https://uvadoc.uva.es/handle/10324/22830 LABPAP - Comunicaciones a congresos, conferencias, etc. 2026-04-17T10:41:42Z https://uvadoc.uva.es/handle/10324/82242 The article is written by members of the LAB/PAP research group at the University of Valladolid and focuses on the concept of the heritage landscape, understood as a set of natural and built elements that accumulate layers of historical memory over time. These landscapes require well-integrated information and wayfinding systems, developed through a multidisciplinary approach involving architecture, design, and engineering. The text argues that information design plays a key role in making heritage landscapes understandable, accessible, and inclusive, going beyond mere physical accessibility. With this aim, the authors promote real academic projects in which students develop inclusive design proposals applied to the Roman Theatre of Clunia (Burgos). The paper presents three experimental information design proposals that seek to respect the archaeological site while facilitating its understanding for all audiences. The main educational objectives are to encourage inclusive design, teamwork, practical application in a real environment, and awareness of human diversity. Finally, the article highlights the difficulty of balancing accessibility and heritage conservation, emphasizing that there are no universal solutions and that each case requires a specific, sensitive, and sustainable approach. 2023-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/23365 El proyecto del Foro de Clunia. Espacio y función 2013-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/23112 Zollverein. Símbolo del progreso actualizado en el paisaje. 2014-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/23017 El Paisaje cósmico de Isamu Noguchi 2014-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/23016 Paisajes Metafísicos Contemporáneos 2014-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22865 La modernización de Japón en la epoca Meiji 1868-1912 dió lugar a una transformación industrial de paisajes idílicos que los artistas japoneses habían tomado durante siglos como fuente de inspiración, como es el caso del Mar Interior Seto y su mosaico formado por más de tres mil islas. En 1909 se construye en la isla de Inujima una factoría de fundición de cobre, que permanecería en funcionamiento durante un corto período de 10 años. Durante el largo proceso de abandono del complejo industrial, que se prolongaría durante casi un siglo, los muros de las construcciones y las imponentes chimeneas conservaron la memoria industrial del lugar. A partir de 1995, la isla de Inujima se suma a la Benesse Foundation, un ambicioso proyecto de explotación artística y turística junto a otras islas de la zona. El paisaje industrial existente se transforma, desde la óptica de la contemporaneidad, en el centro de creación artística Seirensho. El proyecto arquitectónico de Hiroshi Sambuichi en colaboración con el artista Yukinori Yanagi, inaugurado en el año 2008, establece un diálogo contemporáneo entre la identidad topográfica de la isla, formada por estratos graníticos en descomposición y las ruinas de la factoría industrial que el tiempo y el abandono han absorbido como parte indisoluble del paisaje. La intervención mantiene la lectura en niveles topográficos, empleando mecanismos orientados a preservar esta identidad, con grados de intervención distintos para cada uno de ellos. De este modo, al borde del agua, los característicos muros compuestos por bloques de granito local organizan un recorrido que descubre al espectador un paisaje industrial y marítimo, caracterizado por el color y las texturas oxidadas de los materiales. Los elementos arquitectónicos añadidos juegan con esa condición para provocar la mirada sobre el mar y sobre los propios restos industriales de la isla. En el nivel intermedio de la ladera, un complejo arquitectónico formado por terrazas alberga en su interior las principales instalaciones artísticas. El recorrido subterráneo conduce al espectador a través de galerías con pequeños orificios hacia el exterior, construyendo una metáfora de transformación energética a partir de la arquitectura, con la energía geotérmica existente y la captación solar térmica. En el nivel superior, el visitante es conducido por un jardín musealizado a partir de los antiguos hornos y las chimeneas. El itinerario sobre los restos provoca una nueva mirada hacia el patrimonio existente, que es colonizado por el hombre como años antes lo haría la propia naturaleza tras el abandono de la industria. Con los distintas transformaciones, el lugar ha adquirido nuevos estratos que se suman a los anteriores, proyectando nuevos enfoques y nuevas realidades. 2015-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22863 ARCHITECTURE, ARCHAEOLOGY AND LANDSCAPE is an educational experience born with the aim of making a design approach to the vision, understanding and interpretation of archaeological remains, in its cultural, social and landscape context. This educational program comes from the discovery of a common spirit and the birth of an open discussion between several european university research teams. These teams belong to the Universidad de Valladolid (Spain), the Roma Tre University (Italy) and the Universidade do Porto (Portugal), and have a wide and extensive experience in studies and proposals for the implementation in value and dissemination of the patrimonial legacy inherited. 2013-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22856 The intent of this paper is to explain the excavation, the renovation and the valorization intervention of the forum complex in the archeological area of Tiermes, located in the south east of Soria province (Spain). This intervention has been made by a multidisciplinary expert group as part of the project "Tiermes: Cultural Lab", whose activity, after the problems diagnosis, has consisted in an intervention of consolidation and protection of the ruins, as well as an architectonic project to improving the accessibility and the integration of the archeological remains with the uniqueness of Tiermes landscape. 2013-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22805 In the mid-twentieth century, Chandigarh and Brasilia, both new towns settled on natural landscapes and designed respectively by the architects Le Corbusier and Lucio Costa, are organized around each one parks, Capitol Park in Chandigarh and the Monumental Axis of Brasilia. In the late twentieth century, the Japanese-American artist Isamu Noguchi designs in Sapporo the Moerenuma Park. These three large parks are built as artificial topographies, a geometric overlay on the ground that is materialized into a topographical work, which is constructed with sequences of platforms, inclined ground planes and slopes, but also with artificial mountains and other earthworks. The topographic landscape manipulation pursues a perspective control from mechanisms of classic French Baroque garden to sequenced visions of space for a dynamic viewer. In some places, the ground surface is cut, drilled and excavated, as a fictitious archaeological excavation – a term defined in the 80s by Peter Eisenman in his projects known as Cities of Artificial Excavation. With these invented archaeologies, the void and shadows are incorporated into the ground and consequently the concept of “time passing” appears in the landscape. These tools are similar to those experimented by American land artists contemporarily, like Michael Heizer´s archaeological works in the desert. In this way it could be explained the cross printed on the bus station in Brasilia, symbol of the foundation of the city directly cut on concrete platforms; a series of archaeological pits that discover an ancient underground world in the front gardens of the Palace of the Governor in Chandigarh and the triangular stone garden excavated in the centre of the Moerenuma Park. In these three cases, design composition is focused on the ground surface as artificial topographies that are excavated in some points in order to generate anchor points with the surrounding landscape. 2015-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22804 The landscape of Tiermes is discovered to the eyes of a viewer as a seductive artificial topography, with large sandstone rock walls difficult to understand. Apparently the whole hill seems to be the result of geology and erosive action, but an intelligent regard discovers geometric traces, cuts and excavations, which are the real remains of a Roman city built directly on the rock and that make up a real anthropic landscape. Future challenges of landscape performance call for a contemporary reading of Tiermes, as a place in which scientific archaeology and urban studies coexist on the one hand, but also to keep alive in the viewer the aesthetic seduction that produces the negative architecture on the rock. This reflection on the excavated landscape is done in parallel with some works by American artist Michael Heizer as Double Negative or Vertical Displacement, with excavations that play with the perception of empty space and cycles of matter which develop the idea of landscapes by extraction. (Treib 1987) 2016-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22802 The complex nature of the cultural landscape has been discovered as its most valuable source. It generates large synergistic forces around, giving rise to new forms of landscape with many added values. The social reluctance to incorporate new transport systems into cultural landscapes has led to the acceptance of those projects that are sensitive to the environment. In addition to giving a service, these examples enable an educational and an aesthetic approach of man to landscape. There are coexisting landscapes, which have managed to evolve admitting the incorporation of new elements without suffering any damage, retaining each one their own identity. It can be summarized into three different ways to carry out this situation from the most controlled aptitudes with landscape, to more interventionists ones. The first one can be illustrated with the subtle introduction of Millau viaduct over the Tarn River, where infrastructure is integrated seamlessly into a landscape of established values. Sometimes, infrastructure can be at the service of the cultural landscape on a clearly way, as we can see in the design for the access to Mont Saint Michel in France by Dietmar Feichtinger Architectes. It is established an active dialogue between the bridge and the cultural landscape, leading visitors across an almost initiatory path. Other times, the landscape has to evolve to adapt to a new situation developing new ways of understanding their own existence. A representative sample is Bernard Lassus project for Autoroute-837 as it passes through Crazannes, in the south of France. At the end, it could be confirmed the possibility to adapt these models of intervention to nearest cases. LABPAP footbridge for Camino de Santiago in Puente Villarente, Spain, is a good example in which the pedestrian is offered to have a ride with a high cultural landscape content. 2015-01-01T00:00:00Z https://uvadoc.uva.es/handle/10324/22801 The Way of Saint James, declared its stretch in northern Spain as a World Heritage Site by UNESCO since 1993 (Reference: 669 bis), it is one of the most important cultural pilgrimage routes of the Christian world. Throughout its complex evolution, it has become a catalyst for landscapes and times which give it different meanings that can be read in deferential ways: mystical, narrative, aesthetic, etc. Landscapes of great intense value are present along the route that need to be empowered through subtle but effective actions to make them visible. This potential precise an energetic action but endowed with aesthetic sensitivity and legitimized by the knowledge of all its complexity. These special areas are use to be detected near distinguishing elements in the way that have made complex the evolution of their landscape, like it happens with the presence of obstacles to save. Two distant case studies are analyzed in the Way of Saint James: The footbridge between Rapperswil and Hurden (Switzerland) and the footbridge in Puente Villarente (Spain). In both cases, the introduction of a new infrastructure for crossing lake and river respectively is intentionally used as a landscape strategy to extract, display and explain the meaning of their environment characterized by the presence of water. 2016-01-01T00:00:00Z