• AeA 2003-2009
    Final Projects in Alicante 

    AeA 2003-2009 Final Projects Exhibition in Alicante

AeA 2003-2009 Final Projects Exhibition in Alicante

More than 10 years has passed by since, in 1996, Architecture in Alicante started. Once we, as School, are determined to project the image we have been constructing of ourselves through in that time, the first challenge arises.
The most objective and neutral way of telling who we are and where we come from is, in all probability, from everything produced rather than everything programmed. Thus, we skip the risk of projecting a partial image.

It would not be, then, about predetermining an image neither making a selection, as this could be affected by the interest of transient teaching tendencies. It would rather be about taking the opposite approach: making a selection, first, while keeping a certain uncertainty in the meantime; and, secondly, finding its image after putting everything produced in order.

Therefore, the best quality indicator for the Final Project seems to be the rigor with which it has been developed. Neither the subject nor the portfolio -understood as the ensemble of interests defining the student's career- have been criteria for selection; not even the level of innovation it might have reached.

They only have in common their critical ability to undertake a complex search of the new. They are all characterized by a smart use of specific tools that have guaranteed a certain success in the result.

Once the similarities have been found, they are arranged according their differences. This is the second criterion. Thus, by observing the subject's nature as well as the undertaken methodology, four categories can be traced:

A. Productions: reconstruction of events and cultural, political, territorial and urban entities.
Here we can find projects compromised with "social" issues which are characterized by conceiving architecture as a technical response to any kind of social, cultural, economical or political event. Their work environments belong to student's reality and directly affect their public sensitivity. From an individual interpretation of the public, the common realm is refigured.

B. Inventions: backdrops for a new reality.
Here we can find projects whose reality is redrawn from, and exclusively, a personal world. Place, program and strategies stand apart from reality itself as well as any reference to architecture seen from necessity or as problem solving.
Innovation, especially here, lies in moving away from the known in order to find, from the unknown, new backdrops in which to reformulate preconceived conducts.

C. Management of advanced architectural knowledge: New strategies and applications.
Here we can find projects that investigate the role of architectural practice. The project is conceived as a tool itself rather than a result and seen as stimulation rather than definition. In short, it would be about exercises that strive to set themselves as a new conception of architectural competences.

D. Experiences: design innovation from specific programs.
Here we can find projects that strive for innovation from the evolution of historical types. According to particular architectural programs a certain transformation and implementation is sought by means of using strategies which manage to bring "the present time" from the influence of technology and new techniques to the understanding of new social behaviors as well as any current world awareness.

As a conclusion, it seems that the diversity of positions in search of innovation -as a permanent response to contemporarity- and their simultaneity are both what might objectively define us as School.

 

*The exhibition has been curated and organized by Iván Capdevila for the University of Alicante, within the Area of Architectural Design

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