|
 

       

   
j
 

   
     


   
 

  


 
   
    
 
   !"# $%%&

                 

                     
          
      
     

! 
             

        "        
   !                  #  
  
                
 $                 
   
   
           
Ciencia del Diseño en Arquitectura
Tecnología. Percibiendo la realización
Abstract:
Cuestionamiento a la influencia de la tecnología en la psique de los individuos. Enfoque
de los orígenes de la simulación y los rituales sociales en un intento de entender las
relaciones entre el entorno construido y el espacio, real y virtual, y su apropiación. Los
caminos que siguen las computadoras para alterar la percepción espacial, los criterios
de diseño, las geometrías y las topologías.
Los CAD y los programas de simulación que han sido específicamente diseñados por
ingenieros han sido y son adaptados por arquitectos. Cuales de estas adaptaciones son
abiertamente discutidas y controladas por el guionista o el arquitecto?

± %    

Son distinciones hechas entre productos del inconciente o son vistas como partes de
una realidad objetiva pero invisible.
La fascinación con experiencias compartimentadas en categorías tales como la religión,
lo supernatural, la fenomenología o la metafísica es evidente en la sociedad actual.
Todos hemos tenido extraordinarias experiencias, que nos han cuestionado sobre su
validez, stress, miedo, agotamiento y el alcohol inducen experiencias tales como la
paranoia, psicosis, euforia y susceptibilidad, todavía retornamos a los patrones
cotidianos y los viejos métodos de comunicación o pensamientos y sentimientos
mientras damos vuelta a nuestro subconciente. Usamos de manera inadecuada
simbolos para describir esta conciencia y de este modo confundimos el universo
metafísico con los accesorios de nuestro subconciente.
Los campos entre el subconciente, la creatividad y la tecnología han sido expuestos por
Freud, 1929, en su ensayo ±
 &    que presenta a la escritura como una
herramienta que reconcilia y publica como las sensaciones temporales y otros campos de
información son retenidos por la memoria y son acondicionadas para ser recordadas. El
centro del estudio sugiere que la estructura de la psique está marcando y borrando, donde
cada impresión deja un trazo de nosotros hasta que se desvanece, una contextualización.
Una realidad virtual determinada por nuestra percepción y apropiación del espacio.
Para Freud, ±
 &    es el camino análogo al sistema de la sique, que recibe
sensaciones, impresiones del mundo exterior remarcadas por aquellas impresiones, las que
pasan a través de profundas capas donde son recordadas por la memoria subconciente.
Puede ser que la memoria provoque ataques de pánico y otras sensaciones que no son
relatadas en nuestra vida conciente pero es el subconciente que nos brinda la llave para
reconocer y volver a entender la relación entre ambas realidades.
Derrida reclama que ninguno de nostros    el mundo directamente, pero solo
retrospectivamente, nuestros sentidos recuperan lo que está fuera de nosotros como
producto de recuerdos previos, previas escrituras.
³La escritura´ dice Derrida ³permite que los suplementos de la percepción aparezcan ante
nosotros antes que la misma percepción´
Esta creencia es evidente cuando se enfrenta a un hecho cotidiano repetitivo un ritual de
supervivencia, tal como ir a trabajar. Seguimos el mismo camino sin realmente experimentar
nuestro entorno, más bien, lo recordamos y seguimos los caminos que hemos tomado tantas
veces antes. La repetición es evidente en la arquitectura de hoy. Es como si una paleta se
embotara cuando una buena idea se agota por la reiteración por ejemplo si del hermoso
aeropuerto, de Kansai, de Renzo Piano una sección interesante se reiteraría en una milla
entera
V
 
              
     !   "#" "  $" "
"    "#%  "# " ""   "     
               "  "" & 
"  &     "#  &"   
! ""     "   '       "  
 &   "  "    &  "     
 
"     $"  &   (

  &" "  "  "   ""#&
    
" #"    #"      "  "(

) *   "  ""   ""#    "  "  "#
 " "  +          
    "              "    
 "  "   (,    #  $ - 
   " "      (

V    
      " " "       

 & "     & "     
 &   "   (
*       "   ""#"  "  " 
" "  .  /(*  # &          
  "   "   "        
 "#(
j "#    "" %"    "#   " &    "  
  -  "    "   &    (


  



  
j      
"     "  0
.j     "   "# +"     " 0
    " ""# & "   -   
  -   " /1  "  "     "#  "   
"    "  " (  &"  "  "   "  " # "  
 "   $         &"#" (
 "  "    " "#  " ""#   (
 2&"  "   "# !    " #" 
"    #"            &  "  
       "  "                
  "    " "    "  #  "  
  3  
  4   3    "    4        3  
"  "  " 4(
j    "  " #"    565    
    "  " ""   "       (
j"  &      "      " " 
" #"  " +" 
 "#   "    "  &         -   "     
 &    !       " "#( 

 "       " 
j&-  # - "#   - "#  " "  &  
 ""#   "# "  " (
  " "  "   #     "   "       
"  "          "       &"
 (

7, "    "   " #"   "#  2&"  8

 "     "      "    "     "  
  "  2&"  "  "        " - "  
 &          &   "   
 " 
"    "#       "   
 "       &             
 &    "        
   "#  "      "#  "    "    
    "   9  +   &            
    "     & "  " "    -    "  (
:"       "  ""    "  "  &     
        "#(

 ""#   !                ' 
   " '  "   "     "      
 &       "   (
    "     "         ;&   
  8 &    "   & "  -   "    (
2  "           

"             "

"""  ""  <     
" 
(
= "  
"    "  "    <
"  "< <"&    
" 

"<"
" <   " -&  
   > <  (?< <   >" 
< "    '"          
 "(=< <  <V:5  
 ( "  '
"  ""  < 
(

)  8

2""  "  &()   

 ' ""       
< "  "  
"  " " "    "   < 
 
"    (? " ,  ( 
? "<        >        
   " " <   (= " " 
<     ""  " >  <
" 
   " "  (" @A"   "
 "   " < "   <)
    '   (=<      
   (="" "    B 
          (,    
  (*"        >   
  (   "  " "  <   (
1 < j  "   "     " "  
  " " (= "       "  (
  "      <  > (= 
     "      " 
" " " 
 " < <"(=   " "-   
  "         "  

"<" <          " " (
 "   <      < 
 "  < " " (?"       
  <   <<   (
=    ""   "  (
  "   " "  "<    (
2  "          "  
<   (=      
 <<" 
"      >    B     (

6    
" "       
"  <" <  """ <" "  ""86<
<         
" 
<    "       (6 < 
   "  "  "  "   "
  "  "  "   < < <" 
     8
j<   < < <"<" 
 "     " <"    '    
<     " <    
       <<"    
    << < "    "
  
"    (

j     " 
 "      " "  (
)"<        ""   <
  "  ""<    '"
  "   " "         
"   "    " <"<  
   "" "    ""  (
= " "< "  "  ""      
<" ""  (V   "  '   <   
      "  "   
"  "  "   <  "   " " (1 <
"  <"    "<"  < 
        "" ""        
 "  "" "  (2""   "   <  
   %<  <  < < " 
 "<   "     "      " 
  "      "  
   '"   (?    "" 
  "" " " "      ""   
      "   "   "  
     " "  <  "
(V      <"6"    "
""" (=  <    "   
   <  <     
 "      "" "(C <""
   "" "       " 
  <   "" " "   
        <"     
""    (

 D"   

, "" "           "&   

"      (?   ' " <     
(    "  "  ""
 "  <  <   <<< <   " (

1 " "       "     
       "  "3          
"    4"     "        
 " ""      <  
<" ""          "()
        6'  E <?    F
 <,  E %j ? )    E <    
F  *  " " "  "
 " "    "   " " (=  
  "     - " 
<  
" "      " ""   
 "   <  "  ( ' "     
< "   " "      <
  ""    ""    <      ' "
"   " " 
     "  " "  
 &"   " " 
(

=             < "     

     "   "<"    
 "   "  ""   " " " 
     " (=     "   <" 
   "    "  "  "<""
 " " (2  " " "      " 
      " (      ( 
  "  " <&     "   '
 "(

6 
,     "    "
  "    "" &,2   

    <      ' 
     "  (, 
  <""        
   " (= "      "  
    " " "    <""  "  
 " <" "(
=  <  
<  "     "  
   &        
      ""      "    < "  
    (

=  <  "   "

  "    "       
   " <
  "  < << @G"  @G  " 
"" "        < " 
     " < <   
 " 
"(

=   "<""       " 
     ' "" "   
  "  
"  "<"   " "       
"  (
 " <F     3<" 
   "  < "   "         
        "  " " 4
"  "  "   "   "  <
 " "   "   " "  
 " F   "        
<"""  <   <   
   "B"    "   
       " "  
   "" "       "   3  
"       <"   4(=   
    "  "  "VH*?   
   ,V,    "  <     
    "  (

VH*?          <"  
<     " < (="      
    < &"  ' "   
 "    &  
"  (
1 " 

VH*? <  ,2 " <"< 

"(E  "   "  " < "    
B  "     ""     < (
= "     "  < " 
*'    " 
   
& ""
   (= ""> <   
 "    "<<  <" "
"" "    "   ""   (2  
      "    " "  
  <    "      
    "  "(2     " 
    ""<    <   "  
 "(
=  B      "  "  "  " 
  " < "   (=  "   
       <    " 
    <   <"  <"  "
 ""(,  <  <"" "  
   ""  "  "    <
 "   < "    <
"      <""   
" "  "      "  "     
 ' ""  <"<  "<   (:< 
computational design process being clarified by the architect when working alongside a
software programmer, at which point does the program take over from the initialisation of
the software and is this point ever addressed successfully or even communicated as an
intentional/integral part of the design.
The importance of digital design needs to find a way of working with architectural
strategies rather than around it for a clearer conceptual, topological and theoretical
application to space. As society adapts to survive so do computer programs as both are
fallible and in the process of becoming, never simply being and because both are losing
control.

Notes:

1.Freud, Sigmund: A Note Upon The Mystic Writing Pad, Vienna 1925
2.Virtual reality: A term given to the simulation of a real or imagined environment that can be experienced visually in the three
dimensions of width, height, and depth and that may additionally provide an interactive experience visually in full real-time motion.
Benedikt, Michael: Cyberspace First Steps, 1991 M.I.T.
3.Derrida, Jacques: Writing and Difference, 1967 translated 1978,University of Chicago
4.Benjamin Walter, essay: The Work of Art in the Age of Mechanical Reproduction (1928) reprinted in Illuminations Schocken Books
62 Cooper Square NYC 10003
5.Lunn Eugene: Marxism and Modernism, An Historical Study of Lukács, Brecht, Benjamin, and Adorno,1982. pp41
6.Zurbrugg, Nicholas: Transit Lounge, An essay on Forward Masking, edited by Ashley Crawford and Ray Edgar, Thompson Press:
India 1997, pp156-158
7.Descartes, René (1596-1650) Treatise of Man René. French text with translation and commentary by Thomas Steele Hall. Harvard
University Press, Cambridge, Massachusetts 1972xlviii, 23
8.Ritualscape: A term given to a repeated formulaic gesture and its effects within the physical environment, the appropriation and
transition of this social conditioning.
9.De-Realisation: A term given to an experience whereby the individual perceives the world around them to be unreal. The
experience is linked to De-Personalisation
10.³We experience time through cuts´ Virilio, Paul: L¶ espace critique, edited by Christian Bourgois, Paris 1984