maría de la o del santo mora
josé vela castillo
arquitectos
algunas imágenes, casi acabado
domingo, 25 de abril de 2010
infantil+primaria el peñascal
maría de la o del santo mora
josé vela castillo
arquitectos
algunas imágenes, casi acabado
lunes, 22 de marzo de 2010
video de la ponencia 3iau
En la parte final del video se puede ver la ponencia que presenté al congreso 3iau de investigacion en arquitectura el junio de 2010. jose vela castillo
miércoles, 3 de marzo de 2010
zoontotechnics
uno de los congresos mas interesantes que se van a celebrar este año es el zoontotechnics: animality/tecnicity, en la Universidad de Cardiff, en mayo.
http://info.cardiff.ac.uk/encap/newsandevents/events/conferences/zoontotechnics.html
Tenemos ponencias aceptadas.
Dejo el abstract de la mia.
La pudeur et la demeure : architecture and the animal
josé vela castillo
Of course the question of architecture is, also, the question of the animal. And of course, it needs some explanation. Or, more precisely, demands it.
Maybe I'm not sure I could offer this explanation in full, but I hope this paper will unfold some different traces and reveal some disguised tracks of what this partially neglected relationship between architecture and animality could offer to rethink (what Derrida calls) l'animal que donc je suis. And in so doing, extend the whole problem to a much broader (political) context in which technology, animality and virtual reality will transform the whole (build) environment into a world peopled mainly by ghosts.
La pudeur et la demeure, then.
On one hand a short citation from Levinas will surprise us when we realize that the word demeure relates not only to residence, inhabitance but to cavern, grute and the nest or den of (what the man calls) animals, and also to a certain delay or retard, to a certain awaiting and awareness of what will come (l'avenir).
On the other, la pudeur, the pudicity or pudency, the decorousness that Derrida feels when a cat stares at him in the bathroom, being naked (and naked itself), sets in motion another intriguing and related set of envois. For instance the myth narrated by Plato in the Protagoras, the known story of the disastrous error committed by Epimeteus, but not only in relation with his fatal oblivion and the necessity of the techne that could supplement what the man have not, but also with the necessary two pre-conditions that the man will need to live in common (and build a city) : aidos and dyké, pudency (or honesty) and justice.
Now, is it not the question of la demeure, the question of techne (the question of the dressing and the question of building, but also the Heideggerian question) and the question of la pudeur (the question of the beginning of the polis) the questions of architecture?
José Vela
http://info.cardiff.ac.uk/encap/newsandevents/events/conferences/zoontotechnics.html
Tenemos ponencias aceptadas.
Dejo el abstract de la mia.
La pudeur et la demeure : architecture and the animal
josé vela castillo
Of course the question of architecture is, also, the question of the animal. And of course, it needs some explanation. Or, more precisely, demands it.
Maybe I'm not sure I could offer this explanation in full, but I hope this paper will unfold some different traces and reveal some disguised tracks of what this partially neglected relationship between architecture and animality could offer to rethink (what Derrida calls) l'animal que donc je suis. And in so doing, extend the whole problem to a much broader (political) context in which technology, animality and virtual reality will transform the whole (build) environment into a world peopled mainly by ghosts.
La pudeur et la demeure, then.
On one hand a short citation from Levinas will surprise us when we realize that the word demeure relates not only to residence, inhabitance but to cavern, grute and the nest or den of (what the man calls) animals, and also to a certain delay or retard, to a certain awaiting and awareness of what will come (l'avenir).
On the other, la pudeur, the pudicity or pudency, the decorousness that Derrida feels when a cat stares at him in the bathroom, being naked (and naked itself), sets in motion another intriguing and related set of envois. For instance the myth narrated by Plato in the Protagoras, the known story of the disastrous error committed by Epimeteus, but not only in relation with his fatal oblivion and the necessity of the techne that could supplement what the man have not, but also with the necessary two pre-conditions that the man will need to live in common (and build a city) : aidos and dyké, pudency (or honesty) and justice.
Now, is it not the question of la demeure, the question of techne (the question of the dressing and the question of building, but also the Heideggerian question) and the question of la pudeur (the question of the beginning of the polis) the questions of architecture?
José Vela
ii congreso interseccion!!
la semana que viene, lunes y martes, y luego el 9 de abril celebramos el grupo INTERSECCION el ii congreso de filosofia y arquitectura. si os interesa, estais todos invitados, es gratuito.
y mola. mazo.
www.interseccion.es
jose vela
sábado, 12 de diciembre de 2009
style in theory / malta
STYLE
José Vela Castillo
Littré / (Étymologie): Provenç. estil ; espagn. estilo ; ital. stile ; du lat. stylus, proprement poinçon, puis style, qui vient du grec, colonne, pointe, poinçon, rattaché au grec, ériger, qui tient à sthã, stare, être debout.
Peri-style, acting precisely as a foreword, a word must be said, a word in advance and a word as advice, a fore-, before but also instead of, wherefore, I apologize for certain forced uses of the English words I’m going to write. It is important to know, then, that though I address this text in English, it is obviously and most necessary permeated by another language, indeed, languages: of course, French and of course, Spanish. But since both derive from Latin, I must say that I’m writing with stilus. In addition is necessary to remember that a stilus is, indeed, a στύλος so we have already five, not to forget German Stil. We do not speak nor write in a language, but in languages… stylishly coherent, I hope. Touchantes, I expect.
Nor that this foreword is intended to be any kind of stylobata, but needles to say (if you see below or beside my signature) I’m going to talk about architecture, basement (but not underground), and, yes, style; remember: στύλος means column, pillar, support. Peristyle, then.
Surely I’m interested in the relations between theory and style, between the regard of the theoros and the tracing (manipulation) of the stilus, a most technical operation. But I’m not sure that this relationship defines only the space of literature, or philosophy, nor that kind of writing that is neither of both… except that derridean writing being architecture. And that’s my point here: style in theory points to the point where a trace has been incised and a column is erected. Something substantial is touched here.
So, what is the role and place of style(s) in theory? But, where is, precisely, that place? How is it traced, upon what space, over which foundation, touching what? Where in the metaphor the true meaning and where the figured one? And, most demanding: where is the place of the column, in theory?
The whole question will be elaborated in two instances, under two related tittles, of which I only could offer a hint in this brief exposition.
Beginning with Questions of style : «La “Question du style”, sans doute l’avez-vous reconnue, c’est une citation» that manages with the meaning and etymology of style, and its various related terms and actions, considering mainly the thread that leads us to the graphic trace and the tracing, the palimpsest, the subiectum and the hyle (the wood of the waxed tablet incised by the stilus). And, of course to the place where a trace appears and marks and archives something, the space of a traject, of a jection, a movement forward, a project in space and then in time, the space of a text and the space in which the text appears.
Followed by Exercises on style (Exercises de style) : weaving, touching, playing that develops two interweaved lines that obey certain laws of the style, related with textiles and related with touching, trough some references to the writing work of the architect Gottfried Semper (mainly Der Stil) and the relevance of the Bekleidung and with some writing on (of) the body and touching graphiated (grapho, greffe) by Jean-Luc Nancy. Not to forget some Queneau. But remember,
La question du style, c’est tojours l’examen, le pesant d’un object pointu.
Jacques Derrida
jueves, 17 de septiembre de 2009
Teoría / Critica / Metáfora
La arquitectura es pensamiento. En la construcción arquitectónica (y en el proyecto de arquitectura) se dan las condiciones de aparición de sentido que podríamos identificar con el pensamiento: espaciamiento, huella, corte. Interrupción que pone en marcha un juego de diferencias. La arquitectura en este sentido es texto, en tanto que, como todo aparecer del sentido, se articula en torno a las separaciones, a las disyunciones, a los límites y fronteras que marcan los huecos del espacio. En torno a la incisión de la marca y su separación con el resto. En tanto apertura a lo otro.
Y ello aun cuando, o precisamente por ello, se pueda superponer un discurso escrito sobre ella, la arquitectura, necesario, cambiante, en constante movimiento, pero que no puede explicar el pensamiento de la propia arquitectura. Apenas puede cartografiarlo, después. Teoría / Critica / Metáfora.
josé vela castillo
Suscribirse a:
Entradas (Atom)