This paper tries to reflect on the advantages and disadvantages of the BIM paradigm in the context of university education, on the one hand, and the way in which its potentialities could benefit architectural teaching, on the other. A comprehensive implementation of the tool within the architectural degree curriculum can enhance students' learning process, taking advantage of the cross-disciplinarity inherent to BIM as well as relying on the project-based learning model, especially suitable in architectural tuition. Truly digital design studios could benefit and be nurtured with the contents of other disciplines such as construction, structures, building service systems or architectural representation. Students could work on the same models during the same academic course across their curricular matters, adding layers of information and detail to the project depending on the subject content's. Besides, collaborative work could also be improved with team work allowing the use of collaborative BIM tools to make the students familiar with the kind of work they will find once they finish their studies.

The use of diagrams as design tools has enriched recent architectural debate and has produced an alternative course for the process of ideation in architecture. However, diagrams and schemes are often confused with each other ignoring the constraints that the topological conceptualization of the latter entails. The paper attempts to examine the analytical and generative qualities of the diagrams using Eisenman's architecture and his theoretical discourse as a reference, while establishing the connections between his work and the philosophy of Deleuze. Half way between being and becoming diagrams differ from drawings or schemes operating as mediators between matter and form. Keywords: diagram, ideation, schemeLa utilización de diagramas como herramientas de proyecto ha contribuido a enriquecer el debate arquitectónico reciente y han supuesto una vía alternativa en el proceso de ideación de la arquitectura. Sin embargo, a menudo se confunden diagramas y esquemas obviando las limitaciones que la conceptualización topológica de éstos últimos conlleva. El texto pretende analizar las cualidades analíticas y generativas de los diagramas tomando como referente la arquitectura y el discurso teórico de Eisenman, al tiempo que establece las conexiones que existen entre su obra y la filosofía de Deleuze. A caballo entre el ser y el devenir los diagramas se distinguen de los dibujos o los esquemas operando como mediadores entre la materia y la forma.

Complexity as a result of improved design capabilities through the use of computer tools was introduced in the architectural debate since these became irreplaceable. On the other hand, not every designer is genuinely aware of the logical implications that the use of these tools may entail. Used as a simple emulation of enhanced traditional design tools-drawings and models, they do not alter the process of design significantly. However, the potential of such tools beyond their instrumentality introduces designers into the realm of digital consciousness. This paper analyzes complexity as an inherent quality of computer aided architectural design in relation to four different digitally conscious design strategies. First, the increase of complexity involved in digital architectural designs because of their potentiality to manage enormous amounts of differentiated information. Second, the complexity inherent to an open form such as parametric or generative designs may be defined. Third, the use of the computer as a smart partner involved in the design process -i.e., form finding strategies-rather than as a simple efficient machine able to repeat our abilities faster and more effectively in certain roles of the design process. Finally, it analyzes the possibility of generating parameterized typologies as a result of the openness of form, as well as the increased complexity that randomness may introduce in algorithmic design.The paper concludes with reflections on complexity vs. simplexity considering the fact that the simplicity characteristic of Modernism aesthetics and constructive values collide with the baroque formal complexity achieved in generative design.| paper session Complexity, Digital Consciousness and Open Form ACADIA 2010 life in:formation * These images have been kindly sent by Andrew Kudless (MATSYS) for the illustration of this paper. ** This image has been kindly sent by Marc Fornes (THEVERYMANY) for the illustration of this paper. We want to publicly acknowledge Andrew Kudless' and Marc Fornes' for their cooperation. Obviously, the opinions in the text are solely responsibility of the text' s author and might not be shared by the authors of the proposals or built projects illustrated here.

ResumenLa villa E.1027 ha permanecido durante años en un segundo plano en las historiografías del Movimiento Moderno a pesar de su sofisticada modernidad y su sabio entendimiento del lugar; tal vez por su crítica sutil a los principios de la modernidad instaurados en los años 20 e impuestos durante las décadas siguientes. Este ominoso olvido ha incluido también a una mujer, Eileen Gray, a quien corresponde la mayor parte de su autoría. Le Corbusier no fue ajeno ni a lo uno ni a lo otro. El artículo analiza el comportamiento del maestro en su obsesión y posterior ocupación de la Maison en bord de mer y su entorno próximo, tratando de desvelar las causas que probablemente animaron a su profanación; y finaliza con la crítica de género que premonitoriamente Gray desplegó en la E.1027 respecto del canon corbusierano ya en 1926. AbstractThe villa E.1027 has remained silenced for years in the historiography of modern architecture despite its sophisticated modernity and its wise understanding of the locus; perhaps due to its subtle criticism over the modern principles established during the 20' s and imposed over the following decades. This ominous oblivion has also included a woman, Eileen Gray, responsible for most of its authorship. Le Corbusier was not alien to either of them. This article analyzes the master' s behaviour regarding his obsession and subsequent occupation of the Maison en bord de mer and its surroundings, trying to uncover the causes that probably encouraged their desecration. It ends up summarizing Gray' s gender criticism presciently unfolded in E.1027 regarding corbusieran canon as early as 1926.

ple sustituto de las tradicionales herramientas de dibujo y representación de la arquitectura, sino como nuevo paradigma en la consecución del lenguaje arquitectónico:Probablemente, desde el nacimiento de la perspectiva, no haya existido ninguna épo-ca en la que la herramienta utilizada condicione la producción arquitectónica de una manera tan determinante.La representación del espacio arquitectónico desde el Renacimiento ha influido enormemente en la consecución del propio lenguaje arquitectónico; la perspectiva o la imprenta han sido dos descubrimientos que revolucionaron dicho lenguaje de forma considerable. En este sentido, la concepción del espacio como receptáculo con cualidades propias del espacio geométrico ha determinado buena parte de la producción arquitectónica a lo largo de los siglos hasta fecha muy reciente. Kerchove y Tursi 3 se referían a esta cuestión en los siguientes términos:However, to understand time as composed of aligned, regular elements and space as a void and neutral container required a process of significant abstraction of the Algorithms can be used to solve, organize, or explore problems with increased visual or organizational complexity. In its simplest form, a computational algorithm uses numerical methods to address problems [...] ramdom variables or conditions can be inserted into an algorithm, further increasing the degree of unpredictability of the final outcome and magnifiying the level of complexity. Contrary to common belief, algorithms are not only deterministic processes developed to explain, reason, or predict a humanly conceived problem, but can become venues for addressing complexities that exceed human ability to explain, reason, or predict.Los algoritmos en arquitectura pueden ser utilizados para aprovechar la potencialidad de los ordenadores para barrer una casuística imposible de abordar con las limitaciones inherentes al ser humano. Obviamente no resuelven los proyectos de forma automática, pero pueden emplearse para desarrollar y explorar infinidad de soluciones formales. En este sentido la utilización de algoritmos entraría de lleno en lo que denominamos conciencia digital. María Fullahondo 2 se ha referido con este término al uso de las herramientas digitales no como simLas herramientas informáticas aplicadas a la arquitectura o simplemente a lo gráfico, en su estadio más avanzado, permiten desarrollar geometrías generadas a partir de lenguajes de programación, lo que supone una modelización no gráfica sino paramétrica de las mismas. Es el caso de lenguajes desarrollados dentro de programas como Rhino, Autocad o 3dMax, como son el Rhinoscript, el Autolisp o el 3dMaxS-cript respectivamente, o lenguajes como Processing. Dichos lenguajes de programación son, en realidad, metalenguajes porque aún teniendo su propia gramática y lógica internas están orientados hacia la manipulación, edición y desarrollo de lo gráfico como representación e ideación de la arquitectura.La utilización de algoritmos para definir estructuras formales y geometrías complejas ha irrumpido c...