No nos representan

Grau, U

No nos representan

Grau, U

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Publication Type:: Chapter
Citation:: Documents (To Come) / Documentos (Por Venir), 2018, pp. 71 - 77
Issue Date:: 2018-07-01

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	DOCUMENTS TO COME _ PLIEGOS 20180711-UG.pdf	Published version	4.22 MB	Adobe PDF	View/Open

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Field	Value	Language
dc.contributor.author	Grau, U https://orcid.org/0000-0003-1906-1615	en_US
dc.contributor.editor	Fernández-Abascal, G	en_US
dc.contributor.editor	García-Germán, J	en_US
dc.date.issued	2018-07-01	en_US
dc.identifier.citation	Documents (To Come) / Documentos (Por Venir), 2018, pp. 71 - 77	en_US
dc.identifier.isbn	9788409035588	en_US
dc.identifier.uri	http://hdl.handle.net/10453/133455
dc.description.abstract	The posters in the Puerta del Sol and other public squares in the Iberian Peninsula were explicit: “They do not represent us”. So were the camps of protestors. The posters described the political and cognitive gap that had opened up with the acceptance of representational models defined during the Spanish Transition. The camps identified the failure of architecture to react to this gap. The occupation of public space by thousands of people included lawyers, doctors, librarians, cooks... but not architects. Unlike other professionals, the architects who participated in the process did so as citizens. Their skills were not required; their expertise was not relevant. I would like to propose 2011 as an alternative to 2008 in order to explain DOCUMENTS (TO COME). This date change, however, is not at attempt to define an ultimate origin. The connections between the economic crisis and 15-M are obvious, just as they are with New York of the 1970s, post-war Madrid, Moscow of the 1920s or The Terror in France. These are all situations where projects existed mainly as drawings, which served as a refuge for the lack of commissions But a crisis of credibility has a greater effect on architecture than the lack of commissions. When, consciously or unconsciously, the forms that represent power are under question, the role that architecture plays in the production of these forms is too. The discipline then has to face an urgent question: how should we engage in representation?	en_US
dc.relation.ispartof	Documents (To Come) / Documentos (Por Venir)	en_US
dc.title	No nos representan	en_US
dc.type	Chapter
utslib.location	Santander	en_US
utslib.for	1201 Architecture	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	Santander	en_US
pubs.publication-status	Published	en_US

Abstract:

The posters in the Puerta del Sol and other public squares in the Iberian Peninsula were explicit: “They do not represent us”. So were the camps of protestors. The posters described the political and cognitive gap that had opened up with the acceptance of representational models defined during the Spanish Transition. The camps identified the failure of architecture to react to this gap. The occupation of public space by thousands of people included lawyers, doctors, librarians, cooks... but not architects. Unlike other professionals, the architects who participated in the process did so as citizens. Their skills were not required; their expertise was not relevant. I would like to propose 2011 as an alternative to 2008 in order to explain DOCUMENTS (TO COME). This date change, however, is not at attempt to define an ultimate origin. The connections between the economic crisis and 15-M are obvious, just as they are with New York of the 1970s, post-war Madrid, Moscow of the 1920s or The Terror in France. These are all situations where projects existed mainly as drawings, which served as a refuge for the lack of commissions But a crisis of credibility has a greater effect on architecture than the lack of commissions. When, consciously or unconsciously, the forms that represent power are under question, the role that architecture plays in the production of these forms is too. The discipline then has to face an urgent question: how should we engage in representation?

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/133455