[de]Territorialization, the Role of our Brain in a Technological World.

Open Access
Conference Proceedings
Authors: Luis Miguel Ginja

Abstract: Since the turn of the 20th century, the act of design has gone through an exercise of problem-solving. It happened in the field of the city, architecture, or objects. Much of this discourse is present in the modernist manifestos. These goals are primarily related to Russian constructivism, in which many modern personalities were engaged. This problem-solving process, oriented toward an economic practice that articulated the available means to the proposed ends, was so necessary to the revolutionary spirit of the time. However, they answered the questions that the post-Russia zeitgeist of the Revolution intended to answer. The articulation of their intended function, coupled with the emergence of their utility, entrusted them with a good and abstract character in the city.However, in its genesis, the project contains much more than that. It cannot be merely the functional resolution of a problem. It must have the instability of that problem in its course, which becomes changeable in the search for the solution. As a result, the merely utilitarian character thus loses its initial grip. As Roger Scruton argues, the definition of a project methodology is complex if a method is indeed the correct word to use in the process. The method, that is, a path composed of specific tools to achieve a purpose, seems to us little convergent with the themes that should flow. To start from this assumption is to invalidate what we previously described as a fundamental part of the process of memory, which should have a high place in the project process. The design process is, in essence, the transit between the identification of a problem until it resolves (one, among many possible ones). To which we allude, it does not refer only to the project in Architecture but to a whole system that involves not only objects but also cities, in what we can understand as relationships with the body. More than a mere technical process, it involves an empirical component based on experience, which we define as physical and intellectual. The act of design, or project, must contain in its origin the state of emptiness, without preconceptions, that gag it. This state, which we wish to bring into discussion, is nothing more than the full potential of the task we want to accomplish.

Keywords: Project, Design, Hand, Brain, Experience

DOI: 10.54941/ahfe1001375

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