This article provides a critical study of a New European Bauhaus initiative in the context of transversality, relational nature and sustainability of construction, architecture and civil engineering. Social and environmental factors in this ecosystem of innovation are highlighted, as well as the perspectives of actors within it. The relationships between art, technology and science of historical Bauhaus are assessed. The investigation of transversality was carried out using a visual tool developed by the authors, CATI, considering sustainability as the backbone. The New European Bauhaus is a pool of innovation that is supported by governments, academia, industry, society and the (natural) environment. It aims at social, environmental and cultural sustainability and includes ideas of social transformation. It is necessary to absorb the impact and overwhelming cultural consequences of previous and current Industrial Revolutions, principally relying on cyber–physical systems to generate spaces and collective intelligence. The climate crisis and the COVID-19 pandemic have increased the need for new approaches, expanding the concept of smart cities to smart territories, taking into account participation in society and general inclusivity.

Nowadays, an approximation of the concepts of engineering and art is required, since they are nothing more than modes of expression with which the engineer, like the artist, becomes a maker of form. Beyond the materiality of bridges, dams, or buildings, the engineering work configures a product of sensibility that intellectually provokes the spectator in the same way that conceptual art does, so that the value of engineering must be adjectivized as significant. Just as one cannot claim that art that is recognized as commercial is not art because it has a market value; it is pure reductionism to deny that engineering and art share qualities, beyond its primary function. What both manifestations have in common is significant value, and this is what allows us to unify properties in an attempt to define what can be considered art.

El presente artículo traza una revisión de lo que actualmente se entiende por ciencia, arte y tecnología para poder mostrar cómo la ingeniería moderna y en particular la ingeniería civil, es un compendio de los tres componentes, siendo el medio necesario para la sostenibilidad ambiental y social hoy requeridas. La ingeniería se enfrenta a problemas y sigue un método, que no es exclusivamente científico. Necesita la aproximación al arte y el ingeniero debe contar con una formación humanística, de contenido humano significativo, que lo proteja del excesivo tecnicismo ya que se mueve en el entorno de lo real, no del laboratorio. La investigación bibliográfica y documental de la historia de los distintos conceptos permite pensar la ingeniería desde la filosofía y tiene como objetivo proponer que la llamada perspectiva CATI³ (Ciencia-Arte-Tecnología-Ingeniería) sea el vehículo de aproximación al concepto de ingeniería e interpretar sus relaciones con la tecnología, el arte y la ciencia en su proyección a la sociedad.

From chronological, constructive and heritage conservation points of view the Roman bridge of Alcántara (Spain) is an exceptional bridge. Erected around 103 AD on the Tagus River, it is still in use today for road traffic. Recently, the construction of a new bridge 200 meters upstream from the old one, intended to relegate the old bridge to pedestrian use, has been promoted. The examination of the new project and its long administrative procedure, as well as the analysis of the characteristics of the Roman bridge and its surroundings, both from a territorial and social point of view, provide a foothold to assess the new bridge according to a broad conception of heritage conservation. The objective of this work is to underline the unique history of the conservation of this bridge and, while presenting proposed solution for the new bridge, to highlight the patrimonial conditions that have been taken into account. The conclusion is that the administrative procedure followed in order to choose the solution and the project for the new Alcántara bridge are not adequate to the characteristics of such an outstanding monument.

Existe un debate creciente en torno a la estética en la ingeniería y a que esta disciplina no se encuentre entre aquellas consideradas como arte (Literatura, Música, Danza, Arquitectura, etc.). Más allá de las categorías clásicas, el presente trabajo arroja otra perspectiva acerca del por qué la obra de ingeniería no se considera una obra de arte. Metodológicamente se sigue como eje la entrevista inédita realizada a Julio Martínez Calzón, englobada en el trabajo colaborativo desarrollado entre los meses de Enero y Junio de 2021, y que ha dado lugar a un escrito crítico según el hilo conductor de la Historia de la Estética en las seis ideas de Tatarkiewicz. Se identificarán las dificultades que tiene la obra de ingeniería en la apreciación de sus valores estéticos para la consideración como obra de arte por parte de la sociedad. Las conclusiones del trabajo apuntan a que el elemento ingenieril, posee recursos sobrados para sortear dichas dificultades e introducirse en el camino de la sensibilidad que conduce a lo artístico.

Purpose: This work aims to demonstrate the feasibility of fully preserving the historical heritage at the same time reordering the cities and their traffic.Design/methodology/approach: This paper describes the sustainable solution designed for the landscape change required and to maintain the bridge integrity by excavating under the pier with the maintenance of traffic during its execution.Findings: It is concluded that the elimination of urban motorways on the surface often leads to the excavation of tunnels under the existing buildings, with little coverage in most of them. This complicates the implementation of burials in cities with an important historical heritage, which must be given conservation priority in the choice of technical solutions.Originality/value: The Segovia Bridge over the Manzanares River, the oldest bridge in Madrid, was built in the 16th century. With the burial of the M-30 motorway, it has been necessary to build a tunnel immediately under one of the bridge piers, practically without lining between the foundations and the upper slab of the tunnel.