https://uvadoc.uva.es/handle/10324/22828 LABPAP - Artículos de revista 2026-04-12T09:30:34Z https://uvadoc.uva.es/handle/10324/82237 By starting from the notions of rhythm, rule, and the analogy between architecture and music, the research focuses on the analysis and the representation of architecture and, in particular, of façades by comparing two case studies: Muuratsalo House by Alvar Aalto (1952-1953) and the Leicester Engineering Department Building by James Stirling and James Gowan (1959-1963). The methodology is based on the comparison among some specific façade categories: texture, basic compositional signs (connection to the ground, windows, connection to the sky), and geometries. The operating methodology follows these phases: i) the analysis of project drawings and photographic documentation; ii) two-dimensional reconstruction in CAD of plans, fronts, and sections; iii) NURBS modeling. By analyzing Muuratsalo House’s façades through 2D representations and 3D models, the research highlights the proportional and compositional relationship between walls and openings as a leading principle. The study on the patio’s fronts shows how this association gets more complex because the textures, rhythm, and geometry of the materials become the main elements in the compositional grammar of the house. In the case of the Leicester Engineering Department, the model allows the understanding of the general volumetric articulation. The whole configuration is characterized by the juxtaposition of multiple volumes, which impacts the façades, whose openings direct rhythms, textures, and geometries. 2024-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/82232 Sepharad is a biblical toponym that Jewish tradition identifies with Spain, the land from which an entire community was expelled in 1492, by the Edict of Granada. Sephardim are also still called the descendants of those exiled people from there, even though this term appears in the Bible only once: once, but enough to freeze forever the image of the lost and still coveted homeland. The fortuitous discovery, in 2012, of the remains of the ancient Jewish cemetery in the city of Avila, gave LAB/PAP Landscape Architecture, Heritage and Cultural Lab -a research and design group of the University of Valladolid- the opportunity to symbolically compensate for this loss, building an intense space destined for memory and reconciliation, called the Garden of Sefarad. The project proposes the creation of a kind of space-time fissure. Using a wall in the area as a physical reference, the garden plays with the overlaying of different temporal layers in the same place: in the centre, a rectangular mound represents the new burial space for the remains from the excavated tombs; in the remaining area, granite slabs and stones emerge punctually as relics of the past, drawing a series of visual coordinates that relate the ancient cemetery with parts of the city. The Garden of Sefarad thus constructs an evocative landscape, summarizing in a single place all the emotional baggage of a community, exiled and at the same time indissolubly bounded to the territory they were forced to leave. A commemorative landscape, created with the aim of giving a completely ritual character to the area occupied by the ancient cemetery, guaranteeing the holiness of the place and at the same time the functionality of the urban infrastructure. 2025-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/82221 The social recognition of cultural landscapes has increased in recent years. Culture must be accessible to all citizens, helping them to interpret the cultural landscape in the most respectful and autonomous way possible. Nevertheless, the link between accessibility and heritage requires a sensitive perception of the environment and individuals in their different situations. Usually, however, only partial solutions are offered, whereas a global, truly sustainable, and inclusive approach should be adopted. In this sense, information design can play an essential role in the enjoyment and knowledge of heritage landscapes. The aim of this article is to present some reflections on this topic, which have led a group of teachers and students from the Laboratory of Architectural, Cultural, and Heritage Landscape of the University of Valladolid (LAB/PAP) to develop experimental design proposals for the archaeological site of Tiermes, in Soria, Spain. The method applied is based on field research, case studies, project proposals, workshops, and user testing. The resulting proposals emerge from the previous research developed by the LAB/PAP. They will focus on information design to present this extraordinary site in an inclusive way. The final discussion will decide which of these proposals will be easier and more useful to implement. 2024-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/23366 Being a fragment, the ruin can tell simultaneously the presence and the absence of the past’s architecture, vanished but still perceptible. Its demand of intelligibility is, first and foremost, a call to reconfiguration, which archaeologists and architects have historically worked, reinterpreting the existing vestiges according to new traces and readings. The intent of this paper is to explain the case of the Roman Theatre of Clunia (Spain), which restoration is the end of an innovative and continued research process that investigate how the drawing, as a method of analysis, contributes to the advancement of knowledge regarding the interpretation of archaeological vestiges and its reconfiguration too. From 1997, several interventions have been made in the theatre to better adapt it for visiting, as well as to protect the ruins that have undergone successive excavations and allowed us to gain a much better knowledge of different aspects of the theatre complex. Previous works have provided a more accurate estimate of the theatre’s appearance in terms of its size and spaces so that it has been possible to make a more appropriate schedule of the tasks required for the restoration of the monument, incorporating all available data in a process of reconstruction of the building. This intervention has been made by a multidisciplinary expert team in order to reconfigure the space for its protection, understanding and use it as a place for performances and shows, envisaging the recovery of this space to ultimately return it to society at all levels. The Theatre Restoration maintains the authenticity of the few remains without losing the evocative character of the ruins, allowing the building to regain its original spatiality, part of its functions and make it legible for returning visitors by architectural mechanisms. Avoiding an obvious literal translation of its pristine forms, the operation uses overlapping, reversible, identifiable, constructively compatible architectural components to assist the reconfiguration of the theatre as a new architectural unit in which the original remains along with the architecture show visitors the magnitude of the past. For this purpose, the perimeter has been defined by a semicircular timber bridge at the top of the porch. Space has been recovered by building gabion walls and vegetated slopes, installing the entrances to the seating area and stairs in their original positions. The entire operation has used compatible, reversible materials, maintaining the original components as part of the whole and restricting access to prevent wear. The fact that theatrical an musical performances are now possible in a space originally designed for precisely this purpose makes the Clunia theatre a living building, adopting the Segesta declaration which encourages the maintenance of theatrical uses in ancient classical venues under the auspices of UNESCO, making this compatible with the conservation of their archaeological value. 2013-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22859 El proyecto Iter Plata es la estrategia de puesta en valor de los elementos patrimoniales, culturales y paisajísticos en el ámbito de la antigua calzada romana de la Vía de la Plata en Castilla y León, atravesando las provincias de Salamanca, Zamora y León. Iter Plata define un paisaje patrimonial que emplea los recursos existentes para mejor aprovechamiento del viajero moderno. El itinerario de 263 km (incoado por la Junta de Castilla y León como bien de interés cultural (BIC), discurre desde Puerto de Béjar a Astorga, pasando por Salamanca, Zamora, Benavente o La Bañeza. Iter Plata es un concepto contemporáneo que mira al pasado para construir un sistema de futuro, sustentado sobre un rico patrimonio, con elementos tan singulares como la fortaleza de Castrotorafe, el monasterio de Moreruela, los puentes de la Magdalena, Vizana o Valimbre, así como sistemas de valor cultural como la Cañada Real de la Vizana o el antiguo ferrocarril de la Plata. El proyecto construye puntos de anclaje entre las memorias del pasado y del presente, proyectándolas hacia el futuro. Se plantean varios niveles de puesta en valor, mediante situaciones puntuales y un sistema específico de señalización, así como la creación de "aulas al aire libre" en los parajes de especial interés patrimonial o cultural. 2013-01-01T00:00:00Z