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

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.

The historical stone heritage that we inherit must be passed on to future generations, not only in the same conditions that we found it but, if possible, in better ones. Construction also demands better and more durable materials, often stone. The protection of these materials requires knowledge of the types of rocks and their physical properties. The characterization of these properties is often standardized to ensure the quality and reproducibility of the protocols. These must be approved by entities whose purpose is to improve the quality and competitiveness of companies and to protect the environment. Standardized water absorption tests could be envisaged to test the effectiveness of certain coatings in protecting natural stone against water penetration, but we found that some steps of these protocols neglect any surface modification of the stones, and hence may not be completely effective when a hydrophilic protective coating (i.e., graphene oxide) is present. In this work, we analyze the UNE 13755/2008 standard for water absorption and propose alternative steps to adapt the norm for use with coated stones. The properties of coated stones may invalidate the interpretation of the results if the standard protocol is applied as is, so here we pay special attention to the characteristics of the coating applied, the type of water used for the test, the materials used, and the intrinsic heterogeneity of the specimens.

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

Transcorreguts diversos anys de la impartició de l'assignatura Estètica i Història del Disseny es percep que els alumnes gaudeixen especialment amb les activitats pràctiques i els seminaris, però els suposa un gran esforç consolidar i relacionar els continguts teòrics, per la qual cosa durant els cursos 2021- 2022 i 2022-2023 s'ha introduït una activitat que empra l'aprenentatge basat en el joc (ABJ) per dissenyar un joc de cartes entre tots, anomenat “Design in Time”, que enllaça diferents activitats presencials i serveix com a eina d'aprenentatge, a alhora que incrementa la motivació i participació dels estudiants. El joc s'implementarà en cursos successius amb noves edicions que completin la matèria d'estudi, així com amb una versió digital. A més de la repercussió que pugui tenir l'ABJ a la mateixa assignatura, es considera que l'experiència es podria extrapolar a altres assignatures de l'àrea de Composició Arquitectònica o afins. After several years of teaching the subject Aesthetics and History of Design, it is perceived that students particularly enjoy the practical activities and seminars, but it is a great effort for them to consolidate and relate the theoretical contents. Therefore, during the academic years 2021-2022 and 2022-2023, an activity has been introduced in the subject that uses Game-Based Learning (GBL) to design a card game among all, named "Design in Time", which links different face-to-face activities and serves as a learning tool, while increasing the motivation and participation of students. The game will be implemented in successive courses with new editions that complement the contents to study, as well as with a digital version. In addition to the impact that the ABJ may have on the subject itself, it is considered that the experience could be extrapolated to other subjects in the area of Architectural Composition or related subjects. Transcurridos varios años de la impartición de la asignatura Estética e Historia del Diseño se percibe que los alumnos disfrutan especialmente con las actividades prácticas y los seminarios, pero les supone un gran esfuerzo afianzar y relacionar los contenidos teóricos, por lo que durante los cursos 2021-2022 y 2022-2023 se ha introducido una actividad que emplea el Aprendizaje Basado en el Juego (ABJ) para diseñar un juego de cartas entre todos, denominado “Design in Time”, que enlaza diferentes actividades presenciales y sirve como herramienta de aprendizaje, a la vez que incrementa la motivación y participación de los estudiantes. El juego se implementará en sucesivos cursos con nuevas ediciones que completen la materia de estudio, así como con una versión digital. Además de la repercusión que pueda tener el ABJ en la propia asignatura, se considera que la experiencia podría extrapolarse a otras asignaturas del área de Composición Arquitectónica o afines.

El patrimonio se construye como una memoria colectiva, un palimpsesto de memorias arquitectónicas, pictóricas, poéticas, paisajísticas, plásticas, de la memoria del propio lugar y de las memorias sedimentadas del espectador, pero también de las memorias de los alumnos que investigan y experimentan por sí mismos. En las ciudades invisibles, Italo Calvino construye 55 paisajes urbanos que juegan con la materia, los tiempos y las formas, y que son tomados como arquetipos que se proyectan en una serie de paisajes reales. La metodología operativa del taller hace uso de un recurso literario, el cadavre exquis de los surrealistas franceses, una narración secuenciada convertida en mecanismo plástico, que sustituye los textos por fragmentos del paisaje que componen al final una gran maqueta. Tomando como base esta metodología experimental, se han realizado una serie de talleres a lo largo de estos años, con la participación de profesores y estudiantes de distintos niveles educativos. The heritage is built as a collective memory, a palimpsest of architectural, pictorial, poetic, landscape, plastic memories, of the memory of the place itself and of the sedimentary memories of the viewer, but also of the memories of the students who investigate and experiment for themselves. In The invisible cities, Italo Calvino builds 55 urban landscapes that play with matter, times and forms, and are taken as archetypes that are projected in a series of real landscapes. The workshop operational methodology makes use of a literary resource, the cadavre exquis of the French surrealists, a sequenced narrative turned into a plastic mechanism, which replaces the texts with fragments of the landscape that ultimately make up a large model. Based on this experimental methodology, a series of workshops have been carried out during these years, with the participation of teachers and students of different educational levels.