The concept of resilience remains vague as it pertains to the buildings' scale and the architectural dimension, particularly when dealing with the recovery and reuse of former industrial premises. This study advocates for socio-ecological (bounding-forward) resilience and the use of Panarchy heuristics to analyze the embedded resilience of building stock. This research is based on a case study of CanFugarolas, in Mataró (Barcelona), a former workshop converted into a socio-cultural center. Here, the building becomes a repository for latent urban dynamism, where spatial transformation is the mechanism by which embedded resilience is released in the form of social dynamism.Adaptive spatial capability (potential) translates into social dynamism (performance) because of socio-spatial interactions. The quantitative and qualitative analysis of the spatial and social parallel evolution of the case study reveals that i) a strong correlation exists between spatial transformation and social participation; ii) spatio-functional tactics and spatial adaptive capabilities are social and formal complementary mechanisms for spatial appropriation during social progression; iii) spatial diversification and hierarchization are evidence of spatial specialization, resulting from said socio-spatial interactions. Eventually, iv) indications of thresholds appear in the form of spatial overfragmentation and hyper-specialization, denoting spatial exhaustion and embedded resilience limitations.

inside, around the inhabiting subject, his gestures and movements, the relations he establishes with the objects that accompany him and the experiences that he undergoes. In this regard, the inhabited space has other dimensions than the strictly physical ones.Different authors throughout the 20th century have addressed the experiential and perceptive nature of space. The work of August Schmarsow ( 1893) is especially premonitory, claiming a spatiality understood from within and incorporating the experience of the body and its movements, as well as its psychological and emotional requirements. Alois Riegl (1901) reviews spatial interpretations from antiquity and links the formal and constructive resolution of space with its optical-tactile understanding. Among the avant-garde movements, the publication of Lazlo Moholy-Nagy (1928/1985 stands out for defining space as 'the position relationship of the bodies' that are perceived with the senses -vision, hearing, balance and movement -in order to arrange it according to its own laws.After World War II, Bruno Zevi (1948) rewrites the history of architecture based on the evolution of what he considers its main character the interior space, in which humans live and move. The formalisation, organisation and spatial construction over time condition its perception, experimentation, and use.

RESUMEN El tercer viaje de Le Corbusier a Chandigarh, un año después de su primer contacto con la India, está íntimamente ligado a la definición del Capitolio en tanto que plataforma activa, capaz de poner en tensión los palacios institucionales de la que forman parte, y en tanto que realidad aislada de la ciudad y únicamente vinculada a la experiencia de las vastas dimensiones del país, al llano que la sustenta, a su techo de cielo y a las montañas que ponen fin al terreno horizontal. Durante los veinticinco días que permanece en el lugar, Le Corbusier define el Capitolio como recinto y determina sus límites, introduce la física de los reflejos combinados, intensifica la topografía como tema arquitectónico que anima la plataforma del Capitolio y dibuja los jardines que preceden al palacio del Gobernador, como síntesis de todos los temas expuestos. Los resultados darán lugar, a su vuelta, al plano con número de atelier chand lc 4445 capitol. Más adelante, a medida que se definen los palacios, el Capitolio irá modificándose para alcanzar una nueva situación de equilibrio respecto a ellos, pero siempre en relación a aquello que sucedió durante esos días de 1952. PALABRAS CLAVE Le Corbusier, Chandigarh, Capitolio, jardines. SUMMARY The third trip of Le Corbusier to Chandigarh, a year after his first contact with India, is closely bound to the definition of the Capitol as an active platform, capable of pulling together the institutional palaces of which it forms a part and as a reality isolated from the city and uniquely linked to the experience of the vast dimensions of the country, to the plain that supports it, to its ceiling of sky and to the mountains that end the horizontal land. During the twenty-five days he stayed there, Le Corbusier defined the Capitol as an area and determined its limits. He introduced the physics of the combined reflections, intensified the topography as an architectural theme that animates the platform of the Capitol and drew the gardens that lead to the Governor's palace, as a synthesis of all the presented themes. The results would give rise, on his return, to the plan with the studio number of CHAND LC 4445 CAPITOL. Later, as the palaces came to be defined, the Capitol would be modified to achieve a new position of balance with respect to them, but always in relation to what happened during those days of 1952.

The exhibit came to Sant Cugat del Vallès thanks to a series of felicitous and timely coincidences triggered by an informal contact between Rene Tan (mastermind of the traveling collection) and the Illinois School of Architecture at the time in which the traveling exhibit was leaving its home-region and beginning to travel through Europe. We were fortunate to learn in time that we could jointly (ETSAV+Illinois' Barcelona Program) display it at the ETSAV when the exhibit was on route between Pamplona and London.La exposición llegó a Sant Cugat del Vallès gracias a una serie de coincidencias afortunadas y oportunas originadas en un contacto informal entre Rene Tan (cerebro de la colección itinerante) y la Illinois School of Architecture en el momento en que la exposición itinerante abandonaba su región de origen y comenzaba a viajar por Europa. Tuvimos la suerte de enterarnos a tiempo de que podíamos exponerla en la ETSAV en forma conjunta (ETSAV+ Illinois' Barcelona Program) cuando la exposición estaba en ruta entre Pamplona y Londres.

Resume :Cet article est une tentative de presentation du dessin d'architecture, et plus precisement de la notion c'element d'architecture dans les systhmes constructifs, vus sous T angle d'un langage du projet, at d'un projet de langage, lors de Ia conception. Nous nous proposons d'analyser ce langage daps ses aspects syraxiques et semantiques , et dans les differents modes operatoires qui I'articulent. Cela, pour une meilleure representation et manipulation des connaissances en C.A.A.O, mettant l'accent sur le probltme de la capacite d'expression d'un 'savoir-faire'. Abstract :This article is an attempt to present the architectural design, and more precisely the notion of the architectural element in the constructive systems, considered as a language of the project , and as a project of language at the time of conception. We purpose to analyse this language in its syntactic and semantic aspects and in the different operative modes which joint it, this for a better representation and manipulation of knowledges in C.A.A.D, pointing out the problem of the expressing capability of a 'savoir-faire'. (or of an ability). Je regarde le petit dessin que j'ai sous les yeux et it pense : c'est une colonne. Le mot colonne ', comme le dessin associf, tvoquent en moi un objet reel que mes sans connaissent. Use colonne a un poids, une ou des couleurs, c'est un objet complexe fait de plusieurs parties. J'en connais constitutes de diverses matieres : de la pierre , de la terre cuite, du platre , du.ciment, du bois mime .-Une -colonne a aussi un diamttre spfcifique qui lui permit de porter des objets plus ou moins lourds selon sa hauteur . Elie possede une histoire et it lui connais plusieurs apparences, details it formes sptcifiques... En se sons, le petit dessin de la colonne est fconomie du reel , it si it change l'fchelle de mon dessin, d ' autres details vont apparaitre, me prtcisant comment cette colonne doit etre exfcutfe, le choix dans le possible des apparences , ses difffrentes parties, ses cotes.. . Le dessin de la colonne esi donc un symbole, symbole indicatif quand it Iis le plan (ou si un autre architecte lit le plan), it dfsigne alors le symbolist, it substitutif quand it pense le plan dans l'acte de concevoir; le symbole idoine se substitue alors I la chose symbolisee , i l'objet reel (que peut -ttre je ne connais pas encore totalement).