This article presents the results obtained during its first year of application in the educational innovation project called “New frameworks of teaching: ICT applied to problem based learning in technical bachelors” (PIE 15-166) developed at the School of Architecture in the University of Malaga. This has been focused on the development of educational strategies based on exploiting the potential of ICT, taking as a framework the ABP. Its application on subjects from different areas of knowledge (architectural composition, urban planning, projects and architectural constructions) has allowed assessing the adaptability of this methodology depending on the content. Among the obtained results can be highlighted the improvement in cross curricular coordination between subjects from different fields of studies, providing different ways of synchronous and asynchronous communication between students and teachers to generate a greater interaction between all the involved subjects; increasing in addition the interest and an improvement of the results. En este artículo se presentan los resultados durante el primer año de aplicación del proyecto de innovación educativa desarrollado en la ETS de Arquitectura de la Universidad de Málaga bajo el título de “Nuevos marcos de docencia: TICs aplicadas al aprendizaje basado en problemas en la enseñanza de titulaciones técnicas” (PIE 15-166). Este se ha centrado en el desarrollo de estrategias docentes basadas en el aprovechamiento del potencial de las TIC, teniendo como marco el ABP. Su aplicación sobre asignaturas enmarcadas en diferentes áreas de conocimiento (composición, urbanismo, proyectos y construcciones arquitectónicas) ha permitido valorar la adaptabilidad de esta metodología en función de los contenidos. Entre los resultados obtenidos pueden destacarse la mejora en la coordinación transversal entre distintas áreas de conocimiento y asignaturas, proporcionando medios para la comunicación síncrona y asíncrona, generando una mejora en el interés y por ende de los resultados de éxito.

Este artículo reflexiona acerca del proceso del proyecto de arquitectura. Para ello se parte del entendimiento de éste como un proceso creativo, que nos lleva a entender la acción de proyectar no como una acción mecánica que nos conduce a la resolución de un problema, sino como un proceso especulativo y de construcción de pensamiento propio. Pensamiento y creación se hallan íntimamente relacionados en todo proceso de proyecto y, aunque la arquitectura se materializa a través de sistemas constructivos y materiales, sólo es posible concebirla mediante la construcción de pensamiento. Para ello es necesario por un lado, el conocimiento de pautas, reglas y principios objetivables, propios de la disciplina arquitectónica, pero por otro lado, necesita, al igual que todo acto creativo, desenvolverse en relación dialéctica con otro tipo de material que no es específico de esta disciplina y que forma parte de un mundo personal, fruto de nuestra experiencia en el mundo, en el cual el proyecto de arquitectura encuentra en la mayoría de las ocasiones su base o debe toda su riqueza. Ambos factores adquieren la misma y determinante importancia en el desarrollo del proyecto. Sin embargo, son los aspectos más objetivos, racionales y fácilmente transmisibles lo que se convierten, en la mayoría de las veces, en el centro de atención, olvidando o dejando a un lado esa componente altamente subjetiva que éste posee. Es, por tanto, este aspecto del proyecto arquitectónico el que se convierte en objeto de estudio en el desarrollo de este artículo. Este tiene como objetivo desvelar el proceso creativo del proyecto de arquitectura, de modo que nos permita conocer con mayor claridad la complejidad que éste encierra y nos lleve, en último término, a pronunciarnos acerca de cuestiones que consideramos relevantes en relación al modo de proceder al hacer arquitectura. Palabras clave: arquitectura, creatividad, proyecto.

Industrial heritage landscapes today are phenomena of extraordinary complexity, the study of which has been addressed belatedly by the scientific community in general, and to date no methodological trend has given priority to its study and management. There do exist, however, recent methodological approaches, such as Historic Landscape Characterisation, which, in recent years, have addressed the problems and opportunities presented by a wide diversity of landscapes, as is the case of the industrial landscape of Blaenavon. The aim of this article is to critically evaluate the validity of this methodology in terms of responding to the needs that these landscapes present with regard to their study, enhancement and intervention from a heritage and cultural perspective. This study concludes that, while this methodology is a valuable contribution to knowledge of the historical character of these landscapes, the importance of addressing their specific nature makes necessary the development of more solid, methodologically sophisticated approaches that respond to some of the theoretical and methodological weaknesses of this methodology. In this regard, this article advances in the definition of improvements and methodological innovations that attempt to address, among other issues, the complexity of these landscapes in terms of their establishment in the territory, the diversity of spatial and temporal scales in which they participate, their dynamic, highly anthropised character, and their uniqueness as landscapes that have been radically transformed by past industrial activity and which possess enormous cultural and heritage value.

Today, the industrial landscape constitutes an extraordinarily complex phenomenon, the study of which has been approached belatedly by the scientific community in general. This has given rise to a situation of conceptual and methodological insufficiency in the field of landscape study, making necessary both a reconsideration of the ways these studies have been approached to date and the development of a methodological framework that takes into account the specific nature of these landscapes. With this in mind, the objective of this article is to present a specific methodology for the identification and characterisation of industrial landscapes based on both their heritage and cultural considerations. The methodology contemplates an initial in-depth study of both the landscapes in question and the most relevant methodological trends applied to landscape study, in an effort to ascertain to what extent these methodological approaches respond to the needs of the study. On the basis of the results obtained, this article attempts to make an advance in the contribution of methodological improvements and innovations that materialise in the design of an industrial landscape identification and characterisation methodology, that contemplates a holistic, integrational approach that operates across the various dimensions attributable to these landscapes and advocates a transdisciplinary approach to the study of the same.

Every project comes into existence through a handmade object. When designing, our hands act as tools that move between the worlds of matter and thought, making it possible to work with our ideas, clarifying them and fixing them up into something buildable. From the drawing, the performing of sketches, models, collages ... we can travel that road made by ideas to enter a world of physical reality through a process in which the actions of thinking, drawing and building continually succeed each other. This article tries to explore the role of our hands when designing in order to learn more about the process of creating the architectural project and the way it is generated, to finally speak about issues interesting for us concerning the way they are taught. Todo proyecto comienza a existir a través de un objeto realizado con las manos. Al proyectar nuestras manos actúan como herramientas que se mueven entre el mundo de la materia y el pensamiento, haciendo posible el trabajo con nuestras ideas, precisándolas y fijándolas hasta convertirlas en algo construible. A partir del dibujo, de la realización de bocetos, croquis, maquetas, collages… nos es posible recorrer ese camino que hacen las ideas hasta incorporarse al mundo de la realidad física a través de un proceso en el que las acciones de pensar, dibujar y construir se suceden continuamente. Este artículo trata de profundizar en el papel que juegan nuestras manos a la hora de proyectar con el objetivo de conocer más acerca del proceso de creación del proyecto de arquitectura y de cómo éste se genera para, en último término, pronunciarnos acerca de cuestiones que nos interesan en relación con su docencia.

This article forms part of the debate regarding the relevance of using industrial heritage as an engine for territorial and urban development. It begins by studying the concept of industrial heritage and recognition of the same as cultural heritage and, subsequently, using the city of Malaga as a case study, analyses the industrialisation process that the city experienced from the 19th to the end of the 20th century and the current state of conservation of its built industrial heritage. It also undertakes a study of the specific instruments, for the most part strategic planning, that have been implemented as a means to incorporate cultural heritage as an asset for a new urban model for the city in an effort to understand how these instruments envisage the revitalisation and recovery of industrial heritage. The study concludes that this heritage, despite constituting one of the city’s principal hallmarks, has received only partial and biased attention in terms of the numerous urban reclassification projects that have been undertaken, and has yet to find its role in the new urban model. This raises the need to revitalise these heritage resources in an effort to encourage fairer, more equitable urban and economic development processes that contemplate the reasonable use of the industrial heritage that constitutes the bedrock of the city’s identity.