Juan Roldan | American University of Sharjah (original) (raw)
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Papers by Juan Roldan
19th century engravings of the Azoguejo Square in Segovia (Spain) offer repeated scenes of flying... more 19th century engravings of the Azoguejo Square in Segovia (Spain) offer repeated scenes of flying merchants and street markets at that time. Within all these repeated and copied romantic scenes, some elements are a constant in all of them: The Aqueduct and its surrounding (changing and re-interpreted in many cases depending on the artist), Architecture and one other element: the merchant's tent, a deployable self-supported textile solution made out of a stretched fabric braced to a self-supported central wooden tripod structure. The research will try to understand its built environment, the permanent city in which these transient elements move from town to town. The paper will also try to shed some light on these specific prototypes as a specific traditional and non-scientific wisdom of experimentation developed by peasants and merchants, besides being a refined small-scale structural solution. On a third part, we will try to bridge the typological gap between traditional light and deployable structures from the traditional Arab Khaimah (tent), linking it with other small-scale devices like the parasol or the umbrella, imported from China.
The paper will try to prove how this typology cannot be considered just as a mere temporary element of a larger city structure (street market), because its consistency and adaptability is what actually makes it a primary element of the urban tissue. The tent is an element which occupied the city during centuries, adapting its function and organic footprint to an ever-changing urban landscape. It is this kind of elements the ones that remain beyond the built form, the ones that create the city trough memories, trading and social interaction. They are, at the end of the day, the most permanent part of the city: the real place makers.
![Research paper thumbnail of “Use of urban interventions [place-practice] as a discourse for consolidating memory” A case study of Sharjah cricket playgrounds](https://attachments.academia-assets.com/36313661/thumbnails/1.jpg)
](This research discusses how expatriates living in Sharjah intervene the urban landscape through p... more This research discusses how expatriates living in Sharjah intervene the urban landscape through practices that allow them to take possession of that place (space) and use them as a discourse to consolidate their identity. A thorough documentation of the urban sprawl of one of the major arteries of Sharjah was used as a means to collect imagery that portrayed the human appreciation of the environment. A design-urban intervention was used a discursive instrument to entitle us to make visible (and thus tangible) the transition from a simple sign of cultural identity into a memory for a collective society.
Abstract: Beyond the architectural graphic production and its education developed throughout the... more Abstract:
Beyond the architectural graphic production and its education developed throughout the degree of Architecture, It is worth to stop and ponder how architecture student face, not just his architectural narrative and speech (oral, graphical and visual) but how they address the professional life in a more flexible and versatile way within the EEES field. As one of the Architecture degree minimum competences describes: “students must be able to transmit information, ideas, problems and solutions to a whether specialized public or not”, a competence that in Dr. Strangelove’s words: “It is not only necessary, It is essential”
Resumen:
Más allá de la producción gráfica básica de la Arquitectura y de la enseñanza que sobre el discurso gráfico se imparte en nuestras aulas durante la totalidad del grado de Arquitectura, merece la pena reflexionar sobre cómo encara el alumno medio no solamente la capacidad narrativa de su discurso arquitectónico (oral, gráfico y visual) sino cómo es capaz de enfrentarse a un mercado (actualmente en crisis) de la manera más flexible y versátil posible dentro del EEES.
Como reza una de las cinco competencias mínimas de un grado de Arquitectura “Que los estudiantes puedan transmitir información, ideas, problemas y soluciones a un público tanto especializado como no especializado.”, una competencia mínima que, como diría el Dr. Strangelove: “No es solo necesario, es esencial.”
Book Chapter by Juan Roldan
Arquitectos / Architects, Nov 15, 2013
Articles by Juan Roldan
Marcos Cruz: The Magic Mirror / El espejo mágico
Ilustración de Madrid nº20, 2011, Apr 15, 2011
Book Reviews by Juan Roldan
Punto CEU nº12, Apr 15, 2009
Press Articles by Juan Roldan
Punto Gaceta magazine, Dec 17, 2011
D entro de los e j e mpl o s d e A rquitec t ura Milagrosa hay algunos que no defraudan (tiempos ... more D entro de los e j e mpl o s d e A rquitec t ura Milagrosa hay algunos que no defraudan (tiempos y dineros dejados a un lado), y que terminan conjugando una respuesta contundente a futuribles áreas decrecimiento además de servir para el fin para el que fuer o n p r o y e c t a d o s . En el área alta de Boavista (Oporto), en la Plaza de Mouzinho de Alburquerque se erige -casi relegando a murmullo el monumento dedicado a la victoria contra Napoleón-, el auditorio de la Casa da Mú s ic a de O p or t o. A finales del siglo XX (año
Punto Gaceta magazine, Nov 26, 2011
Punto Gaceta magazine, Nov 5, 2011
Punto Gaceta magazine, Nov 1, 2011
Punto Gaceta magazine, Aug 20, 2011
Punto Gaceta magazine, Aug 6, 2011
Punto Gaceta magazine, Aug 6, 2011
Punto Gaceta magazine, Jul 2, 2011
Punto Gaceta magazine, Jun 11, 2011
Punto Gaceta magazine, Jun 4, 2011
Punto Gaceta magazine, Jan 23, 2010
Punto Gaceta magazine, Nov 6, 2010
19th century engravings of the Azoguejo Square in Segovia (Spain) offer repeated scenes of flying... more 19th century engravings of the Azoguejo Square in Segovia (Spain) offer repeated scenes of flying merchants and street markets at that time. Within all these repeated and copied romantic scenes, some elements are a constant in all of them: The Aqueduct and its surrounding (changing and re-interpreted in many cases depending on the artist), Architecture and one other element: the merchant's tent, a deployable self-supported textile solution made out of a stretched fabric braced to a self-supported central wooden tripod structure. The research will try to understand its built environment, the permanent city in which these transient elements move from town to town. The paper will also try to shed some light on these specific prototypes as a specific traditional and non-scientific wisdom of experimentation developed by peasants and merchants, besides being a refined small-scale structural solution. On a third part, we will try to bridge the typological gap between traditional light and deployable structures from the traditional Arab Khaimah (tent), linking it with other small-scale devices like the parasol or the umbrella, imported from China.
The paper will try to prove how this typology cannot be considered just as a mere temporary element of a larger city structure (street market), because its consistency and adaptability is what actually makes it a primary element of the urban tissue. The tent is an element which occupied the city during centuries, adapting its function and organic footprint to an ever-changing urban landscape. It is this kind of elements the ones that remain beyond the built form, the ones that create the city trough memories, trading and social interaction. They are, at the end of the day, the most permanent part of the city: the real place makers.
This research discusses how expatriates living in Sharjah intervene the urban landscape through p... more This research discusses how expatriates living in Sharjah intervene the urban landscape through practices that allow them to take possession of that place (space) and use them as a discourse to consolidate their identity. A thorough documentation of the urban sprawl of one of the major arteries of Sharjah was used as a means to collect imagery that portrayed the human appreciation of the environment. A design-urban intervention was used a discursive instrument to entitle us to make visible (and thus tangible) the transition from a simple sign of cultural identity into a memory for a collective society.
Abstract: Beyond the architectural graphic production and its education developed throughout the... more Abstract:
Beyond the architectural graphic production and its education developed throughout the degree of Architecture, It is worth to stop and ponder how architecture student face, not just his architectural narrative and speech (oral, graphical and visual) but how they address the professional life in a more flexible and versatile way within the EEES field. As one of the Architecture degree minimum competences describes: “students must be able to transmit information, ideas, problems and solutions to a whether specialized public or not”, a competence that in Dr. Strangelove’s words: “It is not only necessary, It is essential”
Resumen:
Más allá de la producción gráfica básica de la Arquitectura y de la enseñanza que sobre el discurso gráfico se imparte en nuestras aulas durante la totalidad del grado de Arquitectura, merece la pena reflexionar sobre cómo encara el alumno medio no solamente la capacidad narrativa de su discurso arquitectónico (oral, gráfico y visual) sino cómo es capaz de enfrentarse a un mercado (actualmente en crisis) de la manera más flexible y versátil posible dentro del EEES.
Como reza una de las cinco competencias mínimas de un grado de Arquitectura “Que los estudiantes puedan transmitir información, ideas, problemas y soluciones a un público tanto especializado como no especializado.”, una competencia mínima que, como diría el Dr. Strangelove: “No es solo necesario, es esencial.”
Arquitectos / Architects, Nov 15, 2013
Marcos Cruz: The Magic Mirror / El espejo mágico
Ilustración de Madrid nº20, 2011, Apr 15, 2011
Punto CEU nº12, Apr 15, 2009
Punto Gaceta magazine, Dec 17, 2011
D entro de los e j e mpl o s d e A rquitec t ura Milagrosa hay algunos que no defraudan (tiempos ... more D entro de los e j e mpl o s d e A rquitec t ura Milagrosa hay algunos que no defraudan (tiempos y dineros dejados a un lado), y que terminan conjugando una respuesta contundente a futuribles áreas decrecimiento además de servir para el fin para el que fuer o n p r o y e c t a d o s . En el área alta de Boavista (Oporto), en la Plaza de Mouzinho de Alburquerque se erige -casi relegando a murmullo el monumento dedicado a la victoria contra Napoleón-, el auditorio de la Casa da Mú s ic a de O p or t o. A finales del siglo XX (año
Punto Gaceta magazine, Nov 26, 2011
Punto Gaceta magazine, Nov 5, 2011
Punto Gaceta magazine, Nov 1, 2011
Punto Gaceta magazine, Aug 20, 2011
Punto Gaceta magazine, Aug 6, 2011
Punto Gaceta magazine, Aug 6, 2011
Punto Gaceta magazine, Jul 2, 2011
Punto Gaceta magazine, Jun 11, 2011
Punto Gaceta magazine, Jun 4, 2011
Punto Gaceta magazine, Jan 23, 2010
Punto Gaceta magazine, Nov 6, 2010
Punto Gaceta magazine, May 21, 2011
Año de construcción 1967 Superficie construida 1.820 m 2 Enlaces www.paulrudolph.org
Punto Gaceta magazine, Apr 11, 2010
Punto Gaceta magazine, Apr 4, 2011
punto Gaceta magazine, Apr 9, 2011
El listado de los defensores del papel del dibujo como herramienta de pensamiento son muchos. En ... more El listado de los defensores del papel del dibujo como herramienta de pensamiento son muchos. En el panorama internacional del siglo XX encontramos a los grandes Maestros Alvar Aalto, Mies van der Rohe o Frank Lloyd Wright. En el panorama nacional: Sota, Oiza, Fisac, Mansilla y Tuñón, Moneo, Perea… Arquitecturas en el papel Dibujo de Carlo Sacrpa para la Banca Popular de Verona (1973)