 artículos en publicaciones indexadas - Participación en 2 congresos y en 1 jornada - Paricipación en 2 libros - Exposición en La Universidad de Virginia. (Ver selección de resultados a continuación) 3

Patentes. Resultado de la investigación CLC. Colored Liquid Crystal

Systems and Methods with Colored Liquid Crystals Patente provisional en EEUU: 2413.082 PRV. Science and Technology Venues, Columbia University. 2008. Prototipo de vidrio de cristal líquido de color. - Invention Report - Aplicaciones arquitectónicas: -Vivienda en Connecticut - Fachada de CLC deformable - Mille-Oeille. Environmental zoo

Thanks to:

CLC

Colored Liquid Crystal Prototype.

Felicity Scott, Michael Bell, David Benjamin & Soo-in Yang, my advisors, for their permanent and invaluable support. Mabel Wilson & Reinhold Martin and the GSAPP for making this research possible. Ioannis Kymissis, Chris W. and David Vallanocurt (Computer Science CU) for their helpful technical advice and generosity.

CLC (Colored Liquid-crystal) is a switchable material that changes its optical properties when a low voltage is applied, modulated and monitored by a microcontroller. It performs both as a light filtering material and also as a transparent information display. It is feasible to be used in architecture as a façade and interior material, as an scenic component for performing arts and can also be applied in industrial design objects. The invention relies on rethinking the technology used for the manufacture of regular black and white liquid–crystal displays to construct an architectural and design material. The particularities of this new transparent material are that its tincture level can be changed dynamically and that it is “structurally” colored, meaning that the color is achieved optically, by interference effects, rather than by pigments or metallic depositions. Morphology The material consists of three elements: the actual CLC, which is a multilayered film system, a microcontroller and a software interface (fig.1). Sensors and actuators can be also implemented to constitute not only an active material but an interactive one. CLC, Multilayered film system (fig 2): It is the “visible” part of the material. It is a sandwich that consists of a nematic liquid-crystal film placed between two transparent electrodes, pixelated or continuous, printed in a transparent support of glass or plastic, whether rigid or flexible. In both faces of this “smart cell” two crossed polarizers are placed. Absorptive and beam-splitting are the two kinds tested in the prototype. Polaroid and 3M films (DBEF II and DBEF D-400) are the brands used respectively. A regular calculator display, that contains the liquid-crystal film and pixelated electrodes coated in thin plates of glass, is also used (fig.3)

AAR. GSAPP. May 08 Rosana Rubio Hernández.

Microcontroller: It is the interface hardware that manages the input and output signals of the system. It also processes the information from the environment, when sensors and actuators are added, for the CLC to react 2

accordingly. The CLC and the microcontroller are connected one to the other by regular wires. In the prototype I have used a Paralax Inc. BASIC StampR HomeWork BoardTM Project Platform as microcontroller. For now, two different circuits have been designed; one that controls one CLC and another that monitors two. The source that supplies the energy needed is a 9 volts Transistor Battery. Software: It is the program that establishes the actual performance of the CLC. Its design determines the number of independent CLC to be controlled, the sequence of ons and offs, their duration and the modulation of the electrical signal’s intensity. It also sets up the possibility of a dynamical interaction between the environment and the CLC. The interface software used in the prototype is programmed with Paralax Inc. BASIC Stamp Editor (version 2.2). So far, three basic programs have been tested. Performance As said before, the performance of the CLC is based on that of black and white liquid –crystal displays, a technology that combines liquid-crystals as smart material and polarizers. The specific performance of the material is due to the interplay of these two components: Due to the reactivity of the nematic liquid-crystals to electricity, the material can show two different optical conditions, or states of tincture, depending on whether it is on or off. The degree of tincture, as said before, can also be regulated when the intensity of the electricity is modulated. Due to the polarizers the actual color of the CLC, when it is off, and the level of tincture and transparency, when it is on, varies depending on the relative angle between the incident light and the material’s surface and accordingly to the view angle. Let explain in detail the combined effects of both CLC’s components in their on and off states.

Producción académica. Arquitectura y materialidad

276

Rosana Rubio-Hernández

277

Off state:

Proximal Technologies

When the microprocessor does not send any electrical signal to the CLC, it exhibits its actual color, which is achieved with the interplay of polarization and the birrefringent property of the liquid-crystals. Before applying an electric field, the orientation of the liquid-crystal molecules is determined by the alignment at the surfaces. In a nematic liquid-crystal the surface alignment directions at the two electrodes are perpendicular to each other, and so the molecules arrange themselves in a helical structure, or twist. Because the liquid-crystal material is birrefringent, light passing through one polarizing filter is rotated by the liquid-crystal helix as it passes through the liquid-crystal layer, allowing part of it to pass through the second polarizer filter. Depending on the wave length transmitted, the CLC exhibits a different color and transmits a determined light tone. Thus, the kind of polarizer used and the relative angle between both polarizers are the determining factors for the material’s coloration. I.E. Using two DBEF II polarizers, its color is violet if the crossing angle is 115º while the color is green if the angle is 175º (fig.4). The CLC’s actual tone and the light transmitted also vary, approximately in an interval of 100 to 150 nanometres, depending on the relative angle between the incident light and the CLC’s surface and the position of the observer. In the case of a CLC, that is violet when horizontally oriented, the tone becomes blue when turned 90 degrees under the same light conditions and point of view. The transmitted light’s tone also changes from violet to green. The same variation is observed if the material is seen perpendicularly to its surface or in an oblique angle (fig. 5).

As stated before, the combination of liquid-crystals and polarizers monitored by a microcontroller is a material system extensively used in the manufacture of conventional black and white image displays. However, it has not been transferred to the fields of architecture and design. As a result of the research that I have been developing during the last four years, I have concluded that there is no architectural or design material equivalent in performance and technology to the material at stake. Nevertheless, the CLC could be framed in-between two material systems, the switchable glasses and the colored transparent materials, with which it shares some properties, performance, and technology. Specifically, it is similar to the “structural” colored materials, within the latter group, and within the former, it is close to the liquid-crystal architectural glasses and the electrochromic ones. It can also be considered similar to the LED façade technology due to its possible application as an “informational” enclosure. “Structural” color materials, as stated before, are those whose colors are caused by optical interference effects rather than by pigments or metallic depositions. The color quality that they exhibit is iridescent like the one of the CLC. There are several of these materials in the market produced in various ways: with the raw material scored with fine parallel lines, conformed as a thin layer or as two or more parallel thin layers, or otherwise composed by microstructures on the scale of the color’s wavelength. None of them are made of either polarizers or liquid-crystals. i.e., the dichroic coatings and films are produced respectively by the addition of transparent metallic coatings or a precise amount of polymeric materials with different reflective qualities. Commercial examples of the latter are, 3M’s Radiant light films and a brand representative of the former is Dichro ART. Regarding liquid-crystal glass, it is morphologically and technologically very similar to the CLC. It is also a multilayer system, whose main component is a liquid-crystal film, which varies its optical properties when an electrical current is applied. Nevertheless, some technological differences make it to perform differently. In the market there are some brands that commercialize liquid-crystals as architectural materials, for instance: SGG PRIVA-LITER by Saint-Gobain.

On state:

With regard to electrochromic technique, it is also a kind of switchable material whose smart cell consists on an array of materials different from the one of the CLC. Nevertheless, it behaves in a sense alike it. It varies its level of tincture accordingly to the action of an electrical current. Some commercial examples, used in architecture and the automobile industry, are produced by SAGE, FLABEG, Gentex Corporation, MAGNA DONNELLY, etc. It is also one of the most promising smart materials so it is being researched. Some institutions such as the Fraunhofer Institute in Germany, the Angstrom Laboratory in Sweden, the Berkeley Laboratory in USA, etc, are developing different variants of this technology. Finally, a LED façade system is a kind of Jumbo-Screen adapted to buildings because it allows seeing through. A pixelated CLC can also emit grey scale images in movement allowing seeing through. LED building systems have become lately an ubiquitous urban type whether as corporative billboards or as electronic art displays. The most recent example, which combines both approaches, is Chanel’s new Tokyo headquarters, designed by Peter Marino. There, black and white artistic video images are depicted by the led screen to attract the attention of pedestrians. Brands that commercialize different variants of the system are Panasonic, Color Kinetics’ ColorBlastR by Philips, and others.

When a voltage is applied across the electrodes, a torque acts to align the liquid-crystal molecules parallel to the electric field, distorting the helical structure. This reduces the rotation of the polarization of the incident light where the electricity is passing through. The optical effect that this produces is that the actual CLC’s color disappears and instead of this it exhibits a transparent appearance with different levels of dark tincture. As said before, the degree of clarity or darkening of the on CLC depends on two different factors: the relative angle between the polarizers, meaning the actual color of the CLC and the intensity of the voltage applied. I.E. when a violet CLC is on, the areas where electricity is passing through become transparent. If the CLC is green, under the same conditions of light, and if it is seen from the same point of view as the violet one, the active areas become darkly tinted (fig.6). The regulation of the amount of electricity has been roughly tested. The hardware interface has still to be improved to precisely control this performance of the material. Nevertheless, some experiments have been tried in the prototype. I.E. when a high voltage is applied to the violet CLC we have seen that it becomes transparent but when the voltage is lower a purple tincture is shown. In the case of the green CLC the lower voltage results in a grey tincture rather the dark one of the high voltage. Similar variation occurs with the rest of CLC color variants (fig.7)

Differences The CLC is based on image-display technologies; however some changes have been introduced to adapt it to architecture and design purposes. The two main novel qualities set up in the system are transparency and coloration. For the first purpose, some layers of a regular liquid-crystal display have been removed, like the rear reflective films. Other components have been placed in a different position in the sandwich. The beam-splitting polarizers become the principal elements in the CLC, while their function in regular displays is just to enhance their rear illumination. Regarding the coloration, the polarizers are not crossed perpendicularly, as in the image displays. Conversely, a variety of crossing angles is proposed in order to accomplish a variety of colors. With this strategy an assortment of colored CLCs can be assembled rather than, for example, the unique neutral regular calculator display. Regarding the differences between the CLC and the other technologies mentioned: It varies from the rest of the “structural” color materials technologically and therefore in their actual qualities. None of them use polarization and 15

Producción académica. Arquitectura y materialidad

278

liquid-crystals to produce the color, thus, their optical qualities differ. Their tonality, levels of transmission, reflection, refraction, and absorptance are not the same. These differences are obvious in the iridescence effect, which is more subtle in the CLC than in the other dichroic materials. For example, a Radiant light film can exhibit a purple, blue and yellow range of colors, depending on the light, the viewer’s position and the surrounding colours. In a CLC the color transition, as said before, takes place in a wave length interval of 100 to 150 nanometres: a variation from violet to blue, from green to bluegreen are some instances of this. The CLC differs from the liquid-crystal architectural glass because the type of liquid-crystal used in the latter is not a nematic one but a polymer dispersed kind of. Thus, both materials perform differently. On one hand, the commercialized liquid-crystals glass changes from translucent, when off, to transparent, when on, without blocking the amount of incident light. On the other hand, the CLC never exhibits a translucent state; it never scatters the light nor the image. It is always transparent whether colored in its off state or transparent with different level of tincture when on, being able to block the amount of incident visual light. In this sense it can be said that the performance is similar to the other chromogenic technology. Like the electrochromic glass, it varies its tincture level due to the effect of electricity, nevertheless, there are significant differences between them. An electrochromic filter reacts chemically to the electricity, it becomes oxidised, while the CLC changes physically; its molecular arrangement is altered. This fact has implications in the durability of the material. The electrochromic filter suffers degradation due to the successive cycles of oxidation and reduction. The physical change of the CLC does not ruin the integrity of the liquid-crystals and thus it lasts longer. The reaction time of CLC technology also brings forward a difference. The electrochromic materials become dark progressively when electricity is applied, and it takes them also a longer time to bleach. Conversely, the CLC reacts instantly to the switch. Although it does not recover its off appearance immediately, it takes far less time for it to do so than the electrochromic. Regarding the optical properties it is proven that electrochromic filter performs in the visual and infrared spectrums of the solar radiation.The transmittance of the whole spectrum varies from 20-30% in the bleached state to 60-70% in the colored state. Regarding the CLC, for now, it can be said that it filters visual light. It has yet to be measured in an optical laboratory in order to measure its optical balances and to characterize its performance in the whole spectrum. The differences between LED technology and the CLC are multiple both technologically and in appearance. While the former does not emit light and 16

Rosana Rubio-Hernández

279

color in its on state, the latter mimics almost perfectly the realistic, bright, colored and high-quality video image of the domestic image displays. Their proximity relies then in their feasibility for informational façades

Roughly talking, the CLC’s advantages, respect to the previous technologies, are that its performance and qualities are unique and unprecedented. It combines the optical qualities of a variety of transparent materials in a single one. The CLC is at the same time a fixed color transparent material and a clear one whose level of tincture can be altered. These features that make it different from similar current technologies should be read as distinctive characteristics and thus, advantages in a hyper-offer market of materials. It can be said that the subtle iridescence of the CLC is a benefit respect to the dichroic coatings and films. Generally speaking, at the scale of architecture, a faint gradation of the transmitted colored light is more adequate than the abrupt shifts that the other dichroic materials produce. In the realm of sustainability the CLC, like the dichroic films, offers improvements over the dichroic metallic coatings and the rest of coloration techniques because they are composed by raw materials, with no pigments or metals added thus easy to recycle separately. The polarizers are raw polymers, the liquid-crystals are encapsulated in a removable film, and the same can be done with the electrodes in order to recover the raw transparent support. The fact that the image is obscured but not scattered like in the common liquid-crystals, can be understood as another way of achieving privacy, darkening the material without loosing the total perception through it. Also, the CLC’s possibility of filtering the visible light, instead of the other liquidcrystal glass’ total transmission, is useful in order to dynamically prevent glare, to darken spaces, to modulate the reflectance of certain glasses and mirrors-just to mention some instances. Respect to the quick response and recovering, as opposed to the slowness of the electrochromism, can be seen as desirable depending on the application. When the sun produces glare in a work interior, a CLC placed in a façade can be switched immediately to avoid it while an electrochromic glass would remain bleached when the glare has already disappeared. If the CLC, as the electrochromic, can filter both the visible and thermal radiation, the use of the material is interesting in terms of cooling energy savings. Otherwise, if finally it is demonstrated that it only performs in the visible interval allowing the infrared to pass through, it also should be of interest depending on the

application. It would be interesting in a space that calls for a low illumination level but requires thermal gains for heating and energetic saving purposes in cold weather. The fact that the passing through of the electricity does not alter the smart material of the CLC, as it does in the case of the electrochromism, is an evident advantage in terms of durability. Finally, in regard to the advantages respect LED technologies, the no pretension of accomplishing a high-quality colored image, the subtle iridescent color and grey scale of transparencies of the CLC open a new field of artistic and communicative possibilities very different from the ones of the LED. In this regard, establishing a difference in a competitive urban environment is a value. Another advantage of the material is that it is easily perfectible by addition of complementary components. As said before, sensors or actuators can be implemented to the system, and also additional layers can be added to the sandwich to sum-up functions. As an architect, I have also reflected about the values that this material has for architecture as a discipline and thus, about the interest that the CLC will arise in the design fields. These are some conclusions that I have drawn: If one of the challenges of art, architecture and design is for them to be representatives of their times, I believe that the CLC is an interesting material to be explored as an exponent of today’s material culture. It represents a contemporary notion of materiality due to its molecular chemistry process of manufacture, the micrometrical scale of its components, and the multiplicity of its functioning capacities. It is also a material that interacts and communicates, and it is endowed with a form of “intelligence” and “sensitivity”. All these are unprecedented features in the traditional field of materials and thus designers lack direct cultural references to approach it. The CLC is representative of a number of new materials that question the disciplinary critical instruments based on traditional aesthetics. I believe that to engage such a deep challenge that questions the very heart of disciplinary theory and that is a socio-cultural commitment is one of the most suggestive stimuli that can trigger a design work. Leading designers would not let this opportunity to pass. Specifically, there are two paradigms already settled in the architecture practice and research where the CLC can play a relevant role: one has a functional nature and the other is in the aesthetic realm being both related. I am referring firstly to the question of sustainable design and dynamical building enclosures, and secondly to the nowadays shift into the design value of transparency. From the 60’s onwards, the notion that contemporary human environments are not passive wrappings but active processes is an idea that

Advantages

forms part of the architectural imaginary. It has generated multiple theoretical speculations, buildings and material production. The CLC is a fruit of this paradigm. The current necessity of energy savings claims for architectural materials and systems that dynamically adapt to the changing complex climate phenomenon. The CLC actively and interactively changing optical properties responds to this commitment. It also can make its contribution to the contemporary demand for flexible, adaptable and multifunctional buildings due to the unstable current and evolving nature of human environments. The external image of a corporation can be renewed with a switch. Also, a CLC placed in an interior can affect the internal visual composition and privacy of the spaces, cutting or amplifying perspectives, visually connecting or isolating rooms, etc. Regarding the coloration and transparency gradation qualities of the CLC, I am aware that they can contribute to an ongoing architectural production that reviews light as an architectural meta-attribute. This shift, respect modernist transparency is triggered both by the previous mentioned sustainable concern and also by the recognition that white and transparency have become clichés in architecture. Herzog and de Meuron (2001 Pritzker prize) could be mentioned as leading figures of this approach. They challenge all kinds of materials including the transparent ones to generate, among other questions, new meanings. Instead of the modernist like that works with absolute features of the materials such as transparency and its mere functional attributes like neutral light, H&M search for intermediate and secondary qualities in materials, namely the iridescent characteristic of the CLCs, in its off state. The new techniques of production allow them to incorporate to traditional plain materials, textures, shadows and patterns, like the ones that can emit a CLC in the on state. They also look for the engagement of the material to the shape of the building and its location, and they search for the interplay of the material, the viewer and the phenomenon. As seen before, the CLC can perform in this way. Its color depends on its orientation, the light source, the surroundings, and the point of view. It can also dynamically change its level of tincture according to the environment and individuals inputs. For all these reasons I firmly believe that CLC should be part of the pallet of these architects and others that with their work rethink the ornamental and semantic qualities of design materials. Summing up the advantages of the CLC over its possible technological competitors, it excels at its very specific and exclusive features that meet some precise demands other materials cannot face. The benefits mentioned above have functional and aesthetic implications and have especial repercussions in the realm of sustainability. Also, it is a material full of suggestions that will 19

Producción académica. Arquitectura y materialidad

280

challenge design professions to rethink the contemporary building and urban environment. Other Possible Applications I have mostly focused on what the material means for architecture. However, I think that the CLC also has possibilities in the performing arts and design the fields. I believe that the lighting and coloring possibilities of the CLC can also be very interesting on the stage arena, moreover if it behaves as an interactive material with the performers and the audience. I.E., I have checked in the prototype, that exerting with different pressures its metallic wired connections; the tincture degree of the CLC varies. This make me think of a possible performance where strings connected to CLCs and being plunked by a musician, would cause changes in the material as well as in the ambience light. Objects such as switchable sun glasses can also incorporate this technology. Suggestive color collections can be produced with the added value of having neutral lenses whose opacity can be changed at one’s discretion at a switch since the low voltage needed is provided by small portable batteries. Finally, I would like to suggest two “low tech” non-switchable versions of the CLC: First, there is a possibility of applying the technology to objects that can take advantage of the color changing achieved when a polarizer and the liquidcrystal layer are turned over a second polarizer, i.e. a watch, whose face is a CLC, would also fit into its possible applications. No numbers or hands should be needed to read the time since the progressive transition of colors would indicate it. The other variety I consider is one that substitutes the nematic liquidcrystal cell for a single layer of specific liquid-crystals that react whether to damp, temperature or specific chemicals. This material can be applied for instance to a build façade, an urban land mark or an interior object, functioning as public interfaces making visible, with a color code, weather conditions or pollution levels of the environment amongst other instances,(fig 7)..

CLC Prototypes Series &

ECD + Servo Experiments

Rosana Rubio-Hernández

281

27 28

Producción académica. Arquitectura y materialidad

282

Rosana Rubio-Hernández

283

Producción académica. Arquitectura y materialidad

284

Rosana Rubio-Hernández

285

Producción académica. Arquitectura y materialidad

286

Rosana Rubio-Hernández

287

1-2

Vivienda en Connecticut. Posthuman Domesticity Producción académica. Arquitectura y materialidad

288

Rosana Rubio-Hernández

289

Fachada de CLC deformable Producción académica. Arquitectura y materialidad

290

Rosana Rubio-Hernández

291

Publicaciones indexadas. Resultado de la investigación. CLC. Colored Liquid Crystal

Pérez Guembe, Elena y Rosana Rubio -Hernández “Mille-Oeille: An architectural response to zoos’ obsolescence in post-anthropocentric times.” In DATA, MATTER, DESIGN: Strategies in Computational Design, eds. Nancy Diniz, Frank Melendez and Marcella del Signore. London: Routledge, 2021. ISBN 978-0-367-36909-5. pp. 259-265. Indicios de calidad: JUFO (nivel 3)

Producción académica. Arquitectura y materialidad

294

Rosana Rubio-Hernández

295

Producción académica. Arquitectura y materialidad

296

Rosana Rubio-Hernández

297

Producción académica. Arquitectura y materialidad

298

Rosana Rubio-Hernández

299

Producción académica. Arquitectura y materialidad

300

Rosana Rubio-Hernández

301

Publicaciones indexadas. Resultado de la investigación. CLC. Colored Liquid Crystal

Pérez Guembe, Elena y Rosana RubioHernández “Reconceptualising zoos through Mille-oeille: A posthuman techno-architecture to sustain human, non human and cultural continuum” in Virtual aesthetics in architecture: designing in mixed realities, ed. Sara Eloy, Anette Kreutzberger and Ioanna Symeonidou. London: Routledge, 2021. ISBN: 9781032023731 (publicación 31-082021) Indicios de calidad: Registro de Publicaciones de Finlandia JUFO (nivel 3). Publicación en inglés. Amplia difusión internacional.

Reconceptualizing zoos through Mille-oeille: A posthuman techno-architecture that sustains a human/ non-human/cultural continuum

Under this post-anthropocentric approach, which also “enlists science and technology studies, new

Elena, PÉREZ GUEMBE, TU Delft, Architecture + Built Environment, e.perezguembe@gmail.com

human and non-human continuum and thus, is ethically coherent with our times?

Rosana, RUBIO HERNÁNDEZ, Tampere University, Faculty of Built Environment, School of Architecture, rosana.rubiohernandez@tuni.fi

Methodology

media and digital culture, environmentalism and earth-sciences, bio-genetics, neuroscience and robotics, evolutionary theory, critical legal theory, primatology, animal rights, and science fiction” (Braidotti, 2013, p.57), the question at play is: how can we reconceptualize architecturally an idea of zoo that sustains the

In order to answer this question, we have applied a research through design method, a “designerly inquiry Introduction

focused on the making of an artefact with the intended goal of societal change” (Roggema, 2017, p.3). Mille-oeille was originally conceptualized in 2007 to rethink zoos’ obsolescence and graphically revised

COVID-19 pandemic has evidenced once more not only the human continuum with other species and

in 2018, with occasion of its participation at the 16th Architecture Venice Biennale (European Cultural

nature, but our violent human-animal interaction together with a human interference that has become

Centre, 2018). It is a symbiotic artefact, a techno-architectural pavilion coexisting with its environment,

an environmental and social problem of global scale altogether. Thinking beyond anthropocentrism has

that owns its name to the French cake mille-feuille and oeil, meaning ‘eye’ in English. This is, ‘thousand

become an historical imperative and, with it, the way we conceptualize and make architecture, since

layers’ of data and information from the local environment as well as from other ecosystems across the

“ideologies are practices settled in our artefactual surroundings” (Broncano, 2020, p.98).

planet, with ‘thousand eyes’ onto the world that collect the information that Mille-oeille receives and

Zoos, as well as natural history museums and other nineteenth century Western cultural institutions, have been, traditionally, the stronghold of taxidermic goods, colonisation and classifications for more than questionable exhibitions with knowledge production, entertainment and educational purposes. We are facing the necessity of decolonizing historical narratives, unidirectional and lineal forms of thought, as well as the ‘universalization’ of knowledge made by Western culture, constructed over the exclusion of all kind of “sexualized, racialized and naturalized ‘others’” that were not recognized as being part of humanity and therefore were not considered as subjects of knowledge (Braidotti, 2013, p.27). The idea of ‘this man of reason’ these built environments were constructed upon, is rooted in a mind-body divide, which is crucial for Western thought since the Enlightenment and most cultures on Earth do not share (Descola, 2009, 2013; Viveiros de Castro, 2015; Braidotti, 2020), created a sense of exceptionalism over any other species and bodies, including nature as an endless supply for exploitation. The scale of

displays. It incorporates innovative use of technologies, including augmented reality (AR) and climate simulation, which is embedded in a multi-layered smart envelope that offers a unique form of beneficial engagement with natural phenomena while supporting energy conservation. Thus, to design this material, we applied an empirical scientific method, using an iterative process of prototyping and testing. As new forms of thinking and being in the world may need to be expressed by other type of materialities, a Colored Liquid Crystal (CLC) is prototyped in parallel to the architectural proposal, to solve and express the qualities and potential of new aesthetical and sustainable paradigms for this specific project. Consequently, we address the environmental and social sustainability concerns that drive the research, both at the building and at the material scale. Further, a conducted scientific literature review and the analysis of case studies, provide a concrete theoretical framework that validates Mille-oeille as a coherent theoretical response with the potential to become real.

devastations in recent times urgently require new forms of thinking and new ethical commitments.

Mille-oeille’s precedents and state of the art

Situated at the tension of the convergence of the Fourth Industrial Revolution and the Sixth Great

Zoo design has experienced a big evolution in the last century, from not paying much attention to animal

Extinction (also called the Anthropocene), Mille-oeille, a speculative techno-architecture alternative to

habitats to the recreation of naturalistic environments that try to mimic animals’ original ecosystems.

the traditional zoo, aims to move beyond anthropocentrism sharing a ‘vital materialism’ (Deleuze, &

Although, these technical improvements pay off by gaining a better status for the animals, the major issue

Guattari, 1994) sensitivity within the posthuman condition.

of keeping living beings in captivity remains still as “one of the last gasps of the modern era” (Morton, 2013, p.201). It is to respond to such a fundamental question when comes into play what geographer Gail

Producción académica. Arquitectura y materialidad

304

Rosana Rubio-Hernández

305

Davies terms the ‘electronic zoo’: “an emerging form of animal display […] as informational patterns in

interaction, we looked back at 1960s immersive and multisensory spatial designs, where artists and

multi-dimensional electronic spaces […] [where] digital imaging, the internet and virtual reality, take

architects were collaborating together from the very beginning (Rubio-Hernandez, 2016), looking for

their place alongside more stablished technologies such as film, photography and television. These offer

‘radical juxtapositions’, in Susan Sontag’s words (2009). Relevant to this research is the so-called Movie-

new ways of conceiving of and portraying natural history, and introduce the possibility of different

Drome, conceived by the experimental filmmaker and media artist, Stan VanDerBeek. His experiment

relationships between human and animal experiences” (Davies, 2000, p.244).

consisted on an immersive experience of a mixture of light, sound, photographs, and news performed, in real time, at a geodesic dome built in the north of New York State. The artist aimed for his installation

The ‘electronic zoo’ model is already implemented, partially or fully, in various ways. On the one hand, traditional zoos increasingly incorporate new technologies for displaying and representing animals. For instance, Animal Kingdom, in Florida, offers a mixture of technological shows of virtual prehistoric animals and real animal displays. Other interventions aim to enhance the physical experience through digitalisation. technology-based interventions include education and entertainment materials through gamification, virtual navigation, mobile learning applications, digital content management systems,

to be a planetary experience played, simultaneously, in other Movie-Dromes that potentially could be scattered around the world (Sutton, 2003). This multiplication and simultaneity of multimedia information is identified by Beatriz Colomina (2001) as a ‘new form of distracted perception’: a different way of generating and perceive reality far away from bounded narratives, which is generative in itself and intrinsically aimed for a planetary communication, which, in reality, does not differentiate much from contemporary pervasive information and telecommunication technologies usage.

and AR (Wibotzki & Wichman, 2019). Being this latter system identified by studies as optimal for not

Mille-oeille builds upon these precedents aiming at generating innovation by critically adopting, mixing,

distracting from the physical space, as other technologies do (Karlsson et al., 2010; Kelling & Kelling,

transforming and improving them conceptually, aesthetically and technologically.

2014; Perry et al., 2008). In addition, new technologies are implemented to intervene in, and influence, human-animal relationships and, further, being the animal-computer interaction a fully stablished research area (Webber et al., 2017).

“Augmented reality creates coexistent spacial realities, in which anything is possible, anywhere!”

On the other hand, completely virtual solutions are gaining attention. For example, the pioneering,

ManifestAR group, 2011

Wildscreen-at-Bristol, planned as part of the UK Millennium Projects, to be the world’s first wildlife

How do we resolve the important socio-cultural dimension related to the actual visit of a zoo as a

media attraction, which combined in-place accessible IMAX cinema, and an Internet accessible database

relevant part of this experience (Hallman and Benbow, 2007; O’Hara et al., 2007; Sickler, & Fraser, 2009)

about endangered species in the world, the Wildscreen’s Arkive (2003). State of the art AR technology

considering a just setting for all, humans and non-human entities? How can we make a wise use of

is being applied in zoos and other programs dealing with animals for entertaining or education. For

technology to satisfy a relevant experience with the avoidance of living beings in captivity; without losing

instance, the German Roncalli circus (Miley, 2019), where Optoma ZU850 laser projectors were used to

research, informative, educational and entertaining purposes; sustaining at the same time, a human/

provide a 32-meter wide arena with 5 meters of depth and 360-degree visibility for the entire audience.

non-human continuum?

Another similar AR application, used for educational purposes, was the programme Who do you Think You Really Are? presented at the Natural History Museum in London (2011), where the audience could watch and engage with life- size dinosaurs and other extinct creatures roaming around the museum.

Mille-oeille is installed in ‘encapsulated’ habitats (Sloterdijk, 2016), all unique in the way humans and free or domesticated animals and nature have stablished a reciprocal relationship, such as in reserves, veterinary farms, animal therapy centres or national parks. All these instances being ‘atmospheric

Although the electronic zoo big achievement is to avoid animal encasement, we recognise that the model

spheres of existence’, ‘bubble-worlds’ ‘foaming together’, while remaining existentially apart (Ibidem);

still carries controversies inherited from the traditional zoo, such as linear, unidirectional narratives

all unique places and diverse paradises where the coexistence between animals and humans has been

and taxonomical perspectives. Further, it poses new and varied challenges such as privileging the visual

deeply cultivated over time.

experience over a multi-sensorial one, or at other times, an excessive disengagement with nature. Searching for other models of inspiration, although not applied to programs related to human-animal Producción académica. Arquitectura y materialidad

306

A posthuman techno-architecture that sustains the human and non-human continuum

Multiple Mille-oeille pavilions are distributed throughout the globe, configuring or ‘foaming’, a vast information network. They receive images, data and objects from scientific expeditions and experts Rosana Rubio-Hernández

307

around the globe. Cameras used by scientists in the field are the pavilions’ eyes onto the world. The

interfaces have to be flexible and robust and the tracking system moving around the audience has to be

images that they record are transmitted and projected in real time using holographic-based AR, which is

reliable for AR systems to be successful in this kind of environment (Barry et al., 2012). However, in our

considered as an ideal solution to provide 3D visuals (although, still to be perfected) (He et al., 2019). The

view, in order to create the most effective illusion, the way in which the AR is woven into the physical

pavilions’ appearance changes according to the number of projections occurring at the same time. The

space is extremely important. Therefore, Mille-oeille is more of an architectural interface of transitory

transparency level of their membranous interior fluctuates to accommodate incoming transmissions,

qualities, which is able to express the different conditions that affect it. (Fig. 1) (for more information

and, in addition, when looked from the outside, the darkening of the envelope informs the visitor from

about the technical aspects of Mille-oeille’s see Pérez-Guembe & Rubio-Hernández, 2021).

the surrounding park when a projection is taking place. The exhibition is organized by selecting one meridian of the globe and the expeditions taking place in that part of the Earth. This allows the visitor to experience multiple ecosystems and different environmental conditions.

Mille-oeille and the Garden of the Earthly Delights. Discussion & Conclusion In Mille-oeille, the environment, technology, AR, new media and the arts are choreographed through a

Morphologically and programmatically, Mille-oeille consists on a flattened spherical exoskeleton where

bio-techno-architecture of concrete materialities, following a human-animal-nature-culture continuum

other animals can nest, creating other local ecosystems in symbiosis with the building. Its interior consists

principle that understands life as a holistic collaboration of symbiotic relationships (Margulis & Sagan,

in a concentrically arrangement of a rosary of interconnected spheres of diminishing diameter: from the

1995).

biggest, at the centre of the pavilion, where AR holographic images and environmental conditions are recreated, and multi-sensorial experiences take place; to the smaller ‘bubbles’ at the periphery, where

It stresses the phenomenological experience, the embedded and the embodied, supporting and active

visitors can consult a detailed database. In between both annular regions, guests can pass through a section

visitor engagement with knowledge creation, educational and entertainment goals. It moves beyond

containing objects brought back from expeditions that can be studied. Visitors enter Mille-oeille from

unidirectional views, gathering information from expeditions and animals’ studies rather than the

the centre, where the exoskeleton lays on the ground, meandering towards the periphery. The periplus

animals themselves. In addition, it avoids any overemphasis of the visual over other senses, or excessive

within the pavilion consists on an ‘augmentation’ experience in a broad sense: “a palimpsest-like process

disengagements from nature, placing interconnected pavilions in varied ecosystems, ‘diverse paradises’,

of overlapping information” (Gheorghiu & Stefan, 2014, p.257). The skin of Mille-oeille’s inner volume is

‘Gardens of Earthy Delights’, and generating others themselves. This sort of techno-cephalopod of

a multi-layered responsive envelope that changes its transparency, tincture and coloration dynamically,

architectural dimensions and morphing skin, placed and connected across the globe, advances spatio-

modulating the natural light coming in, for optimal holographic projection-based AR and visualization,

temporal concepts in architecture such as: simultaneity and ubiquity, the multi-temporal and multi-

responding to different transitory conditions. Further, it can filter both visible and thermal radiation

scalar, “merging the cyberspace with the physical space”, and creating “a knowledge-intensive society”,

to avoid energy loss. Altogether, the exoskeleton and the metamorphic envelope of the pavilion, create

tying to the Society 5.0 paradigm (Deguchi, 2020, pp.6, 15), which advances the Fourth Industrial

a moiré-like effect, an scheme that works as the peripheral nervous system of a cephalopod, creating

Revolution (ibidem). In addition, the CLC design with the AR premises for image adequacy, site-specific

dynamically controlled fade washings, iridescences and pulsations, with a behavioural plasticity which

and site-augmentative possibilities, together with the magic, the artistic and aesthetical potential, that

responds to different stimuli , such as the amount of visual information it is fed with, programmatic

both elements bring together, imply a provocative and poetical approach to scientific content. Mille-

requirements and weather conditions.

oeille purposes to be a technological apparatus “far more complex and generative than the prosthetic, mechanical extension that modernity had made of it” (Braidotti, 2013, p.83). Through this project we

Mille-oeille not only proposes a sensitive use of technology but also reformulates architecture from a

actively aim “to reinvent subjectivity actualizing a relational self [in process of becoming] that functions

phenomenological point of view in relation to form, materiality and spatial perception, including the

in a nature-culture continuum and is technologically mediated” (íbidem). The vitality of this bond is

aesthetic potential of AR. In order to enhance seamless perceptual depth through the spatial layering of

based on the fact that we are all entities who share this planet.

the building, it avoids the use of headsets, screens or other obtrusive devices, instead proposing gloves as a kind of interactive device, together with holographic projection-based AR, which today could be achieved with a technology similar to the one used in the Roncalli Circus. Experts agree that viewing Producción académica. Arquitectura y materialidad

308

Rosana Rubio-Hernández

309

Figure 1: Mille-oeille: how it works and what is made of.

Producción académica. Arquitectura y materialidad

310

Figure 2: Mille-oeille and the Garden of the Earthly Delights.

Rosana Rubio-Hernández

311

References Barry, A., Trout, J., Debenham, P. & Thomas, G. (2012). Augmented Reality in a Public Space: The Natural History Museum, London. Computer, 45, 42-47. Braidotti, R. (2013). The Posthuman. Cambridge, UK: Polity Press. ______. (2018). Posthuman Knowledge. Cambridge, UK: Polity Press. ______. (2020). Deleuze and the Humanities: East and West. New York-London: Rowman & Littlefield International. Broncano, F. (2020). Espacios de intimidad y cultura material. Madrid: Ediciones Cátedra. Colomina, B. (2001). Enclosed by images. Grey Room, 2, pp. 6-29. Deleuze G. & Guattari, F. (1994). What is Philosophy? New York: Columbia University Press. Gheorghiu, D. & Stefan, L. (2014). Augmenting the Archaeological Record with Art: The Time Maps Project. In Geroimenko, V. (Ed.). Augmented Reality Art: From and Emerging Technology to a Novel Creative Medium (pp. 255-276). Cham: Springer International Publishing. DOI:10.1007/978-3-319-06203-7. Davies, G. (2000). Virtual animals in electronic zoos: The changing geographies of animal capture and display. In Ch. Philo & Ch. Wilbert (Eds.). Animal Spaces, Beastly Places (pp.243-265). London: Routledge. Deguchi A, Hirai Ch, Matsuoka H, Nakano T, Oshima K, Tai M and Tani S (2020) “What Is Society 5.0?”. In Hitachi-UTokyo Laboratory (Ed.). Society 5.0. A People-centric Super-smart Society (pp. 8–40). Singapore: Springer Singapore Pte. Limited. Descola, P. (2009). Human natures. Social Anthropology, 17(2), 145-57. Descola, P. (2013). Beyond Nature and Culture. Chicago: University of Chicago Press. European Cultural Centre (Ed.). (2018). Time, Space, Existence. Venice: GAA Foundation-European Cultural Centre. Hallman, B.C. & Benbow, S.M.P. (2007). Family leisure, family photography and zoos: exploring the emotional geographies of families. Socio Cultural Geography, 8, 871-888. He, Z., Sui, X., Jin, G. & Cao, L. (2019). Progress in virtual reality and augmented reality based on holographic display. Applied Optics, 58, A74-A81. Karlsson, J. ur Réhman, S. & Li, H. (2010). Augmented reality to enhance visitors experience in a digital zoo. In the Proceedings of the 9th International Conference on mobile and ubiquitous multimedia, 2010-12-01 (pp. 1-4). New York: ACM. Kelling, N. & Kelling A. (2014). Zooar: Zoo based Augmented Reality Signage. In the Proceedings of the Human Factors and Ergonomics Society Annual Meeting 2014-09, Vol.58 (1) (pp. 1099-1103). Los Angeles: SAGE publications. ManifestAR group. (2011). AR Art Manifesto. Retrieved from http://manifest-ar.art/ Margulis, L. & Sagan, D. (1995) What is Life? Berkeley: University of California Press.

Producción académica. Arquitectura y materialidad

312

Miley, J. (2019). German circus replaces animals with stunning holograms. Circus Roncalli says no to animal cruelty and yes to technology. Interesting Engineering. Retrieved from https://interestingengineering.com/ german-circus-replaces-animals-with-stunning-holograms. Morton, T. (2013). Hyperobjects: Philosophy and Ecology after the End of the World. Minneapolis: University of Minnesota Press. Natural History Museum, London. (2011, March 16). Who do you think you really are? [video file]. Retrieved from https://www.youtube.com/watch?v=A_3bQsO4nFA O’Hara, K., Kindberg, T., Glancy, M. Baptista, L., Sukumanran, B., Kahana, G. & Rowbotham, J. (2007). Collecting and sharing location-based content on mobile phones in a zoo visitor experience. Computer Supported Cooperative Work, 16, 11-44. Pérez-Guembe, E. &Rubio-Hernandez, R. (2021). Mille-oeille: An architectural response to zoo’s obsolescence in post-anthropocentric times. In F. Melendez, N. Diniz & M. del Signore (Eds.) Data, Matter, Design. Strategies in Computational Design (pp. 259-266). London: Routletdge. Perry, J., Klopfer, E., Norton, M., Sutch, D., Sandford, R., & Facer, K. (2008). AR Gone Wild: Two Approaches to Using Augmented Reality Learning Games in Zoos. In G. Kanselaar, V. Jonker, P. A. Kirschner & F. J. Prins (Eds.). International Perspectives in the Learning Sciences: Cre8ing a learning world. Proceedings of the Eighth International Conference for the Learning Sciences – ICLS 2008 : Vol. 3 (pp. 322-329). Utrecht: International Society of the Learning Sciences. Roggema, R. 2017. Research by design: Proposition for a methodological approach. Urban Science, 1(1), 1-19. Rubio-Hernández, Rosana. (2016). El vidrio y sus máscaras: El sueño de la arquitectura de cristal (Unpublished doctoral dissertation) Universidad Politécnica de Madrid, Spain. Retreived from http://oa.upm.es/40455/. Sloterdijk, P. (2016). Spheres. Volume 3, Foams: plural spherology. South Pasadena: Semiotexte. Sickler, J., Fraser, J. (2009). Enjoyment in zoos. Leisure Studies, 28, 313-331. Sontag, S. (2009). Happenings: an art of radical juxtaposition. In Susan Sontag, Against interpretation and Other Essays. (pp. 263-274). New York: Penguin Classics. Sutton, G. (2003). Stan VanDerBeek’s Movie-Drome. Networking the Subject. In J. Shaw & P. Weibel (Eds). Future cinema: The cinematic imaginary after film. Cambridge, MA: MIT Press. Viveiros de Castro, E. (2015). The Relative Native: Essays on Indigenous Conceptual Worlds. Chicago: HAU Press. Webber, S., Carter, M., Smith, W., Vetere F. (2017). Interactive technology and human-animal encounters at the zoo. International Journal of Human Computer Studies, 98, 150-168. https://doi.org/10.1016/j.ijhcs.2016.05.003. Wibotzki, M. & Wichman, J. (2019). “Analyze & focus your intention” as the first step for applying the digital innovation and transformation process in zoos. Complex Systems Informatics and Modelling, 20, 89-105. Wildscreen’s Arkive. 2003. Retreived from https://www.wildscreen.org/arkive-closure/

Rosana Rubio-Hernández

313

Ponencia en congreso. Resultado de la investigación. CLC. Colored Liquid Crystal

Rosana Rubio-Hernández “CLC a Colored Liquid Crystal.Prototype Description and Design Opportunities” Tipo de participación: Ponencia seleccionada, revisión por pares. Congreso: 11th International Conference: Glass Performance Days. Lugar de celebración: Tamprere, Finlandia. Publicación en actas: ISBN: 978-952-5836-01-1, pp. 274-279.

Producción académica. Arquitectura y materialidad

316

Rosana Rubio-Hernández

317

Producción académica. Arquitectura y materialidad

318

Rosana Rubio-Hernández

319

Producción académica. Arquitectura y materialidad

320

Rosana Rubio-Hernández

321

Participación en exposiciones con catálogo. Resultado de la investigación. CLC. Colored Liquid Crystal

Pérez Guembe, Elena y Rosana Rubio-Hernández Mille-Oeille: Environmental Zoo 16 Bienal de Venecia 2018 Palazzo Bembo, Venecia, Italia Catálogo: European Cultural Centre, ed.. “Data & Matter”, en Time, Space, Existence, 410-413. Venecia: GAA Foundation - European Cultural Centre, 2018. ISBN: 978-90-826559-3-3.Textos en inglés, amplia difusión internacional.

Producción académica. Arquitectura y materialidad

324

Rosana Rubio-Hernández

325

Organización de reuniones científico-técnicas y exposiciones. Resultado de docencia en UVA, School of Architecture

“Chromogenic Materials Agents of Architecture” University of Virginia School of Architecture 0-03 / 31-05-2010 Resultados de la investigación realizada como Virginia Teaching Fellow. En colaboración con Prof. Cassandra Fraser. UVA, Chemistry Dpt. La exposición consistión en una muestra de los proyectos construidos por los alumnos del seminario Through Glass Paradoxes, impartido dentro del programa Special Topics in Architecture de la Universidad de Virginia (UVA), en el que se explora el manejo de la luz en la arquitectura y el diseño. La exposición incluye un stand interactivo en el que el público interactúa con el pigmento BF2AVB, desarrollado por Prof. Fraser, que exhibe inusuales y “fugitivos” comportamientos ópticos.

Producción académica. Arquitectura y materialidad

328

Rosana Rubio-Hernández

329

Producción académica. Arquitectura y materialidad

330

Rosana Rubio-Hernández

331

Proyectos de investigación financiados. Fundación Rafael Escolá

Investigación sobre fachadas de vidrio activo Desarrollo de un prototipo de vidrio electrocrómico 01-09-2002 / 30-07-2004

Investigación sobre fachadas de vidrio activo Desarrollo de un prototipo de vidrio electrocrómico El objetivo de la investigación consiste en trazar el estado de la cuestión de las fachadas de vidrio activo y localizar la tecnología más indicada para desarrollar un prototipo. Tras esta investigación se decide desarrollar un prototipo de vidrio electrocrómico pixelado en colaboración del Laboratorio Angstrom de la Universidad de Upsala. El resultado es un elemento que conjuga la capacidad informativa y de regulación energética de la fachada de forma dinámica en función de diversos estímulos.

Duración: un año y 11 meses Entidades participantes: Fundación Rafael Escolá, Guardian Glass, Laboratorio Angstrom Universidad de Upsala. Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 4 Financiación: 165. 600 E Resultados: -1 artículo -1 premio nacional de investigación -3 ponencias en congresos (Ver resultados a continuación)

Publicaciones indexadas. Resultado de la investigación fachadas de vidrio activo

Producción académica. Arquitectura y materialidad

336

Rosana Rubio-Hernández

337

Producción académica. Arquitectura y materialidad

338

Rosana Rubio-Hernández

339

Producción académica. Arquitectura y materialidad

340

Rosana Rubio-Hernández

341

Producción académica. Arquitectura y materialidad

342

Rosana Rubio-Hernández

343

Producción académica. Arquitectura y materialidad

344

Rosana Rubio-Hernández

345

Producción académica. Arquitectura y materialidad

346

Rosana Rubio-Hernández

347

Producción académica. Arquitectura y materialidad

348

Rosana Rubio-Hernández

349

Producción académica. Arquitectura y materialidad

350

Rosana Rubio-Hernández

351

Premios de investigación. Resultado de la investigación sobre fachadas de vidrio activo

Producción académica. Arquitectura y materialidad

352

Rosana Rubio-Hernández

353

Proyectos de investigación financiados. GSAPP, Columbia University & distintos agentes del sector de los materiales

Material Matters Trace a series of time line diagams that offers a panoramic view of the technological and cultural history of four buinding materials: glass, concrete, metals and plastics.They are old materials in the context of humanity, whose development has been accelerated exponentially in the last two hundred years. Theoretical and technical applications have inevitably change- and continue to change- the role of these materials in architecture and engineering. The research consists on a visual record-a timeline-that traces the way in which these materials are ever-evolving; substances with the capacity to inspire architects and engineerse in endless ways, to inform determinately the building environment, and thus to impact our way of living. The results of this part-time five-year project were shown at the Columbia Conferences on Architecture, Engineering and Building Materials and in various international travelling exhibitions. A further result of this research is a textbook on the sustainable aspects of the materials studied and others (including wood and stone). Resultados: -1 artículo en revista indexada -Muestra en el Pabellón de España de la 16 Bienal de Venecia . -4 contribuciones en congresos internacionales -1 reunión cientifico técinica -4 exposiciones con 9 itineracias internacionales -Reseñada en 4 libros -Un libro de texto (en proceso) (Ver selección de resultados a continuación)

Material Matters

-Título del proyecto: Plastic Chains: -Título del proyecto:Concrete Trajectories:

Timeline of Plastics in Architecture and Engineering Timeline of Concrete in Architecture and Engineering

Duración: 7 meses (01-09-2010 / 31-03-2011) Duración: 5 meses (01-06-2008 / 30-10-2008) Entidades participantes: GSAPP, Columbia University; Entidades participantes: GSAPP, Columbia University; The Vinyl Institute Lafarge Investigador responsable: Rosana Rubio Hernández Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 2 nº de investigadores participantes: 2 Financiación: 12.000 $ Financiación: 12.000 $ -Título del proyecto:Metalsmyths: -Título del proyecto:Through Glass: Timeline of Metals in Architecture and Engineering Timeline of Concrete in Architecture and Engineering

Duración: 5 meses (01-05-2009 / 30-09-2009) Entidades participantes: GSAPP, Columbia University; The American Institute of Steel Construction Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 2 Financiación: 12.000 $

Duración: 5 meses (01-01-2007 / 31-06-2007) Entidades participantes: GSAPP, Columbia University; Oldcastle Glass Investigador responsable: Rosana Rubio Hernández nº de investigadores participantes: 1 Financiación: 12.000 $

Participación en congresos , organización de Contribuciones eventos científicos en congresos. y exposiciones. Resultados Resultados de la investigación de la investigación Material Maters

Poster/exposición: “Plastic Chains. Timeline of Plastics in Architecture and Engineering” - Seminario y exposición. Semana de la Ciencia 2011. Universidad Pontificia de Salamanca. 07-11 / 20-11-2011 - Participcación en congreso: Permanent Change. Plastics in Architecture & Engineering. GSAPP, Columbia University. 30-03 / 30-04- 2011 Indicios de calidad: Bell, Michael and Craig Buckley, ed. Permanent Change. Plastics in Architecture and Engineering. Nueva York: Columbia GSAPP, Princeton Architectural Press, 2014. ISBN: 978-1-61689166-4. Incluye reseña de la exposición “Plastic Chains” .Textos en inglés, amplia difusión internacional.

Producción académica. Arquitectura y materialidad

358

Rosana Rubio-Hernández

359

Producción académica. Arquitectura y materialidad

360

Rosana Rubio-Hernández

361

Producción académica. Arquitectura y materialidad

362

Rosana Rubio-Hernández

363

Producción académica. Arquitectura y materialidad

364

Rosana Rubio-Hernández

365

Participación en congresos y exposiciones. Resultados de la investigación Material Maters

“Metalsmyths. Timeline of Metals in Architecture and Engineering” - Exposición: University of Virginia School of Architecture 30-03 / 31-05-2010 -Participcación en congreso: Post Ductility. Metals in Architecture & Engineering. GSAPP, Columbia University. 30-09 / 31-10-2009 Indicios de calidad: Bell, Michael and Craig Buckley, ed.PostDuctility. Metals in Architecture and Engineering. Nueva York: Columbia GSAPP, Princeton Architectural Press, 2012. ISBN: 978-1-61-689-046-9. Incluye reseña de la exposición “Metalsmyths”. Textos en inglés, amplia difusión internacional.

Producción académica. Arquitectura y materialidad

368

Rosana Rubio-Hernández

369

Producción académica. Arquitectura y materialidad

370

Rosana Rubio-Hernández

371

Producción académica. Arquitectura y materialidad

372

Rosana Rubio-Hernández

373

Participación en congresos y exposiciones. Resultados de la investigación Material Maters

“Concrete Trajectories. Timeline of Concrete in Architecture and Engineering” - Exposición: University of Virginia School of Architecture. 30-03 / 31-05-2010 -Participcación en congreso: Solid States. Concrete in Architecture & Engineering. GSAPP, Columbia University. 01-10 / 31-102008 Indicios de calidad: Bell, Michael and Craig Buckley, ed. Solid States. Concrete in Transition. Nueva York: Columbia GSAPP, Princeton Architectural Press, 2010. ISBN: 978-1-56898-895-5. Incluye reseña de la exposición “Concrete Trajectories”. Textos en inglés, amplia difusión internacional.

Producción académica. Arquitectura y materialidad

376

Rosana Rubio-Hernández

377

Producción académica. Otras investigaciones y proyectos docentes

378

Rosana Rubio-Hernández

379

Producción académica. Arquitectura y materialidad

380

Rosana Rubio-Hernández

381

Producción académica. Otras investigaciones y proyectos docentes

382

Rosana Rubio-Hernández

383

Participación Contribuciones en congresos en congresos y esposiciones. Resultados de la investigación Material Maters

“Through Glass. Timeline of Architecture and Engineering”

Glass

-Exposiciones: . b-e-c-o-m-i-n-g. 16 Bienal de Venecia 26-05 / 25-11-2018 . University of Virginia School of Architecture 30-03 / 31-05-2010 -Participcación en congreso: Engineered Transparency. Glass in Architecture & Engineering. GSAPP, Columbia University. 26-09 / 31-10-2007 Indicios de calidad: Ministerio de Fomento de España, ed. becoming. Madrid: Ministerio de Fomento, Fundación Arquia, 2018. ISBN: 978-84-0901748-5 Incluye reseña de la investigación “Through Glass”. Textos en inglés y castellano. Amplia difusión internacional.Difusión on-line: http:// b-e-c-o-m-i-n-g.com/ Bell, Michael and Jeannie Kim, ed. Enigneered Transparency. The Technical, Visual and Spatial effects of Glass. Nueva York: Columbia GSAPP, Princeton Architectural Press, 2009. ISBN: 978-1-56898-798-9. Incluye reseña de la exposición “Through Glass”.Textos en inglés, amplia difusión internacional.

Participación Contribuciones en congresoseny congresos exposiciones. Resultados de la investigación Material Maters

Producción académica. Arquitectura y materialidad

386

Rosana Rubio-Hernández

387

Producción académica. Arquitectura y materialidad

388

Rosana Rubio-Hernández

389

Producción académica. Arquitectura y materialidad

390

Rosana Rubio-Hernández

391

Producción académica. Arquitectura y materialidad

392

Rosana Rubio-Hernández

393

Publicaciones indexadas. Resultados de la investigación Material Maters

Rosana Rubio-Hernández “Cultura Material. Una entrevista con Richard Sennett” Revista Arquitectura COAM 363 (2011): 54-55. ISSN: 0004-2706. Indicios de calidad: Avery Index to Architectural Periodicals, RIBA, MIAR, CARHUS, CIRC, Iconda, EAAE, REBIUN, Dialnet.

Producción académica. Arquitectura y materialidad

396

Rosana Rubio-Hernández

397

Libros. Resultados de la investigación Material Matters

Material Matters

Sustainable Building Materials Rosana Rubio

Rosana Rubio-Hernández Material Matters Sustainable Building Materials Libro completo en inglés, 86 pgs. (En proceso de revisión para su edición) (Ver a continuación una selección de páginas)

INTRODUCTION

What does Life Cycle Assesment (LCA) and Environmental What does Life Cycle Assesment (LCA) and Environmental Profile (EP) assesments mean? Profile (EP) assesments mean? _______________________________________________________________ _______________________________________________________________ According Life to BRE According to BRE (UK Building Research Establishment) Cycle(UK Building Research Establishment) Life Cycle Assessment (LCA) is: Assessment (LCA) is: Planet

Planet

“A form of systems analysis in which a product, system, “A form of systems analysis in which a product, system, process or service is assessed against environmental process or service is assessed against environmental -Human-toxicity the release of toxic substances into the The impact categories that help us to assess the repercussion of a project, the release of toxic -Human-toxicity and Eco-toxicity: substances and into Eco-toxicity: the The impact categories that help us to assess the repercussion of a project, impact categories over a defined time period.” impact categories over a defined time period.” atmosphere and water that have serious consequences for human health, material, on the planetand are:water that have serious consequences for human health, material, building component or building on the planet are: building component or building atmosphere wildlife and vegetation, as well as seriously disrupting ecosystems. wildlife and vegetation, as well as seriously disrupting ecosystems. In architecture, theand period of time during which the planet’s materials-Consumption and In architecture, the period of time during which the planet’s materials of and impact on material resources,-Consumption which inclu of and impact on material resources, which inclu energy areinclude transformed the energy are transformed comprises a series of stages which the comprises a series of stages which includedes: -Waste: saturation of the capacity of landfill sites, the noise and smells des: -Waste: the saturation of the capacity of landfill sites, the the noise and smells material’s extraction, its manufacture or processing,material’s its use inextraction, a buildingits manufacture or processing, its use in a building -Mineral extraction: assesses the total amount of mineral emanating fromand them, as well as their toxic emissions, seepages and gases -Mineral amount offrom mineral re saso well u r cas e stheir toxic emissions, emanating them, seepages gases re sextraction: o u r c e s assesses the total project, its useful project, its useful life, and the end of its useful life. Throughout these life, sta- and the end of its useful life. Throughout these sta- extracted compared with their natural reservesextracted from incineration plants, amongst other adverse effects. reserves and theamongst adverseother adverse effects. from incineration plants, and the compared adverse with their natural gesasandefined impactby is made, ges an impact is made, not only on the environment, BRE, not only on the environment, as defined by BRE, environmental effects the extraction activity may environmental effects the extraction activity may cause: noise, cause: noise, but also other two Ps: “People” and “Profit,” which must be conside- contamination and deterioration of the landscape. contamination and deterioration of -Embodied but also on the other two Ps: “People” and “Profit,” which mustonbethe conside-Embodied Energyfor (EE) or primary energy content is a methodology for evathe landscape. Energy (EE) or primary energy content is a methodology evareddevelopment. alongside “Planet” in order to achieve sustainable development. red alongside “Planet” in order to achieve sustainable luating the energy employed in the processes of the extraction of the raw Waterneeded consumption: refers to the volume of water neededinfor luating the energy employed the processes of the extraction of the raw - Water consumption: refers to the volume of -water for materials, manufacture, processing, transport, installation, maintenance and extraction, manufacture and maintenance. materials, manufacture, processing, transport, installation, maintenance and extraction, manufacture and maintenance. Thecontrastable purpose of the LCA is to arrive at an objective and contrastable value - Deforestation: assesses wood consumption from forests The purpose of the LCA is to arrive at an objective and value disposal of thein material. - Deforestation: wood consumption from thatIt have disposal of theforests material. does not not include the energy employed the con-It does not include the energy employed in the conthat have assesses not that canprocess tell us how sustainable a certain product, system, process or ser- been managed according to sustainability criteria. been managed according to sustainability that can tell us how sustainable a certain product, system, or serstruction and criteria. struction and maintenance of the auxiliary equipment needed formaintenance its installa- of the auxiliary equipment needed for its installaviceimpact is. There are a range of values depending on the impact categories vice is. There are a range of values depending on the categories tion, nor the energy of the workforce. tion, nor the energy of the workforce. considered and the values assigned to each of them.considered and the values assigned to each of them. -Consumption fossil fuels: reflecting the depletion of this limited resource. -Consumption of fossil fuels: reflecting the depletion of this limitedofresource. Within fieldtwenof architecture and town planning, over the last twenWithin the field of architecture and town planning, over the last these added together make up what is called the Environmental -Pollution: which causes the following adverse effects: All these factors added together make up what is All called thefactors Environmental -Pollution: which causes the following adverse effects: years, a number of agencies in various countries have devised several ty years, a number of agencies in various countriesty have devised several (EP) areof project, Profile (EP) areof a project, material, component or Profile building and youawill see material, component or building and you will see different LCA protocols different LCA protocols (BREEAM, CASBEE, DGNB, LEED, Green Star, HQE, (BREEAM, CASBEE, DGNB, LEED, Green Star, HQE, - Climate change or global warming (GW): leading to that Element it helps us understand the sustainability of each Element on the diffe- Climate change or global warmingthat (GW): leading disruption tothe thesustainability of each it helps us to understand ontothe diffedisruption to the MINERGIE, etc.),to which MINERGIE, etc.), which issue green labels and certificates testifying the issue green labels and certificates testifying to the climate, rises in sea levels, desertification and the climate, rent ID Datasheets within the book. rises in sea levels, desertification the spread of the diseases, rent ID and Datasheets within book. spread of diseases, ofFig.1). projects, materials, components and buildings (see Fig.1). amongst other problems that are aggravated amongst sustainability of projects, materials, components andsustainability buildings (see other problems that are aggravated by certain gases, by certain gases, These are governed in turn by standards such as the internatio- commonly known as greenhouse gases (carbon dioxide These protocols are governed in turn by standards such asprotocols the internatio_______________________________________________________________ commonly known as greenhouse gases (carbon dioxide (CO2), methane _______________________________________________________________ (CO2), methane nal ISO standard, nal ISO standard, the European CEN or the German DIN. These set outthe theEuropean CEN or the German DIN. These set out the (CH4), nitrogen oxides (NxOy), ozone (O3) and chlorofluorocarbons (CH4), nitrogen oxides (NxOy), ozone (O3) and chlorofluorocarbons principles and respective methods for calculating and assessing the life principles and respective methods for calculating and assessing the life Fig. 1. Some green labels Thematerial, amount of gas emissions produced by a project, material, (CFCs)). The amount of gas emissions produced by(CFCs)). a project, cycle in order to define quantifiable impact categories that be compared construction component or building over its Life Cycle cycle in order to define quantifiable impact categories that be compared People construction or buildingPeople over its Life Cycle is known as its is knowncomponent as its with each are other. with each other. What is not governed by these regulations theWhat as- is not governed by these regulations are the as- “Carbon Footprint” or “Global Warming Potential” (GWP). “Carbon Footprint” or “Global Warming Potential” (GWP). criteria, as it is believed that these should be established based sessment criteria, as it is believed that these should sessment be established based on national systems. on national systems. Depending on the country, priority is given to oneDepending on the country, priority is given to one Governments, scientists and industries are focusing Some of the Governments, and industries most of their Someare of focusing the impact factors thatefaffect the planet also affect theimpact healthfactors and that affect the planet also affect the health and most of theirscientists efcategory or another in the assessment (see Bibl.[1] and Web.[1,2,5,7]). category or another in the assessment (see Bibl.[1] and Web.[1,2,5,7]). wellbeing of people. These include air and water quality (described as “Huforts on minimising about of bypeople. human These activity. One air and water quality wellbeing include (described as “Huforts on minimising the GWP brought about by human activity. One the GWP brought

Fig. 1. Some green labels

+ Sustainability

Sustainability Planet

People

Profit

LCA & EP Assements

LCC Assesment

The LCA is a highly complex procedure, therefore when conducting a deThe LCA is a highly complex procedure, therefore when conducting a decalculation tailed calculation of the Life Cycle of a project or tailed building, it wouldof bethe Life Cycle of a project or building, it would be + + logical to commission one of these agencies to carry out the task. more logical to commission one of these agencies more to carry out the task. They tools (also available for purchase and use by profesThey have software tools (also available for purchase andhave use software by professionals) that simplify sionals) that simplify and speed up the procedure (Bees, Ecobiswingis, En-and speed up the procedure (Bees, Ecobiswingis, Envest, Legep, Snarc, Vitruvius, Wingis, etc.), the suitability of each will Planet vest, Legep, Ogip, Snarc, Vitruvius, ofOgip, each will People ProfitWingis, etc.), the suitability on the stage the project or the building is at [see Fig.1]. depend on the stage the project or the building is atdepend [see Fig.1]. book not aim to explain the details of each of the LCA protocols; the details of eachThis of the LCAdoes protocols; LCA & EPThis book does not aim to explain LCC its procedure goal is to provide its goal is to provide an overall understanding of the and thean overall understanding of the procedure and the Assements that to willdeenable you to develop the tools that will help to deguidelines that will enableAssesment you to develop the toolsguidelines that will help sign sustainable projects right from the initial stages. sign sustainable projects right from the initial stages. thebook, ID datasheets On the ID datasheets of each of the three chapters On of the we have of each of the three chapters of the book, we have written a sectionuson written a section on the generic LCA procedure that has allowed tothe generic LCA procedure that has allowed us to Material an approximate assessment of the impact of the Life Cycle of conduct an approximate assessment of the impactconduct of the Life Cycle of resources the(Natural three categories the three categories of Elements covered in this book Elements,of Elements covered in this book (Natural Elements, Urban andinMaterial Elements) on the planet, in society and in Urban Elements and Material Elements) on the planet, in Elements society and Fosil the economy, exploring the economy, exploring the first of these in more detail and looking only the first of these in more detail and looking only resources tangentially at the other two. tangentially at the other two.

Material

resources Fosil

resources

the impact categories (most of which are also taken Below we explain the Pollution impact categories (most of Below which we are explain also taken account we by have most of the previously mentioned protocols), we have into account by most of the previously mentionedinto protocols), considered in each of considered in each of the stages : material’s extraction, its manufacture or the stages : material’s extraction, its manufacture or Human processing, its use processing, its use in a building project, its useful life, and the end of in its a building project, its useful life, and the end of its toxicity useful life (see Fig. 2). useful life (see Fig. 2).

Pollution Human toxicity

Waste

LCA

Embodied Energy (EE)

Fig. 2. Sustainability and LCA, EP, and LCC assesments

Producción académica. Arquitectura y materialidad

400

LCA

Embodied Energy (EE)

man-toxicity, as mentioned example ofConventhis endeavour is the United Nations” as Framework Convenman-toxicity, mentioned above), but there are other aspects” which need above), but there are other aspects which need example of this endeavour is the United Nations Framework to be assessed in order to calculate a project’s or building’s sustainability. Thetionforce on Climate Change (UNFCCC) that forcetothe “Kyotoa project’s or building’s to bebrought assessedinto in order calculate sustainability. Thetion on Climate Change (UNFCCC) that brought into the “Kyoto se might include the thermal, visual and sound comfort of the building and Protocol”, of despite which you most likely will have heard of. the However, despite se might include thermal, visual and sound comfort of the building and Protocol”, of which you most likely will have heard of. However, other factors related to social integration, such as accessibility. theseundertaken strategic actions and the convergence of criteria to other factors related undertaken to social integration, such as accessibility. these strategic actions and the convergence of criteria to put a stop toalso the to emission of greenhouse gases, it is important also to put a stop to the emission of greenhouse gases, it is important be aware thatthe there be aware that there is currently no complete consensus about is- is currently no complete consensus about the is_______________________________________________________________ sue, published as there are other voices (The Heartland Institute published a list _______________________________________________________________ sue, as there are other voices (The Heartland Institute a list in 2007),who within both the industrial and scientific spheres, who debain 2007), within both the industrial and scientific spheres, debate whether is really just these gases that are responsible for Climate te whether it is really just these gases that are responsible for itClimate Profit Change or whether Profit contributing towards it. They Change or whether there are other causes contributing towards it. They there are other causes cite, for instance, the cyclical nature of the Earth’s climate over long pecite, for instance, the cyclical nature of the Earth’s climate over long periods of time. (see Bibl. [2-4]; Web. [3,4,6,8]; and Films [1-3]). riods of time. (see Bibl. [2-4]; Web. [3,4,6,8]; and Films [1-3]). The category that evaluates The category that evaluates the impact on the economy (Profit) is called the the impact on the economy (Profit) is called the This quantifies the economic cost of all the processes Destruction of the ozone layer: certain gases,Cost like (LCC). the above mentio- the economicLife-Cycle Life-Cycle This quantifies cost of allCost the (LCC). processes - Destruction of the ozone layer: certain gases, like-the above mentiomanufacture, CFCsthe and hydrochlorofluorcarbons (HCFCs), destroy the ozone (extraction, manufacture, installation, maintenance,(extraction, energy invested during installation, maintenance, energy invested during ned CFCs and hydrochlorofluorcarbons (HCFCs), ned destroy ozone its use,the theentire cost Life of itsCycle demolition, etc.) that occur during the entire Life Cycle layerultraviolet of the atmosphere, reducing its to filter ultraviolet rays,etc.) that occur during its capacity use, the cost of its demolition, layer of the atmosphere, reducing its capacity to filter rays, of the project, materials or building components concerned. leads to harmful effects on human and the environment. of thehealth project, materials or building components concerned. which leads to harmful effects on human health andwhich the environment. also believe that would be desirable that LCA protocols began to evaWe also believe that it would be desirable that LCAWe protocols began to itevaluate factorsof not taken into account so far, such as the creation of qua- Summer smog: this consists of an abnormal of taken ozoneinto in lo-account so far, such luate otherformation factors not as other the creation qua- Summer smog: this consists of an abnormal formation of ozone in lolity jobsmaterial, during all stages of the Life Cycle of the project, material, building layers atmosphere due tolity the combined action of the sun’s jobs during all stages of the Life Cycle of the project, building wer layers of the atmosphere due to the combinedwer action of of thethe sun’s component or building, radiation and the concentration of nitrogen oxide volatile organic component or and building, that bring higher wages and job security, promotethat bring higher wages and job security, promote radiation and the concentration of nitrogen oxide and volatile organic socialfactors relations self-realisation and other factors that will have can cause respiratory diseases andand damage to crops, social relations individual self-realisation and other thatand willindividual have compounds. It can cause respiratory diseases andcompounds. damage to Itcrops, a direct positive influence on people and as a consequence, on the economy amongst other effects. a direct positive influence on people and as a consequence, on the economy amongst other effects. (profit), thus promoting sustainability. (profit), thus promoting sustainability. All these categories - Acid or acid rain: when certain gases mix with the humidity All these impact categories in relation to the planet, peopleimpact and profit are in relation to the planet, people and profit are - Acid deposition or acid rain: when certain gases mix withdeposition the humidity taken into account the book as reference values in order to asin along the atmosphere, thatinto are account swept along by the rain. taken throughout the book as reference values in order throughout to asin the atmosphere, this produces acids that are swept by the rain.this produces acids sess the sustainability of the categories of Elements and the Case Study we Its corrosiveness can cause serious sess harmthe to sustainability the environment and daof the categories of Elements and the Case Study we Its corrosiveness can cause serious harm to the environment and daexamine. mage the built environment. It hinders the development of aquatic life examine. mage the built environment. It hinders the development of aquatic life and vegetation and can cause the deterioration of building materials. and vegetation and can cause the deterioration of building materials. _______________________________________________________________ - Eutrophication: an effect that consists of an increase in nitrates and _______________________________________________________________ - Eutrophication: an effect that consists of an increase in nitrates and phosphates in of the phosphates in the water, which can lead to an excessive growth al-water, which can lead to an excessive growth of althat reduces oxygen levels in the water making it difficult for other gae that reduces oxygen levels in the water makinggae it difficult for other forms of life to develop. forms of life to develop.

Fig. 2. Sustainability and LCA, EP, and LCC assesments

Rosana Rubio-Hernández

401

Producción académica. Arquitectura y materialidad

402

Rosana Rubio-Hernández

403

Producción académica. Arquitectura y materialidad

404

Rosana Rubio-Hernández

405

ORGANIC MATERIALS ORIGIN Vegetal origin

MATERIAL Wood and wood derivatives

FAMILY Ligneus Materials

Bamboo

Synthetic origin

Plastics

INORGANIC MATERIALS ORIGIN Mineral origin

MATERIAL

FAMILY

Natural stone Gypsum, lime & cement

Conglomerate

Concrete Ceramic Glass

Metal origin

Steel

Ferrous

Aluminium

Non Ferrous

Copper, Zinc, lead & titanium

FRAUNHOFER INSTITUTE’S GRAETZEL CELL

LOTUS EFFECT

PHOTONIC CRYSTALS. MORPHO BUTTERFLY

R L A GY SO ER EN

INCIDENT LIGHT

WATER

CO2 H20

DEBRIS LEAF

WALL CRYSTALS EPIDERMAL CELL MICRO-STRUCTURES RIDGE PLATES

Producción académica. Arquitectura y materialidad

406

Rosana Rubio-Hernández

407

Material

Graphic scaleE

mbodied Energy (MJ/m3)

Density (Kg/m3)

7,2

High density recycled polyethylene (HDPE)

86,4

Low density rockwool

390

Lightweight concrete

786

1,31

600

Unfired brick mixed with chip wood

806

0,63

1.280

0,09

960

Bamboo

1.050

Aerated concrete

1.484

Expanded Polystyrene (EPS)

1.800

100

Tempered climate wood

1.800

600

High density rockwool

1.950

150

500

1.000

1.500

1,5

700

3,71

400

2.000

Cement mortar

2.000

Expanded clay

2.100

350

Low density Polyurethane (LDPUR)

2.240

Tropical climate wood

2.400

Recycled polyvinyl chloride (PVC)

2.520

2,1

1.200

Gypsum plaster

2.640

3,3

800

Concrete

2.640

1,1

2.400

Lime mortar

2.848

1,78

1.600

Veneer wood

3.000

Porous stone (sandstone)

3.280

1,64

Extruded Polystyrene (XPS)

3.300

Laminated timber

3.575

Steel reinforced concrete (2% steel)

4.100

High density polyurethane (HDPUR)

5.600

Oriented Particles Board (OSB)

5.759

8,86

Low density polyethylene (LDPE)

6.160

9.100

Chipboard High density stone (granite, basalt) Ceramic (bricks, tiles) 0

2.500

5.000

7.500

100

32 800

600 2.000 33

7,69

465

1,64

2.500

80 650 80 650

9.845

3,58

2.750

10.093

4,5

2.243

10.000

Recycled polypropylene (PP)

21.360

890

Vitrified ceramic

24.000

2.400

Ethylene Tetrafluoroethylene (ETFE)

45.050

26,5

1.700

Glass

47.500

2.500

Polypropylene (PP)

71.200

High density polyethylene (HDPE)

73.920

960

Ethylene propylene diene (EPDM)

85.424

1.124

Polyvinyl chloride (PVC)

96.000

1.200

Polycarbonate (PC)

102.000

1.200

Methacrylate (PMMA)

102.660

Titanium (6% aluminum, 4% vanadium)

200.520

Commercial steel (20% recycled)

275.135

7.861

Zinc

364.140

7.140

Lead

398.034

35,1

Stainless steel

427.464

7.916

Commercial aluminium (30% recycled)

440.000

160

2.750

Copper (20% recycled)

623.000

8.900

624.250

227

2.750

801.000

8.900

Anodized aluminum Copper 0

20.000

40.000

60.000

890

1.180 4.456

11.340

80.000

Producción académica. Arquitectura y materialidad

408

Embodied Energy Index (MJ/Kg)

Low density recycled polyethylene (LDPE)

Rosana Rubio-Hernández

409

MaterialsG

Materials

Graphic ScaleD

ensity (Kg/m3

Specific heat (W s/Kgºc)

raphic Scale

Cooper

419

Steel

502 658

Concrete

658

Hard stone

809

Glasswool

843

Expanded clay

927

Solid brick

927

Rockwool

1000

Air

1005

Aluminium

1005

Expanded polystyrene (EPS)

1349

Extruded Polystyrene (EPS)

1349

Polyurethane foam (PUR)

1400

Glass

Cork board

1700

Fluorinated ethylene propylene teflon

1,22

Solid wood

2400

Expanded polystyrene (EPS)

Water

4187

Glasswool

19 30

Polyurethane foam (PUR)

Extruded Polystyrene (EPS)

Cork board

130

Expanded clay

350

Solid wood

600

Light weight concrete

600

Water

1000 0

500

1000

1800

MaterialsG

raphic Scale

Thermal Conductivity (W /mºc)

Polyurethane foam (PUR)

0,025

Air

0,026

Extruded Polystyrene (EPS)

0,033

Expanded polystyrene (EPS)

0,035

Rockwool

0,038 0,040

Glasswool

0,044

Expanded clay

0,085

Aluminium

2750

Solid wood

0,140

Steel

7860

Light weight concrete

Cooper

8900

0,150 0,05

0,1

Water

0,580

Solid brick

0,870

Concrete

1,400

Hard stone

3,500 04

Multiple glass sheets Polymer sheets

QUASI HOMEGENOUS

Glass Polycarbonate Parallel and V-slats

58 204 384 0

Insulating materials

ABSORTER PARALLEL

Cooper 100

200

300

400

Wall thickness (m)

Monolithic silica aerogel

0,01

Vacuum insulation panel (VIP)

0,01

Air

0,07

Polyurethane foam (PUR)

0,07 0,09

Expanded or extruded polystyrene (EPS) Rockwool

0,10

Glasswool

0,12

Cork board

0,11 0,23

Expanded clay 0

0,05

0,10

0,15

0,20

0,38

Solid wood

Non insulating materials

Polycarbonate

Polymer sheets

,15

Aluminium

Light weight concrete

0,40

Water

1,56

Solid brick

2,34

Concrete

3,76

Hard stone

9,40

Steel

156

Aluminium

548

Cooper

1031

500

Producción académica. Arquitectura y materialidad

410

Glass Parallel and V-slats

Multiple glass sheets

Steel

Graphic Scale

Polymethylmethacrylate Capillaries

Polycarbonate

Cork board

materials

Polyethylene

Polymer sheets

Hard stone

10000

Polyethersulfone Polyestercarbonate

Multiple glass sheets

2400

5000

Polycarbonate Polyetraflueorethylene

2500

Glass

ABSORTER PARALLEL

Concrete

Solid brick

Honeycombs

Light weight concrete

Air

Rockwool

TYPES OF TRANSPARENT INSULATION ABSORTER PERPENDICULAR

1000

Rosana Rubio-Hernández

411

Producción académica. Arquitectura y materialidad

412

Rosana Rubio-Hernández

413

Producción académica. Arquitectura y materialidad

414

Rosana Rubio-Hernández

415

3 Material elements SPECIES' STANDARD NAME

RADIAL SECTION 1 Rays 2 Sectors 3 Heartwood 4 Sapwood 5 Cambium TANGENCIAL SECTION 6 Pith 7 Bark 8 Growth ring 9 Early wood 10 Late wood

Wood from the trunk is the tree’s part that is primarily used in the building industry; in fact,the interest of wood as construction material relies in itsmorphological characteristics, like its anisotropy, grain and color, which imply certain mechanical and aesthetical qualities. Likewise, wood’s integrant substances are responsible of properties like its degree of durability, its smell, color and biodegradability. In general wood’s components are: - Chemical elements: 50% carbon, 44% oxygen, 6% hydrogen. - Molecular components: 40-50% cellulose (responsible for tensile strength of wood), 20-30% hemicellulose and 20-30% lignin (responsible for the compressive strength of wood). - Other components: Pigments, oils, tanning agents, resins. Today, traditional and highly engineered wood architecture coexist. Thousands of existing tree species provide a large variety of woods to choose based on their mechanical properties and appearance (see Fig. 5). In parallel, throughout the twentieth century,new technological developments in wood cutting andin the field of adhesives and resins opened many interesting possibilities to build with a big range of composite products with improved strength and stability compared with natural wood, as well as a greater efficiency in forest exploitation. [Fig. 4.Alvaro Siza, Eduardo Souto de Moura and Cecil Balmond.Serpentine Gallery.London. 2005. This temporary pavilion,which consists of a grid built out of cutting edge engineered interlocking glulam beams, still maintains a “vernacular”, almost “medieval” feel, as the authors note, due to the dialog between the “imperfect” shape of the building and the ancestral character of wood. Image courtesy of Balmond Studio.]

Producción académica. Arquitectura y materialidad

Also, among the wood-based productsare: Three/Five ply core plywood, Laminated veneer lumber (LVL), Structural veneer lumber (SVL), Plywood,Blockboard, Laminboard, Oriented standard boards (OSB), Particle boards (adhesive, cement or gypsum-bonded), Wood-wool slabs, Wood fibreboards, Plaster boards, and Cement fibreboards, and the like. Wood fibre insulating boards (porous or bitumenimpregnated). Wood based insulating materials are also among the most interesting wood applications for sustainable envelopes. There are several kinds such asWood shaving insulation panels,Wood-wool cement, or new developments like Wood foam,produced through a bio-technical process in absence of additives, to make an evenly porous resistant and lightweight structure (see Bibl.). Besides wood itself, treessupply many other relevant materialsfor the building industry, like cork, also a very effective sustainablethermal insulating and acoustic conditioner material;paper, a material that also has several applications in construction and design; or ancient and sophisticated fabrics derived from their bark, very much appreciated by designers for their extraordinary esthetics and special advantages. In view of the around five thousand commercial products obtained from forests worldly, especially in the field of building materials, furniture and paper, is not surprising that this industry contributes to about the 2% of the world’s GDP, which also makes wood a sustainable material from the economical point of view, besides its performance-environmental profile ratio. Life cycle assessment studies consistently show that wood outperforms other materials in terms of embodied energy, air and water pollution, and global warming potential.

Teak

Ekki

++++

+ + + + +

Merbau

+ + ++

Oak, European

Robinia

Cedar

+ +

Dark Red Meranti

++ +

Douglas Fir

Scots Pine

+/- +

MM VH

-- +++

VL LV L

H L

++ ++

M LL

MM VL

+++ +/- + + +

H L

+/-+/-

++ +/-

+++ +

L MMMM

+++

L LLLL

+++++

++++

H MM VH

H ML

H LL

+ ++ +/- +

M MM

+ +++ +/-

M LL

MM VL

+ ++ +/- ++

+ +

M LL

MM VL

Ash, European

Maple, European

+ ++ ++ W

W-West

C-Central

VL- Very Low

VH H

+++

+/-

+++

H L

M M H M VH M

L H M M H M H M

L- Low M-Medium H-High

[Fig. 5.This grid shows various common types of natural wood ordered by fungal, insect resistance, and by density. Their color, origin, uses and properties are also indicated. Two of the factors that affect wood’s environmental profile the most are: its place of origin and its durability. Obviously the closer the distance is between the forest, the place where wood is processed, and the construction site, the lower the wood’s embodied energy is. On the other hand, to make a profitable use of the material (economically and ecologically) it is important that it lasts. In this regard,

+/- +++ +/- +

M L VH L

M VL

++++

M M

+ +

VH VL M M

H LL

L VL

+ +/-+/-

M LL

M MH

Beech, European

S- South

M L

E- East

+ + ++

- North

+/- ++ +/- +

Yellow Pine

ardwoodN

MM VL

+ +++

Whitewood (Fir/Spruce)

VH MM

VHVL

H LL

Western Hemlock

VH HH VH VH L

+/- +++ +/- +

+ + ++

+++ +

VH MM

L LLLL

Spruce, Sitka

Birch, European

+++

Larch, European

+ ++

++ N

Western Red Cedar

Softwood H

H LL

FUNGAL & INSECTS RES.

8 9

DIMENSIONAL STABILITY TREAT. PERMEABILITY

DURABILITY

ORKABILITY MACHINABILITY POLISHABLE GLUING NAILING & SCREWING STAINABLE PAINTABLE VARNISH & OIL FINISHING

6 7

MECHANICALW

Among this traditional and innovativesolid wood products, used mainly in structural elements are: Round sections, Sawn solid timber (made from hardwood and softwood), Solid structural timber (KVH), Solid timber (MH), Four-piece beams, Duo/Trio beams, Glued laminated timber (glulam), and Profiled boards, among others.

DENSITY SHOCK LOAD RES. STIFFNESS CRUSHING STR. BENDING STR. STEAM BENDING STR.

Wood is one of the first natural materials used by early humans from the Paleolithic. Later on,in the northern temperate zone, it was employedas one of the most primitive forms of construction based on unprocessed materials, such as posts and beams made of logs. Right up to the present, the use of wood as building material,in structures, envelopes and interior finishes,has not stopped growing due to its properties: warm, visually appealing, and inviting; strong, lightweight, and versatile; reliable, providing proven performance for seismic, wind, and other loading condition;sustainable, natural, recyclable and renewable; carbon efficient, since it sequesters carbon and reduces greenhouse gases in the atmosphere; energy efficient, with a low thermal conductivity; and cost effective, abundant and easy to source locally.

INFRASTR. & LANDSCAPE ENVELOPE CLADDING STRUCTURE GLULAM & PLYWOOD VENEERING FLOORING & PANELLING DOORS & WINDOWS JOINERY & FURNITURE

416

PROPERTIES

What is wood?

COLOR

Designing with wood.

USES

ORIGIN

H M M L

VH- Very High

intrinsic qualities of wood (mechanical and weather resistance, fungi and insects opposition and dimensional stability, among others) should be carefully chosen, depending on its application and according to its location, outside or inside of the building. World map of forest distribution]

Rosana Rubio-Hernández

417

Life cycle and environmental profile

What is ceramic’s environmental profile?

Advantages

Challenges

Extraction

• Trees use a non-fossil and renewable energy, such as sun is, to grow, which makes wood a renewable resource.

• Forestry should be sustainable. Wood is a nonperishable material resource as far as it is harvested in a sustainable wood plantation. The most important procedure to achieve this goal is planning the harvesting. Regularly, only 3to 4 trees per hectare should be harvested once every 25 years, and trees with a minimum diameter of 30 cm are identified and registered to follow their growing process. Felling is also controlled and the roads and skid trails are carefully traced.

• In this growing process, trees contribute to bio-diversity providing shelter to many animal species and plants, prevent soil erosion, facilitate the hydrologic cycle andsome species, like poplar,contribute against industrial pollution. • Among all these environmental benefits are also oxygen emission and CO2fixation:one hectare of forest plantation fixes annually as much CO2as six cars emit annually, and 1 Ton of wood used in construction contributes to remove 1,6 Tons of CO2 from the atmosphere. Thus, one way to achieve a drastic reduction of greenhouse gas emissions, is the use of large portions of wood products and to increase the life time of these products so that the carbon is stored over a longer period of time.

• Another measure against depletion, specially of rainforest wood, is to promote the so-called “Lesser Known Species,” such as Angelimpedra, Red louro, Andira, Louropreto or Muiracatiara, rather than using the “Well Known” ones, like Teak, Sapele, Mahogany or Iroko.

• Wood processing does not consume water. • Due to its structure and low density wood has low embodied energy and carbon footprint, and, if it iscured naturally, energy is saved. • In general,it is not pollutant and not harmful to humans. • Industrial waste can be recycled in wood-based products. • Heat-treated and thermo-hydro (TH) natural woods and acetylated types of woods increasethe quality of low-quality wood by lowering the swelling behavior by about 50%, increasing their dimensional stability and lowering insect and rooting potential damages. Indirectly, these kinds of treatments contribute to the protection of tropical forests that are exploited because their wood is more stable and durable than varieties of European wood. • Other treatment, thermo-hydromecanically (THM) compacted wood, increases considerably the strength of domestic coniferous wood(see Fig. 14-15).

Challenges

• Wood allows fast, clean and dry assemblies and it ismanageable and machinable.

• Saw-dust of certain species is toxic, like for instance western red cedar’s, which contains allergenic substances, and oak’s and beech’s, which is carcinogenic.

• Material standards should be considered in the design process to optimize material use. In traditional types of construction about a quarter of the material consumed in structures is waste. Conversely, standardization and prefabrication procedures optimize resources, because less adaptation and adjustment is needed during the building process, whilehigh quality building standards are achieved. Likewise, waste collection and recycling is simplified, since it is mainly produced at the fabrication plant rather than at the building site. Therefore, to make a sustainable use of the material, it is important,from the beginning of the design process,to take into account wood products’ standard dimensions, which are different in each country (see Fig.8).

• Some other strategiesare: not to grow trees that acidify the soil, like eucalyptus, because it compromise the future of the plantation, the ecosystem and the economy of the people making their living out of the forest.

• Also, the closer the production is the better(see Fig.5). Fabrication

Construction

Advantages

[Fig.8. Platform Framing. Typical USand Canada standardized building system that has evolved from the traditionaland better known system, Balloon Framing.] System’s elements: 1. Foundation, 2. Header Joists, 3. Sole (floor) Plate, 4. Joists, 5.Stud, 6.Double Top Plate, 7. Cap. Plate, 8. Sub floor, 9. Stringer Joist, 10.Bridging, 11. Gable Stud, 12.Collar Tie, 13.Rafter, 14. Ridge bearn]

• Heavy machinery is not needed since it is light; thus, not much energy is consumed. It has a very good weight/resistance ratio, and, in general, waste is bio-degradable. • It is better that wood has a natural resistance to fungus, insects and tar to reduce the use of toxic additives and treatments, since biocides account for a big part of the hazardous chemicals produced globally (see Fig.10).

• Wood contributes to healthy and comfortable interior environments.

Life span

• Its quality and adequate treatments, as well as a suitable design and execution, contribute to a good duration, even in environments with high concentrations of acid products and solutions of acid salts.

• It is desirable that the energy used in drying comes from a renewable source, like solar kilns. • Wood additives such as fire retardants, fungus, insects and tar treatments, as well as coatings and impregnations, should be non-toxic.

• Durability is increased if it is well curated and has a natural dimensional stability.

• Its fire behavior is predictable. • Toxic treatments, additives and coatings in waste wood could leak into the landfill and pollute underground aquifers. They can also be atmosphere pollutant and toxic, when waste wood is burnt to produce energy.

• Wood can be used as energy source and can be recycled as raw material to fabricate wood-based products.

End of life

• Adhesives used to obtain the new wood construction products must ensure a durable and resistant bonding system. In addition, they should be solvent-free and formaldehyde-free to avoid any risk of toxic emissions at any stage in the product’s life cycle. One interesting possibility is to take advantage of wood’s component lignin as bonding agent for wood-based products, which melts and enter the open pores on account of the heat generated when wood components are rubbed against one another, a process also called wood welding.

• Well-designed pieces can be disassembled and reused. If wood is discarded, since it is biodegradable, it is capable of being incorporated into humus. WOOD ADDITIVES

TOXICITY VH

Fungicides

Insecticides [Fig.9. Forest Stewardship Council Label. This label certifies timber products on the basis of ten fundamental principles, which range from social and economic ones throughout ecological and environmental factors.] [Fig.10. Wood additives toxicity. Source: Bjorn Berge, 2009]

Varnishes, Oils, Waxes, Paints, Stains

Arsenic salts, Most of the oil and coal based, like Creosote, Tar from softwood

Aluminium sulphate, Ferrous sulphate, Sodium chloride, Bark Extract Tar from beech

Arsenic salts, Endosulphane, Parathion Pentachlorobenzene, Pyrethrin, Acrylate paints/varnishes, Epoxi paints/ varnishes Alkyd oil paints/varnishes, Stains Polyurethante paints/varnishes, Polyvinylacetate paints

Vegetable oils, Beeswax, Green Soap, Collagen glue paint, Casein paint, Starch paint

L- Low

Producción académica. Arquitectura y materialidad

418

VH- Very High

Rosana Rubio-Hernández

419

DO Wood

As Design Operations examples with wood we have chosen several that can be framed within two of the abovementionedchallenges that wood construction is facing. First two examples are referred to the reduction of chemicals, both to preserve the material and to produce joints. Secondly, two other examples contribute to the optimization of the material to prevent an excessive consumption thatcould put the world’s

forests at risk. Finally we also present the case of the tall timber buildings as a possibility to replaceenergy-intensive materials, such as steel or concrete, in highrise structures.All these examples, besides solving ingeniously all these challenges, perform special functions and have unique aesthetic qualities.

• Charred wood panels We have mentioned that heat, in TH processes, is used to enhance wood properties, but using fire as a tool for improving itseems counterintuitive. However,certain methods of burningwood yield to an extremely durable building material, which becomes sealed against rot, rain and fire. Also, wood acquires interesting surface qualities.A treatment so-called shousugi ban(Charred cedar), Japanese in origin,is an eco-friendly option, particularly since the harsh chemicals used in pressuretreated lumber are eliminated.

Wood withoutchemicals • Laminated wood without glue

The pavilion below is a new addition to an existing house. Rapin&Saiz decided to make a contrast between materials in their intervention, to favor a dialog between the old, plastered in a light colour, and the new, the smoky dark surface of the charred wood panels. Charring, even being a traditional Japanese method, does not feel odd in the Swiss countryside, where wood buildings show a similar appearancedue to the natural aging of the material, which becomes gray over timeunder the effect of UV solar radiation.

To avoid the use of adhesivesto form building components in prefabricates wood systems, squared timber, rods and wooden planks and are stacked horizontally, flat, or diagonally. Also, bone-dry beech wood dowels,which penetrate the entire thickness of the wood layers, are used. The house in Fig. 12 is built usingHolz’s prefabricated wall system H100-W by Thoma.In which wood elements are assembled without the utilization of glue, screws or nails. Instead rods of wood are used to interconnect a layering system of timber boards, which consist of a central structural core sandwiched between two cross laminated boards, each built with several boards crossed oriented. These panels can have a dimension of 300 x 800 x 40 cm and male-female joints are used to connect several panels together. Besides the avoidance of chemicals, the high environmental profile of this house is also achieved because wood employed is of almost the entire native tree species:walls, ceilings and roof consist of a combination of spruce and pine, which are up to 40 cm thick. Rugged larch wood is used for the façade and the windows. Floors and door frames are made of ash trees, while the stairs are walnut.

[Fig.13.RapinSaizArchitectes .Casa Monti, Pavillond’habitation.Conches, Switzerland. 2006. Image courtesy of RapinSaizArchitectes. Images courtesy of RapinSaizArchitectes.Photography by Ralph Blaettler.]

[Fig.14-15. 14-Manufacture of wooden tubes.A. from a log, B. from sawn wood.15-Wood columns of densified spruce and filament winding molded tubes. Images courtesy of Prof. Haller.TechnischeUniversitätDr esden,Germany. 2014. Photography by L. Sprenger.]

Optimized wood • Densified structural wood To avoid a bottleneck in procuring wood in the future, numerous advances and innovationsare being explored to reduce the amount of material needed.Thermo-HydroMechanical (THM) densification, is an option, a process that can be done both in the fibre direction of wood, to achieve wood bending, and transversally, for wood molding.While wood bending have been mainly used in furniture design (for instance, the structrure of the famous Thonet chair is produced by this method), transverse densification is being used to fabricate structural building elements. Prof. Haller at the Institute of Steel and Timber Construction at the TechnischeUniversität Dresden has developed elegant columns of THM wood using both pieces of sawn wood or logs which are densified at 130-160º, glued together, after cooling, and folded in cylindrical molds at 80º. The formed tubes can be optionally reinforced with fibres laminated to the outer wood surface (see Fig. 14-15)

[Fig.11-12: 11- H 100-W wall system. Sectioned perspective.Vertical coating, vertical structural core, Board layering stiffened vertically, horizontally and diagonally (like CLT without adhesives),Mail-Female longitudinal joint .12- .Einfamilienhaus. Dachau, Germany.2011. Image courtesy of Erwin ThomaHolz GmbH. Photograph by PhotostudioBeuttenmuller Germany]

Producción académica. Arquitectura y materialidad

420

By this method the column has much larger load-bearing capacity than solid wood and the amount of material saved, in comparison, is around an 80%. At the same time, new aesthetic options are triggered for one of the most paradigmatic elements in architecture, columns.

Rosana Rubio-Hernández

421

3 Material elements

Tall timber buildings

• Lightweight wood

Choosing a certain building typology can contribute to sustainability as new materials and processing do; tall timber buildings are an example.

Material optimization can be achieved not only by densification but also lightening it by different methods such as honeycomb structured sections and sandwich materials (see Bibl.). Also, recently,CNC technologies are applied to wood and wood-based materials, to reduce the amount of material while discovering novel properties of the material.

Today 50% of people live in cities and that number is going to grow to 75%. This growing urban population will inevitably lead to increase the number of cities and the growth of the existing ones. From the point of view of sustainability is preferable that this growth is maid by increasing their density, hence the importance of highrise construction.

Material optimization can be achieved also by densification rather than by lighting it. This is the case, for instance, of Dukta®panels, a series of panels made out of customary engineerd wood such as plywood, MDF, OSB and multilayered boards where three-dimensional incisions are performed toreduce weight and even, more importantly, tomake wood flexible. Through the use of precise incisions, the material takes on almost textile-like characteristics, and its qualities and areas of application become considerably expanded.The either on one or on two sides incised boards are flexible and transparent, and therefore allow various creative applications. They are especially suitable for sound-absorbing wall and ceiling applications, as well as for free-standing partition wall elements.

Traditionally, this type of construction is carried out mainly with steel or concrete structures, but the environmental impact of them (in particular in relation to their “carbon footprint” and “embodied energy” indexes) and the emergence of new wood technologies, are beginning to call the attention on tall timber buildings. For he advocates of this building system, in the need to find a sustainable solution to house 3 billion people in the near future, wood is part of the solution.In 2012, The Case for Tall Wood Buildings(see Bibl.)outlined a compelling argument for building taller wood structures, showing that mid-rise (6 to 12 stories) and tall buildings (up to 30 stories) could be safely, efficiently, and economically built using mass timber construction techniques.

The wall dressing of the large concert hall Toniarealin Zurich, made with Dukta LINAR (one of the varieties of the product), resembles visually to a textured undulating curtain, hanging from the ceiling, performing, in fact, as a textile cladding due the perforatedpanel’s sound absorbing efficiency.

Nevertheless, tall timber buildings have been facing many challenges to overcome, due in part to the lack of wood building codes. This situation is being amended and thus leading to a growing acceptation of wood as building material for highrise structures by a market full of prejudices

The structure of the Eco-resort pavilion is a combination of bamboo and reinforced concrete, utilising the advantages of both materials. The main spaces for visitors are covered by a dynamic bamboo structure, which offers an extraordinary spatial experience using natural materials. The service sectors are composed of reinforced concrete, prioritizing its functionality. As a result of the combination of structures, varied spaces with different heights have been achieved.

about its fire resistance, acoustic insulation, durability and mechanical resistance to high winds. There are other issues that defy tall timber buildings like deforestation, a problem that experts think has a possible solution if young wood (10 to 15 year old trees)is used combined with the new manufacturing techniques abovementioned, which improve this kind of wood properties.The Canadian architectand wood construction expert Michael Green supports this argument ensuring that North American forest grow enough wood every 13 minutes to build a 20 storey building. Another difficulty to overcome is the cost of highrise structures which currently could be a 30% higher than to build with concrete or steel. In this regard, experts ensure that incorporating prefabrication methods and simplifying the building process would result in a cost reduction.

(Stadthaus, 24 Murray Grove,Waugh Thistleton Architects &Techniker Ltd., 2009), a 14-story glulam timber-frame apartment in Bergen, Norway (Treet building, Artec architecture &Sweco engineering, 2015), a six-story wood-steel apartment in Berlin (Stadthaus e3. Kaden KlingbeilArchitekten.2008), and a seven-story wood- concrete office building in Dornbirn, Austria (LifeCycle Tower One.Hermann Kaufmann ZT GmbH & Arup GmbH. Dornbirn, 2012).These are some of the built projects, which for the eyes of a contemporary urbanite may seem not very high, but architects are already dreaming of real wooden skyscrapers, which perhaps would become part of cities skylines in the near future.

Life cycle and environmental profile

Designing with plastics.

What is plastic’s environmental profile?

Advantages

Challenges

Extraction

• A wide range of them can be produced from renewable and biodegradable sources instead of fossil hydrocarbons,they are the so-called bioplastics and biopolymers.Compounding plastic with other materials such as mineral additives reduce the portion of crude oil needed to produce insulating plastic materials (this procedure also reduces their thermal conductivity and weight)

• Fosil oils, the raw materials for most of them, are a limited resource

What is plastic? - Elastomers: the low-density molecular chains are cross-linked and joined together chemically with weak inter-molecular forces.

The word plastic derives from Greek plastikos, meaning “with the capacity to be molded”, which is one of the many interesting characteristics of these materials that, in general, are also low density with a low thermal conductivity, among other specific properties.

Determinant in plastics’ properties arealso: their manufacturing process (extrusion, calendering, injection or rotational molding, pressing, plastic forming, jointing), which cause material transformations; as well as the adjunction of fillers (beads or fibers of cellulose, wood, dust, stone dust, chalk, glass) and additives (colorants, stabilizers, plasticizers, flame retardants, blowing agents).

These organic polymers (plastics’ structure consists on monomers linked forming chains or macromolecules called polymers) have been in used since immemorial time. In the beginning, the boundary between natural and synthetic polymers was blurred; indeed they were conceived to imitate or substitute scarce natural materials like ivory, leather or wood. They were organic artificial materials fabricated from natural elements such as cellulose, proteins and natural resins, like those of the lacquer tree.Today plastics are also organic artificial materials, but based on petroleum derivatives, hydrocarbons such as ethylene and propylene.Nevertheless, recent research is facing back to early times, searching for more sustainable sources (nonperishable, biodegradable and recyclable)as raw materials. Thus, new bioplastics and biocomposites (plastics reinforced with natural fibers, wood-plastic composites (WPCs), cork-polymer composites)seem to be a very promising line of sustainable development for plastics.

ISOTACTIC POLY(PROPENE)

SYNDIOTACTIC POLY(PROPENE)

ATACTIC POLY(PROPENE)

Technically tall timber buildings have begun to be feasible when the structural systems available have expanded beyond the traditional balloon and platform framing structures, which did not allow highrise construction, and when traditional beam and post systems have beenimproved. The Survey of International Tall Wood Buildings(see Bibl.)demonstrates how these new techniques have been successfully used in tall timber buildings worldwide. Design approaches range from systems made from cross laminated timber (CLT) to gluedlaminated (glulam) timber framing to composite wood-steel andwood-concrete building systems. Some instances include a nine-story CLT apartment in London

Based on their chemical structure and composition as well, plastics have a very versatile nature that leads to an immense variety of different products such as fabrics, solid and profiled sheets, sandwich panels, profiles and foams. All these diverse products are used in a broad range of applications in the building industry, ranging from exposed elements such as façade panels to hidden fixtures like the ones used inbuilding systems. Among all these applications, and from the sustainable point of view, it is remarkable their efficient role when used as membrane,in tensile and inflatable structures, as water barrier andinsulation, in building enclosures; andas frames, in doors and windows.

The properties of plastics depend as much on theirchemical composition, as on their degree of polymerization (the length of the chain), crystallization and branching/ cross-linking of their synthetic macromolecules. According to their macromolecular structure plastics can be classified as: - Thermoplastics: the high-density molecular chains are tangle around themselves but do not form any strong chemical bond between them. - Thermosets: the high-density molecular chains are three-dimensionally and irreversibly cross-linked.

[Fig.18.Hōryū-ji Temple Pagoda. Japan, 700. One of the oldest tall timber buildings, with 32,45 meters height. A sturdy wooden pillar (called shinbashira in this building typology), runs from bottom to top through the central axis of the building; expressing clearly the metaphore of tall buildings as arboreal structures; actually the shimbashira of the Hōryū-ji pagoda is made out of straight trunks of Japanese Cypresses.]

They are toxic and harmful by inhalation, in contact with the skin and, if they are swallowed, they entail risk to vital organs, may cause cancer, inheritable genetic damage, infertility, can cause harm to the unborn child, and their effect are cumulative. In ecosystems they are harmful and toxic to aquatic organisms, causing long-term adverse and irreversible effects. They have a very high embodied energy, being acrylic and melamine resins the worst ones.

Some of the most advanced plastics are stronger and more resistant to extreme temperatures than steel and more transparent and light weight than glass.Also, based on the recent discovery of the electroconductivityof certain polymers, there are many industrial expectations put on OLEDs, photovoltaics and electroconductive fabrics while other cutting-edge research involves responsive polymersthat react to inputs from the environment (pressure, temperature differences).

Depending on the type of plastic, besides the carbon and hydrogen (whether accumulated in the hydrocarbons over million years under the action of heat andpressure or in less ancient organic matter), other chemical elements thatare incorporated in the manufacture of plastics are: oxygen, chlorine, fluorine, silicon, and nitrogen.

[Fig. 16-17: 16-Dukta® LINAR panel.17- EM2N.ToniAreal Theater.Zurich, Switzerland. 2014. Images courtesy of Serge and Pablo Lunin, and Christian Kuhn.]

• They are one of the materials that consume much energy in their fabrication process. Several chemicals used in their industry are produced in developing countries with low environmental requirements. Foaming agents for plastics-based insulation materials are CFCs that are ozone-reducing substances. Green House Gasses are involved: CO2, sulfuric acid and chloromethane .They account for the larger part of the hazardous chemicals produced globally.

Fabrication

Construction

• Due to its lightweight not much energy is required in the building process.

Life span

• Although current insulating plastics cannot be considered sustainable from the point of view of that they are based on crude oil, they can nevertheless be claimed to have sustainable aspects due to their thermal efficiency during their life span. In this regard PUR foam panels, having the lowest level of thermal conductivity, make it the most sustainable oil based insulating plastic, from this perspective.

Although all these breakthroughs are helping to destroyplastics’ association with the stigma of cheap and ugly materials,it is necessary to point out that their future relies, among other expectations, in their capacity to respond not only to technical and economic demands but also to the improvement of its life cycle, its pace of decay in relationship with the biological environment and with human health, both as they are used and as they break down in the environment.

• The plasticizers of bad quality plastics release constantly organic volatile compounds (VOC).

[Fig.19. Michael Green,Cornell University and Technion (Israel Institute of Technology).Roosevelt Applied Science and Technology Campus. Roosevelt Island, Manhattan. 2011. Rendering image of the competition entry. Image courtesy of MGA, Michael Green Architects.]

• Waugh Thistleton Architects &Techniker Ltd.Stadthaus, 24 Murray Grove. London. 2009

Advantages

These timber panels reduce wood dimensional movement due to relative moisture comparatively to natural wood. The biggest panels used in this construction are 2,95 meters high by 16,5 meters long and 320mm with, and weight 15 Tons. They are manipulated with a mobile crane and connections are made with metal fittings. Only four workers took over the structure construction, but the construction was fast; it took just 49 weeks to build the entire building, five months over a conventional steel or concrete construction. VERTICAL SECTION TO LIFT SHAFT

Although recycling elastomers is no easy, elastomers from tires, flooring, etc. are being used as reinforcement in plastics for a wide range of applications. Biodegradable plastics are being incorporated in the building industry, such as: water-soluble polyvinyl alcohol (PVOH), Alcaly-soluble plastics or Polycaprolactone.

3D VIEW 6

8 9

USES

12 13

ACRONYM

4 14

15 16 4 40

128

01 - Acrylic 02 - Carbonate 03 - Ethylenic 04 - Fluorated 05 - Styrenic 06 - Vinylic

GROUND / FIRST FLOOR VERTICAL SECTION TO LIFT SHAFT 1

3 4

9 10

11 [Fig. 16-17: 16-Dukta® LINAR panel.17- EM2N.ToniAreal Theater.Zurich, Switzerland. 2014. Images courtesy of 12 Serge and Pablo Lunin, and Christian Kuhn.] 20

7 50mm metal stud set min 10mm away from KLH. Stud packed with mineral wool insulation. 8 15mm Skirting 9 15mm thick floor finish 10 Underfloor heating cast into 55mm Gyvlon screed

11 DPM laps up insulation on wall all joints taped 12 Isover RD25 acoustic insulation 13 146mm thick KLH floor panel 14 110mm acoustic suspended ceiling 15 50mm mineral wool insulation 16 1 layer 15mm soundbloc or similar approved plasterboard to acheive 30mins fire protection 17 300mm concrete 18 200mm concrete wall 19 15mm soundbloc or similar approved on MF suspended ceiling 20 35mm celotex insulation

07 -Aminoplastic 08 -Epoxidic 09 -Fenoplastic 10 -Polyamide 11 -Polyester 12 -Polyurethane

THERMOSETS

1 128mm thick KLH wall panel 2 40mm cavity filled with Rockwool insulation 3 117mm thick KLH wall panel. Wall treated on shaft side to acheive class O fire protection. 4 Acoustic/fire sealant/layer 5 3mm gap around the top of plasterboard max., with 60 minute acoustic/fire resistant packer mastic. 6 2 layers 15mm soundbloc or similar approved to achieve 25kg/m2 and 60 mins fire protection

SMART

COMPOSITES

ELASTOMER

125

Producción académica. Arquitectura y materialidad

422

PAA PAN PMMA -

Polyacrylicacid Polyacrylonitrile Polymethylmethacrylate

PE PP

Polyethylene (LDPE, HDPE, UHMWPE) Polypropylene

+ +

+ + + +

ABS PS

- Acrylonitrile Butadiene Styrene - Polystyrene (EPS, XPS)

PVB PVC

MF UF

- Melamine Formaldehyde - Urea Formaldehyde

+ +

Polyvinyl Butyral Polyvinyl Chloride

Phenol Formaldehyde

Polyamide (Nylon)

PET

Polyethylene Terephtalate

PUR

Polyurethane

EPDM -

GRP

Glass reinforced polymer

+ +

+ + + + +

+ +

+ + +

+ +

Acrylic Glass

+ + + + +

+ + +

+ +

+ + +

PHFs +

Lignin-based laminates

PLAs, TPS, PHFs PLAs, TPS, PHFs

Carbon dioxide-based TPS, CA, CTA, Algae & Fungus-based

Vegetable oils-based, Bio-Polyamide PLAs, Bio-PET

+ + + +

Bio-PUR

+ +

+ + + + + + + + +

+ +

Bioplastics

They are plastics based on renewable resources instead of on from petroleum. Although the bioplastics market is still small, given the scarcity of oil resources, it is a fact the eventual end of the petrochemical industry. Thus, big chemical corporations are already working as well as political agents to prepare ashiftto the so-called bio-economy. Although bioplastics and biocomposites are still facing many challenges, such as their longevity, degradability orheat-stability, their environmental profile improve significantly the one of their oil-based counterparts and also their properties are starting to be coupled, which seem to be good arguments to support that in thelong term 70% of conventional plastics could be replaced by bioplastics . They can be worked using conventional plastic processes. They have already many applications (so far mainly in the packaging field). They have also many potential uses in medical,automobile, aeronautic and naval technologies and are also starting to reach the building industry, as the following examples show. Bacterial Polymers -Polylactic Acid (PLAs). They are obtained from sugar or starch via fermentation by micro-organisms.They are transparent, water repellent, have low permeability to gases, relatively low heat-stability, are recyclable, and compostable in industrial plants. PET

+ + + +

+ + + + +

Ethylene Propylene Diene Monomer

Electr. - Electroconductive OLED - Organic Light Emitting Diode SMP - Shape Memory Polymer

Epoxy

BIO-BASED ALTERNATIVE

+ + +

50 25

THERMOPLASTICS

117

NAME

PRODUCTS

FABRICS & FILMS SOLID SHEETS PROFILED SHEETS SANDWICH PANELS PROFILES & PIPES FOAMS FIBERS

MEMBRANE STRUCTURES FACADES SKYLIGHTS THERMAL INSULATION ELECTRICAL INSULATION WATERPROOFING FLOORING AND PANELLING DOORS & WINDOW FRAMES PLUMBING ELECTRICITY AND LIGHTING ADHESIVES PAINTS RESINS EXPANSION JOINTS

1 2

From the point of view of sustainability, if the structure would have been made out of reinforced concrete 285 Tons of cement and 120 Tons of steel would have been required, which would have generated 67.500 Kg and 57.250 Kg of CO2 respectively. 901 m3 of wood have been used instead; a volume of wood that will storage 186.000Kg of CO2 along its useful life. Therefore this building system represents an overall reduction of the building carbon footprint of 310.750 kg. Since the carbon dioxide produced to generate the energy needed to build this building (including panel transportation from Austria) is estimated in 10.000Kg of CO2 per year, the CO2savings will be offset in 31 years.

• They are slow to decompose and cause problems because of their sheer volume. Their molecules do not degrade and can enter the trophic chain. They also contain toxic additives including: heavy metal-based fungicides, and bromated flame retardants that can be absorved by living organisms. Hydrogen chloride from combustion of waste leads to acidification as well as other pollutants such as dioxins. Plastic is mainly infra-cycled, for instance to be used as low quality filler material for plastic production.

• Controlled dumping could be one the best solution for the climate point of view, since energy recovery from these results in emissions of greenhouse gases corresponding to burning the same amount of fossil fuel. Thermoplastics, like PP, PA, PMMA and PET, provide recycling opportunities. Polymer blends are mixtures consisting of various thermoplastics whose properties are determined by the amount of each component, so the quality and possibility of recycling depends on the sorting of thermoplastic waste products, and the specific miscibility between them.

This nine storey residential building is entirely built (walls, slabs, staircasesand elevator shaft) of prefabricated panels of solid fir wood, through the system KLH UK Ltd. formed by wood veneer sheets stacked in layers, alternating the direction of its fibers.

Although visually the interior finishes are conventional materials covering the wooden structure, as the developer required attending market demands, wood is still perceived thermally and acoustically. In this regard, the rainscreensolution of the façade ads thermal resistance, due to the insulating panels attached to the exterior side of the wooden panel. Wood is also protected against moisture thanks to the layering sequence of the rainscreen: vapor barrier, air gap, and fiber-cement cladding. Also, the strategy of layered walls, floating floors and suspended ceilingsfar exceeded insulation and soundregulations for residential buildings (see Fig. ).

Challenges

End of life

WFRP, Cork-polymer, Almond-polymer Algae-Based reinforcement

-Polyhydroxybutric Acid (PHB). It is the most important representative of a broather polymer group, the Polyhydroxyalcanoates (PHAs). Itis also fabricated via fermentation from sugar, starch and vegetable oils (castor, orange, sorgo, and soya). It is not transparent, it is UV radiation stable, it has biocompatible properties, it is heat resistant, and it is biodegradable. One of its drawbacks is that it is fragile, so to increase its mechanical properties it is mixed with other substances such as cellulose acetate, cork and also with inorganic materials. It can be processed with injection molding and extrusion, and can be used as well as adhesive, and hard rubber.PP. -Bacterial cellulose.Microbes are used to convert glucose into cellulose within a fermentation process producing and interesting ultrafine three-dimensional structure which is finer that plant-based materials having a highly tear-resistance. It is biodegradable. Paper, fabrics and OLE substrates, and different kind of object are being fabricated with this material. -Acrylic Glass. An enzyme in a bacterial strainis being investigated to achieve a transparent plastic similar to PMMA by biotechnological means that require less production energy and reduces waste products.PMMA

Derived from vegetable -Thermoplastic starch (TPS).They are produced from starch sources, like corn, potato, gluten, rice starch or wheat, mixed with other polymer such as PVAL or PET. The have the ability to absorb liquids. Their production is energy-efficient and they are biodegradable. They can be injected molded or extruded and can be used also as adhesive. LDPE and PS -Cellulose-based.Cellulose acetate (CA) and Cellulose triacetate (CTA).They are based in cellulose from the cell walls of the plats, thus from a very common organic compound. They have good mechanical properties, are transparent, have a good thermal resistance, can be recyclable but are not biodegradable. They can be injection molded and extruded in products such as plates or foils.PS -Lignin-based. They are based in the second most common biopolymer found in nature, lignin extracted from wood shavings and fibers, thus their qualities are similar to those of wood: brownish color, rigid, and have good mechanical and thermal properties. -Vegetable oils-based. One of the raw materials employed is castor oil.They are not always biodegradable. Foams, resins and fabrics can be produced. -Lignin-based. Lignin used for this porpoises is a by-product of the paper industry that amounts to 50 million tons annually, with 95% of it burned for thermal energy. Algae-based. They are based in fastgrowing algae. They are not pollutant during the fabrication process, are recyclable and compostable. They can be produced as foam materials, and as fibre reinforcement of conventional plastics such as PE, EVA rubber and of bio-based plastics like, PLA, PHAs, and TPS.EPS Fungus-based(no son unpolímero). They are based in the use of the thread-shaped mycelium of fungi as binding material of crop waste such as good or organic waste. They have comparable properties to those of PS, with the advantage that in the production process ten times less energy is consumed compared with their counterpart, and they are fully compostable. Animal Sources -Animal proteins. Chitin, Collagen, Keratin, are some of the ones that are being research to explode their interesting properties to be applied in sustainable design in a variety of products. Also Casein (milk protein), and Spider silk protein are being investigated to

Rosana Rubio-Hernández

423

fabricate fibers for textile production. -Fatty animal waste (PHFs, also known asPHAs).They are relatively heat resistant and biodegradable. They are thermoplastics so they can be processed by injection molding, extrusion and blow molding.PVC, PE and PP. Carbon dioxide-based.It is a co-polymer of two polymers one that is fabricated based on palm oil or starch and the other one consist of up to 43 weight percent of power station waste CO2. It is translucent, and biodegradable. It can be processed using conventional technologies to produce for instance foam materials with properties similar to those of PUR. Bio-based Conventional plastics They are conventional plastics in which one or more of their components are substituted by a bio-based polymer, for instance: in the production of Bio-PET a bio-polymer based on sugarcane molasses substitute part of the oil used in conventional PET production. In the case of Bio-PURalcohol is produced by fermentation process is employed and in the case of Bio-Polyamides around the 60% of oil is substituted by castor oil . All of them have similar properties to those of the conventional plastics, and some are full or partially biodegradables. Biocomposites Wood-polymer composites.They consist of wood fibers (50-90%), a plastic matrix (PP, PE or PLA) and additives. Like lignin-based polymers their properties are similar to those of woodwith the difference that they have an even property distribution since wood fibers are randomly oriented. They can be produced by casting molding, injection molding andare especially interesting to produce complex geometrical shapes. Like wood fibers other organic materials can be added to a plastic matrix to enhance their mechanical properties like flax fiber composites, cork-polymer, almond-polymer, among others. ArboSkin pavilion.ITKE (Institute of Building Structures and Structural Design) University of Stuttgart. 2013. Within the Bioplastic Façade Research Project (supported by the European Fund for

Regional Development)research project an interdisciplinary team formed by professors and students from Stuttgart University’s ITKE (Institute of Building Structures and Structural Design), material scientists, architects, product designers, manufacturing technicians and environmental experts, designed and built a temporary pavilion to demonstrate the structural properties of a new bioplastic. ArboSkin project is named under the bioplastic used in its construction,Arboblend ®, produced by the German firm, Tecnaro. It is a lignin-based bioplastic mixed with natural fibers (cellulose, flax, hemp), PLA fibres, starch and additives, depending on its application, to adjust its strength, rigidity, dimensional stability, and other properties. The result is a bioplastic material that behaves somehow like natural good, having similar thermal properties and withstanding combined tensile and compressive loads. Arboblend granules are blended and extruded into sheets and further processed as required: they can be drilled, printed, laminated, laser cut, CNC milled, or thermoformed, using conventional plastic processing machines, to achieve different qualities. The material can be recycled and meets the high durability and flammability standards for building materials.

Plastic textiles ICD/ITKE Research Pavilion,2012. Three years before the ArboSkin Pavilion, ITKE, begun a collaboration with the Institute for Computational Design (ICD) together with biologists of the University of Tübingento build a series of Research Pavilions based on a challenging combination of biometric design strategies and novel processes of robotic production which lead to novel synthesis of form, material, structure and performance, which we can not help but analyzing in this book for its relevance. The same design methodology has been followed to build the up to now five pavilions. It is a “bottom-up” approach in which different invertebrates are initially investigated. Then the observed biological principles of their morphology are abstracted in order to be transferred into design principles for architectural applications. The form generation and manufacturing processare directly driven and informed by this principles and is also driven by the physical behavior and characteristics of the material chosen for the construction (material-oriented computational design). All these parameters are implemented in computation so form generation of the pavilion and computer simulation of its structural happens at once leading to new tectonic possibilities in architecture and high performance structures.So far, different organic materials have been used: natural, like birch plywood and synthetic such as

The design team at ITKE took advantage of all these properties building a spiky skin based on a triangular net composed by mesh elements of varying sizes cladded with pyramid-shaped modules made out of thermoformable sheets of Arboblen ® of 3,5 mm thick. One single moulded component was used the plastic waste that resulted from CNC milling process is regranulated and returned to the extruding process.

Smart plastics Making buildings active and adaptive to the user needs and to the environment by embedding sensors, activators and control units is also an agenda at the research institutes in their search for a sustainable construction.Smart plastics are being research to be applied to enable the building envelope to adapt to changing light transmission, temperature balance, as well as properties of ventilation, acoustics,colour, and to match utilization requirements.

The freeform bioplastic façade functions as a shell structure with additional minimal loadbearing and bracing ting carriers and joists, due to the structural contribution to the system of the double curvature bioplastic skin and its low own weight. ArboSkin pavilion demonstrates the resource-efficiency alternative that bioplastics represents for the building industry, as they combine being made primarily from renewable resources, a high malleability, and as the authors ensure “at the end of their useful life façades can be composed or disposed of almost carbonneutrally”.

‘ShapeShift’ proposes a new possibility of architectural materialization and ‘organic’ kinetics. It explores the potential application of electroactive polymers (EAP) at an architectural scale. EAPs are polymer-based actuators that convert electrical power into kinetic force and change their shape correspondingly. In the field of “active materials” EAPs stand out due to their large deformation potential, high response speed, low density and improved resilience. They are capable of strains up to 380 percent, extremely flexible, light, thin, transparent and can basically be tailored to any size or shape. In ‘ShapeShift’ these distinctive material

3 Material elements

Life cycle and environmental profile

What is stone’s environmental profile?

Advantages

Challenges

Extraction

• Reserve is very large, so there is no danger of exhaustion in the foreseeable future . Resources are evenly spread over the whole globe . Extraction does not require a lot of energy, since there is no need for high temperatures . Quarries along the coast have the potential advantage of energy effective water transport . Extraction does not pollute .Waste stone can be crushed to make useful aggregate; for example for concrete . Waste chips from marble quarries are a valued ingredient for terrazzo flooring, and marble dust is useful in the production of lime and

• Aproximately, 10 liters of water are consumed per kg of stone. A more efficient extraction technology is required in order to make it a more competitive material .Its weight suggests that the distance between the quarry and the building site should be short . Large quarries inevitably damage the landscape, they can also lead to alter groundwater conditions and damage local ecosystems. Often contains radioactive elements such as thorium and radium, and a quarry can increase the general level of radiation in a neighborhood by emitting radon gas .

glass-fibrecombinded with carbon-fibre, and EFTE. ID with stone.

In the 2012 pavilion the cuticleexoskeleton of a lobster was analyzed serving as the biological model for the project. The high efficiency and functional variation of the cuticle is due to a specific combination of exoskeletal form, fibre orientation and matrix. These principles were applied to the design of a robotically fabricated shell structure based on a fibre composite system in which the resin-saturated glass and carbon fibres were continuously laid by a robot. thefibres were laid on a temporary lightweight, linear steel frame with defined anchor points between which the fibres were tensioned.

What is stone? components are, the more resistant the stone is. Stone’s compressive resistance is very fitting to build load bearing structures.

Stone, a very abundantmaterial in theearth’s crust,is thefirst materialthatservedas a refugeto man.Firstly, unprocessed in cavesand later,used for its durability, to buildwhat menestimated the most: their defense, theirtemples andtheir funeral monuments; It is most certain that stone’s prestige comes from these ancestral architectures. Lithosphere is the outer solid part of the Earth. Itis formed by the sedimentation of the strata that originally constituted the globe, modified by the erosive action of atmospheric and geological agents. The stones that make up the lithosphere are composed of a varying number of minerals, being the alumina silicates the most abundant. These stones, depending on their origin, can be classified as: - Igneous: formed through the cooling and solidification of magma or lava in different degrees of crystallization. The most relevant stones of this group are: granites, and also diorites, gabbros, syenites and olivines. - Sedimentary:formed by the stratificationof minerals at the Earth’s surface or within water. The most relevant stones of this group are:limestones and sandstones. - Metamorphic:originated from the transformation of existing rocks by telluric forces, such as heat and pressure, which cause physical and chemical change in them.The most relevant stones of this group are: slates, marbles, and also gneisses and serpentines.

From the straight segments of the prestressedfibres, surfaces emerge that result in the characteristic double curved shape of the pavilion. In this way the hyperbolic paraboloid surfaces resulting from the first sequence of glass fibre winding serve as an integral mould for the subsequent carbon and glass fibre layers with their specific structural purposes and load bearing properties. Fibre optic sensors, which continuously monitor the stress and strain variations, were also integrated in the structure. The result is a semitransparent structure of approximately 8 m in diameter and 3.5 m height,which weighs less than 320 Kgs.

properties are used beyond conventional actuator replacement and become orchestrated for their aesthetic qualities. The component-based form results from the material’s desire to return into its original shape combined with structural frames that were developed to allow an appropriate degree of flexibility. This minimum energy structure retains a variable stiffness, which allows for a variety of deformations within a given range.

Igneous and metamorphic rocks are considered, in general, as “hardrocks” and sedimentary as “soft rocks”, although in both casesthe more uniform the stone’s physical structure is and the smaller the grain of their

Besides its resistance, stone is greatly appreciated by its beauty, by its visual and tactile properties, due to its variety of colors, patterns and texture,its allowance for multiple surface finishes and shaping by carving and cutting, all making itvery suitable either as interior or exterior cladding. From the thermodynamic point of view,stone’s most remarkableproperty is its thermal mass capacity, a value that, since early times, have been exploded to keep interior spaces at a stable temperature; a property that currently is being brought to the foreground as a sustainable conditioning technique.

Fabrication

From the social point of view, it should be noted that masonry is a sophisticated technique that has been transmitted from generation to generation and thus to preserve it means to preserve certain social and economic groups;As it is sustainable to promote biodiversity to promote craft variety is so.

Life span

• Unless radioactive stone is used in construction, it does not cause anyhealth problem during its lifetime. It is a very durable material .

• Modern pollution breaks down the calcium content of certain types of stone deteriorating it . Global Warming will accelerate decay in porous ones . Some kinds often contain radioactive elements such as thorium and radium.

End of life

• Demolition waste is inert .

• Quarry and dressing products result in large amounts of waste, so they take up much room in landfills, but if they are managed properly they can be recycled .

Construction • Quartz respirable dust entails the danger of serious damage to health by prolonged exposure.

On the other hand,stone’s downsides such as its heaviness, which implies a great environmental impact in terms of transportation, is being solved both using regional deposits and lessening the amount of material needed, incorporating it as part of composite materials.Regarding the other big stone’s drawback, ecosystem alteration due to quarrying, it is also being tackled through a combination of legal directives and landscape design initiatives. These and some other solutions are improving greatly the life cycle assessment for natural stone.

Each element consists of a thin layer of stretched elastomeric film that is attached to an acrylic frame and sandwiched between two compliant electrodes. This is achieved through coating both sides of the film with conductive powder and insulating them with liquid silicon. Once a high DC voltage in the range of several kilovolts is applied, electrical charges move from one electrode to the other and the film is squeezed in its thickness direction, which leads to a planar expansion. After actuation the EAP becomes thinner and its surface area increases. As the membranes are attached to flexible frames, due to the initial pre-stretching, the frame bends when the material is in its

161

160

The common plastic membranes used in membrane structures are: PVC coated polyester, PTFE coated glass fibre fabric, PVC coated glass fiber fabric, translucent polyethylene fabric, ETFE foil, and PVC foil. New fabrics regulate their degree of translucency by imprinted patterns and also include photovoltaic and other functional layers to harvest and store energy and can be coated with dirt repellent films. Tensile structures The outer shape, the inner forces and the building materials’ properties mutual dependency is the clue of these kind of structures that span wide with the minimum weight, as if they were immense flying carpets. The majority of them derive their strength from their doubly curved shape. Musts and steel guying cables define the high and low points where the plastic membrane itself is attached and in this way the system as a whole produce the surface curvature required. Like cables, membranes possess

only tensile strength, so they have to be prestresed to withstand snow loads and wind. Joints detailing as well as provision for drainage are also functional requirements that must be carefully taken into account for a good performance and durability. An important precursor of this kind of structures was the German engineer Frey Otto who stablished the form finding process that enabled the design based on physical models and built paradigmatic buildings, such as the 1972 Olympic Games Stadium in Munich. Today Otto’s experimental method and a computational one are combined to actually define the optimal form needed to achieve these efficient structures, whose beauty derives precisely from the graceful visible flow of forces across the membrane. Pneumatic structures These plastic bubblessupported by pressurized air only that in 1960’s became the symbol of the hippie counterculture, embodying the anti-bourgeois ideals of nature, freedom, mobility and boundless space, today maintain certain aspects of this spirit given their Along with the internal air pressure, slightly increased above normal atmospheric one, an network of cables stiffens the fabric and are attached to a peripheral rigid ring . The pressure is maintained by compressors or fans and air locks are required at entrances.

DO with stone. A sustainable design with stone might pay attention to three of its most relevant advantages: thermal mass, compression strength, and recyclability. The following design operations bring into play each to achieve also compelling buildings and structures, and novel materials.

In these social housing built near Toulouse, Stone plays a special role. The load-bearing walls of the building structure are built with limestone blocks 40 cm thick, greeted with lime mortar. This so elementary construction lowers costs and adjusts to the tight budgets of this kind of housing projects. Besides the economic advantages of stone, in a climate like the one of this inland area of Southern France (between Temperate and Mediterranean), its thermal mass is also an advantage that is taking into account in this building as a heating and cooling passive strategy. Each house, on the south side, has a large and deep terrace, which also serves as entrance hall. The living room of the house communicates with the terrace with a glass façade that allows sunlight harnessing in the winter months when sun is low. Then, the interior stone walls progressively heat during

the day, releasing it gradually during the night. By contrast, in summer, the depth of the terrace keeps the high-angle sunlight away keeping the house cool during the hottest months. Meanwhile, cork is laid in the interior of the walls at the front ends and at the north façade, to insulate them, preventing heat loss in winter throw these facades that do not receive sunlight. The window openings in these facades are smaller than the ones facing south for this very reason. Other series of operations are added to the ones provided by the stone walls that make the building to have a remarkable environmental profile: Every house of this dueling has dual orientation, so they benefit from cross ventilation providing natural cooling in the summer; it has a green roof, which is a great insulating solution. Still, another interesting detail, which improves the durability of the materials used is that of the imposts that cross the façade at the level of the floor, as they protect both the wooden shutters and window frames, and the stone itself from water draining, since they cut runoff, that otherwise would erode it. other solutions are improving greatly the life cycle assessment for natural stone.

[Figures 9 to 14: Jürg Conzett. Pùnt da Suransuns bridge. Viamala, Switzerland. 1999. 9-view of the bridge. 10- Longitudinal section. 11- Detail of western abutment. 12Detail of hook- 13-Section AA. 14- Section BB.

-Thermal mass [Figures 6 to 9: Parraudin Architecture. Social Housing in Cornebarrieu, France. 2011. 6- Exterior view. 7- Interior view in summer. 8- Interior view in winter. 9- Thermal performance of the house, in summer and winter, based in passive strategies, among them stone’s thermal mass.

This suspended bridge, built entirely by dry construction, with the exception of the two reinforced concrete abutments at its extremes, with its 40 m span, excels in its structural performance that takes advantage of the combined effect of prestressed stainless steel and contracted granite slabs of ,60 mm thick, 250 deep and 1110mm wide. By the action of the prestress effect, the WINTER multi-pieced deck behaves as if it were a single large solid monolithic slab, and therefore, an ethereal brick like this, turns very stable. Thanks to a good design based 3 on a good management of the mechanical properties of both materials, the4 amount of material needed has been optimized, ensuring that the bridge passes almost unnoticed, respecting the most of the natural environment where it is located.

SUMMER

1060

75 x 75 x 140

15 x 45

15 30

15 75

60 125

20 15

850

125

4 5

6 7

1100

DETAIL OF HOOK

SECTION BB

SECTION AA

Membrane structures can be divided into tensile structures and pneumatic (airsupported) structures. They are used to build light-weight roofs to cover big spans (for exhibition halls , stadiums, open air stages, markets and streets), as a second outer or inner skin of regular buildings and as façade systems bothin new buildings and as retrofitting system,given their lightness and easiness to install. Also, plastic membranes are used as non-structural cladding.

Compression strength Stone has a high compression strength that is why traditionally it has been used to build loadbearing walls, arches, vaults and domes, which are heavyweight structures that perform with compression forces. Nevertheless, the example below shows a surprising use of stone’s compression strength in an apparently lightweight structure.

Membrane structures

3 Material elements

Parallel to the design of single elements, efforts in structural arrangements and tessellations were performed. Early investigations focused on static systems, but after a number of experiments the interest

moved towards dynamic configurations. No static backbones are necessary as individual components are connected to each other to produce self-supporting forms. As with the single units, the dynamic structures achieve their final shape from the relationship of the EAP to the frame and their interdependent connections.

relaxed state. After the voltage is applied, the material expands, and the components flatten out.

DETAIL OF WESTERN ABUTMENT

20%

2 Rock 682KN

anchors L = 13m

+4,0 0%

+0,0 Hinterrhein River

5.84

40.00

2 Soil ancho rs 682KN L = 15m

6.30

LONGITUDINAL SECTION

1 3

1 CROSS VENTILATION

2 SCREENING LIGHT WINTER

SUMMER

3 GREENHOUSE EFFECT 4 IRRADIATION WALLS 5 THERMAL INERTIA

-Recycled stone 3

In quarries, where stone blocks are obtained occurs at the same time, as a result of these operations, many smaller stones than are not discarded but, conveniently crushed, serve as aggregate for manufacturing artificial stones by different processes “figure 15” Similarly, when the useful life of a stone building ends masonry or cladding pieces can either be reclaimed or gridded for the same use described before.

1 3

38 162

Producción académica. Arquitectura y materialidad

424

1 CROSS VENTILATION 2 SCREENING LIGHT 3 GREENHOUSE EFFECT 4 IRRADIATION WALLS 5 THERMAL INERTIA

Figure 15: Tom van Soest and Ward Massa. Stonecycling. Different types of recycled stone bricks. Pulverize, pressurize, and heat: that’s how stone is made in nature. Product designer Tom van Soest, instead of using reclaimed stone as aggregate to fabricate artificial stone, such as concrete, he managed to mimic nature using a tub grinder and a kiln to create stone out of demolition and construction waste or manufacturing refuse with no binding material. StoneCycling products represent the possibility for a continuous, waste-free production cycle breaking the current process of recycling, which often means down-cycling, since the raw materials used are upgraded.

163

Rosana Rubio-Hernández

425

3 Material elements

ID with mineral binding materials: gypsum, lime and cement, and concrete

HE The three of them are the most important mineral binders used in construction. Gypsum and lime are so-called non-hydraulic binders, which means that they cannot harden in humid conditions. Cement is a hydraulic binder (there are some hydraulic limes as well), meaning that it can solidify also in humid conditions. Gypsum and lime are some of the oldest materials used in construction, dating back to the Neolithic period. The most developed civilizations of Classic Antiquity (Mesopotamia, Egypt, Greece, Rome and Middle East Cultures) used them in their most important constructions as mortars (mainly lime mortars) in masonry, and as rendering material in the form of stuccos, plaster, and fresco painting techniques, or as boards and moldings. Meanwhile, natural cement was first used in ancient Greece, and, from the 1st century BC onwards, in Rome. Pozzolanic cement (named after Puzzuoli, a small village by the Mount Vesuvius from where ashes, the key aggregate of this cement, came from), became the essential component of the most idiosyncratic material of the Roman Empire, concrete. The knowledge of this material was lost after the fall of the empire and it was until about 1930 that nearly all mortar used in construction again were lime mortars. Then, with the introduction of an artificial cement, the so-called Portland cement, the situation changed drastically, becoming the most used mineral binder today.

Figure 1: Alhambra de Granada, Spain. Nasrid dynasty, 12th century. Array carved and molded in gypsum so-called “mocárabe.” Figure 2: Carlos Puente. Ciempozuelos Cultural Centre, Ciempozuelos, Spain. 1995. Image courtesy of Carlos Puente. This traditional stucco made of lime, sand, and water is a durable and weather-resistant material that has a relatively low maintenance. It is also an attractive wall covering that, in this case, has been textured and colored in a soft ocher, not only for aesthetical reasons, but also to avoid glare. The changing shadows of the garden vegetation projected on the stucco collaborate in this task, adding also visual complexity and beauty to the composition.

Lime

AT HE76 ºC ~1

What are gypsum, lime and cement? In the previous section you have seen how rocks or stones are naturally created when disaggregated minerals are gathered and consolidated by the action of pressure and temperature, over time. In this section we will take a look to a series of materials, so called “mineral binders,” that are able to accelerate the natural process of stone formation. With the help of water and air, they (gypsum, lime, and cement) are able to bind mineral aggregates producing a series of very useful building materials, such as pastes and mortars of different consistencies, and, even, artificial stones, like concrete.

3 Material elements

GYPSUM CaSO4 - 2H2O

However, recently the acknowledgement of the environmental problems caused by Portland cement has brought the oldest mineral bindings to the foreground. They are being reconsidered for old buildings restoration, and also in new constructions, due to their sustainable properties. Gypsum and lime, unlike cement, are closed cycle materials. As you will learn below the energy and water consumed, and the CO2 at play in the chemical reaction while setting, remain always within the cycle, implying a better EP than the one of Portland cement. Nevertheless, since concrete, one of the essential materials in contemporary construction cannot exist without cement, currently there are many research and developments efforts invested on improving the sustainability of cements. In short, and apart from these considerations, we have to stress that the historical success of these three mineral

binding materials lies in the easiness of fabrication and on the variety of products derived from them. This is based on the ordinary nature of the materials at play, basically mineral aggregates and water, and also on the infinite variations of them possible, i.e. the type and weight of the aggregates (lightweight, normal-weight and heavy aggregates), and the water to mineral binder ratio. This combinatorial influences the strength, workability and porosity of the hardened material, implying a broad range of uses for the building industry. Moreover, when additives, such as acrylics, glass or metal fibers, are added to improve product’s mechanical properties, their applications multiply.

3rd

HO 2

(

GYPSUM CaSO4 - 2H2O

O H2

2nda

GYPSUM - CYCLE

) O H 2 Lost % 75

1st

Lime mortars are fabricated following this four steps closed-cycle, escaping the 3rd step pure lime for thin coatings is obtained: 1st -Lime calcination: lime is burnt at 815ºC. With this endotermic and energy consuming reaction, unslaked or quicklime is produced and CO2 released, until combustion ceases.

AT HE50 ºC ~4

MOLDING PLASTER 2CaSO4 - H2O

2nd - Quicklime slaking: quicklime is slaked with water to make a workable putty, so it can be used as binding material. Slaked lime is achieved and heat is released.

Gypsum It is a natural substance, a compound of calcium sulfate, a kind of lime and water (CaSo4 2H2O).

3rd - Mortar preparation: aggregates and additives are mixed with the slaked lime.

Gypsum is fabricated cycle “figure”:

LIME CaCO3

HO 2

1st - Gypsum calcination: gypsum is burnt at 176º C. In this reaction 75% of its water content is released and moulding plaster is produced, which is a hemihydrate product also called plaster of Paris.

AT HE15 ºC ~8

2nd a - Moulding plaster hydration: adding water causes the plaster to be workable, hardening afterwards on exposure to the air, with the simultaneous development of heat. The outcome is gypsum again.

4th

LIME MORTAR

2nd b -Moulding plaster calcination: the hemihydrate product is burnt at 450ºC producing anhydrous gypsum. 3rd - Anhydrous gypsum hydration: the same reaction, as in step 2nd a, takes place.

Most places on Earth have deposits of lime, either as coral and sand formed from disintegrated seashells, as limestone or as chalk deposits. Besides its use to fabricate lime binders, limestone is an important filler in industries producing glass, plastics, paint, varnish, rubber and paper.

TES GA

G AG

1st LIME - CYCLE

CO 2

QUICKLIME CaO

2nd

3rd

HO 2

O H2

The difference between the moulding plaster and the anhydrous gypsum is that the former set slowly and cannot be used where there is any exposure to weather or moisture, while the latter is a very strong plaster that can be used as an exterior rendering material

4th -Carbonation: slaked lime reacts as a binder with carbon dioxide in the air to form a stable compound. This reaction is exothermic in the same way as slaking. On the one hand part of the energy used in firing is now released, as well as part of the water used in lime slaking, and on the other, CO2 is recaptured during the long period of time that takes lime to set. The final outcome of the whole process is limestone again. Lime binder is manufactured as a dry powder and as putty and is used in the production of lime bricks and a variety of mortars for masonry and renderings.

and water is a durable, and weather-resistant material that has a relatively low maintenance. It is also an attractive wall covering that in this case it has been textured and colored in a soft ocher, not only for aesthetical reasons, but also to avoid glare. The changing shadows of the garden vegetation projected on the stucco collaborate in this task, adding also visual complexity and beauty to the composition.]

Life cycle and environmental profile ID with concrete

Cement

There are many kinds of cements, whose particularities relay in the proportions of their components, which consist of compounds of calcium, silicon, aluminum and iron oxide. They can be divided in five main groups: Portland cement (the most widely used type), Portland composite cement, blast-furnace cement, pozzolanic cement, and composite cement. The production of cements, as in gypsum and lime binders, involves firing their components. Afterwards, the resulting compound is ground to form the fine powder that we know as cement. The addition of water enables the cements to set, at first produces a cement paste and then it hardens. Unlike gypsum and lime cycles cement setting is not a closed-cycle process, since the outcome is not the same departing product and thus the production cycle stops there. Regularly cement waste is down-cycled in products

1 Sand. Fine aggregate 2 Gravel. Coarse aggregate 3 Binder. Cement

Concrete is an artificial stone used in architecture since antiquity, e.g. buildings such as the Pantheon in Rome were built out of concrete. It was in the 19th Century when it became the bases of modern construction, principally due to the invention of steel reinforced concrete that enhanced its structural properties. Currently, it is the most widely used building material in the world. In fact, it is said that, after water, it is the material consumed in greater quantities by man. Its success relies in its superb mechanical properties and its excellent durability; which are achieved economically, due to the abundance of the raw materials needed and, generally, to the unsophistication of its manufacture process. In architectural design, one of its most attractive features is its versatility, both formally, some call it “liquid stone”, and in terms of performance, which is due, mainly, to the variety of admixture of its components, which are: Cement: the binding material. Water: it generates an exothermic chemical reaction with cement. Aggregates: they are fillers that provide concrete’s strength. Regular aggregates are sand and gravel of different sizes, but some other reclaimed materials, such as recycled glass, tires, or plastics as well as dredge material, rock spoils or concrete waste itself, can be added, which contributes to building materials sustainability.

Cements are manufactured as a dry powder and are used to produce In-situ and prefabricated structural concrete, flooring, roofing and wall claddings, and also plasters, mortars, and filler of different materials. Also, if it is foamed, it can be used as thermal insulation.

Additives: There are many of them used for specific purposes: aerating, accelerators, adhesion increasing, air-entraining, anti-alkali reactive, anti-corrosion, anti-freezing, chromate reducers, de-foaming, fungicides, grouting aids, recycling aid for wash water and concrete remains, permeability reducers, retarders, water repellants, water retaining admixtures, among others.

This traditional stucco made of lime, sand,

SLAKED LIME Ca(OH)2

Gypsum binder is manufactured as a dry powder and is used in the production of mortars, plasterboard, sheeting, and as a constituent in Portland cement. In recent years industrial gypsum by-products have made up a large proportion of the total volume of gypsum produced.

What is the environmental profile of concrete?

What is concrete?

Extraction

Reinforcements: they add tensile strength to the material and they consist of steel rebars (regular reinforced concrete, prestressed concrete and post tensioned concrete) or different kind of fibers: glass (GRC), Carbon (CFRC), steel, polymeric or vegetal, arranged in a certain way within the concrete mass. This admixture is casted in a formwork, on site (in-situ concrete) or off site (prefabricated concrete), where it is compacted. Then, it sets over a relatively short period of time, becoming a hard material. In architecture concrete is used for a multitude of different applications ranging from foundations, structures, façade paneling and paving elements. And many prefabricated products based on concrete are manufactured, such as concrete blocks, flooring tiles, slabs, columns, façade paneling and even entire architectural units. Of course, civil engineering is also a sector where this material plays a major role.

Fabrication Figure: Environvental Profile of Concrete

Thus, concrete is an indispensable material today, whose contribution to sustainability during its life cycle relies in its durability and its thermal mass (see Alejandro Aravena’s Innovation Centre), which contributes to energy savings. Nonetheless, it is also facing important environmental challenges, being the major goals in its agenda, the reduction of natural resources consumption, particularly water, the minimization of greenhouse gasses emission in the fabrication of Portland cements, and waste management, as well as an improvement of its durability increasing the quality control and monitoring during its whole life-cycle. In this sense a series of new advanced concretes are being developed, which can be divided in two groups: Nano-structured concretes and High and Ultra High Performance concretes (HPC and UHPC). The use of different kind of recycled materials is also an interesting research line of development going on and, of course, ingenious design strategies that are able to take the most advantage of this material.

Advantages

Challenges

• There are very large lime reserves to fabricate cement, as well assand and gravel for aggregates . UHPC reduce the amount of water needed . The increase of pozzolana mixtures in cements is the most effective step towards reducing climate impact of cements . The use of energized water increases contact with concrete particles, which causes many benefits: reduction of water need, better compressive and tensile strength and a higher chemical stability .

• The consumption of water is 170 to 300 liters per Kg .Although the raw materials needed are abundant, the depletion of the resources is problematic due to the high consumption of this material . GWP: 180 grams of CO2 per Kg.

• Shaft furnace to burn cement reduce energy consumption in the fabrication of cement by 10-40% . Pre-calcination and pre-heaters also reduce the energy consumption . Lower temperature cements are also a saving measure, like the geopolymeric, high pozzolanas, and high limestone content ones . Part of the CO2 emitted in cement fabrication is reabsorbed in carbonatation; in theory, up to a 15 % can be fixated over a 50-year period . Its acidification potential is not very high since SO2 can be cleaned . Industrial by-products can be used in its fabrication .

• Portland cement has a relatively high energy consumption . In prefabricated concrete heavy machinery is needed . Prefabricated concrete should be used locally; transportation energy have a large role in the total energy picture . Poisons and ozone depleting substances from fabrication of cement are: asbestos and formaldehyde, that may be harmful by inhalation and are suspected to have carcinogenic effects, as chrome is, which is very toxic to aquatic organisms as well, inhalable dust of quartz, which entails danger of serious damage to health by prolonged exposure, andnonylphenol and thallium, which are very toxic by inhalation and may cause long-term adverse effects in the aquatic environment, among other polluting substances .

• Drying out concrete with industrial fans to accelerate the building completion time is highly energy consuming .

Construction

Life span

• It is a very durable material that does not need much maintenance . It has a relatively low embodied energy .

• In aggressive environments,it suffers from the so-called “concrete sickness” where its calcium content is broken down. Pollution and changes in climate can accelerate its decay

End of life

• Waste cements are relatively inert as long as they are free of additives; however, there is not much knowledge as to the behavior or leakage into the environment of typical additives

• It is regularly down cycled, it is crushed and used as aggregate to fabricate other materials . To recover the steelreebarsfrom reinforced concrete is a relatively expensive and complicated process .

Figures 3 and 4: Gypsum and lime closed-cycles of production.

Figures: reclaimed materials concrete. Reclaimed glass concrete brick and tile, and post-consumer tire grounded into bits to be used as concrete aggregate.

160

161

160

Life cycle and environmental profile

Figure 5: Environmental profile of gypsum and lime.

What is the environmental profile of gypsum, lime and cement?

Advantages

Challenges

Extraction

Fabrication

Figure 6: Environmental profile of cement.

• Drying out concrete with industrial fans to accelerate the building completion time is highly energy consuming .

Construction

Life span

End of life

• It is a very durable material that does not need much maintenance . It has a relatively low embodied energy .

• Waste cements are relatively inert as long as they are free of additives; however, there is not much knowledge as to the behavior or leakage into the environment of typical additives

• In aggressive environments,it suffers from the so-called “concrete sickness” where its calcium content is broken down. Pollution and changes in climate can accelerate its decay

In this section we look at DO in which lime is used, for the renewed interest in this material shown in recent times, greater than the awakened by gypsum, at least for now. DO with cement will be explained in concrete’s section.

The mechanical and hygrothermal properties of lime were already well known in ancient times, so here we include two significant examples of its use in architectures of the past. Also we take a look at the research on composite materials intended to extend the performance of ancient mortars, such as its insulating and acoustic conditioning capacities.

You already know that lime mortars, at the end of its production cycle, is converted back into a limestone, which hardens more and more with the passage of time. This is the key to the mechanical ability of this material for building masonry bearing wall, as it binds together the stones in a monolithic whole. If we also add their relative flexibility, in comparison with cement’s, which allows possible movements and setting of the walls, with no significant cracks occurrence, we face constructions of great stability and durability.

Sassanid architecture, along with the Roman one, have provided a variety of elements, construction systems and materials higher than has been able to offer any time in history. The strength of these walls, which allowed them to survive seventeenth centuries, is due to the precision of its masonry and, to a large extent, to the extraordinary quality of its lime mortar. The walls were also covered with stucco, which decorate and protected them from the weather.

The cutting edge concrete research is linked to advancing the frontiers of discovery of the material micro-scale and the subsequent improvement of the performance at the macro-scale. Thus, research is focused on the nanometer (one-million of one meter) scale of concrete, to devise ways to increase its strength, durability decreasing the diffusion of chlorine (responsible for the corrosion of reinforcement), and to accurately control its properties, by means of nanotechnology.

Taking advantage of lime’s hygrothermal properties. improve indoor environment quality due to their hygrothermal properties, through passive humidity buffering, which allow walls to “breath”. This, along with the waterproof property of lime, have made this mineral binder the ideal material to build and render thermal baths and Hammams (Turkish baths) since antiquity. rendering material), and as bricks to build load bearing walls.

Figure 8: María Padilla Cistern, Sevilla, Spain. 13th century. This singular cistern space, located under the Alcazar of Seville, comprises three naves covered with Gothic vaults. The big central one contains the water tank, while de smaller lateral ones serve as circulation space. The structure is made of stone rendered with lime mortar. The moisture and temperature regulation properties of lime made this space the favorite place for Maria Padilla (the king Peter of Castile’s lover) to bath, hence the name of the cistern. Lime’s waterproof characteristic has also enabled this structure to remain in good condition for eight centuries.

Lime-hemp composite it improves soils, can be grown without pesticides and herbicides, and all its parts are usable. As a vegetable material it retains CO2, and it is also very durable since is not attacked by parasites, because its stalk is free from nutrients. The high EP of these materials is completed by the benefits that lime itself adds, as you already know: its low EE index and GWP, compared to cements, and its closed-cycle of production. Lime-hemp composites are produced as pastes, to be formed in-situ (both as structural or rendering material), and as bricks to build load bearing walls.

Figures 9 and 10: Monika Brümmer. Cannabric hemp-brick. Piled bricks and a detail of their compelling rough texture. Cannabric is a firm created by the German architect Monika Brümmer in Granada, Spain, engaged in projects of ecological and bioclimatic architecture, including the development of sustainable materials based on hemp, cork, lime and gypsum.

The Engineering of HPC and UHPC is not as advanced as the nanoingeniering since they recognize the submillimeter (onethousandth of one meter) and micrometer (one-millionth of one meter) as the scale of concrete’s internal performance, respectively, but still they are extremely interesting materials that excel in their properties and applications.

increased durability, and even the contribution to a better air quality are some of the advantages of HPC and UHPC. To achieve these goals it is necessary to vary some of the conventional concrete’s components, i.e. modify the aggregates if you want to lower the density; vary its dosage or add components, such as different kind of fibers, if you want to increase its mechanical properties or customize them.

This tower-like house in fair-faced is compact and sculptural like the old town houses in Fläsch. All walls are built of light-weight in-situ fiber plastic reinforced concrete, finished inside with a coat of grey-white plaster applied thinly so as to retain most of the roughness and the joint marks left by the formwork. The 50 cm thick, single-skin, monolithic outer walls of the Meuli house have the windows fitted flush on the inside, showing the thickness of the wall, which increases the monolithic aspect of the house. Although the house was built using concrete technology the traces of the wooden formwork have been retained, thereby integrating the fair-faced concrete more with the nearby wooden farm buildings.

Polymeric concretes They are produced either by replacing all the binder material, conventional cement, by polymers or by reinforcing it with a polymer. There are different varieties known by the acronyms: PMM, PMC, PM and PC.Among their advantages are that their properties can be customized and that they save energy in the fabrication process.

Fiber reinforced Concretes

HPC and UHPC concretes, as well as RPC (Reactive Powder Concrete) can be classified as fiber reinforced concretes. These novel materials overcome one of the downsides of concrete, brittleness since they are ductile. They have a huge compression, flexotraction resistance and also to external aggressions, such as abrasion, pollution, weathering and scratching; thus, they last much longer than conventional concrete.

Figure: Cellular concrete

Figure: Bearth & Deplazes , Meuli House, Fläsch, Switzerland. 2001. Exterior view and detail of the concrete wall, which is lightened with flying ashes that also increase its thermal insulation.

Low density, High compression strength a better tensile strength, retraction, breakage,

They include different kind of small fibers, randomly distributed within the material that originates important benefits in the mechanical properties of the material, which substitute traditional steel reinforcement. Also, the aggregates that configure this kind of concretes are very fine and sometimes silica smog is added to increase their adhesion.

other standardized building components and it can be used in interior and when used in exteriors is normally protected by stucco or other protective coatings. components, i.e. modify the aggregates if you want to lower the density; vary its dosage or add components, such as different kind of fibers, if you want to increase its mechanical properties or customize them.

Weight-to-strength ratio of concrete is always considered a drawback from a sustainable point of view since this implies a high EE and a huge resource consumption. Light weight structural concrete, with about a third of conventional concrete’s weight can match the weight-to-strength ratio of steel resorting to lightweight natural aggregates, such as clay, slate, expanded shale or pumice or synthetic aggregates, from raw materials such as fly ash.

So far, one of the main uses of nanomodified concretes are the so called “easy to clean” or “anti-graffiti” concrete, which avoids the use of aggressive cleaning products. Also the “self-cleaning” property is an interesting application of this technology. In this case the concrete surface is treated with TiO2, a chemical that attracts rainwater to form a water layer that trails the particles of dirt and pollution deposited on the material’s surface.

High and Ultra High Performance Concretes

The amount of thermal insulation has increased in modern construction together with improvements in envelope airtightness, with the aim of reducing operational energy use. However, an unplanned consequence of these changes has been, in some cases, a reduction in the indoor environment quality due to insufficient ventilation. Some building materials like lime have the potential to

Its low-weight has also an impact in minimizing the structural and foundation elements. Its waste is inert and can be safely removed and reused, for instance, one green use of recycled cellular concrete is as aggregate in vegetated roof construction. It can also incorporate post-industrial byproducts, such as blast-furnance slag or fly ash, collaborating to eliminate the need to landfill the materials, and reducing the need for virgin materials. It is most commonly manufactured in the form of unit masonry or

Light Weight Structural concrete

Nano-structured concretes

Figure 7: Ardashir Papakan Palace ruins. Firuzabad, Iran. Sassanid civilization (Midddle East), 3rd century AC.

Norman Foster, Chapelet-Defol-Mouseeigne, and Ove Arup and Parteners. Millau Viaduct, Millau, France.2005. This 2.5 km long highway bridge in southern France is a cable-stayed structure supported by steel masts set on top of reinforced concrete piers, measuring from ground level to the top of the mast 340 m and spanning more than 400 m. A UHPC by the French company Lafarge (Ductal trade mark), was used to build it, in order to achieve the maximum structural performance with the minimum visual impact on the natural environment of the Tarn Valley.

Figure: Rael San Fratello Architects. Seat slug. . This 3D Printed Bench is design using a 3D It consists of 250 parts 3D printed using a polymeric concrete.

Variable density graded concrete Polymeric concretes They are produced either by replacing all the binder material, conventional cement, by polymers or by reinforcing it with a polymer. There are different varieties known by the acronyms: PMM, PMC, PM and PC.Among their advantages are that their properties can be customized and that they save energy in the fabrication process.

Figure: Timothy Cooke. Building Technology program at MIT. Linear and radial density gradient in a concrete sample produced by a foaming agent.

163

162

426

Also known as aerated, air-cured or autoclaved cellular concrete (ACC), consists of Portland cement, water, foaming agent and compressed air and it does not contain aggregates, resulting in a low-density concrete with versatile features that can solve several construction, mining and manufacturing challenges. It is an insulating material more durable and stronger when compared to traditional ones, it has also fire proofing insulation and sound attenuation absorbing characteristics.

Concrete DO should be addressed with a multiscale approach that comprises from the nanoscale up to the scale of the building. The following examples represent both cutting edge research on the chemistry of the material and relevant architectural examples that take advantage of concrete’s organoleptic, physical, and mechanical properties

Taking advantage of lime’s mechanical properties.

Their main component, besides lime, is the wooden stalk of hemp, a fast-growing versatile plant, cultivated for thousands of years that entails many sustainable benefits:

Producción académica. Arquitectura y materialidad

Light-Weight Concrete

DO with concrete

DO with lime

We have already mentioned that incorporating additives to mortars can add interesting mechanical and physical properties to them. That is the case of lime-hemp composites whose components possess characteristics that create a healthy room climate and a pleasant thermal and acoustic comfort since they provide for clean air and adjust the air humidity.

162

3 Material elements

163

Rosana Rubio-Hernández

427

3 Material elements

Prestressed and Post-tensioned concrete Self-compacting An special dosage of its components, and the addition of super-plasticizing additives allow this kind of concrete to be compacted by the action of its own weight, without vibration energy or any other method of compaction, which implies time and energy savings among other advantages. Figure: Herzog & de Meuron. Caixa Forum main staircase, Madrid, Spain. 2008. To build this intricate staircase was necessary to use self-compacting concrete, otherwise it would have been impossible to Biologic It promotes biological organisms to grow on its Surface, particularly certain families of microalgae, fungi, lichens and mosses, naturally and rapidly. This is achieved by modifying concrete’s pH, and its superficial porosity and roughness. This material, which have been thought to be used as façade cladding for Mediterranean climates, offers thermal and ornamental advantages over other similar building materials as well as the environmental benefit of absorbing CO2.

Figure: Structures Technology Researcg Group. Universidad Politécnica de Cataluña, Spain. 2014. Multilayered biological concrete panel. Render simulation of a biologic concrete façade, section of the multilayered panel and detail of its surface. Multilayered system 1-Structural layer 2-Water barrier 3-Biological concrete 4-micro algae, fungi, lichens and mosses

They are structural building systems for overcoming concrete’s weakness in tension, by means of a tensioned steel reinforcement. The difference between both systems is mainly when the steel is tensioned: before (prestressed) or after (post-tensioned) concrete is poured. Both systems can be used to produce big span structures (beams, slabs and deck bridges) that are not viable with ordinary reinforced concrete. Among their benefits are: the large spans that can be achieved, reduction in concrete and reinforcement, simplification of the formworks, and quicker construction cycles. Most pre-tensioned and posttensioned concrete elements are prefabricated and transported to the construction site; thus, for them to be sustainable, they should be fabricated close to it.

Figure: Miguel Fisac. Ministry of Public Works, Centre for Hydrographic Studies, Madrid, Spain. 1960. Interior view of the building and section and plant drawings of the post-tensioned concrete beams.

Prestressed concrete

The structure of the warehouse consists of a series of concrete beams spanning 20 meters that, in turn, are composed of 20 precast concrete bones. Each of them is stringed, like beads of a necklace, on the tendons, which hold the beam in horizontal position when tensioned.

An outstanding example of prost-tensioned concrete is the linteled structure that covers the 80 x 20 m rectangular space of the hydraulics laboratory warehouse, one of the buildings that integrate this research center, designed by the Spanish architect Miguel Fisac in the 1960s. Fisac´s work stand out for his research on concrete structures being this warehouse’s one of his most emblematic ones; in his own words he invented a completely new solution and even a structural theory to build it. He said that the structure was inspired by the skeleton of vertebrates, so he started to call this post-tensioned concrete pieces “bones”.

In this system, concrete is cast around tensioned steel strands (so-called metaphorically “tendons”) while they are under tension. While concrete is curing it bonds to the tendons and when the tension is released it is transferred to the concrete as compression.

Light-weight insulating ceramics

The following DO bring up three different aspects that make building with ceramics a sustainable building system. The first is concerned to the possibility of obtaining high-efficiency structures with a low material consumption, precisely thanks to the formal flexibility the small size of ceramic pieces

allow. The second shows new ceramic products that unite the thermal mass property of traditional ceramic elements, with a thermal insulating capacity. Finally, the third operation highlights, poetically, the need to economize on the energy invested in the fabrication process of ceramics.

Ceramic shells Figure: Rafael Guastavino. Grand Central Terminal vaults, New York, USA.1871. There is a long tradition of built concrete shells, like for instance the ones by the Guatavino, a familiar saga of architects and builders who worked in some of New York’s most prominent Beaux-Arts landmarks, and in major buildings across the United States. Guastavino tile, a “Tile Arch System,” patented in the United States in 1885, used for constructing robust, self-supporting arches and architectural vaults using interlocking terracotta tiles and layers of mortar. The success of this system, apart from its elegance, relied in their constructive efficiency and economy as well as in their fire resistance.

The same we said about concrete shells also applies for ceramics, with the difference that while concrete, as the liquid stone that it is, is poured into the formwork to achieve the desired shape, the small ceramic blocks are laid out piece by piece. Again, these kind of structures have both structural, sustainable and aesthetic significance.

In short, Fisac’s bones feature the following exceptional performances in this building:

Post-tensioned concrete

Concrete shells Figure: Carlos Arniches, Martín Domínguez and Eduardo Torroja. Racecourse of Madrid, Spain. 1941. View of the canopy from the race track and section .

Besides this advanced concretes there are other operations, now at the scale of the building that you can explore to achieve a sustainable concrete structure. That is the case of concrete shells, which can be considered as one of the most relevant examples of material optimization ever achieved in architecture.

The main novelty of this building is the slender canopy covering the bleachers, made with hyperboloid shaped reinforced concrete shells, of only 5 cm thick at the end of the almost 13 m cantilever.

Vaults and domes are concrete shells’ ancient relatives. The difference with them relies in reinforced concrete’s tensile strength resistance; a feature that did not enjoy those old constructions of brick or stone. Concrete shells’ geometrical forms are very varied, due, precisely, to concrete’s capacity to withstand tensile stresses. Therefore, its forms and are not limited to the ones of a vault or a dome, which are always inwardly concave surfaces, but that of concaveconvex surfaces. Among these warped surfaces, the hyperbolic paraboloid have been the one used the most, and today, even more complex forms, hard to express mathematically in the past, are able to be built due to computer calculations, as well as advanced experimental analysis techniques.

Compression

The shell does not need extra ribs or further reinforcements to stand the stresses, just a clever play of balancing forces make this extremely efficient and beautiful structure possible: the canopy (1-2) rests on the principal columns (3-4) and the rear traction cables (5-6) prevent it to tip while compensating, at the same time, the weight of a vault that is underneath (7-8).

Traction 5

3 7 6

- Their hollow section and the tendons allow the beams to resist the flexural forces proper of such a big span, minimizing their weight and subsequently optimizing the use of materials. - Due to this structural stability of the beams, they can be distanced from each other so as to allow the natural light to penetrate through translucent polyester skylights inserted between them. - The beams are properly oriented to be an effective brisoleil that protects from direct sunlight during the summer. - A fair-faced structured is possible both in the exterior and in the interior of the building because, on the one hand, the tensioning of reinforcement avoid concrete cracking making it waterproof and, on the other, the hollow section of the beams perform as a thermal buffer between the exterior and the interior so adding an insulation material becomes pointless. - The intricate profile of the beams correct the problems otherwise occasioned by smooth and hard concrete surfaces. With ingenuity and expertise, Fisac gives a lesson in design synthesis through this building where structure, construction, matter, and light merge.

In this other system, galvanized steel ducts are set inside the formwork, anchored at both ends, following the areas where otherwise tension would occur in the concrete element, as said, to compensate concrete’s lack of traction resistance. Then, tendons are pushed through the duck and, after this, concrete is poured. Once concrete has achieved the required strength, the tendons are stressed by hydraulic jacks. When they have extended sufficiently, they are wedged in position and maintain tension after jacks are removed. The duct is then grouted to provide corrosion protection and bond between the pre-stressing steel and concrete members.

165

3 Material elements

Designing with ceramic.

Life cycle and environmental profile

What is ceramic? The word ceramic derives from the Greek word keramos, which means “fired earth”, that is to say that ceramic is an artificial stone, like concrete, but in this case obtained by firing clay, a process that implies water elimination. Ceramic was firstly used in pottery, and later on, more than 6,000 years ago, it started to be used as building material in Mesopotamia, Egypt and India. Building products made out of ceramic have been the first standardized ones, whose advantage relied in facilitating the execution of big structures out of pieces not larger than what one man can easily handle.

Silicon Oxygen

The mouldabilty of clay mass before firing makes ceramics a very versatile material and this, coupled with its high compressive strength, durability, abrasion, and water resistance, as well as thermal mass offer a broad range of sustainable possibilities. These properties depend on clay’s composition but, mainly, on its firing time and temperature, and altogether condition the potential uses of the material. According to firing temperatures ceramics can be classified as follows: - Clayware: 900-1000ºC. Used in clay masonry units, hollow clay block floors, wall panels, roof tiles, floor and wall cladding. - Stoneware: 1000-1300ºC. Used in floor, wall cladding and pipes. - Porcelain: 1300-1450ºC. Used in sanitary ware.- Refractory products: 1300-1800ºC. Figure: Alvar Aalto. Experimental House at Muuratsalo, Finland. 1953. Façade detail.

Figure: Basilio Tobías. Sports Center for the Universitat Jaume I, Castellón, Spain, 1995. Façade detail. Every building system used in this industrial looking building is prefabricated and dry. The main structure is consists of standardized steel beams and columns and prestressed prefabricated concrete slabs and the façade is cladded with big size rectangular pieces, 127 cm long, 20 cm high and 7 cm thick, fastened with stainless steel pieces to a galvanized steel substructure

Aalto described the Experimental House as “being made for the architect’s own amusement and play. But it is also made for serious experiments, mainly for problems that the architect cannot resolve in ordinary building tasks.” Thus, the wall surfaces of this house served Aalto as a testing ground for the mechanical and durability properties, as well as optical effects, of the various ceramic materials (about fifty different ones), creating a handmade looking façade, due ,mainly, to the small size of the ceramic pieces used.

Another example worth mentioning is the work of the Uruguayan civil engineer Eladio Dieste. Dieste take ceramic and brings it to its maximum lightness by the creation of curved surfaces based in a technology that he developed. He called it “reinforced ceramics” and consisted in a layered structure of ceramic bricks, steel reinforcement, and a thin layer of concrete arranged on vaulted sliding formworks that were able to be removed rapidly, when the concrete had the resistance to assure a good distribution of the stresses. This was what made this vaulting system

Figure: Solano Benítez. Teletón Children’s Rehabilitation Centre, Lambaré, Paraguay. 2010. In this building, Dieste’s “reinforced ceramic” technique is revisited. Also, it is added the strategy of deploying reclaimed materials of an existing previous building that was demolished. Bricks, tiles, tempered glass, wooden door frames, and metallic roofs are all salvaged and re-purposed from the dilapidated facilities that previously stood on the site. In the image the vaulted garden canopy is constructed from triangles of reclaimed brick joined together with an elastic cement; Broken bricks are used to

Used in fire-resistant and high mechanical strength clay masonry units. -Special ceramics: up to 2500ºC. Glass is a ceramic of this kind.

What is ceramic’s environmental profile?

Advantages

• There are very large clay reserves . Water consumption can be reduced filtering the waste sludge .

• Consumption of water per Kg is very large . Material pollution from quartz dust and calcium chloride can occur .

Fabrication

• Some products that are feasible for interiors can be left unfired to save energy.

• The energy consumption for firing clay products is very high, being fossil oil the usual energy source, but wood, peat or a combination of electricity and coal can also be used . Ceramic Industry has become more centralized, so more energy is consumed in transport and distribution . GWP: 700 grams of CO2 per Kg. Emissions: acidic sulphur dioxide and nitrogen oxides . Poisons and ozone depleting substances: sulphur and fluorine compounds. The firing process at high temperatures can transform innocuous silicate clay, with a relative low intrinsic health hazard, into forms of crystalline silica, which as dust is hazardous if inhaled . It has a mediumhigh embodied energy.

One of the most relevant changes is due to the increase of the cost of labor in industrialized countries, there is a tendency to increase the size of ceramic pieces that are mounted in substructures. This also facilitates the reuse of ceramic pieces since these dry construction techniques do not require binding mortars. With the exception of glass (that we will see it is also a kind of ceramic material), ceramic cannot be reconverted in ceramic again, although it can be down-cycled, for instance, as aggregate to fabricate conglomerate materials like certain kinds of concrete. To optimize the energy consumption in the fabrication process, is one of the major challenges that ceramic is facing. Among the possible solutions in this regard are to improve kilns efficiency and not fire those building element that do not require special strength and waterproofing properties; for example, the bricks used to build interior partitions.

Construction

Life span

End of life

Producción académica. Arquitectura y materialidad

build non-structural walls and paving, and reclaimed tiles to decorate ceilings and partitions. Such a comprehensive use of reclaimed materials might be interpreted as an ecological approach but for Benítez it is also a “narrative of rejuvenation that can be understood as analogous to building a better society.” Teletón restauration is thus a compelling metaphor of Benítez ambition for Paraguay’s ongoing social development.

Designing with glass.

• Clay building waste is inert, and depositing both fired and unfired products has no detrimental effects on the environment . Roof tiles and bricks can usually be reused, the latter depending on the strength of mortar used . Ceramic tiles and expanded clay pellets, are seldom recycled and are more usually down cycled to become filler materials. Roof tiles and bricks can be broken up and used as aggregates in concrete .

• Ceramics that are colored with pigments containing heavy metals, fire-proof bricks that contain soluble chrome, and bricks from sooty chimneys, which have absorbed large amounts of hydrocarbons during their lifespan, should be separated and disposed of specially.

Figure: high-precision vertically perforated light-weight brick. Energy savings in the fabrication process

You already know that energy savings in ceramics fabrication is one of the challenges that this building material is facing in order to be sustainable. Low-cost fire-stabilized architectures technique takes on this objective with determination. It is an old building process described in an old Persian manuscript that have been recovered by the renewed Iranian-American architect Nader Khalili, and further developed by the American architect Ray Meeker. It consists on building a structure with mud bricks of sun-dried mud as the only building material. Once completed, and so it can become waterproof and provided with mechanical strength, this structure is subjected to a temperature of 960º C for three to four days, using a mixture of coal dust and clay instead of wood, which is a more valuable material.

Figures: Anupama Kundoo Architects. Volontariat Orphanage, Pondicherry, India. 2013. Image courtesy of Anupama Kundoo. Building process, firing process, exterior view of the Orphange. This complex was built using this ancient technique. Besides the energy and material efficiency of the fabrication and building stages abovementioned, the small domed huts that conform the orphanage take advantage of the thermal benefits provided by ceramic’s high thermal mass, during its useful life.

The emptiness of the building serves as a hearth where much of the ceramic products needed to complete the building are manufactured: bricks, tiles, pipes, pans, sinks or toilets. The house itself got fired as a consequence. The building becomes, thus, a producer of materials, rather than a mere consumer thereof. The fuel cost would be largely accountable to the products inside. The strength of brick would be achieved for the price of mud. Further, the cement in the mortar mix would become unnecessary.

Also, as a social project with cost as a major aspect that conditioned design, the project uses many other unconventional materials as well as absorbs urban waste. Bicycles wheel frames were used as formwork for windows and later as window grids. Glass bottles were employed as structural units for masonry in the toilet and wet areas. Glass chai cups were used to finish the openings at the top of the dome. For all this, the project is an example of radical thinking that is being explored by committed architects to approach the problem of affordability of housing for all, and ,more over, integrally

What is glass’ environmental profile?

Advantages

Challenges

Extraction

• Silicon dioxide, quartz sand, is one of the most abundant materials on earth, although deposits are regionally limited .

• Reserves of metallic oxides necessary for coating and colouring are generally very limited . It has a high acidifacationpotential . The consumption of water per Kg is around 680 liters . Material pollution from quartz dust and calcium chloride can occur .

Fabrication

• The use of recycled glass in glass production lowers the energy needed in fabrication, it acts as a flux . Each ton of recycled glass prevents 315 kg of carbon dioxide to be released to the atmosphere during the manufacture process .

• High energy consumption to melt the raw materials . Since glass technology requires high investments, it is difficult to establish small local plants, thus production is centralized, which implies energy invested in transportation . GWP: 700 grams of CO2 per Kg. Emissions: SO2, CaCl2, CO2, unspecified dust . Poisons and ozone depleting substances: Hydrogen fluoride (very toxic, causes severe burns) . It has a medium-high embodied energy.

Construction

• Since it is a prefabricated material it does not pollutes and it is not toxic during the building process .

Life span

• It is not toxic . It is a very durable material that does not need much maintenance . Self-cleaning coatings can contribute to savings in maintenance costs .

End of life

• It is fully recyclable by re-meltingan indefinite number of times, it can form glass again or be used as aggregate to other materials, like high quality asphalt and concrete or as filler in elastomeric roof coverings and in the manufacture of bricks and tiles.

What is glass?

Its most notorious characteristic is the way it interacts with light, being mainly transparent to it, although it reflects and absorbs part of it. Thus, the history of glass in architecture is the history of how its optical properties have been manipulated and improved to achieve the best of it.

Si 4+

O 2-

Na+

Figure 1: Sodium silicate glass microstructure.

• In northern Europe,frost damage can increase with Global Warming,conversely it can decrease in farther south.

This microporosity is not noticeable to the naked eye, and improves the thermal insulation of the ceramic blocks. These bricks thermal performance can be improved also filling the vertical perforation with other ceramic material, perlite. Perlite is a volcanic clay natural occurring that has the property of greatly expanding when heating sufficiently, retaining air inside which make it a low-weight and insulating material feasible for many building applications.

Life cycle and environmental profile

Glass is a manmade material known since the Bronze Age, whichin antiquitywas only used to fabricate luxury items. It was in the Roman times when it started to be applied as a glazing materialin buildings. Currently glass in architecture is a synonym of modernity.

• It does not need heavy machinery since it is light, thus not much energy is consumed .

• Does not need much maintenance . It is very durable, having been proven to be considerably more effective than concrete in resisting the effects of modern pollution .

The façade solution of this building has the objective to capitalize on the conditions of the local climate, the Tyrol region of Austria, and make the building not relying on mechanic ventilation, cooling and heating systems. Its walls consist of a double layered light weight ceramic block walls, 36 cm thick each, rendered with a lime mortar. The inner layer works as a loadbearing structure with a high thermal mass having the capacity to store the residual heat produced by the occupants. The outer one performs like thermal insulation. Also, a fundamental role is played by the big glazed windows 2,7 m high. During cold periods they serve to capture solar radiation and are only opened partially to ventilate. In warm seasons they are shielded against the sun and are opened at night to refresh. The whole operation allows to passively maintaining the interior temperature of the building stable between 22 and 25ºC, along the entire year.

163

3 Material elements

Challenges

Extraction

Despite of its ancient origin, few materials have experience more changes and improvements and have found more innovative applications than ceramics.

economically viable. This project was a restauration of an old brick warehouse in Montevideo. Dieste maintained the old masonry as support of a double bowed ceramic vault, with a span on 50 meters, well integrated with the existing brickwork. The total thickness of the shell was 12 cm, of which 10 where perforated bricks, and the rest a thin layer of reinforced concrete. As in the case of the Fisac’s Hydrographic center, here the light coming through the skylights emphasizes the shape, color, and texture of this beautiful structure, again a superb projective and constructive synthesis achieved with a total economy of means.

Figure: Baumschlager Eberle. Office Building in Lustneau, Austria. 2013. Exterior view.

162

Glass is a ceramic material*, an inorganic product of fusion which has cooled to a solid state without crystallizing. This amorphous microstructurealong with glass’s material components are the causes of its transparency. The most common kind of glass used in construction is soda-lime glass, whose chemical composition is: - 70-73 % silica - 14% soda - 9-10% lime - 6% impurities and agents like: fluxes, melting and refining agents, crystallization preventers, stabilizers, spectral transmission modifiers, opalizers. Other properties ofglass,besides transparency,are:hardness, impermeability and resistance to chemical agents. All of them, despite its brittleness, make glass an ideal enclosure material.

90% of glass used in construction is fabricated by the industrial process known as float, which provides its flatness and surface homogeneity needed. The plate of glass is regularly coated, laminated and assembled, in multiple combinations, in the so-called insulating units,in order to meet the comfort and energy consumption requirements. Glass’ environmental benefitscome mainly from the abundance of its raw materials and from its full recyclability. Also,during its life cycle it contributes to reduce the energy consumption in lightingdue to its light permeability and in heating due to the solar thermal gains that it can provide. It can also contribute to power generation, when solar cells are incorporated. Economically, glass industry contributes to about the … of the world’s GDP, producingcommercial products, especially in the field of architectural glazing as well as in the automotive, optical, and bottle-making, among other industries. * Here we are referring to the so-called “inorganic glasses”. There isanother group of materials,which some call “organic glasses”, that are also transparent or translucent polymers (polymethyl-methacrylate, polythene, and polycarbonate) based on hydrocarbon raw materials.

Figure 3: Environmental profile of glass

• Coatings and color could hinder recycling, glass must be cleaned of all impurities first . Arsenic trioxide (very toxic to humans and long term adverse effects in aquatic organisms) and antimony trioxide can seep out after disposal.

Figure 2: Lacaton & vassal. Management Sciences University, Bordeaux, France. 2006. Exterior view The totally glazed facades of this building provide abundant natural light, which can be modulated by means of the external blinds, and offer ample views over the city. They also play their part in providing comfort in terms of warmth. In winter the spaces benefit from the input of heat radiation. In summer the blinds provide good protection from the buildup of heat on the facades.

that in turn is fixed to the main structure. The quality of the prefabricated pieces, the quickness of the construction and the possibility of disassembling the entire building at the end of its lifetime, whether to reused its building elements or to sort them separately to be recycled, are some of the advantages of this building from the point of view of sustainability.

160

428

Figure: Eladio Dieste. Julio Herrera & Obes Warehouse, Montevideo, Uruguay.1979. Interior of the warehouse.

164

New ceramic building products are starting to incorporate integral thermal insulation. That is the case of high-precision vertically perforated bricks which are fabricated with a mixture of clay, expanded polystyrene spheres and other granular materials, which are gasified in the baking process over 900 ° C, without leaving a residue, a thin homogeneously distributed porosity is originated in the ceramic block.

DO with ceramic.

161

Rosana Rubio-Hernández

429

T, R and A for a 4 mm clear glass

3 Material elements

How to get the best of sunlight energy through glass?

Recycled glass

The total energy content of solar radiation is divided in: 3% Ultraviolet (UV), 53% visible (V), 44% infrared (IR). Glass transmits (T), reflects (R) and absorbs (A) each section of the spectrum differently and in different percentages depending on the glass optical properties.

τUV = 30%

A UV = 70%

Fabricators characterize all these properties with a series of indexes, among which the most important to take into account are: Visible transmittance.Tv:measures the percentage of visible radiation directly penetrating the glass in the visual spectrum. It plays a decisive role in the interior illumination, in addition to the size of the window. The bigger Tv the more light is transmitted.

VISIBLE 53%

τV= 90% R v = 8% 1.5 %

0.5 %

A V = 2% IINFRA RED 44%

When selecting a glass unit it is essential to carefully consider the energy balance that a glass façade can provide seasonally, i.e. the energy that is gained (Tvand g-value) and the heat interchange ratio (seen U-value), being crucial for this to carefully consider the climate conditions and geographical location of the building, as well as the glass façade orientation.

We have selected three examples: the first is interesting since it is already implemented, the second, which is still in development, due to the potential relevant of its application to improve the energy performance of PV, and the third one, also , because it could have an impact in energy savings in lighting and in improving the quality of the luminous environment in glass building interiors.

Glass is not as smooth as it appears thereby attracts dust, dirt, and grime. These get launched inside the glass together with causing deposits inorganic dirt water erosion. This gets worst as tangles goes on causing glass surface deterioration. It can be prevented. A self-cleaning coating has been developed inspired by the natural water repellency of the lotus leave by replicating this kind of leaves’ nanoscopic surface

Monolithic glasses

Insulating units

Smart glasses

Tv, g, and U values of different kind of glass units.

A IR = 8%

Figure 4: Ultraviolet, visible and infrared radiation transmission, reflection and absorption for a 4 mm clear glass

acid resistant. Its hermetically sealed cell structure is naturally produced, it’s free from ecologically harmful blowing agents and flame retardants. Mutagenic, or carcinogenic chemicals are not used during its production. The blowing agent is deemed to satisfy the criteria of a GWP < 5 as the CO2 within the glass cells has a low GWP an Ozone Depleting Potential of Zero and long service life. Certified green electricity from Norwegian and French hydropower plants supply power to the factory at Tessenderlo in Belgium. This introduction of green energy is just one part of this factory commitment to reducing the

Foamglass insulation is manufactured from carbon and a minimum 60% locally sorted recycled glass, including scrap vehicle glass and off-cuts from the window industry. It is a solution for the whole building envelope (façade, roof) offering a lifetime performance without degradation. It is also the only insulation material that is totally impervious to any form of moisture and which will not burn, or give off toxic fumes or smoke. It is dimensionally stable, has high compressive strength, and is rot, insect, vermin, radon and

Self Cleaning Glass

Figure 7: U-value lowering mechanisms.

In figure 4 are shown some glasses’ special features and devices that manipulate regular clear glass TV and g-value, which can be applied according to all those conditions.

Total energy transmittance.g-value: measures the percentage of total thermal radiation directly and indirectly (emission of

τIR = 85% R IR = 7% 6%

absorbed energy) penetrating the glass in the range of thermal radiation (300-2500 nm). The bigger g-value is the more thermal radiation is transmitted.

Figure 26: Foamglass trademark.

We have already seen that one of the advantages of glass is its recyclability, both to produce new glass again and to form part of other materials as aggregate, filler or reinforcement, or even to fabricate glass materials that can perform different roles in construction such as, for instance, high EP insulating materials like the one shown below. We also illustrate here how special post-consumed glass products offer unique recycling opportunities to fabricate interesting building materials.

High-tech solutions to improve solar gains ULTRA VIOLET 3%

0.89

0.74

0,4

0.84

0.88

0.81

0.8

0.58

0.72

0.21-0.73

0.2-0.64

0.15-0.64

0.85

0.57

0,46

0.811

0.808

0.76

0.63

0.43

0.5

0.18-0.55

0.12-0.36 0.15-0.53

5.63

5.34

3.8

2.9

1.4

1.1

0.4

0.7

1.28

Figure 5: Glasses with special features and devices that influence Tv and g-value. 1-Increase. 2- Reduce. 3- Switchable (meaning that glass can increase or reduce its optical indexes dynamically).

1.1

1.05

01. Clear glass. 02. Body tinted green glass. 03. Solar control (face 2). 04. Low E coating (face 1). 05. Low E coating (face 2). 06. Double glazing with 12 mm air chamber. 07. Double glazing Low E (face 2) with air chamber. 08. Double glazing Low E (face 2) with argon chamber. 09. Double glazing Low E (face 2) with argon chamber and parallel barriers. 10. Triple glazing Low E (face 2) with argon chamber and double coating. 11. Thermotropic Low E (face 2).12. Electrochromic . 13. Gasochromic Low E (face 2). All the glass panes have a thickness of 4 mm.

architecture. These coatings facilitate the dirt to wash away easily since water does not form a film on the glass. They make water droplets curl up and run away easily trailing the deposits that otherwise would penetrate into the glass surface. Self-cleaning coatings reduce glass maintenance costs as well as contribute to eliminate the need for harsh chemical cleaners. They can be applied also in ceramics and natural stone, such as marble.

Self clean coating

Figures 20 to 22: Diagram showing self-cleaning coated glass performance. 20- After installation the special coating needs 5 to 7 days exposure to daylight to activate. 21- The coating breaks down organic dirt and also reduces the adherence of inorganic dirt. 22- Water droplet spread out

Figure 27: Paul Burns. CRT Glass Tiles. California. USA. 2013. Fabrication process and final product.

from a “sheet.” Dirt particles on the surface are picked up by water and washed off glass..17-Michro-spheres for energy harvesting.

After the introduction of LCD displays demand for CRT has been rapidly declining and because there is no good way to recycle CRT, it has become a big problem. Rather than finding a way to recycling it, CRT is typically shipped to where it can be simply landfilled. Thus, the idea behind this product is to up-cycle this wasted material to fabricate beautiful glass tiles.

light to be trapped in the cell. For instance, there is a research line focused in nanosurface texturing inspired in the microstructure observed in the wings of certain butterfly species “introduction figure 16”. With this technology glass reflection could be strongly suppressed.

Antireflection coatings and nano-surface texturing As you know one of the solar cells components is glass and the purpose of antireflection techniques is to trap as much solar energy as possible, so that more electricity can be generated. Etching or coating glass nanometrically can allow more

How to manage heat transfer through glass?

Glass faces numbering

2 3

R Interior Warm

Exterior Cold CN

CF CS

Figure 6: Mechanisms of heat transfer in an insulating unit.

Systems tendency is to equilibrate transferring energy from the higher energetic levels to the lower ones, i.e. in winter heat is transfer from the interior of the building to the exterior and the other way around during the summer. In glass insulating units heat transport occurs by way of four mechanisms: radiation (R), convection (CN), conduction via the chamber filling (CF), and through the edge sealing (CS). The window frame and the way it is sealed are also crucial to achieve a proper energy performance.

AFigures 23 to 25: Prof. Hillmer and Prof. Schmid .Micro-mirrors. Institute of Nanostructure Technologies and Analytics. University of Kassel. 23-cross section of a Micro-mirror element in “closed position” (left) and “open position (right). 24- Interior illumination through a conventional glass. 25- Zoned and enhanced interior illumination through a micro-mirror window.*

U-value:is the index thatmeasures the overall heat transfer taking into account the four mechanisms mentioned. The lower the U-value the better the insulating unit.(Units: Wm2/ºK). Regularly it is desirable to reduce heat transfer through glass. In fig.5 there are some mechanisms to reduce thermal transfer through glass. applied according to all those conditions.

Improvement of the distribution of daylight inside rooms can be reached by using windows based on micromirror technology, leading to a sharply reduced need of artificial light during the daytime and to a smooth illumination of living and office rooms with comfortable natural light. The device consists

3 Material elements

We can summarize the properties of glass in two major ones, transparency and smoothness. However, when using it in architecture it poses some problems with respect to sunlight management, needing the aid of other materials and strategies to solve them. Currently traditional and technological solutions coexist weather to reduce or to increase the rates of light and thermal transmission (Tv and g-value) of the material, in order to achieve sustainable glass architectures. To reduce these indexes there are both traditional solar control systems (in the form of more or less technological prostheses) and nano-engineering and nano-photonic operations. While the latter do not have a presence in the architectural dimensions, the

former are visible elemts, with which architects can play in their designs. It is impossible to show the number of solutions here that over the centuries have been invented for sun protection in the form of awnings, curtains, shutters, louvers, brie-soleils, etc. So here we show just one example, among many possible, that we were interested in because it reconciles the smoothness of glass with a low-tech sun protection. In this section we also deal with strategies increasing glass transmission’s indexes, in this case only high-tech ones. Also, in figures 9-17, other applications of nanotechology in glass technology are shown. Finally we will also refer to another remarkable property of glass, its recyclability.

Life cycle and environmental profile

Introduction to Designing with steel.

Low-tech In the previous sections we have seen how glass contributes to solar gains in buildings, both in terms of lighting and thermal radiation that heats high thermal mass materials , such as stone, concrete and ceramics (see Perraudin’s , Alejandro Aravena’s and Baumschlager Eberle’s buildings) and also phase changing materials (see Dietrich Schwarz’s house). Although, shading devices might be also taken into account to prevent excessive seasonal solar radiation and glare.

Solar protection

DO with glass

on an array of micro-mirrors electrically driven that can be dynamically oriented, accordingly to the sun rays’ angle of incidence, in order to redirect sun light into the building. Further concepts introduce micro mirror arrays as light concentrating devices for PV applications. Actuable micromirrors shall track the sun position or brightness distribution of the sky. It is a sandwich that uses glass as a substrate material, on which indium tin oxide is deposited as transparent electrical conductive coating, on top of which a carrier layer and an aluminum mirror layer are arrayed.

What is steel? Steel is an alloy of iron with a content of carbon minor than 2%, being the most relevant ferrous material used in construction;more than two thirds of all the iron obtained is used to make steel.

Figures 18 and 19: Claus Kaan. Central Judicial Collection, Leeuwarden, The Netherlands. 2012. 18- General view. 19-Façade details. In this example the protective are positioned with the air chamber of the double glass facade. The interior one consists in a double glazing insulating unit and the exterior one is composed by semi cylindrical pieces of glass that simultaneously serves to produce a greenhouse effect in the chamber and to protect the wooden slats, which in turn, perform a regulable shading device. When they are open light penetrates glass contributing light energy consumption reduction. This solution maintains glass smoothness, without compromising the building’s energy performance with a well design façade solution.

Although cramps of iron for holding together stones where used in ancient Greece and Rome, ironstarted to be used significantly as building material in the late 18th century, as structural material to build “fire-proved” theaters, warehouses and bridges. It was latter soon when this property of iron was proved not as interesting (it is incombustible but it loses its strength at high temperatures) but nonetheless other benefits, such as its efficient weight/ resistance ratio, where discovered incidentally.Ever sinceferrous materials have changed dramatically the way engineering and architecture is conceived, mostly since steel became common place in structures,by the mid-19th century, when it started to be mass produced due to the implantation of processesfor reducing the carbon in pig iron.

Carbon atom Iron atom

Figure 1. Surface aspect of different steel types. 1. Galvanized steel , 2. Stainless steel, 3. Weathering steel.

Today, there are efficient methods to produce steel that make itthe backbone of metal industry, involving more than the 95 % of metal consumption by weight andstandards covering more than 2000 types achieved both by chemical (alloys) and physical industrial processes. There are considerable material differences depending on the alloy components, which

1. Flat Bar, 2. Angle, 3. Round, 3. Hexagon, 4. Sheet/Plate, 8. Channel, 9. Wide Flange Beam, 10. Standard I Beam, 11. Square/ Rectangular tubing, 12. Pipe/Round tubing, 13. Tee bar, 14. Half round, 15. Half Oval, 16. Champfer bar, 17. rebar

High-tech

Figures 9 to 17: High-tech glass operations. 9- Holographic film, which redirects light.10-Organic PV cell for energy harvesting. 11- Dichroic. Metallic nanocoatings for variable color glazing .12 and 13-

Photosensitive pigment PV cell for energy harvesting. 14- OLED for light emission .15Electrochromic for dynamic solar protection .16- Liquid crystal also for dynamic solar protection and variable color glazing

Producción académica. Arquitectura y materialidad

430

Among the technological solutions for the reduction of sunlight are those mentioned above: bodytinted glasses or very thin metal layers coating glass surface, like the ones of solar control units. Furthermore, among the dynamic solar control technologies are, the ones also mentioned: electrochromic, gasochromic and thermotropic as well as liquid christals and photochromic solutions; all based on the reversible change of the optical properties of the materials that are added to the glass pane.

Advantages

Challenges

Extraction

• Probes are being made to find new sources of iron ore, like the ocean floor and peat bogs .

• Estimated reserves for around 95 years . Chrome, which is essential in stainless steel, is scarce . Its demand exceeds, by a factor of around two, the possible supply of scrap . Iron is extracted in broad open quarries, which affect local ecosystems .

Fabrication

• Energy can be reduced by 50% changing from open blast-furnaces to electric arc furnaces, other methods for energy savings are direct reduction, and iron blast smelting; these methods also reduce CO2emissions .

• It is one of the main contributors to the GHE due both to production and transportation . Dust, CO2, lead, mercury, cadmium and methane are emitted in its fabrication, as well as several ozone depleting substances . Its industrial waste is very high; the obtention of 1 ton of iron ore generates 5 to 6 tons of waste . Zinc coatings and Galvanizing are serious environmental polluters; in both cases there is an emission of toxic substances such as organic solvents, cyanides, chrome, phosphates, fluorides, which should be handled as hazardous waste . It has a high embodied energy index. Manganese used in steel production can cause damage to the nervous system. Nickel used to increase its strength releases large amounts of metal.

• It is innocuous . It is very durable if it is protected against corrosion . As a result of GW, chemical damage is expected to increase in the northern part of Europe and to decrease in the southern part .

• Sea air, areas surrounding industrial plants, and car traffic are corrosive environments for galvanized steel .

• Energy consumption in recycling can be reduced by 20 to 40% .Steel structures in heavy sections are easy to disassemble, and as they are produced in standardized dimensions they are quite easy to re-use . Polycaprolactone.

• Steel alloys can only be used for similar alloy products . In second smelting from steel scrap arsenic is released . It also causes toxic emissions like PAH and dioxins . When recycling from stainless steel, nickel and chrome are released, which are bioaccumulative and very poisonous . Steel scrap is virtually inert, but ions from iron and other metal alloys can leak into water and soil . Serious pollutants include waste materials from surface treatments, paint or fire protection coatings . Nickel alloys are bioaccumulative and it is very toxic for aquatic organisms.

improve certain material properties such as its corrosion-resistance, as the following steel types: - Stainless steel: carbon content below 1.2%, at least 10% of chromium and certain amounts of nickel, molybdenum, titanium, vanadium and tungsten. - Weathering steel (commonly known as COR-TEN steel): cooper, chromium, nickel and phosphorous. The physical properties of steel can also be changed through specific hot and cold processes that alter its microstructure, being annealing, tempering and hardening the most common. Nickel is used in steel alloys to increase strength. Manganese is a necessity for the production of steel. Chrome is imprescindible in stainless steel Steel can be shaped through different methods as well: hard-worked (casting, rolling, pressing and forging)and coldworked (drawing, rolling, pressing, forging and machining), which products such as sheets, ropes, pins and wires, rods & bars, pipes, rolled sections and cast, among other semi-finished products that can be also joined together by different methods(welding, arc welding, brazing, soldering and folding). This variety of materials, products and its versatility makes steel a broadly used material in construction, ranging its applications from structures to façade cladding.

Figure 4. Steel’s environmental profile

Construction

Life span

End of life Figure 2. Basic structural steel shapes.

What is steel’s environmental profile?

Figure 3. Grimshaw Architects. Waterloo International Terminal, London, UK. 1993. The roof of the Waterloo Station enlargement continues an English tradition that had its beginning in the nineteenth century with the London’s Historic Railway Stations. It is an outstanding example of how these structures have evolved over time due to calculation methods improvements, ornamentation stripping, and by the replacement of the old cast iron elements by tubular steel profiles, which take full advantage of steel’s tensile performance allowing to obtain light and refined structures like this one.

160

161

Rosana Rubio-Hernández

431

3 Material elements

Life cycle and environmental profile

Tensegrity structures Although the term “tensegrity” was coined by Buckminster Fuller in the 1960s blending the words “tensional” and “integrity”, two other men were involved in its discovery David George Emmerich and the American sculptor Kenneth Snelson. They are strut-and-tie structures because they are based of isolated components in compression (bars or struts) inside a net of continuous tension (cables).

Design operations with steel. The first three design operations shown below, applied in constructions located in countries of high economic development, are based on a precise knowledge of steel’s mechanical properties , prioritize the minimization of the amount of material needed as well as the assembly time, since both factors represent significant cost savings in these countries.

The fourth operation, still in a an experimental stage, introduces a new possibility to optimize steel structures adapting its shape in real time to specific loading situations.

ID with copper, lead, titanium and zinc.

Figures 7 and 8. Kenneth Snelson. Needle Tower at the Hirshhorn Museum and Sculpture Garden, Washington DC, USA. 1968. This sculptural tensegrity structure 18 meters high is constructed with tubular struts made out of aluminum and the cables are of stainless steel threated through in the ends of the struts.

Strut and tie structures

You have already understood that all structures have forces acting on them: tensile, compressive and shear forces. The part of the structure that has a tensile force acting on it is called a “tie” and the part that has a compressive force acting on it is called a “strut”. Balancing efforts of both types of elements provide shape and rigidity to the structure.

This kind of constructions combines extensive design possibilities with high strength, lightness and economy of materials because their components are not experiencing bending moments, which would require bigger structural elements. We show here two examples that take advantage of steel’s tensile and compressive strength properties.

TITANIUM Neutron (26) Protron (22) Electron (22)

light plug-in structures Characteristics such as low weight, dimensional stability, strength and stiffness enable steel to build on top of existing infrastructures. New floors with a light steel structure minimizes the extra loading on the existing structure and foundations and saves expensive reinforcement enriching existing functional programs, improving their image and also increasing the profitability of the entire building.

Strut-and-tie bridges German Engineering firm Schlaich Bergerman and Partners (SBP) have explored thoroughly the Strut-and-tie structural principles to build elegant pedestrian bridges that seem to float over museum collections, parks, rivers, and highways. Their lightweight is achieved by avoiding elements that are under bending stresses in favor of bars that act axially in tension or compression. Their meandering shape both respond to the structural benefits that arched decks perform and what is in our nature to prefer walking on meandering path instead of straight ones. Logic and beauty performs at once in SBP’s bridges.

Figures 6 and 7. Copper natural colour and the green stainless patina it develops over time.

Figure 9. OTH (Trude Hooykaas, Julian Wolse) and Aronsohn Raadgevende Ingenieurs. Kraanspoor office building, Amsterdam, Netherlands. 2007.

COPPER Neutron (35)

This office building is constructed with a light visible steel structure and a double façade glass curtain wall, above a 50 years old reinforced concrete crane way. The result is a compelling contrast between the new building lightness and the existing massive concrete. It is also remarkable about this project that the water underneath is used for cooling and heating the building.

Protron (29) Electron (29)

Adaptive ensembles

1800mm

1130mm

Figures 5 and 6. Miguel Rosales and SBP. Liberty Bridge, Greenville, South Carolina, USA. 2004. Image courtesy of SBP.

Hanger Overturning Moment

Load

3 1

Tension

Compression

View from the bridge’s deck and forces diagram of the structure’s cross section. This circular bridge deck, with carefully shaped details, only needs to be suspended from one side and is able to counteract the resulting torsion (overturning moment) with an inner pair of radial forces: a compression in the lower chord and tension in the upper chord. By turning both members in the vertical direction, one may recognize at once the well-known structural elements of an arch and a suspension cable; similarly as happened when turning Gaudi’s formfinding catenary models upside down.

Adaptive ensembles, as engineer Werner Sobek at the Institute of Lightweight Structures and Conceptual Design (ILEK) understands them, are load carrying systems which are able to react to variable external influences in real time. For him adaptivity opens a new area in the design of light weight structures entailing questions that are a great challenge for interdisciplinary research activities. The target of these systems consists on achieving the minimum weight under consideration of stress and deformation criteria as well as the controllability under various load cases using sensors and induced strain and stiffness actuators (smart materials that change their properties under an external input).

ZINC Neutron (35) 1

Protron (30) Electron (30)

Figures 10 to 12. Werner Sobek and Patric Teuffel. ILEK Adaptivity Research Group. Stuttgarter Träger model (model of an adaptive railroad bridge under a single train loading), Stuttgart, Germany.

Model diagrams and pictures showing the differences in the structure deformation between the passive and the active state. This speculative structural system consists of a single span beam fixed on both ends on V-shaped supports. The distance between the supports is 1,60 m and the depth of the steel structure is 3 mm which result in an exceptional depth to span ratio of 500. The system is designed in a way that at any given time the vertical displacement at the location of the train is zero.

This is achieved by applying an induced strain actuator, which in this case is located in one of the supports and the horizontal movement of this support is activated in such a way that it induces a vertical deformation as the exact opposite of the vertical deformation resulting from the external loading. The result is a system whose weight is reduced drastically in comparison to a similar passive system. Images courtesy of ILEK.

163

162

3 Material elements

Life cycle and environmental profile

How to make a sustainable use of lead, cooper, titanium and zinc

Advantages

Challenges

• Copper:a reserve for around 30 years (reserve base: 61 years) with an annual growth in consumption of the 3%. Around 16000 litres/kg of water are consumed. Weight 8930 kg/m3, . Embodied energy: 85 MJ/kg, recycling (50%) 18 MJ/Kg. GWP: 6000, AP:140. Emissions: SO2 and Cd. Poisons and ozone depleting substances: arsenic and thallium. These substances are very toxic by inhalation and harmful to

• As iron,copper, lead, zinc and nickelare “critical minerals” (United States Department of Domestic Affairs). Energy consumption is very high. Extraction, especially shallow open cast mining, leaves huge wounds in the landscape that require filling and planting to restore afterwards. It is also a very pollutant activity.

• The metal industry has a high potential to increase efficiency by sing excess hat, which can be distributed as a heating system. • Copper: SO2 emissions during the process of smelting .and Cd • Lead: • Zinc: the preparation of the zinc ore directly at the mine is an attempt to save energy. Zincing produce emissions such as Pb, Hg, Cd, SO2 • Bronze: 1000ºC

• Energy consumption is very high. All industries that deal with metal smelting are environmental polluters • Forth flotation process • Copper: SO2 emissions during the process of smelting (Modern plants resolve this problem by dissolving the ore in sulphuric acid, then extracting pure copper by electrolysis)

Construction

• Once in the building metals cause relatively few environmental problems, except for particles that are washed off the surface when exposed to different weather conditions. • Lead: It is durable in non-aggressive atmospheres • Zinc: • Bronze:

• Copper: • Lead: Used as white pigment, it has a very toxic effect in humans. • Zinc:

Life span

• Copper: it is very durable when the atmosphere is not polluted or it is not near the sea air, although material can be loss caused by wear and tear in exposed parts of the building such as the roof. • Lead: extremely resistant to corrosion • Zinc:

• Every metal is susceptible of suffering galvanic corrosion that takes place when two disparate metals are in touch in the presence of an electrolyte such as water. The noblest material corrodes the less noble. Au- Ag- Cu- Pb- Sn-Ni- Fe- Cr-Zn-AlMg • Copper: les it develops verdigris, a cooper salt that is soluble in water and be toxic (not to be mistaken with the naturally forming stainless layer mentined before). • Lead: is attacked by strong acids, fresh mortar and concrete. When it is exposed to rain, small highly poisonous particles are drained to the ground water. • Zinc: It is susceptible to aggressive atmospheres. The increase of CO2 in the atmosphere compromises zinc durability.

End of life

• Copper: more than 50% of the production is based on recycled material, which saves 86% of the primary energy requirement. It does not accumulate in the food chain. • Lead: the recycling quota is of 50% which can help to save about 40% of the energy required for production. • Zinc: around the 30% of the worldwide production of zinc is obtained from scrap.

• Copper:When it breaks down, its particles are absorbed in earth and water.In high concentrations it is toxic and can accumulate in animals and aquatic plants • Lead: it has a tendency to biological accumulation. • Zinc:

What are copper, lead, titanium and zinc?

Figure 8: Tapio Antikainen, Arktes Oy. Swimming Hall, Pori, Finland. 2011. Copper is used as the main material for all four facades, applied in horizontal bands of panels and on the south elevation are equipped with a fully-integrated solar thermal function behind. The solar thermal façade works in conjunction with roof collectors and photovoltaics. The solar system is used to preheat cold water and provides 5% of the annual heat demand of the Swimming Complex.

Copper Cooper is a reddish colour, soft, malleable, ductile and with very high thermal and electrical conductivity heavy metal. The primary sources of copper are minerals azurite, chalcocite, chalcopyrite, cuprite, bornite and malachite, being Congo, Zimbabwe, Canada, USA and Chile the world’s production leaders. It is probably the first metal used by mankind, in buildings it was used as fixtures and implements, roofing and scoopers. Romans that mined it in Cyprus named it after this Mediterranean island. Its strength is improved in the form of alloys being bronze and brass the most important ones. Upon contact with air, it develops a stainless natural layer that changes its colour over time, becoming a characteristic green in colour “figures 6 and 7”. It can be hard-worked (cast, rolled, pressed and forged) and cold-worked (Drawn, rolled, pressed and machined). It is used to fabricate profiled sheets, coils, pins, ropes, wires, rods, bars, pipes, rolled and extruded sections and casting pieces. It can be braced, soldered, folded and bonded together with adhesives or bitumen. Two are the most relevant applications that take the most advantage of copper in construction, one has to do with electricity, being used for electrical wiring (the 60% of copper production is used in in electrical engineering), the other is related to water, in many conditions where water needs to be directed away from the building, such as roofing sheets, façade claddings, canopies, copings, window frames, gutters, among others. Copper alloys: Bronze: it is an alloy of copper and tin in a proportion of 10 to 20%, with a dark surface that acquire a golden appearance when polished, it can also be tarnished in different colours. It is durable and weather abrasion resistant. Historically it has been used in windows and door frames and in decorative sculptures. It is used to fabricate the same kind of semi-finished products as with copper, and gas, water and steam fittings. Brass: It has a shiny gold appearance that over time tarnishes to a dark matt finish. It is an alloy of copper and zinc, in a proportion at least of 50%. It is readily shaped, easy to work and can be cast as well, highly resistant to corrosion It is used to fabricate the same kind of semi-finished products as with cooper and woven meshes, screws and nuts, pipe fittings and hardware products. Lead Lead is a bluish-white, soft, malleable, heavy metal with a low tensile strength and a high coefficient of thermal expansion. Its sound and radiation (x-ray and radioactive) insulation properties are highly valuable.

Extraction

The primary source of lead is galena and the world’s leading producers are China, Australia, USA and Peru. It has been in use for 4000 to 5000 years. Upon exposure to the air, it naturally develops a permanent anti-corrosion dull grayish color crust that protects it. It can be hard-worked (cast, rolled and pressed) and cold-worked (Drawn, rolled and pressed), it can be hammered. It is used to fabricate sheets, coils, pipes and casting, among other semi-finished products. It can be brazed, soldered, welded or folded together and also bonded with adhesive. It is used in roof and façade cladding, flashing, shielding, as white pigment and as siccative additive in concretes.

Fabrication

Titanium It is a silver colored, low density, metal whose most useful properties are corrosion resistance and to have the highest strength-to-density ratio of any metallic element, being as strong as steel but less dense. The principal sources of titanium are rulite and ilmenite, which are widely distributed in the Earth’s crust and lithosphere. As aluminum it is a recently discovered material named after the Titans of Greek mythology by the end of the 18th centruy. It can be alloyed with aluminum, iron, molybdenum, vanadium, and zinc, among other elements to produce strong, lightweight alloys to be used in many industries (aerospace, automotive, medicine, military) besides construction. It is also used for façade cladding, to manufacture white pigments, and as catalyst in the production of polypropylene. Zinc Zinc is a bluish-white, less dense than iron, hard and brittle, malleable at high temperatures and a fair conductor of electricity.The most common zinc ore is sphalerite being Australia, Asia and the USA the world’s largest deposits. It has been in use since Romans times. It is stainless because, it naturally develops a protective permanent coating, as cooper and lead do. Since by itself it is too brittle is normally used as an alloy, such as zinc-titanium (the most used in the building industry), which is stronger and has a lower coefficient of thermal expansion than zinc alone. It can be hard-worked (casted, rolled, pressed) and cold-worked (rolled and machined). It is used to fabricate profiled sheets and coils. It can be welded, soldered and folded together and bond with adhesive. Zinc-titanium components can be cast in very intricate molds, soldered and welded. Facades, water pipes and gutters are some of its applications as well as a white pigment, as ingredient in timber impregnation and as an additive in concretes. It is also used to cover steel components from corrosion .

• Lead: the process requires great deal of energy and a toxic dust is produced • Zinc • Bronze: • Brass:

161

160

3 Material elements

What is aluminum’s environmental profile?

Advantages

Challenges

Extraction

• It accounts for around 8% of the Earth’s crust, being the third most abundant element of the Earth, and the second most abundant metallic element after silicon .

• Estimated reserves for around 140 years . Its abundance is challenged by the difficulty of extracting pure from the ore deposits located in “blanket-type” deposits that necessitate mining of large areas of land . It is considered a “critical mineral”.

• Aluminium industry has a high potential to increase efficiency by using excess heat as energy source .

• Dust, CO2, SO2 and PFCs, are emitted in its production; thus,it is the material with the highest GWP and one of the highest acidification potential . PAH substances, fluorine and aluminium ions, also released in the industrial process, remain in the sludge and slag causing problems in ground water. Its industrial waste is very high . It is also the one with the highest embodied energyindexes .

Aluminum Foam ID with non-ferrous metals.

What is aluminum?

Non-ferrous metals are those that do not contain iron in appreciable amounts, including alloys. The most important non-ferrous metals used in the building industry are: aluminum, copper, lead, titanium and zinc.

Aluminum accounts for 8.2% of the Earth’s crust, being the third most abundant element of the Earth’s and the second most abundant metallic element after silicon. Is not native, but is part of clays, feldspar, shale and marl. Its most important ore is bauxite, which is obtained from open-cast mines. It began to be used on a large relatively recently, in 1827, when it was first obtained industrially. Figure 1: Array of different colors of anodized aluminum.

Currently,it is the second most consumed metal on Earth after iron and it is the responsible of the 12 % of the raw materials that we consume increasingits importancein our economy daily, because it is lightweight, easy to shape, highly conductive, more ductile than steel and weatherproof.

Neutron (14) Protron (13) Electron (13)

Commonly aluminum is used as an alloy that contain about 2 to 2.5% of other elements such as silicon, magnesium, copper and manganese among others.

Aluminum can be shaped by hard-working (casting, rolling, pressing and forging) and cold-working (drawling, rolling, pressing, forging and machining) processes. Sheets, coils, ropes, pins, wires, pipes, rolled and extruded sections and castings, among other semi-finished products. Inarchitecture it is used asroof covering, wall cladding, heat-reflecting foils, thermal and acoustic insulation foams and vapor barriers, window and door construction and furniture, guttering, as additive in aerated concreteand also as cable in power lines, being lighter and stronger than copper. It is also used as structure, but not very often. Aluminumproducts can be milled, sawn and drilled so they can be brazed. They can be also bonded with adhesives and welded in an oxygen-free atmosphere because oxidation should be avoided during this process.

Fabrication

Figure 5. Aluminum’s environmental profile

Construction

• Due to its lightweight not much energy is required in the building process .

Life span

• It does not need maintenance since it is relatively resistant to corrosion by itself . It is innocuous . It is very durable .If it is protected well by coatings, it has a better performance than other metals in exterior cladding in sea areas and polluted towns .

To improve its properties it is also treated superficially both to enhance its visual aspect and to increase its corrosion-resistance, in this regard ti can be pickled, rusted, painted and anodized.

End of life

Figure 2: Extruded aluminum sections.

• It is a highly recyclable material; currently 60% to 90% is reclaimed and recycled into second generation use. Producing secondary aluminum ingot requires 5% of the energy of primary aluminium . Solar energy has been tested successfully to fabricate second generation aluminium .

DO with aluminum. We have seen that aluminum has unique properties within the group of metals, being stainlessness and lightness the ones that make it especially interesting in construction. However, we have also said that it is a very polluting material during its manufacturing process; therefore, it would be very interesting to reduce its consumption.

Conformation operations, to optimize its mechanical and physical properties, using the minimum amount of material, would be the solution to avoid having to give up the aluminum advantages. The products and projects shown below are based in this strategy, providing also opportunities for recycling, recovery and recyclability.

They are weatherproof, impact-resistant and break-proof, vibration-damping, and ensure easy and fast installation. Panels are used as lightweight paneling elements for rear-ventilated facades, lower ceilings, roofs and wall paneling and bent panels or cassettes in interior applications. It is suitable for use in large surface applications. Depending on the mounting system, the façade elements and smooth panels can be removed non-destructively by unscrewing or

opening studs. In undamaged form, the deconstructed products can be reused in accordance with their original designated porpoise. When sorted by type, the elements can be shredded and the aluminum layers and the core material can be recycled after treatment.

Aluminum Composite Materials (ACM).

ACM are thin sandwich panels of a symmetric design comprising aluminum top layers and a thermoplastic or mineral filled core. The aluminum layers can be subjected to the typical treatments that improve its natural corrosion and surface appearance of this material, such as anodizing and coating processes. These kind of products are characterized by their flatness, an easy formability and a large variety of colors.

160

Producción académica. Arquitectura y materialidad

432

Figures . Small and Large cell versions and sandwiched between two aluminum sheets. Figure . Francisco Mangado. Café Baluarte, Pamplona, España. 2006. Images courtesy of Francisco Mangado.

Figure .Aluminum Composite Material.

• To be recyclable waste aluminium has to be pure, alloys and coatings complicate the process . Its recycling requires a great deal of transport because of centralized production. Even with recycling, studies shown that the substitution of aluminium for steel in building structures is not an environmentally sound strategy. It is not biodegradable, even though it is a relative “benign” metal as waste . Aluminum alloys can only be recycled for similar alloy products.

Plastic-Aluminum nets Here we have a good example of partnership between two types of materials, plastics and metals, which lead to interesting fabric composites.

This building façade is cladded in Sunrise Silver ACM panels, which from the distance appear to be several different shades of silver, while in fact it was fabricated in a three-dimensional fashion using only one color. Inside, the architects take advantage of the aforementioned advantages of ACM as well as of the fast assemble that panels’ large size allows. Their ease of cleaning and maintenance, and their elegant appearance are also qualities taken into account here. Moreover, one can imagine that if ever this building is demolished, its ACM paneling could be reused or recycled easily.

This pavilion, built to commemorate aluminum’s centenary, displays the light alloy to best advantage exemplifying all the techniques for shaping aluminum: casting, extrusion and sheet rolling. Originally on the quai Alexandre III in Paris now is at Parc des expositions, also in Paris.

161

ight-weight, translucent and acoustically absorbent. They also perform as electromagnetic shielding, impact and vibration energy absorbers. Also they are not inflammables, remain stables at high temperatures, they are not pollutant and can be fully recycled. Regarding other porous materials similar in appearance (some stones) or that share their acoustic properties (vegetable chips panels or plaster) these aluminum panels have the advantage of being resistant to atmospheric agents, which imply a durability.

In this cafe the aluminum foam is used as low ceiling while leveraging their properties as acoustic absorbent and its porous texture to allow electric light to pass through, hiding the lamps behind it. Thus, on the one hand it compensates the low acoustic absorption of the other building materials used, and on the other enriches visually the otherwise excessively smooth surfaces that configure this interior.

Figures. Henning Larsen Architects. Uppsala Concert and Congress Hall, Sweden. 2008. Image courtesy of Henning Larsen Architects.

Figures 3 and 4: Jean Prouvé. Aluminum Centenary Pavilion, Paris. 1951. Under construction and in its first location by the Seine River.

This material combines some virtues of metals, with the structural advantages of foams. Its particular lightweight structure and good physical, chemical and mechanical properties make them suitable for a wide range of applications. Air cells occupy 50 to 90% of its volume and are produced by various processes which involve the injection or addition of a gas to molten aluminum. The higher the density, the smaller the cell size, the heavier and more robust the material is. The various versions of stabilized aluminum foam can be used for external and internal cladding panels. They are strong,

162

Plastic aluminum nets are special knitted thermal and shading cloths, typically used in farming, made of HDPE coated with aluminum knitted into a precise and uniform texture in a varied range of densities.The election of the fabric density depends on both the span they have to cover and on the light conditions to be achieved, i.e. the degree of sun light reflectance, transmittance and diffusivity required. In this regard, they also offer a superior year round climatic protection for flowers, potted plants and vegetables, acting like a mirror as their aluminized screen reflect unwanted sunlight and harmful radiation heat from the greenhouse during summer, and preserve the heat inside the greenhouse during winter. Other advantages are their lightweight, high tensile strength, and easy to handle.

Figures: two different kinds of plasticaluminum nets.

Figure: Shading canopy for agriculture purposes built with an aluminum arched structure covered with a plastic-aluminum net. 163

Rosana Rubio-Hernández

433

01.03. Arquitectura nórdica

Publicaciones indexadas. Resultado de estancia postdoctoral en Tampere University

Funkkis Mökkis: Paper Huts and Domestic Natures at the Enso-Gutzeit Competition Funkkis mökkis: Cabañas de papel y naturalezas domésticas en el concurso Enso-Gutzeit

Abstract Finland lived, in the 1920s and 1930s, through an ephemeral time of peace and enthusiastic ideas in which it began to forge itself as a modern nation. Its borders still unstable, the country used its landscape as a social unifier and an element of national identity. Finland’s incipient welfare state, institutionalised holidays and the democratised consumer goods encouraged a new leisure lifestyle in natural settings. This article studies the recreational housing programme that responded to that demand. The new typology, later called mökkis in Finland, was developed during the rise of Nordic functionalism (funkkis in Finnish) – the revision of the romantic villa and the traditional rural housing model, together with the emergence of prefabrication techniques. Among the architectural competitions and drawing albums published on the subject, this article studies the competition run by the Enso-Gutzeit paper company in 1932. Other studies have analysed this competition from constructive, stylistic or historical perspectives. This paper provides a different view by explaining that the competition was a testing ground where one of modern Finnish architecture’s distinctive features was forged: tuning into a constructed idea of nature. This fact is revealed through a graphical analysis of the competition’s proposals, as well as through the incipient personal traits in the work of the promising, young Finnish architects who participated in the competition.

Resumen Finlandia vivió en los años 1920 y 1930 un tiempo efímero de paz y efervescencia de ideas en los que comenzó a forjarse como nación moderna. Con sus fronteras aún inestables, el país utilizó su paisaje como aglutinador social y elemento de identidad nacional. El incipiente estado del bienestar, la institucionalización de las vacaciones y la democratización de los bienes de consumo, alentó una nueva forma de vida y ocio en entornos naturales. Este artículo estudia el programa de vivienda recreativa que dio respuesta a esa demanda. La nueva tipología, posteriormente llamada mökkis en Finlandia, se desarrolló durante el auge del funcionalismo Nórdico (funkkis en finés), la revisión de la villa romántica y del modelo de vivienda rural tradicional, junto con la aparición de técnicas de prefabricación. De entre los concursos de arquitectura y álbumes de dibujos que se publicaron sobre el tema, este artículo estudia el convocado por la empresa papelera Enso-Gutzeit en 1932. Otros estudios han analizado este concurso desde lo constructivo, lo estilístico o lo histórico. Este artículo proporciona una visión diferente al afirmar que fue un campo de pruebas en el que se forjó uno de los rasgos distintivos de la arquitectura finlandesa moderna: el de su sintonía con una idea construida de naturaleza, que se desvela, en el análisis gráfico de las propuestas, a través de los incipientes rasgos personales del trabajo de las jóvenes promesas de la arquitectura finlandesa que participaron en el concurso.

Keywords

#16

Nieto Fernández, Fernando, Rosana RubioHernández and Mari-Sohvi Miettinen. “Funkkis Mökkis. Paper Huts and Domestic Natures at the Enso-Gutzeit Competition” Zarch 16 (2021): (en proceso de revisión). ISSN: 2341-0531.

Summer huts, mökkis, Enso-Gutzeit competition, domesticity and nature, Finnish Functionalism, funkkis

Palabras clave

Indicios de calidad: Avery Index to Architectural Periodicals, Avery Catalog, DOAJ, ERIH Plus, Dialnet, ISOC, Latindex, MIAR.

Cabañas de verano, mökkis, concurso Enso-Gutzeit, domesticidad y naturaleza, Funcionalismo finlandés, funkkis

(Ver abstract. Artículo completo en revisión)

1 Producción académica. Arquitectura nórdica

436

Rosana Rubio-Hernández

437

Contribuciones en congresos. Resultado de estancia postdoctoral en Tampere University

Rubio-Hernández, Rosana, Fernando Nieto y Carmen Toribio Marin “Et in Arcadia ego. The metaphor of the ruin in Alvar Aaltos work as a driver of cultural sustainability” Tipo de participación: Ponencia seleccionada, revisión por pares. Congreso: 4th Alvar Aalto Researchers’ Network Seminar 2020 - (Ever)green Alvar Aalto Lugar de celebración: Pori, Finlandia. Publicación en actas: Si

ET IN ARCADIA EGO: THE RUIN METAPHOR IN ALVAR AALTO’S WORK AS A DRIVER FOR CULTURAL SUSTAINABILITY Rosana Rubio Hernández, Fernando Nieto Fernández and Carmen Toribio Marín From the mid-1930s onwards, as Alvar Aalto’s work acquired a more personal character, it started to represent a recurrent thought with increasing intensity: the constant negotiation between the equally prevalent natural environment and human civilisation, as well as the transitory condition of man’s habitation. A still frame from Andrei Tarkovsky’s film Nostalghia (Fig. 1) helps to illustrate the idea explored by the present paper. The image shows a world in a continuous state of becoming, expressed by natural elements colonising the space of a robust Gothic ruin, in which an ephemeral hut enables human life to flourish again: the man’s temporary habitation takes place in between the two spatio-temporal orders established by arcadia and civitas. Aalto’s work represents these two necessary mythical human habitats, while building the actual space for man’s contingent living. The present investigation interprets this two-fold strategy as an enduring Aaltian characteristic, enacting the ruin metaphor as its driver. This kind of nostalgic approach stimulates a creative view over the past that inspires the future [1, p. 42]. The mechanism triggers an ethical-aesthetical proposition that recalls the well-studied humanism of Aalto. However, the present study portrays Aalto as an early precursor of the values of cultural sustainability – a less explored perspective.

Et in Arcadia ego Aalto became familiar with classical civitas while studying architecture and so-called Nordic Classicism was the predominant style in Finland. By the end of his studies, during the ritual of the Grand Tour, he had the opportunity to set the idealised academic civitas at odds with reality. Like Droctulft, the barbarian warrior in Borges’s tale [2], Aalto was impressed by the civilisation of southern Europe but, unlike the Germanic migrant, he was not captivated by prosperous cities, but instead thrilled by the ruins of a vanished civilisation. The classical architecture Aalto encountered on his travels was far from the pure Classicism he had studied at home, as his field trip drawings confirm. He realised that the actual Italian civitas was an amalgam of fragments and detritus of a cult architecture re-appropriated by an architettura minore, which configured a picturesque landscape in an arid enclave, flowing with channelled waters and punctuated by the durisilva vegetation. Unlike Droctulft, Aalto

(EVER)GREEN ALVAR AALTO | SUSTAINABILITY

Producción académica. Arquitectura nórdica

440

did not stay in the south; he returned to his home country, which was then undergoing modernisation. He returned to build for a Finnish man, who was in the process of enculturation, relying on Classicism as a driver [3, p. 35]. By then, Aalto’s Italian experience started to permeate his interiorised Finnish landscape, from the abrupted Karelia to the fertile Ostrobothnia, where archaic architecture emerged in boreal forest clearings, and where the abundant water of the lakes appeared as an unstructured yet continuous element. In an integrative and idiosyncratic approach to architecture, Aalto developed over time a recurrent scenography: the mixture of a bygone civitas and a fading arcadia, which frames modern daily life and where the metaphor of the ruin rules the miseen-scène. Like in Poussin’s painting Et in Arcadia ego, the introduction of a memento mori in Arcadia speaks of a denial of the world’s continuity and harmony. A ruin in a landscape is a reminder of the cyclical process of decay and renewal. Moreover, it recalls an irresolvable conflict between nature and humankind as well as the constant negotiation between the asynchronous lifecycles of nature, civilisation and man, which entangles ecological connotations. Aalto’s drawings of broken capitals, almost like natural rocks formations [4, p. 257], show his interest in how architecture returns to nature.1 While the ruin metaphor synthesises the conceptual spheres of nature, civilisation, and human being, the defining physical characteristics of ruination perform at an architectural level. Its fragmentation and incompleteness blur topological relations. This ambiguity of the architectural limit eases, at different scales, the physical and visual engagement of the inhabitant with the environment, and the integration of architecture with the surrounding landscape [6, pp. 51-77]. Natural elements, such as the terrain and the vegetation, contribute to the blurring effect so as to organically merge human-made structures and the natural context. The profiles of Aalto’s buildings seem to have been shaped by the forces of nature2,3 hence sometimes looking like the culminating ruinous mounds he once drew. Altogether, this leads to the construction of a holistic image of the place and, with it, of its collective identity.4 Furthermore, the ruin’s fragmentation, irregularity, discontinuity, and incompletion seem instrumental in Aalto’s form-making process and plastic evolu-

1 Georg Simmel: “…when decay destroys the unity of form, nature and spirit separate again and reveal their world-pervading original enmity.” [5, pp. 371-385] 2 Georg Simmel: “… it is the fascination of the ruin that here the work of man appears to us entirely as a product of nature. The same forces which give a mountain its shape through weathering, erosion, faulting, growth of vegetation, here do their work on old walls.” [5, p. 381] 3 William C. Miller: “What Aalto’s work seems to imply, and the fragmentation and the use of planting seems to reinforce, is the image of a building dealing with the issues of time, nature and aging by actually participating in the process.” [7] 4 Aalto once claimed that he used ruination-like compositions to simultaneously glorify both Greek and Nordic democracy. [8, p. 261]

(EVER)GREEN ALVAR AALTO | SUSTAINABILITY

Rosana Rubio-Hernández

441

tion [8, p. 257]. Hence, the ruin’s morphology is in part responsible for Aalto’s own building identity, distancing him from tradition and from the work of his contemporaries; despite sharing with them the same inspirational sources. Comprehensively, the aesthetic triggered by the ruin metaphor resonates with ethical concepts that contemporary cultural sustainability discourses foresee.

Andrei Tarkovsky. Still frame from Nostalghia, 1983.

Villa Mairea’s floor plan in a highly hypothetical future. Drawing by the authors.

(EVER)GREEN ALVAR AALTO | SUSTAINABILITY

Producción académica. Arquitectura nórdica

442

The realm of the ‘real’ civitas underpins Aalto’s architectural scenery. Cult architecture elements (e.g. atrium-like courtyards, peristyles, amphitheatres, citadels, vine arbours, pools) are arranged according to the logic of the architettura minore (e.g. off-sets, asymmetries, articulations). One of its elements, a modest solid and textured wall, often made of brick (whether fair-faced, plastered or tiled), makes a fragmented, incomplete and discontinuous boundary with an ambiguous interpretation: as if either decaying or still under construction. It is in this way that Mediterranean architecture settles into the Nordic landscape; and vice versa, the forest, lake and rocky terrain slip physically and visually into the architectural scenery in a deliberate arrangement of different depth planes, as Aalto’s drawings indeed show. Occasionally, meridional vegetation sneaks into the scenery, which eloquently speaks of Aalto’s stubborn aim for hybridisation. Together with the ruin metaphor, also metaphors of natural elements are at play (e.g. lake-shaped ponds, forests of wooden-poles). Like William Kent and the picturesque, Aalto seems to have understood that the dissolution of the boundary implied not only a physical and visual continuity but also a formal one [8, p. 70]. Man’s activities are arranged subsequently against this background scenery. For this purpose, Aalto seals the ‘ruined’ wall’s discontinuities and openings with panels made of soft, fragile, and transient materials: wood and glass. Aalto masterly bridges the metaphorical and the physical realms by contrasting the mechanical and organoleptic properties of matter. Within this logic, two different kinds of order rule the wall’s openings: the ‘breakages’, which still belong to the ruin metaphor and its associated atemporality, and the ‘windows’, related to the human scale and man’s contingent life. The ‘breakages’ located at the upper parts of the boundary are filled with glass and vertical battens, framing the sky and the treetops. These gaps provide a light that illuminates and enlightens, blurring the line where the wall encounters the ceiling, which reinforces the idea of incompleteness, also insinuated by the irregular contours of this kind of opening. Likewise, plants that grow at the foot of the wall, apparently wild, reinforce the image of a ruin. Similarly, climbing vines form living yet changing compositional planes on the wall’s inner and outer faces: everything in ruin is outdoors. The ‘windows’ occupy the lower parts of the boundary, where life unfolds. They gather a warming light, and are designed to accommodate human activities around them: e.g. to sit by them, whether on a low bench or at table

(EVER)GREEN ALVAR AALTO | SUSTAINABILITY

Rosana Rubio-Hernández

443

height, or to look through, encompassing the experience of the landscape. Similarly, an amalgamation of varied elements gravitates around this inhabitable boundary: human artefacts (objects of daily life, artworks), indoor and outdoor greenery (plant pots and flower beds) and water containers (vases and pools). All things considered, Aalto’s architecture provides comfort while conveying an aesthetics and an ethics of everyday life. As a whole, this scenario represents the realms of nature and human civilisation employing the ruin metaphor, while providing man with a shelter in a world in the state-of-becoming. Making an exercise of the imagination, in a highly hypothetical future, the windows overlooking the scene could join the cycle of matter, while the ‘broken’ walls remain standing. The onetime indoor spaces would then reunite with the natural environment through the atrium-like gardens, as Aalto might have imagined from the beginning5.6 Later, perhaps, a new man would again inhabit this territory, and the cycle would start over (Fig. 2).

Further, this Aaltian resource entails an aesthetical proposition that contains an ethical background. In German, das Schöne, ‘beauty’, is etymologically related to schonen, ‘to take care of’.8 In Aalto’s work, aesthetic values awake essential and timeless values which drive, implicitly, caring attitudes towards the natural and cultural context. In this paper, we have maintained that the way Aalto handles the ruin metaphor in his work drives ideas related to present-day sustainability discourses, situating him among the pioneers in this field.

8 Byung-Chul Han, “Beauty obliges us; moreover, it orders us to treat it with care.” [12, p. 13]

References [1]

Discussion The ruin metaphor pierces Alvar Aalto’s work. From the 1930s onwards, Aalto’s projects of any scale and typology show nuances, variations, combinations, and evolutions of this scenography, mobilising semantic and architectural mechanisms. The ruin has the potential to subvert boundaries by creating new relationships with the environment, its fascination relying on procuring the symbolic reunion of civitas and arcadia.7 Ruination creates a scenery that carries enduring values of collective and individual identity triggered by a sentiment of nostalgia, which undermines linear notions of progress [11, p. 6]. All in all, the ruin metaphor embodies the will to connect, to bridge the ecological, civic, and individual realms, creating a harmonised whole from opposing poles: human and natural, past and present, destruction and creation. Therefore, from a contemporary perspective, Aalto’s goals would be framed within the discourse of cultural sustainability, which recognises culture as an agent that characterises the natural, built, and social environments, understanding that new developments are set within the cultural framework that houses them. Aalto’s deployment of the ruin metaphor creates a novel architectural identity in Finland grounded in its deep cultural routes.

[2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12]

Hill, J. The Architecture of Ruins. Designs on the Past, Present and Future. London: Routledge, 2019. 374 p. ISBN-13: 978-1138367784. Borges, J.L. El Aleph. Madrid: Alianza Editorial, 1971. 224 p. ISBN-13: 978-0307950949. Griffiths, G. Finlandia: el sur y los símbolos de enculturación. Documents de Projectes d’Arquitectura, 2010. N.º 26, pp. 34-41. Bardí i Milà, B., García Escudero, D., Ferdiani Sarfati, A. and Ferrer Forés, J. J. Desde el Norte. Documents de Projectes d’Arquitectura, 2010, N.º 26, pp. 5-15. Simmel, G. Two Essays: The Handle and The Ruin. Hudson Review, Autumn 1958, 11:3, pp. 371-385. Ginsberg, R. The Aesthetics of Ruins. Amsterdam: Rodopi, 2004. 554 p. ISBN-13: 978-9042016729. Miller, W.C. A thematic analysis of Alvar Aalto’s Architecture, a+u, 1979. N.º 109, pp. 15-39. Radford, A. and Oksala, T. “Alvar Aalto and the expression of discontinuity”. The Journal of Architecture, 2007. V. 12, N.º 3, pp. 257-280. Aníbarro, M. A. Lo pintoresco y la formación del jardín paisajista. Anales de Arquitectura, 1991. N.º 3, pp. 65-80. Baird, G. Alvar Aalto. London: Thames and Hudson, 1970. 130 p. ISBN-13: 978-0671208776. Huyssen, A. Nostalgia for Ruins. Grey Room, 2006, N.º 23, pp. 6-21. Han, B. Loa a la tierra. Un viaje al jardín. Barcelona: Herder, 2019. 186 p. ISBN-13: 9788425441806.

This study is based on the field analysis of the selected case studies and relies on the content and materials shown at the exhibition The Cultivated Landscape of Alvar Aalto, held at the Museum of Finnish Architecture, 25.9.2019-12.4.2020.

5 Georg Simmel: “…growing together with it like tree and stone.” [5, p. 382] 6 George Baird: “…it is as though the final victory of nature over the vulnerable creations of mankind had already been conceded in Aalto’s works at their inception.” [10, p. 13] 7 Georg Simmel: “… the destruction of the spiritual form by the effect of natural forces […] is felt as a return to the ‘good mother’ […] Between the not-yet and the no-longer lies an affirmation of the spirit.” [5, p. 382]

(EVER)GREEN ALVAR AALTO | SUSTAINABILITY

Producción académica. Arquitectura nórdica

444

(EVER)GREEN ALVAR AALTO | SUSTAINABILITY

Rosana Rubio-Hernández

445

Publicaciones indexadas. Resultado de estancia postdoctoral en Tampere University

Nieto Fernández, Fernando y Rosana RubioHernández. “On Hares, Ferrymen and Empathy in Architectural Education” Arkkitehti. Finnish Architectural Review. 4 Empathy (2020): 31-33. ISSN: 0783-3660. Indicios de calidad: Revista del colegio de arquitectos de Finlandia (SAFA) Artículo por invitación, publicado en finés y en inglés.

Producción académica. Arquitectura nórdica

448

Rosana Rubio-Hernández

449

Producción académica. Arquitectura nórdica

450

Rosana Rubio-Hernández

451

Libros. Como editora. Resultado de estancia postdoctoral en Tampere University

Lahdelma, Ilmari, Fernando Nieto Fernández, Rosana Rubio-Hernández y Mari-Sohvi Miettinen (eds.) Traits of Nordic Architecture Tampere: Tampere University Press, 2020. Libro completo, 184 pgs. ISBN: 978-952-031831-4 (impreso); 978-952-03-1832-1 (pdf) (Ver selección de páginas a continuación)

Producción académica. Arquitectura nórdica

454

Rosana Rubio-Hernández

455

Producción académica. Arquitectura nórdica

456

Rosana Rubio-Hernández

457

Producción académica. Arquitectura nórdica

458

Rosana Rubio-Hernández

459

Producción académica. Arquitectura nórdica

460

Rosana Rubio-Hernández

461

Producción académica. Arquitectura nórdica

462

Rosana Rubio-Hernández

463

Producción académica. Arquitectura nórdica

464

Rosana Rubio-Hernández

465

Producción académica. Arquitectura nórdica

466

Rosana Rubio-Hernández

467

Producción académica. Arquitectura nórdica

468

Rosana Rubio-Hernández

469

01.04. Otras investigaciones y proyectos docentes

Contribuciones en congresos. Resultado de colaboración con Dpto. Composición ETSAM

Libro de Actas del III Congreso Internacional Cultura y Ciudad Arquitectura y paisaje: transferencias históricas, retos contemporáneos Granada, Escuela Técnica Superior de Arquitectura, 27-29 enero 2021

Paisaje Collage. La integración de las quintas de recreo del Camino de Aragón en la ciudad del siglo XXI. Collage Landscape. The integration of the country estates of the Camino de Aragón in the 21st-century city. CARMEN TORIBIO MARÍN, ROSANA RUBIO HERNANDO, RAFAEL GARCÍA GARCÍA

Escuela Técnica Superior de Arquitectura, Universidad Politécnica de Madrid, carmen.toribio@upm.es Tampere University, Finland, rosana.rubiohernandez@tuni.fi Escuela Técnica Superior de Arquitectura, Universidad Politécnica de Madrid, rafael.garcia@upm.es

Abstract Este artículo aborda el estudio del paisaje de la periferia nordeste de Madrid, allí donde se vincula al eje histórico del Camino de Aragón, hoy calle de Alcalá, desde su configuración histórica hasta su realidad actual. Para ello, se analiza la transformación de la identidad paisajística de un camino condensador de un tipo arquitectónico característico de Madrid, la quinta de recreo, que, ubicada entre extensos campos de cereales, fue progresivamente absorbida por una ciudad en crecimiento. El objetivo es doble: por una parte, se propone poner en valor la Quinta de los Molinos, menos investigada, como pieza clave de la secuencia urbana. Además, el estudio intenta dilucidar la manera en la que una tipología tradicional se ha adaptado a un nuevo uso, cómo se ha insertado en una trama urbana transformada por nuevas actividades y qué papel pueden jugar todas estas piezas en el futuro de la ciudad. This article investigates the landscape of the north-eastern outskirts of Madrid, in the area where it links to the historical axis of the Camino de Aragón, today calle de Alcalá, from its historical configuration to its present reality. To this end, we analyse the transformation of the landscape identity of a route that condenses a distinct architectural type of Madrid, the country state, which, located between vast cereal fields, was progressively absorbed by a growing city. The purpose of this investigation is twofold: on the one hand, it aims to highlight the underresearched Quinta de los Molinos as a crucial part of the urban sequence. In addition, the study attempts to elucidate how a traditional typology has adapted to a new use, its insertion into a transformed urban fabric and its role in the future of the city. Keywords Quinta de recreo, paisaje urbano, parque público, anillo verde, Madrid Country estate, cityscape, public park, green belt, Madrid

Toribio Marín, Carmen, Rosana Rubio-Hernández y Rafael García García “Paisaje Collage. La integración de las quintas de recreo del Camino de Aragón en la ciudad del siglo XXI” Tipo de participación: Ponencia seleccionada, revisión por pares. Congreso: III Congreso internacional cultura y ciudad.Entidad organizadora: Escuela Técnica Superior de Arquitectura de Granada, (ETSAG) Lugar de celebración: ETSAG, Granada. 26 / 2801-2021 Publicación en actas: Sí. (en proceso)

Topic 1. Paisaje urbano y cultura arquitectónica 1. Urban landscape and architectural culture

Quintas de recreo, industrias y grandes infraestructuras: la periferia nordeste de Madrid El crecimiento de Madrid a lo largo de la última mitad del siglo XX se produjo de manera especialmente intensa en la zona nordeste de la capital, condicionada por la ubicación del aeropuerto de Barajas. Este ámbito periurbano se comunicaba con la ciudad mediante el histórico Camino de Aragón, actual calle de Alcalá, una vía que enlaza, no sin interrupciones, las tres quintas históricas que perviven hoy, separadas entre sí no más de tres kilómetros: El Capricho, Torre Arias la más tardía de ylos Molinos. Situadas en origen en un paisaje caracterizado por amplios campos Producción académica. yOtras investigaciones proyectos docentes de cereal, conformaban un espacio de transición entre lo urbano y lo rural (fig.1). 472

Rosana Rubio-Hernández

473

Publicaciones indexada. Como editora. Colaboración independiente con HipoTesis

Psegiannaki, Katerina, Francisco G. Triviño, Fernando Nieto Fernández y Rosana RubioHernández (eds.) HipoTesis Serie Numerada 9 (2020). “Dibujar hábitos / Habitar dibujos”. ISSN: 2340-5147 Indicios de calidad: revisión por pares. Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, Registro de Publicacionesde Finlandia JUFO (Nivel 1).

Producción académica. Otras investigaciones y proyectos docentes

474

Rosana Rubio-Hernández

475

Contribución en libros. Participación en sesiones criticas

Rosana Rubio-Hernández “Sobre la escritura académica” en Ph.D. Cult. Investigaciones en curso en Proyectos Arquitectónicos Avanzados #1, eds. Javier Maroto y Sergio Martín Blas. Madrid: Ediciones Asimétricas, 2021. ISBN: 978-84-17905-64-4.

SOBRE LA ESCRITURA ACADÉMICA

Rosana Rubio Hernández. Investigadora postdoctoral en la Universidad de Tampere, Finlandia. Los textos académicos constituyen un género muy específico. Su publicación en una revista especializada exige habitualmente el cumplimiento de unas normas estrictas en cuanto a su extensión y estructura. Los textos que responden a este género suelen estar formados por un resumen, una introducción, el cuerpo principal del texto, y una conclusión. Estas son cuatro formas de presentar sucesivamente una misma idea, de modo intencionadamente distinto. Todo texto académico requiere una estructura clara y un flujo lógico para comunicar un contenido coherente. Es importante tener en cuenta que en el resumen se presenta todo el artículo de forma concisa, desde los métodos y la hipótesis hasta el avance de conclusiones. La introducción debe anunciar brevemente el tema que se abordará, despertando curiosidad, sin revelar su contenido. El cuerpo del artículo no debe alejarse de lo que la introducción ha anticipado, guiando progresivamente al lector hacia la conclusión a través de un argumento construido a partir de hechos verificables. Dichas evidencias se obtienen mediante una metodología determinada que se ha explicado de antemano. Cuando se trata de un artículo que desarrolla un tema que forma parte de una investigación más amplia, o que está relacionado con el trabajo de otros, es conveniente explicarlo para que el lector pueda localizar lo que está leyendo en el contexto de la investigación completa o en el ámbito intelectual más amplio en que se enmarca. La conclusión debe ser breve, clara y convincente, y estar vinculada con lo que habíamos prometido inicialmente; esta vez, narrada de manera asertiva y con la seguridad de haber encontrado una respuesta a las preguntas planteadas, mediante un discurso elaborado. Las notas de pie de página son un recurso útil en este tipo de texto, sirven para vincular el artículo a discursos que, con casi absoluta certeza, ya han sido planteados anteriormente por otros. De esta manera, el artículo adquiere valor al unirse a otras voces que ya han hablado de ideas afines. Las anotaciones al pie sirven también para comentar aspectos tangenciales al tema principal y, en un sentido práctico, liberan al texto del contexto y de aclaraciones al margen, permitiendo que la narración avance ágilmente. En otro orden de cosas, los arquitectos deberían, en la medida de lo posible, limitarse a utilizar herramientas teóricas específicas para escribir sobre arquitectura, y no abusar de aquellas que, perteneciendo a otras disciplinas, pueden a veces ser empleadas de forma incompetente y pretenciosa. Este fenómeno fue señalado en 1997 por los doctores en física Alan Sokal y Jean Bricmont en Imposturas intelectuales,3 un texto en el que cuestionaban a personalidades destacadas del mundo de la cultura: autores a los que se suele hacer referencia en los escritos de arquitectura. En este sentido, también es recomendable la lectura del esclarecedor e incisivo artículo de Josep Quetglas, "Lo que no he leído". 4 Entre las disciplinas específicas que pueden apoyar metodológicamente la investigación arquitectónica hay que destacar la Historia de la Arquitectura. A pesar de su utilidad evidente, en general se hace de ella un uso escaso u operativamente nulo en las reflexiones y discursos sobre Proyectos Arquitectónicos. También, el Dibujo Arquitectónico es una disciplina y una herramienta analítica que se debería tener más en cuenta como método de investigación en arquitectura.

ON ACADEMIC WRITING

Rosana Rubio Hernández. Post-doctoral researcher at Tampere University, Finland. Academic writing constitutes a very specific genre. The publication of academic articles in specialized journals usually requires the compliance with strict rules regarding their length and structure. The kind of texts that belong to this genre usually consist of an abstract, an introduction, the main body of the text, and a conclusion. Those are four ways of presenting the same idea successively, in an intentionally different manner. All academic writing needs a clear structure and a logical flow in order to deliver a consistent content. It is important to consider that in the abstract the whole article is presented in a concise way, from the hypothesis and the methods to the advancement of conclusions. The introduction should briefly announce the subject that is going to be addressed, awakening the curiosity without revealing its content. The body of the article should not move away from what the introduction has anticipated, progressively guiding the reader towards the conclusion through an argument built on verifiable facts. Such evidences are gained through a determinate methodology, which has been explained beforehand. When the article deals with a topic that is part of a larger investigation, or relates to the work of others, it should be explained so that the reader can locate what s/he is reading in the context of the full investigation or within the broader intellectual framework. The conclusion should be brief, clear, and convincing. It should be related to what have been promised initially; this time, narrated in an assertive manner, with the certainty of having found a response to the questions raised, through an elaborate discourse. Footnotes are a useful resource in this type of texts: they are suitable to tie the article to discourses that, with almost absolute certainty, have already been raised by others before. Thereby, the article acquires value by joining other voices that have spoken about related ideas. These annotations also serve to comment on tangential aspects to the main topic. In a practical sense, footnotes free the text of contextual and side clarifications, allowing the narration to move forward swiftly. On another level, architects should stick as much as possible to the use of specific theoretical tools when writing about architecture, instead of misusing those that belong to other disciplines in an often incompetent and pretentious way. This phenomenon was pointed out in 1997 by doctors in physics Alan Sokal and Jean Bricmont, in Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science,1 a text that called into question prominent personalities from the world of culture: a series of authors who are often refereed in architectural writings. In this regard, it is also recommendable reading the enlightening and incisive article by Josep Quetglas, “What I have not read”.2 The History of Architecture must be highlighted among the specific disciplines that can methodologically assist architectural research. Despite its obvious usefulness, in general it is sparsely or operationally worthlessly used in reflections and discourses about Architectural Design. Likewise, Architectural Drawing is a discipline and an analytical tool that should be taken more into account as a research method in architecture.

Albrecht Dürer, The Dream of the Doctor, ca. 1498. National Library of Spain.

Alberto Durero, El sueño del Doctor, ca. 1498. Biblioteca Nacional de España.

3. Alan Sokal y Jean Bricmont. Imposturas intelectuales (Barcelona: Paidós, 1999). 4. Josep Quetglas. “Lo que no he leído”. En: Artículos de ocasión (Barcelona: Gustavo Gili, 2004). pp. 223-226.

Producción académica. Otras investigaciones y proyectos docentes

478

1. Alan Sokal and Jean Bricmont. Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science (New York: St.Martin´s Press, 1999). 2. Josep Quetglas. “Lo que no he leído”. In: Artículos de ocasión (Barcelona: Gustavo Gili, 2004). pp. 223-226.

Rosana Rubio-Hernández

479

Publicaciones indexadas. Como editora. Colaboración independiente con HipoTesis

Psegiannaki, Katerina, Francisco G. Triviño, Fernando Nieto Fernández, Rosana RubioHernández y Miguel Ángel Díaz Camacho (eds.) HipoTesis Serie Numerada 7 (2019). “La oportunidad del afuera”. ISSN: 2340-5147. Indicios de calidad: revisión por pares. Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, Registro de Publicacionesde Finlandia JUFO (Nivel 1). (Ver selección de páginas a continuación)

Producción académica. Otras investigaciones y proyectos docentes

480

Rosana Rubio-Hernández

481

Producción académica. Otras investigaciones y proyectos docentes

482

Rosana Rubio-Hernández

483

Publicaciones indexadas. Resultado de investigación independiente

Rosana Rubio-Hernández ““Los muertos que vos matáis gozan de buena salud”. Crítica a la crítica posmoderna al Funcionalismo” HipoTesis Serie Numerada 6 (2018): 4-25. ISSN: 2340-5147. Indicios de calidad: revisión por pares. Latindex, DOAJ, Dialnet, SHERPA/RoMEO de la Universidad de Nottingham, InfoBase Index, Catálogo BNE, Registro de Publicacionesde Finlandia JUFO (Nivel 1)

Rosana Rubio-Hernández

487

Producción académica. Otras investigaciones y proyectos docentes

488

Rosana Rubio-Hernández

489

Producción académica. Otras investigaciones y proyectos docentes

490

Rosana Rubio-Hernández

491

Producción académica. Otras investigaciones y proyectos docentes

492

Rosana Rubio-Hernández

493

Producción académica. Otras investigaciones y proyectos docentes

494

Rosana Rubio-Hernández

495

Producción académica. Otras investigaciones y proyectos docentes

496

Rosana Rubio-Hernández

497

Contribución en libros. Resultado de docencia en la UCJC

Geo Urban ismos

170731 solo portada.indd 1

Díaz Camacho, Miguel Ángel y Francisco G. Triviño, (eds.) Geourbanismos. Atlas de la ciudad emergente Madrid: UCJC, 2017. ISBN: 978-84-95851-70-9.

////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Parte 2: La ciudad de la cogestión, la revitalización, la ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// movilidad ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// CityFollowers Talks ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Temas y Proyectos /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ///// ///////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ///// /////////////////////////////////////////////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// /////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Artículos ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// //////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Futuribles ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// ////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////// Título y Subtítulo:

GeoUrbanismos

Atlas de la ciudad emergente

Yearbook 2016 2017

Escuela de Arquitectura y Tecnología. UCJC

Jornadas de Innovación y Gestión Urbana II Patrimonio: co-gestión y revitalización. ///////////////////////////////////////////////////////////////////// 155

Dirección y edición

Serie: CityFollowers 03

Editorial: Universidad Camilo José Cela

Jornadas de Innovación y Gestión Urbana III Movilidad: acceder, conectar, compartir//////////////////////////////////////////////////////////////////// 179

Díaz Camacho; Miguel Ángel García Triviño; Francisco

Jury I. Conferencia: Polyxeni Mantzou. Wilderness Re-tamed /////////////////////////////////// 193 Jury II. Conferencia: Grupo Aranea //////////////////////////////////////////////////////////////////////////////// 199

ISBN 978-84-95891-70-9

Retrofitting Caribe. Joaquín López Vaamonde ///////////////////////////////////////////////////////////////////////////////////////////////// 210

Madrid, verano 2017

Domesticidades biodiversas Camilo García Barona /////////////////////////////////////////////////////////////////////////////////////////////////////// 214

Las Jornadas de Gestión e Innovación urbana son en su conjunto un seminario que se ha llevado a cabo en 4 sesiones a lo largo del curso 2016 2017.

Organizadas por la Escuela de Arquitectura y Tecnología de la UCJC y Ecosistema Urbano.

#1 Innovación: espacios para hacer ciudad 24 de enero

#2 Patrimonio: co-gestión y revitalización 28 de marzo

#3 Movilidad: acceder, conectar y compartir 30 de mayo

#4 Tecnología: smart ¿qué? 27 de junio

Transcripcion y revisión:

Bellido del Ojo; Jorge Carretero Refo; Pablo Clemente López; Sofía Chacón Saiz; Luis López Blanco; Tamara Lorenzo Hernández Reyes; Rubén Mínguez Rueda; Ramiro Moreno Gascón; Diego Ozamiz Fortis; Alicia Psegiannaki; Katerina Toral Guinea; Marta

Reinventar el patrimonio Rosana Rubio Hernández////////////////////////////////////////////////////////////////////////////////////////////////// 220

Jornadas de Innovación y Gestión Urbana

Vivienda productiva Francisco García Triviño /////////////////////////////////////////////////////////////////////////////////////////////////// 226

Díaz Camacho; Miguel Ángel Esguevillas Cuesta; Daniel García García; Miriam García Triviño; Francisco Mínguez Rueda; Ramiro Moreno Gascón; Diego Psegiannaki; Katerina Rubio Hernández; Rosana Toral Guinea; Marta

Ideologías del habitar Katerina Psegiannaki //////////////////////////////////////////////////////////////////////////////////////////////////////// 232

Re-pensando el Campus desde el paisaje Miriam García García //////////////////////////////////////////////////////////////////////////////////////////////////////// 238

Cuando Bob encontró a Denise Graziella Trovato /////////////////////////////////////////////////////////////////////////////////////////////////////////////// 245 Utopía y naturaleza en las ciudades coloniales holandesas. Carmen Toribio Marín ////////////////////////////////////////////////////////////////////////////////////////////////////// 249 Instalaciones urbanas: Semáforos Rafael Hernández López /////////////////////////////////////////////////////////////////////////////////////////////////// 253

@_cityfollowers

@city_followers

918153131, ext 16370

El Paisaje como Infraestructura Miriam García García //////////////////////////////////////////////////////////////////////////////////////////////////////// 259

architecture@ucjc.edu

arquitecutra@ucjc.edu

Paisajismo del siglo XXI María del Puy Alonso Martínez //////////////////////////////////////////////////////////////////////////////////////// 261

http://arquitectura.ucjc.edu

Paseo lúdico y vivaz por el jardín: Laura Gómez Vaquero ////////////////////////////////////////////////////////////////////////////////////////////////////// 263 Impacto de las Mega-tendencias en la Logística Urbana Tomas García-Martín //////////////////////////////////////////////////////////////////////////////////////////////////////// 267

Premio en Logística /////////////////////////////////////////////////////////////////////////////////////////////////////////// 274

Impresión

Deca Quattro S.L -Av. los Pirineos (Pol. In. Sur), 7 28703 San Sebastián de los Reyes, Madrid

Geopolíticas a través de la cámara Rosana Rubio Hernández y Miguel Ángel Díaz Camacho////////////////////////////////////////////// 281

GeoUrbanismos

Jornadas de Innovación y Gestión Urbana IV “Tecnología: smart... ¿qué?” ////////////////////////////////////////////////////////////////////////////////////////// 21 Jornadas de Innovación y Gestión Urbana I “Laboratorios de innovación ciudadana” ////////////////////////////////////////////////////////////////// 49

Mayrit, ¿un paisaje de agua? Rosana Rubio Hernández

[...] un espacio público no se puede erigir para una generación, ni sólo para los vivos; debe trascender la vida de los mortales. Hannah Arendt: The human condition.1

Jury I. Conferencia: Arenas Basabe Palacios //////////////////////////////////////////////////////////////// 65

Jury II. Conferencia: Paisaje Transversal //////////////////////////////////////////////////////////////////// 73

Ciudad común vs heterotopía continua Arturo Blanco Herrero ///////////////////////////////////////////////////////////////////////////////////////////////////// 84

The ‘As Found’ Commons Marta Toral Guinea /////////////////////////////////////////////////////////////////////////////////////////////////////////// 94

Living Pop-Ups; Ecosistemas de aprendizaje común Miguel Ángel Díaz Camacho ///////////////////////////////////////////////////////////////////////////////////////////// 100 Estrategias materiales de regeneración urbana Daniel Esguevillas Cuesta ///////////////////////////////////////////////////////////////////////////////////////////////// 108

Lo particular y lo común Berta Miranda Mata ////////////////////////////////////////////////////////////////////////////////////////////////////////// 112

Mayrit, “tierra rica en agua”, era el nombre con que se conocía a Madrid en tiempos del emirato Omeya; según algunos, haciendo referencia a la abundancia de manantiales y arroyos que se sumaban al poco caudal de agua que siempre ha caracterizado al rio Manzanares, que abasteció los primeros asentamientos romanos y visigóticos en su margen izquierda; pero quizá sea más razonable pensar, como afirman otros, que la palabra alude al “lugar donde abundan los mayras”, nombre con el que

los

musulmanes conocían los qanat que comenzaron a construirse a partir del siglo IX, cuando estos conquistaron ese territorio, trayendo consigo un considerable aumento de población que hizo insuficiente el agua de los arroyos Matrice, Leganitos y Arenal. Los qanat (galerías drenantes en castellano o viajes de agua, tal y como se denominan en Madrid), originarios del Caucaso e Irán, son un sencillo y eficiente sistema de captación de los acuíferos aluviales en las cabeceras de los valles y de conducción del agua por gravedad a través de túneles subterráneos, a menudo a lo largo de muchos kilómetros, constituyendo

Nanoclimas Urbanos Alicia Ozámiz Fortis ////////////////////////////////////////////////////////////////////////////////////////////////////////// 119

un sistema de suministro de agua muy adecuado para lugares de escasa

La malla como superficie Raul González Bravo ///////////////////////////////////////////////////////////////////////////////////////////////////////// 123

el abastecimiento, como es el caso de Madrid, donde continuaron

Madrid de los Austrias: ¿Madrid Barroco? Mª Cruz Galindo López ///////////////////////////////////////////////////////////////////////////////////////////////////// 127

Aunque la vida ha cambiado durante el curso de los siglos, los qanat han

Leer a contrapelo Daniel Mielgo Bregazzi////////////////////////////////////////////////////////////////////////////////////////////////////// 131 Nuevos proyectos urbanos en zonas portuarias Jesús Alberto García García ////////////////////////////////////////////////////////////////////////////////////////////// 133

Arborizar la ciudad J. Ramón Gómez Fdez. ////////////////////////////////////////////////////////////////////////////////////////////////////// 137 Mayrit, ¿un paisaje de agua? Rosana Rubio Hernández ///////////////////////////////////////////////////////////////////////////////////////////////// 141

pluviometría, donde las aguas superficiales no siempre garantizan construyéndose hasta bien entrado el siglo XIX.

mantenido su importancia y significado en el corazón de las comunidades iraníes en que nacieron, contribuyendo a la construcción de un paisaje característico formado por “venas” (Figura 1) que ocultas, discurren por el desierto, aflorando ocasionalmente para formar oasis en los que el agua y los seres humanos se entrelazan, dando lugar a una especial cultura. La Unesco reconoció en 2002 el valor de estos qanat, declarando la conveniencia de protegerlos a nivel mundial, como patrimonio cultural de la humanidad y 1 Hannah Arendt, The human Condition (Chicago: Chicago University Press, 1958), 55.

Creación arquitectónica para la 4ª Revolución Industrial Farid Mokhtar Noriega ///////////////////////////////////////////////////////////////////////////////////////////////////// 145

140

Producción académica. Otras investigaciones y proyectos docentes

500

141

Rosana Rubio-Hernández

501