Flavia Zelli | Universidad de Valladolid (original) (raw)

Papers by Flavia Zelli

FAMagazine. Ricerche e progetti sull'architettura e la città, Mar 25, 2020

In different contexts, it has been pointed out how a museum is the place where the dichotomy betw... more In different contexts, it has been pointed out how a museum is the place where the dichotomy between art and architecture is particularly evident, placing the museum itself as an artistic-architectural object. This hypothesis is also valid in the archaeological field, where the museum space goes beyond the human dimension, acting as a bridge between man and his history, where architecture assume an evocative meaning. This paper aims to analyze the particular features connected to these specific buildings, not anymore just containers of antiquities found on fields and brought elsewhere, but integral components of the same archaeological place, creating a range of issues related to permeability, to the external / internal concept and to perception of spatial relationships.

Producción CientíficaRovina e paesaggio archeologico. Il restauro del Teatro Romano di CluniaFina... more Producción CientíficaRovina e paesaggio archeologico. Il restauro del Teatro Romano di CluniaFinanciado con el Proyecto de Investigación Estrategias de protección de la memoria material en paisajes patrimoniales de Castilla y León: modelos de intervención y redes de difusión. VA320U14. Consejería de Educación de la Junta de Castilla y León

Presentacio de la ponencia a carrec de Carlos Rodriguez Fernandez i Nieves Fernandez Villalobos d... more Presentacio de la ponencia a carrec de Carlos Rodriguez Fernandez i Nieves Fernandez Villalobos de la E.T.S. Arquitectura, Universidad de Valladolid

Producción CientíficaBeing a fragment, the ruin can tell simultaneously the presence and the abse... more Producción CientíficaBeing a fragment, the ruin can tell simultaneously the presence and the absence of the past’s architecture, vanished but still perceptible. Its demand of intelligibility is, first and foremost, a call to reconfiguration, which archaeologists and architects have historically worked, reinterpreting the existing vestiges according to new traces and readings. The intent of this paper is to explain the case of the Roman Theatre of Clunia (Spain), which restoration is the end of an innovative and continued research process that investigate how the drawing, as a method of analysis, contributes to the advancement of knowledge regarding the interpretation of archaeological vestiges and its reconfiguration too. From 1997, several interventions have been made in the theatre to better adapt it for visiting, as well as to protect the ruins that have undergone successive excavations and allowed us to gain a much better knowledge of different aspects of the theatre complex. Previous works have provided a more accurate estimate of the theatre’s appearance in terms of its size and spaces so that it has been possible to make a more appropriate schedule of the tasks required for the restoration of the monument, incorporating all available data in a process of reconstruction of the building. This intervention has been made by a multidisciplinary expert team in order to reconfigure the space for its protection, understanding and use it as a place for performances and shows, envisaging the recovery of this space to ultimately return it to society at all levels. The Theatre Restoration maintains the authenticity of the few remains without losing the evocative character of the ruins, allowing the building to regain its original spatiality, part of its functions and make it legible for returning visitors by architectural mechanisms. Avoiding an obvious literal translation of its pristine forms, the operation uses overlapping, reversible, identifiable, constructively compatible architectural components to assist the reconfiguration of the theatre as a new architectural unit in which the original remains along with the architecture show visitors the magnitude of the past. For this purpose, the perimeter has been defined by a semicircular timber bridge at the top of the porch. Space has been recovered by building gabion walls and vegetated slopes, installing the entrances to the seating area and stairs in their original positions. The entire operation has used compatible, reversible materials, maintaining the original components as part of the whole and restricting access to prevent wear. The fact that theatrical an musical performances are now possible in a space originally designed for precisely this purpose makes the Clunia theatre a living building, adopting the Segesta declaration which encourages the maintenance of theatrical uses in ancient classical venues under the auspices of UNESCO, making this compatible with the conservation of their archaeological value.Proyecto de Investigación: Modelos de integración sostenible de nuevas infraestructuras en paisajes patrimoniales arquitectónicos y arqueológicos (HAR 2012-35356). Ministerio de Economía y Competitividad. Gobierno de España

Advanced materials and technologies, May 16, 2023

Concern for the perpetuation of stone monuments is deeply ingrained in humans; however, despite t... more Concern for the perpetuation of stone monuments is deeply ingrained in humans; however, despite the attempts made in this field, there is still a great deal of effort needed to bring about advancements in the conservation of ornamental stone. Erosive agents, such as rain, extreme temperatures, and chemical and biological agents, threaten our stone heritage and gradually wear away buildings, sculptures, and other monuments found all around the world. Limestone and dolostone have been widely used throughout history, given their ease of extraction and workability. Nevertheless, these properties make them particularly vulnerable to the aforementioned erosive agents, for which the main solution at present is costly and time‐consuming restoration. Given the scarcity of effective and durable agents to prevent the deterioration of ornamental and heritage stones, and as graphene oxide (GO) has recently shown impressive effectiveness for this task, this work will further explore the viability of GO as a protective coating for monumental dolostone. For this purpose, GO is sprayed over dolostone surfaces by water dispersion with no adjuvants. The coating performance is assessed in terms of thermal stress, optical inspection (structured light 3D scanner), colorimetry, leachate analysis, and electron microscopy. The main results show that spray‐coated GO over stone surfaces creates a highly protective and durable barrier without altering their aesthetic qualities.

Since 2010, annual teaching experiences have been carried out among multidisciplinary teams of the

Los recintos defensivos son, en cierto modo, la cristalización más perfecta del concepto de límit... more Los recintos defensivos son, en cierto modo, la cristalización más perfecta del concepto de límite y la ciudadela de Almeida, es quizá uno de los ejemplos más depurados. Nos lo cuenta su geometría perfeccionista, pero atenta a las contingencias de la topografía y las reglas del arte de la guerra. Almeida, esa estrella varada en la frontera portuguesa, ha sido por tanto nuestro teatro de operaciones del curso de Proyectos IV (2014-2015) coordinado por Valeriano Sierra. Esta publicación quiere ser el parte de guerra de la particular batalla que hemos desarrollado al amparo de sus muros protectores. En su índice se dan cita los tres actores esenciales del proceso docente: los enseñantes, los aprendices y la sociedad; y recoge también, los tres cometidos fundamentales de la enseñanza: la reflexión, el trabajo y el objetivo práctico de ambos, devolver a la sociedad lo aprendido. Esta publicación también es parte de ese compromiso con la sociedad, que se materializa a través de un decantado de los resultados del curso y se presenta en tres formatos diferentes: un hatillo de textos, una resma de láminas de proyectos y un cuenco de semillas que, convenientemente, hemos esparcido al viento, a ambos lados de la frontera. Los textos nos han permitido pararnos por un momento, detenernos y mirar alrededor. Cada uno de los participantes hemos visto un paisaje diferente y lo hemos analizado desde una óptica diversa, de modo que el conjunto de temas que recoge esta publicación conforma un caleidoscopio que podemos girar a nuestro antojo para establecer todas las relaciones posibles… incluso las más imprevisibles. Coordinadores Valeriano Sierra Morillo y Javier BlancoOs recintos defensivos são, de certa forma, a cristalização mais perfeita do conceito de limite e a cidadela de Almeida, é talvez um dos exemplos mais refinados. A sua geometria perfeccionista diz-nos isso, mas está atenta às contingências da topografia e às regras da arte da guerra. Almeida, essa estrela encalhada na fronteira portuguesa, tem sido, portanto, o nosso teatro de operações para o curso do Projecto IV (2014-2015) coordenado por Valeriano Sierra. Esta publicação pretende ser a parte de guerra da batalha particular que temos desenvolvido sob a protecção dos seus muros de protecção. No seu índice, são mencionados os três actores essenciais no processo de ensino: professores, alunos e sociedade; e inclui também as três tarefas fundamentais do ensino: reflexão, trabalho e o objectivo prático de ambos, de devolver à sociedade o que foi aprendido. Esta publicação também faz parte desse compromisso com a sociedade, que se materializa através de uma decantação dos resultados do curso e é apresentada em três formatos diferentes: um pacote de textos, um conjunto de folhas de projecto e uma tigela de sementes que convenientemente espalhámos ao vento, de ambos os lados da fronteira. Os textos permitiram-nos parar por um momento, fazer uma pausa e olhar à nossa volta. Cada um dos participantes viu uma paisagem diferente e analisou-a de uma perspectiva diferente, de modo que o conjunto de temas incluídos nesta publicação forma um caleidoscópio que podemos virar à nossa vontade para estabelecer todas as relações possíveis...mesmo as mais imprevisíveis. Coordinadores Valeriano Sierra Morillo y Javier BlancoEdiciones Universidad de Valladoli

Quodlibet eBooks, May 1, 2021

Identità, memoria, patrimonio: le tre parole chiave della coscienza contemporanea, i tre volti de... more Identità, memoria, patrimonio: le tre parole chiave della coscienza contemporanea, i tre volti della nuova cultura mondiale. Tre parole vicine, fortemente connotate, cariche di molteplici significati che si chiamano e si sostengono a vicenda.» Nora P. (a cura di), Les lieux de mémoire.3. Gallimard. Paris 1997 1 «(…) Il restauro si presenta in primo luogo come problema di architettura e in questo caso non v'è dubbio che si tratti di progettazione in senso stretto, la qual cosa non può venire elusa con nessun artificio».

Advanced Materials Technologies

Procedia Chemistry, 2013

The intent of this paper is to explain the excavation, the renovation and the valorization interv... more The intent of this paper is to explain the excavation, the renovation and the valorization intervention of the forum complex in the archeological area of Tiermes, located in the south east of Soria province (Spain). This intervention has been made by a multidisciplinary expert group as part of the project "Tiermes: Cultural Lab", whose activity, after the problems diagnosis, has consisted in an intervention of consolidation and protection of the ruins, as well as an architectonic project to improving the accessibility and the integration of the archeological remains with the uniqueness of Tiermes landscape.

Advanced Materials Technologies

Innovación para la gestión integrada del patrimonio, el paisaje y el turismo, 2020, ISBN 9788447229703, págs. 74-87, 2020

Esili e esodi | Exiles and Exoduses

Arquitectura y limite: Proyectos para Almeida, 2020, ISBN 9788413201054, págs. 62-65, 2020

Innovación EducativaEl Workshop Internacional es un modelo de experiencia docente ya consolidado ... more Innovación EducativaEl Workshop Internacional es un modelo de experiencia docente ya consolidado en su tercera edición, que se celebra en el Monasterio de Santa María de la Armedilla, uno de los conjuntos patrimoniales más relevantes y desprotegidos de nuestra región. Durante una semana y de una forma intensiva, alumnos procedentes de la Universidade do Porto, la Università degli Studi RomaTre y la Universidad de Valladolid, realizan proyectos de intervención y puesta en valor de este conjunto arquitectónico. Se pone a su disposicion una amplia cobertura docente de las tres universidades, con presencia de profesores invitados internacionales y revisión continuada de los trabajos a lo largo de toda la semana. La internacionalización y el trabajo conjunto de estos cuerpos docentes de reconocida labor en el campo del patrimonio arquitectónico de España, Portugal e Italia, es el pilar sobre el que descansa una experiencia educativa que forma parte de un sistema coordinado e integrado en...

El proyecto de innovación docente se construye en continuidad con las experiencias docentes y de ... more El proyecto de innovación docente se construye en continuidad con las experiencias docentes y de investigación desarrolladas en los últimos años entre los equipos de la Universidade do Porto (Portugal), Università degli Studi RomaTre (Italia) y la Universidad de Valladolid, que plantean una nueva metodología de intervención arquitectónica en el Paisaje Cultural. En esta experiencia educativa de segundo ciclo se imparten simultáneamente materias similares e integradas en los planes de estudio de las tres universidades, mediante la realización de ejercicios prácticos con temas afines y una metodología experimental común: el workshop intensivo. La internacionalización del proyecto de innovación docente se convierte en uno de los puntos clave, con la participación de profesores de las tres universidades en cada uno de los programas, que se desarrollan durante jornadas de trabajo intensivas, aprovechando y optimizando los programas de movilidad Erasmus y de personal investigador. En la U...

Producción CientíficaARCHITECTURE, ARCHAEOLOGY AND LANDSCAPE is an educational experience born wi... more Producción CientíficaARCHITECTURE, ARCHAEOLOGY AND LANDSCAPE is an educational experience born with the aim of making a design approach to the vision, understanding and interpretation of archaeological remains, in its cultural, social and landscape context. This educational program comes from the discovery of a common spirit and the birth of an open discussion between several european university research teams. These teams belong to the Universidad de Valladolid (Spain), the Roma Tre University (Italy) and the Universidade do Porto (Portugal), and have a wide and extensive experience in studies and proposals for the implementation in value and dissemination of the patrimonial legacy inherited.Este trabajo forma parte del proyecto de investigación: Modelos de integración sostenible de nuevas infraestructuras en paisajes patrimoniales arquitectónicos y arqueológicos (HAR 2012-35356). Ministerio de Economía y Competitividad. Gobierno de España

FAMagazine. Ricerche e progetti sull'architettura e la città, Mar 25, 2020

In different contexts, it has been pointed out how a museum is the place where the dichotomy betw... more In different contexts, it has been pointed out how a museum is the place where the dichotomy between art and architecture is particularly evident, placing the museum itself as an artistic-architectural object. This hypothesis is also valid in the archaeological field, where the museum space goes beyond the human dimension, acting as a bridge between man and his history, where architecture assume an evocative meaning. This paper aims to analyze the particular features connected to these specific buildings, not anymore just containers of antiquities found on fields and brought elsewhere, but integral components of the same archaeological place, creating a range of issues related to permeability, to the external / internal concept and to perception of spatial relationships.

Producción CientíficaRovina e paesaggio archeologico. Il restauro del Teatro Romano di CluniaFina... more Producción CientíficaRovina e paesaggio archeologico. Il restauro del Teatro Romano di CluniaFinanciado con el Proyecto de Investigación Estrategias de protección de la memoria material en paisajes patrimoniales de Castilla y León: modelos de intervención y redes de difusión. VA320U14. Consejería de Educación de la Junta de Castilla y León

Presentacio de la ponencia a carrec de Carlos Rodriguez Fernandez i Nieves Fernandez Villalobos d... more Presentacio de la ponencia a carrec de Carlos Rodriguez Fernandez i Nieves Fernandez Villalobos de la E.T.S. Arquitectura, Universidad de Valladolid

Producción CientíficaBeing a fragment, the ruin can tell simultaneously the presence and the abse... more Producción CientíficaBeing a fragment, the ruin can tell simultaneously the presence and the absence of the past’s architecture, vanished but still perceptible. Its demand of intelligibility is, first and foremost, a call to reconfiguration, which archaeologists and architects have historically worked, reinterpreting the existing vestiges according to new traces and readings. The intent of this paper is to explain the case of the Roman Theatre of Clunia (Spain), which restoration is the end of an innovative and continued research process that investigate how the drawing, as a method of analysis, contributes to the advancement of knowledge regarding the interpretation of archaeological vestiges and its reconfiguration too. From 1997, several interventions have been made in the theatre to better adapt it for visiting, as well as to protect the ruins that have undergone successive excavations and allowed us to gain a much better knowledge of different aspects of the theatre complex. Previous works have provided a more accurate estimate of the theatre’s appearance in terms of its size and spaces so that it has been possible to make a more appropriate schedule of the tasks required for the restoration of the monument, incorporating all available data in a process of reconstruction of the building. This intervention has been made by a multidisciplinary expert team in order to reconfigure the space for its protection, understanding and use it as a place for performances and shows, envisaging the recovery of this space to ultimately return it to society at all levels. The Theatre Restoration maintains the authenticity of the few remains without losing the evocative character of the ruins, allowing the building to regain its original spatiality, part of its functions and make it legible for returning visitors by architectural mechanisms. Avoiding an obvious literal translation of its pristine forms, the operation uses overlapping, reversible, identifiable, constructively compatible architectural components to assist the reconfiguration of the theatre as a new architectural unit in which the original remains along with the architecture show visitors the magnitude of the past. For this purpose, the perimeter has been defined by a semicircular timber bridge at the top of the porch. Space has been recovered by building gabion walls and vegetated slopes, installing the entrances to the seating area and stairs in their original positions. The entire operation has used compatible, reversible materials, maintaining the original components as part of the whole and restricting access to prevent wear. The fact that theatrical an musical performances are now possible in a space originally designed for precisely this purpose makes the Clunia theatre a living building, adopting the Segesta declaration which encourages the maintenance of theatrical uses in ancient classical venues under the auspices of UNESCO, making this compatible with the conservation of their archaeological value.Proyecto de Investigación: Modelos de integración sostenible de nuevas infraestructuras en paisajes patrimoniales arquitectónicos y arqueológicos (HAR 2012-35356). Ministerio de Economía y Competitividad. Gobierno de España

Advanced materials and technologies, May 16, 2023

Concern for the perpetuation of stone monuments is deeply ingrained in humans; however, despite t... more Concern for the perpetuation of stone monuments is deeply ingrained in humans; however, despite the attempts made in this field, there is still a great deal of effort needed to bring about advancements in the conservation of ornamental stone. Erosive agents, such as rain, extreme temperatures, and chemical and biological agents, threaten our stone heritage and gradually wear away buildings, sculptures, and other monuments found all around the world. Limestone and dolostone have been widely used throughout history, given their ease of extraction and workability. Nevertheless, these properties make them particularly vulnerable to the aforementioned erosive agents, for which the main solution at present is costly and time‐consuming restoration. Given the scarcity of effective and durable agents to prevent the deterioration of ornamental and heritage stones, and as graphene oxide (GO) has recently shown impressive effectiveness for this task, this work will further explore the viability of GO as a protective coating for monumental dolostone. For this purpose, GO is sprayed over dolostone surfaces by water dispersion with no adjuvants. The coating performance is assessed in terms of thermal stress, optical inspection (structured light 3D scanner), colorimetry, leachate analysis, and electron microscopy. The main results show that spray‐coated GO over stone surfaces creates a highly protective and durable barrier without altering their aesthetic qualities.

Since 2010, annual teaching experiences have been carried out among multidisciplinary teams of the

Los recintos defensivos son, en cierto modo, la cristalización más perfecta del concepto de límit... more Los recintos defensivos son, en cierto modo, la cristalización más perfecta del concepto de límite y la ciudadela de Almeida, es quizá uno de los ejemplos más depurados. Nos lo cuenta su geometría perfeccionista, pero atenta a las contingencias de la topografía y las reglas del arte de la guerra. Almeida, esa estrella varada en la frontera portuguesa, ha sido por tanto nuestro teatro de operaciones del curso de Proyectos IV (2014-2015) coordinado por Valeriano Sierra. Esta publicación quiere ser el parte de guerra de la particular batalla que hemos desarrollado al amparo de sus muros protectores. En su índice se dan cita los tres actores esenciales del proceso docente: los enseñantes, los aprendices y la sociedad; y recoge también, los tres cometidos fundamentales de la enseñanza: la reflexión, el trabajo y el objetivo práctico de ambos, devolver a la sociedad lo aprendido. Esta publicación también es parte de ese compromiso con la sociedad, que se materializa a través de un decantado de los resultados del curso y se presenta en tres formatos diferentes: un hatillo de textos, una resma de láminas de proyectos y un cuenco de semillas que, convenientemente, hemos esparcido al viento, a ambos lados de la frontera. Los textos nos han permitido pararnos por un momento, detenernos y mirar alrededor. Cada uno de los participantes hemos visto un paisaje diferente y lo hemos analizado desde una óptica diversa, de modo que el conjunto de temas que recoge esta publicación conforma un caleidoscopio que podemos girar a nuestro antojo para establecer todas las relaciones posibles… incluso las más imprevisibles. Coordinadores Valeriano Sierra Morillo y Javier BlancoOs recintos defensivos são, de certa forma, a cristalização mais perfeita do conceito de limite e a cidadela de Almeida, é talvez um dos exemplos mais refinados. A sua geometria perfeccionista diz-nos isso, mas está atenta às contingências da topografia e às regras da arte da guerra. Almeida, essa estrela encalhada na fronteira portuguesa, tem sido, portanto, o nosso teatro de operações para o curso do Projecto IV (2014-2015) coordenado por Valeriano Sierra. Esta publicação pretende ser a parte de guerra da batalha particular que temos desenvolvido sob a protecção dos seus muros de protecção. No seu índice, são mencionados os três actores essenciais no processo de ensino: professores, alunos e sociedade; e inclui também as três tarefas fundamentais do ensino: reflexão, trabalho e o objectivo prático de ambos, de devolver à sociedade o que foi aprendido. Esta publicação também faz parte desse compromisso com a sociedade, que se materializa através de uma decantação dos resultados do curso e é apresentada em três formatos diferentes: um pacote de textos, um conjunto de folhas de projecto e uma tigela de sementes que convenientemente espalhámos ao vento, de ambos os lados da fronteira. Os textos permitiram-nos parar por um momento, fazer uma pausa e olhar à nossa volta. Cada um dos participantes viu uma paisagem diferente e analisou-a de uma perspectiva diferente, de modo que o conjunto de temas incluídos nesta publicação forma um caleidoscópio que podemos virar à nossa vontade para estabelecer todas as relações possíveis...mesmo as mais imprevisíveis. Coordinadores Valeriano Sierra Morillo y Javier BlancoEdiciones Universidad de Valladoli

Quodlibet eBooks, May 1, 2021

Identità, memoria, patrimonio: le tre parole chiave della coscienza contemporanea, i tre volti de... more Identità, memoria, patrimonio: le tre parole chiave della coscienza contemporanea, i tre volti della nuova cultura mondiale. Tre parole vicine, fortemente connotate, cariche di molteplici significati che si chiamano e si sostengono a vicenda.» Nora P. (a cura di), Les lieux de mémoire.3. Gallimard. Paris 1997 1 «(…) Il restauro si presenta in primo luogo come problema di architettura e in questo caso non v'è dubbio che si tratti di progettazione in senso stretto, la qual cosa non può venire elusa con nessun artificio».

Advanced Materials Technologies

Procedia Chemistry, 2013

The intent of this paper is to explain the excavation, the renovation and the valorization interv... more The intent of this paper is to explain the excavation, the renovation and the valorization intervention of the forum complex in the archeological area of Tiermes, located in the south east of Soria province (Spain). This intervention has been made by a multidisciplinary expert group as part of the project "Tiermes: Cultural Lab", whose activity, after the problems diagnosis, has consisted in an intervention of consolidation and protection of the ruins, as well as an architectonic project to improving the accessibility and the integration of the archeological remains with the uniqueness of Tiermes landscape.

Advanced Materials Technologies

Innovación para la gestión integrada del patrimonio, el paisaje y el turismo, 2020, ISBN 9788447229703, págs. 74-87, 2020

Esili e esodi | Exiles and Exoduses

Arquitectura y limite: Proyectos para Almeida, 2020, ISBN 9788413201054, págs. 62-65, 2020

Innovación EducativaEl Workshop Internacional es un modelo de experiencia docente ya consolidado ... more Innovación EducativaEl Workshop Internacional es un modelo de experiencia docente ya consolidado en su tercera edición, que se celebra en el Monasterio de Santa María de la Armedilla, uno de los conjuntos patrimoniales más relevantes y desprotegidos de nuestra región. Durante una semana y de una forma intensiva, alumnos procedentes de la Universidade do Porto, la Università degli Studi RomaTre y la Universidad de Valladolid, realizan proyectos de intervención y puesta en valor de este conjunto arquitectónico. Se pone a su disposicion una amplia cobertura docente de las tres universidades, con presencia de profesores invitados internacionales y revisión continuada de los trabajos a lo largo de toda la semana. La internacionalización y el trabajo conjunto de estos cuerpos docentes de reconocida labor en el campo del patrimonio arquitectónico de España, Portugal e Italia, es el pilar sobre el que descansa una experiencia educativa que forma parte de un sistema coordinado e integrado en...

El proyecto de innovación docente se construye en continuidad con las experiencias docentes y de ... more El proyecto de innovación docente se construye en continuidad con las experiencias docentes y de investigación desarrolladas en los últimos años entre los equipos de la Universidade do Porto (Portugal), Università degli Studi RomaTre (Italia) y la Universidad de Valladolid, que plantean una nueva metodología de intervención arquitectónica en el Paisaje Cultural. En esta experiencia educativa de segundo ciclo se imparten simultáneamente materias similares e integradas en los planes de estudio de las tres universidades, mediante la realización de ejercicios prácticos con temas afines y una metodología experimental común: el workshop intensivo. La internacionalización del proyecto de innovación docente se convierte en uno de los puntos clave, con la participación de profesores de las tres universidades en cada uno de los programas, que se desarrollan durante jornadas de trabajo intensivas, aprovechando y optimizando los programas de movilidad Erasmus y de personal investigador. En la U...

Producción CientíficaARCHITECTURE, ARCHAEOLOGY AND LANDSCAPE is an educational experience born wi... more Producción CientíficaARCHITECTURE, ARCHAEOLOGY AND LANDSCAPE is an educational experience born with the aim of making a design approach to the vision, understanding and interpretation of archaeological remains, in its cultural, social and landscape context. This educational program comes from the discovery of a common spirit and the birth of an open discussion between several european university research teams. These teams belong to the Universidad de Valladolid (Spain), the Roma Tre University (Italy) and the Universidade do Porto (Portugal), and have a wide and extensive experience in studies and proposals for the implementation in value and dissemination of the patrimonial legacy inherited.Este trabajo forma parte del proyecto de investigación: Modelos de integración sostenible de nuevas infraestructuras en paisajes patrimoniales arquitectónicos y arqueológicos (HAR 2012-35356). Ministerio de Economía y Competitividad. Gobierno de España