Configural Containers and Physical Models in Architectural Ideation

  • Jorge Domingo-GresaEmail author
  • Carlos L. Marcos
Conference paper


The necessity to show students a basic grammar of forms in space as a training for future challenges to deal with in architectural design projects is discussed here using abstract referents not directly connected to architecture. This paper addresses a propaedeutic and innovative teaching practice integrated within pedagogic strategies of graphic and three-dimensional architectural ideation. Physical models are valued as form-finding tools for space ideation as well as for training a haptic and visual conception of space. The use of the referred configural containers is favoured as a means of framing spatial ideation in order to achieve greater teaching effectiveness and creative enhancement, as it provides a certain support for the students’ confidence however unfolding an unlimited range of exploratory alternatives. Despite the apparent constraints that such previous imposition entails it does not lead to a loss of creativity with regard to the students’ spatial imagination that is conveniently nourished with an imaginary of references as much useful as they are necessary. The work of sculptors as much as that of architects is adequate at this learning stage to enrich the mentioned student’s imaginary and help them to produce quality work.



This paper partially shows the results of the research project “Pensamiento Gráfico. Estrategia de Proyecto y Lenguaje Arquitectónico” funded by the University of Alicante, evaluated by the ANEP and obtained in a public competition.


  1. Arnheim, Rudolf. 2001. La forma visual de la arquitectura. Barcelona: G. Gili.Google Scholar
  2. Carazo, Eduardo. 2011. Maqueta o modelo digital, la pervivencia de un sistema. EGA Revista de expresión gráfica arquitectónica 17: 30–42.Google Scholar
  3. Ching, Francis D. 1982. Forma, espacio y orden. Barcelona: Gustavo Gili.Google Scholar
  4. Cooper, Douglas. 1984. La época cubista. Madrid: Alianza Editorial.Google Scholar
  5. Eco, Umberto. 2011. Confesiones de un joven novelista. Barcelona: Lumen.Google Scholar
  6. Eisenman, Peter. (1999). Diagram: An Original Scene of Writing. In Diagram Diaries, ed. Peter Eisenman. New York: Universe.Google Scholar
  7. Goldenberg, Jacob. 2009. Cracking the Ad Code. Cambridge: Cambridge University Press.Google Scholar
  8. Le Corbusier. 1929. Tracés régulateurs. In Les heures claires, 2009, ed. Josep Quetglas. Barcelona: Josep Quetglas.Google Scholar
  9. Marcos, Carlos L. 2008. Las maquetas. Herramientas como estrategias para la ideación II. In Actas del XII Congreso Internacional EGA, ed. E. Rabasa. Madrid.Google Scholar
  10. Marcos, Carlos L. and Domingo, Jorge. 2014. El apunte de emulación como dibujo de viaje imaginario en la enseñanza de la arquitectura. In Actas del XV Congreso Internacional EGA, ed. Ángel Melián. Las Palmas: Departamento de Expresión Gráfica y Proyectos Arquitectónicos.Google Scholar
  11. Marcos, Carlos L. and Domingo, Jorge 2015. ‘Ideación gráfica revertida’. EGA Revista de expresión gráfica arquitectónica, no. 26, 68–83Google Scholar
  12. Pallasmaa, Juhani. 2006. Los ojos de la piel. Barcelona: Gustavo Gili.Google Scholar
  13. Quetglas, Josep. 2008. Les heures claires. In Josep Quetglas. San Cugat del Vallés: Centre d’Investigations Estètiques.Google Scholar
  14. Reichlin, Bruno. 1985. Le Corbusier e De Stijl. Casabella 520: 100–108.Google Scholar
  15. Seguí, Javier. 2000. Dibujar, Proyectar (III). Madrid: Cuadernos del Instituto Juan de Herrera.Google Scholar
  16. Stravinsky, Igor. [1947] 2006. Poética musical. Barcelona: Ed. Quaderns Crema, Acantilado.Google Scholar

Copyright information

© Springer International Publishing AG 2018

Authors and Affiliations

  1. 1.Universidad de AlicanteAlicanteSpain

Personalised recommendations