Ponencias

La integración de tecnologías digitales está redefiniendo la arquitectura educativa, transformando los espacios tradicionales en entornos dinámicos, sostenibles y centrados en el usuario. Herramientas como el Building Information Modeling (BIM), sensores Internet of things (IoT) y plataformas digitales optimizan el diseño espacial, la eficiencia energética y el confort mediante análisis predictivos y monitorización en tiempo real. Estos avances, ejemplificados en el caso de la Escuela Técnica Superior de Arquitectura de la Universidad de Navarra (ETSAUNAV), demuestran cómo las herramientas basadas en datos mejoran las condiciones ambientales al tiempo que fomentan la inclusión y la adaptabilidad en espacios híbridos de aprendizaje.

No obstante, la digitalización plantea desafíos críticos, como la dependencia tecnológica, la invasión de la privacidad y la posible deshumanización de las experiencias educativas. Para enfrentar estos retos es esencial adoptar un enfoque crítico y ético, equilibrando la eficiencia operativa con el bienestar integral de los usuarios, priorizando soluciones tecnológicas que respondan a las necesidades reales de estudiantes y docentes. 

Los entornos educativos deben evolucionar como ecosistemas dinámicos que integren y combinen innovación tecnológica con la humanización de los espacios, promoviendo la sostenibilidad, la equidad y la interacción social.

The forms of nature, including the human body, have an implicit geometry, sometimes not visible without an analytical eye. Within the framework of studying conic curves, first-year Architecture students were asked to geometrize the faces of their grandparents, seeking these curves in the general features and in the detail of the marks that time has left on the face. With small creative exercises like this, it is intended that students internalize and apply the theoretical content learned in class.Through visual references, they have been introduced to the world of graphic design and illustration, providing them with examples and tools for geometric abstraction and the search for simple elements in the apparent complexity of a face.The mix of the endearing with the theoretical, the visual with the three-dimensional, colors with lines has made this exercise a enriching experience. With this presentation, the aim is to analyze how the quality and depth of knowledge in the concepts addressed have been increased through this small exercise.

El capítulo propone concebir la vivienda como un sistema operativo capaz de orquestar dispositivos, servicios y flujos de datos del hogar. Partiendo de que la investigación en arquitectura es eminentemente aplicada, se defiende la transferencia tecnológica desde sectores de alta exigencia (naval, aeroespacial, defensa y, especialmente, automoción) hacia la edificación. Ejemplos como autobuses y automóviles muestran niveles de integración, fiabilidad, mantenimiento modular y experiencia de uso que rara vez alcanzan las viviendas. Se plantea “hacer peor para abaratar”: desescalar tecnologías probadas para contextos domésticos menos extremos. El “sistema operativo” doméstico se articula en cuatro ejes: (1) control y automatización de clima, luz, calidad del aire y energía; (2) integración multimedia y temporal de dispositivos desde una interfaz unificada; (3) seguridad y emergencia con detección de anomalías y protocolos en tiempo real; y (4) aprendizaje y optimización mediante datos e IA, adaptando el hogar a hábitos y necesidades. El capítulo identifica retos críticos—interoperabilidad, privacidad, seguridad de datos y accesibilidad—y llama a la industria del automóvil a exportar procesos y metodologías a fachadas, sistemas constructivos y energéticos. Anticipa así un mercado en el que, al adquirir una vivienda, también preguntemos: “¿qué sistema operativo tiene?”

Este artículo presenta un ejercicio que se ha realizado con alumnos del primer curso del grado en Arquitectura acerca de una forma geométrica compleja: las superficies mínimas. Explica el desarrollo de los ejercicios, en los que se combina el conocimiento matemático y geométrico con la experimentación manual y con la aplicación creativa de lo estudiado. En este caso, se utilizan para el conocimiento intuitivo de las superficies mínimas la creación de pompas de jabón gracias a una solución jabonosa. A la vez, aprovecha esta oportunidad para unirse al debate sobre el uso de las herramientas gráficas manuales, informáticas y tridimensionales en la educación inicial de un estudiante de arquitectura.

Play is a driving force for creativity. People are able to invent, imagine, improvise and go beyond limits when they enter the world of fun. We take advantage dynamics of the game as useful skills which help students to understand both geometric shapes and operations that manipulate them in architecture. Using the content taught within this subject -complex geometric shapes-, students are required to design playful kind of spaces previously experienced (skate park, roller coaster, slide circuit or rope park). In this paper, these projects are presented along with the supporting theoretical and teaching framework, as well as the lessons deduced from them.

Intentando solucionar problemáticas detectadas en los alumnos que llegan a la carrera de Arquitectura (dificultades en la comprensión lectora y expresión escrita y desconocimiento de diseño gráfico) llevamos tres años realizando un ejercicio en el que colaboramos asignaturas teóricas y prácticas. En las asignaturas de Antropología y Contemporary Art and Architecture trabajan textos teóricos. La asignatura Laboratorio de Geometría y Forma aporta las bases compositivas de una lámina. Se propone al alumno trabajar uno de los textos, seleccionar una parte del mismo y pensar cómo reflejar su contenido utilizando las letras como objeto, de manera gráfica, para diseñar un póster tamaño A2 en el cual se transmita el contenido del texto. Los carteles sirven como iniciación de los alumnos en el diseño gráfico, les ayudan a abstraer los textos y llegar al contenido de los mismos

Abstract: This article seeks to investigate the new paradigms of digital form and their application to the design process as a way to integrate service design from the very beginning of the process. It addresses a review of the generation of design in the key of «activity of conformation of open strategies». The aim is to open a deep reflection that allows an evolution of the understanding of the discipline of design linked to the outdated definition of «task of formalization of finished objects», which is widespread and still widely assumed. It is undeniable that engineering, urban planning, architecture, graphic design, product design, experience design and fashion design all share a common objective: all of them, in the end, can be considered as «service design».Indeed, each of the modalities of contemporary design and creation involves providing conceptual and oper-ational responses to needs (functional, aesthetic, symbolic, structural, social, individual). In short, creative activity consists of interpreting requirements and constraints in the most creative and efficient way possible. Design is not so much concerned with the need to produce «finished» objects, whether tangible or intangible. Contemporary design aims to create «formal laws», flexible and open, that can be applied according to the changing scenarios posed by today’s users. To design digitally today is to create logical structures of data, algorithms and open results. This article rais-es the possibility of designing -from the genesis of the design- by integrating data referring to users and their algo-rithms as the basis of the formal, diagrammatic or structural law of the design solution. From clear mathematical rules and their parameterization, we propose the generation of the base structure of the «digital contemporary design»; from the exposition of data to the generation of “empty form”. In order to that, a preliminary reflection on the Technical drawing / CAD / BIM is proposed as well as describing the languages of the contemporary Design project (data and algorithms necessary for the construction of the form by topological transformations on simple forms). This is a con-temporary way of understanding the generation of the “empty form”. A «prepared» and «structured» format for the subsequent acquisition of successive layers of information (user data) that would trigger the «virtual twin» of the de-sign. Designing by means of topological transformations is an essential exercise in the foundations of digital culture: working with this type of algorithm is the main work of CAD programs. The conception of contemporary design must increasingly take into account the digital era, which constitutes the paradigm of our culture. The ideation and formalization of the actions that define design, architecture, urbanism and the physical environment, go through the management of formal operations within information systems that com-bine identity, visuality, materiality, measurement, financing, parameterization, industrialization, construction mainte-nance and, of course, interaction with users and systems. This phenomenon once again highlights the importance of geometry and drawing as fundamental disciplines that sustain the solid foundations of design education in the Univer-sity.Finally, the article addresses the urgency of defining new methodologies for the design process to ensure that design does not remain a mere «cultural response» to the technical advances produced by science, nor is it a purely intuitive process that proposes images but dispenses with the technical language of its time. We defend the activity of design as a purely contemporary task, which must be generated with the languages and methodologies of our current (and future) time, and for which it must have the possibility of integrating data and adapting to them with flexibility. In this way, any kind of design can be considered «service design» because it will «serve» effectively, avoiding the unnecessary iterations pursued by the LEAN system, which make human actions on reality inefficient and unsustaina-ble. Such a design would prevent the industry from having to generate an overabundance of designs and then discard the inadequate ones (by natural selection, through trial and error, dictated by the market and by user needs).Keywords: Design Training · Design Methodologies · Human-centered Design · Alumni experience · Designer experience ·User Experience · Service Design · Form · Contemporary Design process

The point and the line are simple geometric elements with immense creative capacity. They are the foundations on which the most complex geometries rest and therefore require detailed understanding and attention to achieve full mastery of them. The point and the line are totally connected with the space and the spatial coordinates; the adaptation of the geometric space to the shape facilitates the calculation and the geometric development. They are the basis of geometry, which floods the art world in all its expressions. Painting, sculpture, fashion or music use geometry as a source of inspiration, as an expression of their own being. This article seeks to unify the various existing approaches to reach these basic elements of geometry. Different languages: mathematics, drawing and art and other artistic expressions can define the same geometric object. Our approach is from the point of view of mathematics and contemporary art. Only by knowing these parallel approaches will we be able to master it, understand it and be able to use it freely, at will. This is the path that we seek our first-year Architecture students to follow. They need to master the bases of the form, sometimes very propaedeutic, but without which it would be impossible to establish the later complexity. For this reason, we close this article with three examples of projects carried out by the students, which illustrate the skills acquired and the validity of the method used for integrating knowledge.

El Museo de la Universidad de Navarra (MUN) es un centro dedicado a la difusión del arte contemporáneo a través de exposiciones, eventos, programas, investigación multidisciplinar y enseñanza. Además, como museo universitario, sus tres pilares fundamentales son la creación, la investigación y la diseminación del arte y la cultura contemporánea. Actualmente, el MUN tiene entre uno de sus retos el de dar a conocer su legado a los estudiantes universitarios. El proyecto aquí planteado nace del espíritu interdisciplinar compartido entre el MUN y el Grado en Diseño de la Escuela de Arquitectura -recientemente reconocido este último con el primer premio en la categoría “Interdisciplinary Education Models” en “New European Bauhaus Prizes”. Se propone profundizar (y mejorar) la relación entre el MUN y los estudiantes del campus desvelando una experiencia docente híbrida a través de dos proyectos diferentes pero complementarios, realizados en el segundo semestre del curso 20-21 por estudiantes de 2º curso.