acca
[ACCA]
CONTEMPORARY ANALYSIS AND COMMUNICATION OF ARCHITECTURE [ACCA]. D.E.G.A. / U.S. 2021 – 2024.
Pre Scriptum
This new stage of ACCA journal will give continuity to the original Project started by the Architectural Graphics Department of the University of Seville since 2.015. The publishing will also adapt to more open and flexible format in order to improve the quality and diversity of contents, and strength the process of indexation.
The journal has as main objective to be an effective tool to promote research in the architectural graphics field. So as contribute to debate on topics related to the way we think architecture through graphics, summarize relevant examples and case studies and propose experimental approaches to how we talk about graphics of architecture.
Therefore, this wider scope approach to graphics in architecture, must be supported by critical thinking not only about the contents but also about how we express contents. It looks very appropriate that a publication about graphics will have different expectations and horizons than a strict theoretical production as a summary of texts and articles with predesigned formal prescriptions.
So, the journal expects to face authors with ideas on the field but also of how we transmit ideas and information in a graphic environment.
This makes the publication to be not just a journal about a theoretical research, but also a practical graphics and drawing project itself, that will force authors to think about the formal resolution of the most efficient and appropriate way to express those contents and ideas.
The journal will not have restrictions to include all possible formal resolutions, simple or complex, caligrams or sophisticated approaches. But it will be also open to standard texts and articles where the theoretical content will have the main role, and composition or formal resolution will have a secondary function, with composed texts as published in ACCA so far.
This more graphical approach of the journal doesn’t have the aim of replacing the standard format of exposition of research works that has been published in the previous issues of the journal. The underlying idea is to be open to include other kind of formats where graphics have a more balanced role with theoretical contents, and hence settling a difference with other architectural journals which main topic is not graphics.
The journal has as main objective to be an effective tool to promote research in the architectural graphics field. So as contribute to debate on topics related to the way we think architecture through graphics, summarize relevant examples and case studies and propose experimental approaches to how we talk about graphics of architecture.
Therefore, this wider scope approach to graphics in architecture, must be supported by critical thinking not only about the contents but also about how we express contents. It looks very appropriate that a publication about graphics will have different expectations and horizons than a strict theoretical production as a summary of texts and articles with predesigned formal prescriptions.
So, the journal expects to face authors with ideas on the field but also of how we transmit ideas and information in a graphic environment.
This makes the publication to be not just a journal about a theoretical research, but also a practical graphics and drawing project itself, that will force authors to think about the formal resolution of the most efficient and appropriate way to express those contents and ideas.
The journal will not have restrictions to include all possible formal resolutions, simple or complex, caligrams or sophisticated approaches. But it will be also open to standard texts and articles where the theoretical content will have the main role, and composition or formal resolution will have a secondary function, with composed texts as published in ACCA so far.
This more graphical approach of the journal doesn’t have the aim of replacing the standard format of exposition of research works that has been published in the previous issues of the journal. The underlying idea is to be open to include other kind of formats where graphics have a more balanced role with theoretical contents, and hence settling a difference with other architectural journals which main topic is not graphics.
EDITORIAL LINE.
ACCA Journal will include relevant contents and research related to architectural graphics of authors according to specific Topics that will be launched in the call of papers of each issue of the publication.
PARTICIPANTS
ACCA Journal will include relevant contents and research related to architectural graphics of authors according to specific Topics that will be launched in the call of papers of each issue of the publication.
PARTICIPANTS
The project will compile and promote research activities, papers and texts or other graphic formal resolutions, that will expose original works of authors. It will have an open and diverse nature related to topics related to architecture culture.
Authors will include all nationalities and contexts, academic or practitioner, and as this project is designed as international journal, therefore texts will be indistinctly submitted and presented in Spanish and English or both, as these are the two languages that are spoken in more countries in the world. Papers submitted in both languages will be specially appreciated.
This approach expects to give a wider frame of debate about the papers and make more visible and strength the impact to the Journal and its contents.
The Journal was founded as a frame of debate and exposure of contemporary architectonical graphics, and as a tool to project knowledge in this field into a globalized cultural environment. Therefore, the journal aims to be an active tool for communication of architects and authors in the field. This necessarily means that will embrace different profiles of authors that express this global framework that the publication in last term has, as a vehicle of knowledge for every individual interested in architecture and related disciplines.
The editorial line will be conformed about topics of debate in the architectural graphics professional and research context. The idea is to be vehicle of critical thinking in the field and build complex and deep approach to the topics, contributing to architectural culture and knock into shape contemporary avant-garde of architectural graphics-
Authors will include all nationalities and contexts, academic or practitioner, and as this project is designed as international journal, therefore texts will be indistinctly submitted and presented in Spanish and English or both, as these are the two languages that are spoken in more countries in the world. Papers submitted in both languages will be specially appreciated.
This approach expects to give a wider frame of debate about the papers and make more visible and strength the impact to the Journal and its contents.
The Journal was founded as a frame of debate and exposure of contemporary architectonical graphics, and as a tool to project knowledge in this field into a globalized cultural environment. Therefore, the journal aims to be an active tool for communication of architects and authors in the field. This necessarily means that will embrace different profiles of authors that express this global framework that the publication in last term has, as a vehicle of knowledge for every individual interested in architecture and related disciplines.
The editorial line will be conformed about topics of debate in the architectural graphics professional and research context. The idea is to be vehicle of critical thinking in the field and build complex and deep approach to the topics, contributing to architectural culture and knock into shape contemporary avant-garde of architectural graphics-
FORMAT.
The journal will be built in a double format printed and digital. The digital platform must be understood as a dynamic toll that can offer information continuously compared to the more static printed format.
The printed edition will have a limited number of pages and will present a half year summarize of selected papers.
However, both formats will interact between them, and it is expected a continuous feedback and debate that would allow to increase the impact of the contents and papers presented.
The digital platform will be lead in ACCA journal website www.acca.us.org, and will give authors the possibility to present extended versions of the printed papers, or a different graphic exposure of the contents.
This digital edition will also include the possibility of adding filtered comments to the papers and allow contents and authors to have a more interactive role to their work. This must give a more contemporary nature to the project in comparison to the more static and conventional printed edition.
The journal will be built in a double format printed and digital. The digital platform must be understood as a dynamic toll that can offer information continuously compared to the more static printed format.
The printed edition will have a limited number of pages and will present a half year summarize of selected papers.
However, both formats will interact between them, and it is expected a continuous feedback and debate that would allow to increase the impact of the contents and papers presented.
The digital platform will be lead in ACCA journal website www.acca.us.org, and will give authors the possibility to present extended versions of the printed papers, or a different graphic exposure of the contents.
This digital edition will also include the possibility of adding filtered comments to the papers and allow contents and authors to have a more interactive role to their work. This must give a more contemporary nature to the project in comparison to the more static and conventional printed edition.
[ACCA]
A] 20/24
For the next stage of ACCA architectural graphics journal have been designed a body of topics that will organize and lead the contents and papers included.
These topics attend to basic aspects in the production of architecture, and have a strong link to operations related to procedures and action of the architecture practice through drawing and graphics.
Next four issues will be published through two main basic categories in graphic taxonomy: position and format.
This will allow us think about other related dualities like place and time, extending the idea to current term and transformation, or context and technique, all parameters intensively included in contemporary architecture debate.
NEXT ISSUE: ACCA 18. Horizon, horizontal.
These topics attend to basic aspects in the production of architecture, and have a strong link to operations related to procedures and action of the architecture practice through drawing and graphics.
Next four issues will be published through two main basic categories in graphic taxonomy: position and format.
This will allow us think about other related dualities like place and time, extending the idea to current term and transformation, or context and technique, all parameters intensively included in contemporary architecture debate.
NEXT ISSUE: ACCA 18. Horizon, horizontal.
ACCA EDITORIAL BOARD.
EDITORIAL BOARD.
Ignacio Fdez. Torres, D.E.G.A., E.T.S.A. SEVILLA
Javier López Rivera, D.E.G.A., E.T.S.A. SEVILLA
Mercedes Linares, D.E.G.A., E.T.S.A. SEVILLA
Ángel Martínez García Posada, E.T.S.A. SEVILLA
Tomás García Píriz, E.T.S.A. GRANADA
Jorge Yeregui Tejedor, D.E.G.A., E.A.M. MÁLAGA
Gaia Redaelli, POLITECNICO DI MILANO
Lola Sánchez Moya, E.A.T. TOLEDO
Daniel Montes Estrada, E.T.S.A. SEVILLA
Maria Fullaondo, MONASH UNIVERSITY, MELBOURNE
Auxiliadora Gálvez, PSAAP
SCIENTIFIC COMMITTEE.
José María Gentil Baldrich, D.E.G.A. E.T.S.A. SEVILLA
Antonio Ampliato Briones, D.E.G.A. E.T.S.A. SEVILLA
Daniela Poli, UNIVERSITÀ DEGLI STUDI DI FIRENZE
Raimundo Bambó, E.I.N.A. ZARAGOZA
Rubén García Rubio, TULANE UNIVERSITY, NEW ORLEANS
Ignacio Senra, E.T.S.A.M. MADRID
Claudia Pirina, UNIVERSITÀ IUAV DI VENEZIA
Noelia Cervero Sánchez, D.E.G.A., E.I.N.A. ZARAGOZA
Alejandro Valdivieso, E.T.S.A. MADRID
Rubén Alcolea, E.T.S.A. NAVARRA
Jesús Vasallo, RICE UNIVERSITY, HOUSTON
Carolina García-Estévez, U.P.C. BARCELONA
Francisco Felip Miralles, UNIVERSIDAD JAUME I, CASTELLÓN
Ferrán Ventura, E.A.M. MÁLAGA
María Carrascal, E.T.S.A. SEVILLA
Jorge Molinero Sánchez, E.T.S.A. GRANADA
TEXT REVIEWER:
Belén Izaguirre Fernández
PUBLISHER
DEPARTAMENTO DE EXPRESIÓN GRÁFICA ARQUITECTÓNICA DE LA UNIVERSIDAD DE SEVILLA.
[ACCA]
En Sevilla, a 10 de Abril de 2021 acca@us.es
EDITORIAL BOARD.
Ignacio Fdez. Torres, D.E.G.A., E.T.S.A. SEVILLA
Javier López Rivera, D.E.G.A., E.T.S.A. SEVILLA
Mercedes Linares, D.E.G.A., E.T.S.A. SEVILLA
Ángel Martínez García Posada, E.T.S.A. SEVILLA
Tomás García Píriz, E.T.S.A. GRANADA
Jorge Yeregui Tejedor, D.E.G.A., E.A.M. MÁLAGA
Gaia Redaelli, POLITECNICO DI MILANO
Lola Sánchez Moya, E.A.T. TOLEDO
Daniel Montes Estrada, E.T.S.A. SEVILLA
Maria Fullaondo, MONASH UNIVERSITY, MELBOURNE
Auxiliadora Gálvez, PSAAP
SCIENTIFIC COMMITTEE.
José María Gentil Baldrich, D.E.G.A. E.T.S.A. SEVILLA
Antonio Ampliato Briones, D.E.G.A. E.T.S.A. SEVILLA
Daniela Poli, UNIVERSITÀ DEGLI STUDI DI FIRENZE
Raimundo Bambó, E.I.N.A. ZARAGOZA
Rubén García Rubio, TULANE UNIVERSITY, NEW ORLEANS
Ignacio Senra, E.T.S.A.M. MADRID
Claudia Pirina, UNIVERSITÀ IUAV DI VENEZIA
Noelia Cervero Sánchez, D.E.G.A., E.I.N.A. ZARAGOZA
Alejandro Valdivieso, E.T.S.A. MADRID
Rubén Alcolea, E.T.S.A. NAVARRA
Jesús Vasallo, RICE UNIVERSITY, HOUSTON
Carolina García-Estévez, U.P.C. BARCELONA
Francisco Felip Miralles, UNIVERSIDAD JAUME I, CASTELLÓN
Ferrán Ventura, E.A.M. MÁLAGA
María Carrascal, E.T.S.A. SEVILLA
Jorge Molinero Sánchez, E.T.S.A. GRANADA
TEXT REVIEWER:
Belén Izaguirre Fernández
PUBLISHER
DEPARTAMENTO DE EXPRESIÓN GRÁFICA ARQUITECTÓNICA DE LA UNIVERSIDAD DE SEVILLA.
[ACCA]
En Sevilla, a 10 de Abril de 2021 acca@us.es
CONVOCATORIA ABIERTA PARA LA RECEPCIÓN DE TRABAJOS /
CALL FOR PAPERS
[ACCA]
A] 18
I Am Vertical, but I Would Rather Be Horizontal, Sylvia Plath. 28th March 1961.
The transformation of the world, essential activity of the discipline of architecture, has a strong dependency of geometries of reference. The horizontal line and the horizon line have a determining role in what architects create, Project and built. This geometric feature is at the same time a singularity of our limited perception of a spherical world, and an intellectual abstraction that we express with the straight line. Convergence between ground and sky, mass and air that with the artifice of the section we represent as two horizontal halfs.
According to Wheeler aphorism, the space-time duality tells matter how to move; matter tells spacetime how to curve, what means a bit of matter (or mass, or energy) moves in accordance with the dictates of the curved spacetime where it is located.
In a curved cosmos, that we hardly start to decrypt, the stability and certainty of the horizontal line and a flat horizon is a narrative relief that make possible to operate in a controlled context. Despite of the metaphysic impossibility of horizontality, this invention supported with a mathematical language, allow us to transform the world throughout overlapping geometric additions.
The same notion of parallelism, unthinkable in the constant physic of a curved universe, is a brain conquest that conditions our understanding of the physical world that surround us.
We might think that the notion of horizon as geometric place or anthology of geometrical places, could be the expression of the liquid and orbital continuous displacement in the world that we inhabit.
John Berger described in And Our Faces, My Heart, Brief as Photos, that the horizontal line represent the traffic of the world, the paths that go from one side of the world to other, and how home is the wish of intersect a vertical line with this horizontal transit.
Claude Parent ponder over how inhabiting obliquely could be, considered almost a revolutionary action of exaltation of the anomaly. Like if reposed horizon would deserve exile despite is the verification of our displacement in the world.
For Sigfried Giedion the horizontal plane was a constituent of the architecture of Modernism, as we can clearly see in the permanent aspiration of Le Corbusier of catching the horizon from all possible angles. By the same token, Mies Van der Rohe extruding exercises were based on the construction of equidistant planes in relation to our point of view, to allow locate horizon in the middle point of his fluid spaces.
Oscar Tusquets recalled in his book Everything is comparable, the lecture of Josep Maria Sostres about the construction of the horizontal plane as a passable surface. A contribution of human action that doesn’t exist in nature that allow to walk freely without the danger of the accidents of terrain. This peripatetic freedom would allow to think in their less mundane worries, and thus let philosophy flourish. But probably Horizon is even more linked to the adjectives of an endless epic poem with unlimited options of space and emotion that can merge into one with the distance.
In this new stage of ACCA, will be collected papers that will explore the dependency of horizontality and horizon to the production of architecture. More than literally horizontal samples and results, it will be positively valued those works that unravel the role and impact of horizontality and horizon on this production of architecture as a force of thinking and a force of geometry.
Daniel Montes, Ignacio Fdez. Torres, Ángel Martínez García Posada. Sevilla/Zúrich 2021
According to Wheeler aphorism, the space-time duality tells matter how to move; matter tells spacetime how to curve, what means a bit of matter (or mass, or energy) moves in accordance with the dictates of the curved spacetime where it is located.
In a curved cosmos, that we hardly start to decrypt, the stability and certainty of the horizontal line and a flat horizon is a narrative relief that make possible to operate in a controlled context. Despite of the metaphysic impossibility of horizontality, this invention supported with a mathematical language, allow us to transform the world throughout overlapping geometric additions.
The same notion of parallelism, unthinkable in the constant physic of a curved universe, is a brain conquest that conditions our understanding of the physical world that surround us.
We might think that the notion of horizon as geometric place or anthology of geometrical places, could be the expression of the liquid and orbital continuous displacement in the world that we inhabit.
John Berger described in And Our Faces, My Heart, Brief as Photos, that the horizontal line represent the traffic of the world, the paths that go from one side of the world to other, and how home is the wish of intersect a vertical line with this horizontal transit.
Claude Parent ponder over how inhabiting obliquely could be, considered almost a revolutionary action of exaltation of the anomaly. Like if reposed horizon would deserve exile despite is the verification of our displacement in the world.
For Sigfried Giedion the horizontal plane was a constituent of the architecture of Modernism, as we can clearly see in the permanent aspiration of Le Corbusier of catching the horizon from all possible angles. By the same token, Mies Van der Rohe extruding exercises were based on the construction of equidistant planes in relation to our point of view, to allow locate horizon in the middle point of his fluid spaces.
Oscar Tusquets recalled in his book Everything is comparable, the lecture of Josep Maria Sostres about the construction of the horizontal plane as a passable surface. A contribution of human action that doesn’t exist in nature that allow to walk freely without the danger of the accidents of terrain. This peripatetic freedom would allow to think in their less mundane worries, and thus let philosophy flourish. But probably Horizon is even more linked to the adjectives of an endless epic poem with unlimited options of space and emotion that can merge into one with the distance.
In this new stage of ACCA, will be collected papers that will explore the dependency of horizontality and horizon to the production of architecture. More than literally horizontal samples and results, it will be positively valued those works that unravel the role and impact of horizontality and horizon on this production of architecture as a force of thinking and a force of geometry.
Daniel Montes, Ignacio Fdez. Torres, Ángel Martínez García Posada. Sevilla/Zúrich 2021
CONDICIONES DE LA CONVOCATORIA:
Se garantizará la relevancia de los contenidos de la publicación, así como dar a conocer ejemplos, iniciativas e investigaciones relevantes en el área. Los contenidos serán originales e innovadores, y se promocionará y difundirán contenidos vinculados a la producción en torno a la expresión gráfica arquitectónica que evidencien el papel que este ámbito de la disciplina del arquitecto puede y debe jugar desde su posición como agente activo en la sociedad del conocimiento.
CONDITIONS FOR THE PAPERS:
The papers will show relevant contents according to the topic, case studies as well as the presentation of relevant examples, initiatives and research related to this topic will be also positively valued. The contents will be original and innovative, and related to the production of the architectural graphics. It may help to show the role that this field has in the architecture, and how can and must deal with the position of architects as an active agent in the knowledge society.
For this reason, it is essential to provide authors with the wider possible freedom, not only in words, but also taking into account the graphic condition of the contents. Making good the core idea of Herbert Marshall McLuhan that The Medium Is the Massage, a publication of graphic expression must face the authors also with how they express their ideas formally. Just as architecture needs formalization and is drawing in its broad sense their basic means of expression a paper related to graphics could consider this feature as part of its definition.
DEADLINE.
The call is open until January 22, 2022.
The paper must be sent to the email acca@us.es, before that date of deadline so that they can be sent and submitted for the consideration and evaluation of the Scientific Committee. All papers will follow the formal guidelines established below,
The expected publication date is February 2022.
EXTENSION AND FORMAT OF THE PAPERS/WORKS.
Papers, including abstract, text, images, references and notes will occupy between 8 and 18 pages composed in .pdf format.
There is no minimum or maximum number of words or images, but an available text and images surface, a box of dimensions: 150 x 220 mm, which each author must occupy or compose according to the characteristics of their work with total freedom and in any format.
Those authors whose works do not present a specific graphic construction may resort to a reference text model given with the same base of the previous published ACCA magazines: Garamond size 11 fonts for the body of text, multiple line spacing 1’1, justified paragraph, without dashes. Without indentation the initial paragraph of each section and indented 10 mm the following ones. Arial font for the titles.
Each author is allowed to send up to a maximum of two papers for consideration by the Scientific Committee, which depending on the number of proposals received, will consider their inclusion. The authors will be responsible for the originality of the works, their unpublished status and their correct syntax and writing.
LANGUAGE.
The contents will be presented indistinctly in Spanish or English, being especially valued those works that are received in both languages.
GRAPHIC APPROACH.
The basic instructions regarding the summary page of the works, and the recommendations on citations or bibliography, are framed in a context where the publication will give the authors total and absolute freedom for the definition of their works.
This is a commitment to understand that the publication must be a graphic project in itself, so the authors should only refer to the physical limits of the dimensional box of the format displayed and the limitation imposed by the gray scale.
There will not be common regulations for composition or layout, established fonts, neither for titles, nor for the body of the texts. There is no font size, no indentation, no spacing, no line spacing, or any prior criteria. This must allow the papers to be expressed with the suitability they need in relation to the content they present.
It will be desirable that the publication invites to be disassembled as if each page was a graphic work.
INITIAL ABSTRACT.
The first page will be composed according to the following criteria:
CONDITIONS FOR THE PAPERS:
The papers will show relevant contents according to the topic, case studies as well as the presentation of relevant examples, initiatives and research related to this topic will be also positively valued. The contents will be original and innovative, and related to the production of the architectural graphics. It may help to show the role that this field has in the architecture, and how can and must deal with the position of architects as an active agent in the knowledge society.
For this reason, it is essential to provide authors with the wider possible freedom, not only in words, but also taking into account the graphic condition of the contents. Making good the core idea of Herbert Marshall McLuhan that The Medium Is the Massage, a publication of graphic expression must face the authors also with how they express their ideas formally. Just as architecture needs formalization and is drawing in its broad sense their basic means of expression a paper related to graphics could consider this feature as part of its definition.
DEADLINE.
The call is open until January 22, 2022.
The paper must be sent to the email acca@us.es, before that date of deadline so that they can be sent and submitted for the consideration and evaluation of the Scientific Committee. All papers will follow the formal guidelines established below,
The expected publication date is February 2022.
EXTENSION AND FORMAT OF THE PAPERS/WORKS.
Papers, including abstract, text, images, references and notes will occupy between 8 and 18 pages composed in .pdf format.
There is no minimum or maximum number of words or images, but an available text and images surface, a box of dimensions: 150 x 220 mm, which each author must occupy or compose according to the characteristics of their work with total freedom and in any format.
Those authors whose works do not present a specific graphic construction may resort to a reference text model given with the same base of the previous published ACCA magazines: Garamond size 11 fonts for the body of text, multiple line spacing 1’1, justified paragraph, without dashes. Without indentation the initial paragraph of each section and indented 10 mm the following ones. Arial font for the titles.
Each author is allowed to send up to a maximum of two papers for consideration by the Scientific Committee, which depending on the number of proposals received, will consider their inclusion. The authors will be responsible for the originality of the works, their unpublished status and their correct syntax and writing.
LANGUAGE.
The contents will be presented indistinctly in Spanish or English, being especially valued those works that are received in both languages.
GRAPHIC APPROACH.
The basic instructions regarding the summary page of the works, and the recommendations on citations or bibliography, are framed in a context where the publication will give the authors total and absolute freedom for the definition of their works.
This is a commitment to understand that the publication must be a graphic project in itself, so the authors should only refer to the physical limits of the dimensional box of the format displayed and the limitation imposed by the gray scale.
There will not be common regulations for composition or layout, established fonts, neither for titles, nor for the body of the texts. There is no font size, no indentation, no spacing, no line spacing, or any prior criteria. This must allow the papers to be expressed with the suitability they need in relation to the content they present.
It will be desirable that the publication invites to be disassembled as if each page was a graphic work.
INITIAL ABSTRACT.
The first page will be composed according to the following criteria:
- TITLE OF THE WORK: in the first line of text (separated from the upper border 20 mm), in capital letters, centered, Arial, body 11, multiple line spacing 1’1 without before or after spacing.
- NAME of the author / s: located under the title, separated from it by two lines (in the third line of text or the next one that corresponds), in lowercase, centered, Arial, size 11, multiple line spacing 1’1 without before or after spacing.
Name will be followed by profession and, where appropriate, relationship with University or academic institution.
- Located under the author’s name in the first corresponding line of text according to the body of the text. Uppercase, centered, Arial, size 10, exact spacing 12 pt. without before or after spacing. The abstract will have a extension between 15 and 25 lines. Abstract text: Garamond size 10, multiple line spacing 1, justified paragraph. Without indenting the initial paragraph and, where appropriate, indented 10 mm the following ones.
TEXTS.
The use of the various types of quotation marks will comply with the recommendations of the RAE in spanish. Thus, textual citations will be enclosed with Spanish quotation marks «» (also called angular, low or Latin). The English quotation will be marked “” same as other singular terms.
Chapter or section titles will never have an end point.
NOTES.
The notes will be freely available at the author’s discretion, but cardinally numbered.
REFERENCES.
Bibliography will be placed at the end of the text, heading to the next page, and must exclusively contain works referred in the paper or in the notes. It will follow ISO 690 standards, according to the criteria set out in the following examples:
ARGAN, Giulio Carlo. Marcel Breuer. Disegno industriale e architettura. Milano: Görlich, 1957.
References will be located in the first line of text, at the beginning of the corresponding page. Uppercase, centered, Arial, size 10, multiple line spacing 1. No leading or trailing spacing.
References text: separate a line of text. Garamond size 10, multiple line spacing 1, justified paragraph. French indentation 10 mm.
SELECTION CRITERION.
ACCA magazine has a Scientific Committee, made up of academics of recognized prestige, that will guarantee the relevance and quality of the contents, on the one hand, and on the other ensure the basic criteria of indexed publications.
Papers will be evaluated using a system for the selection of works and articles to be published through this external Scientific committee, which will have the support of a group of reviewers, using a double-blind system, following the usual protocols for popular scientific publications.
This external evaluation system is anonymous, by peers, independent of the Editorial Board, and will focus on aspects such as: novelty of the contribution to the knowledge of the subject; relationships established with the precedent research and bibliography used; accurate construction of the contributions according to the topic; or suitability with the topic and the critical judgment that is concluded from the above.
The Editorial Board and the Scientific Committee will ensure the relevance of the content originality, novelty and the relevance and suitability to the topics. Papers will be studied according to the quality of compilation of research, new ideas, progress, questioning or advances in relation to with what has already been written about the topic. The Evaluation and the theoretical, analytical and argumentative foundations of the contents will be ensured in this procedure.
By submitting their work to be published, the author is automatically accepting the editorial conditions contained in this call of papers. The Editorial Board and the Scientific Committee shall reserve the right to reject texts that do not conform to these guidelines.
AUTHORS.
Authors must include in the email with which they send their work, a brief summary curriculum of a maximum of 100 words. It must, at least, include place and year of birth, and in the case of academic activity, the institution or center where it is carried out. The inclusion of the main research activities and authorship of books will be especially valued.
COPYRIGHT.
In the act of publication, the author maintains the copyright and grants the publishers the right of publication.
DISEMINATION.
ACCA will provide to each author included in the edition, two copies of the publication. In order for them to be included in their respective catalogs, it will send copies to institutions and university libraries of architecture, national and foreign, as well as to certain authorities with the intention that the publication can be reviewed.
The digital version of the work will be published on the ACCA website www.acca.us. Extended or revised versions may be sent for inclusion in the publication’s digital format, as well as comments by the author and other authors.
The use of the various types of quotation marks will comply with the recommendations of the RAE in spanish. Thus, textual citations will be enclosed with Spanish quotation marks «» (also called angular, low or Latin). The English quotation will be marked “” same as other singular terms.
Chapter or section titles will never have an end point.
NOTES.
The notes will be freely available at the author’s discretion, but cardinally numbered.
REFERENCES.
Bibliography will be placed at the end of the text, heading to the next page, and must exclusively contain works referred in the paper or in the notes. It will follow ISO 690 standards, according to the criteria set out in the following examples:
ARGAN, Giulio Carlo. Marcel Breuer. Disegno industriale e architettura. Milano: Görlich, 1957.
References will be located in the first line of text, at the beginning of the corresponding page. Uppercase, centered, Arial, size 10, multiple line spacing 1. No leading or trailing spacing.
References text: separate a line of text. Garamond size 10, multiple line spacing 1, justified paragraph. French indentation 10 mm.
SELECTION CRITERION.
ACCA magazine has a Scientific Committee, made up of academics of recognized prestige, that will guarantee the relevance and quality of the contents, on the one hand, and on the other ensure the basic criteria of indexed publications.
Papers will be evaluated using a system for the selection of works and articles to be published through this external Scientific committee, which will have the support of a group of reviewers, using a double-blind system, following the usual protocols for popular scientific publications.
This external evaluation system is anonymous, by peers, independent of the Editorial Board, and will focus on aspects such as: novelty of the contribution to the knowledge of the subject; relationships established with the precedent research and bibliography used; accurate construction of the contributions according to the topic; or suitability with the topic and the critical judgment that is concluded from the above.
The Editorial Board and the Scientific Committee will ensure the relevance of the content originality, novelty and the relevance and suitability to the topics. Papers will be studied according to the quality of compilation of research, new ideas, progress, questioning or advances in relation to with what has already been written about the topic. The Evaluation and the theoretical, analytical and argumentative foundations of the contents will be ensured in this procedure.
By submitting their work to be published, the author is automatically accepting the editorial conditions contained in this call of papers. The Editorial Board and the Scientific Committee shall reserve the right to reject texts that do not conform to these guidelines.
AUTHORS.
Authors must include in the email with which they send their work, a brief summary curriculum of a maximum of 100 words. It must, at least, include place and year of birth, and in the case of academic activity, the institution or center where it is carried out. The inclusion of the main research activities and authorship of books will be especially valued.
COPYRIGHT.
In the act of publication, the author maintains the copyright and grants the publishers the right of publication.
DISEMINATION.
ACCA will provide to each author included in the edition, two copies of the publication. In order for them to be included in their respective catalogs, it will send copies to institutions and university libraries of architecture, national and foreign, as well as to certain authorities with the intention that the publication can be reviewed.
The digital version of the work will be published on the ACCA website www.acca.us. Extended or revised versions may be sent for inclusion in the publication’s digital format, as well as comments by the author and other authors.
ACCA EDITORIAL BOARD.
EDITORIAL BOARD.
Ignacio Fdez. Torres, D.E.G.A., E.T.S.A. SEVILLA
Javier López Rivera, D.E.G.A., E.T.S.A. SEVILLA
Mercedes Linares, D.E.G.A., E.T.S.A. SEVILLA
Ángel Martínez García Posada, E.T.S.A. SEVILLA
Tomás García Píriz, E.T.S.A. GRANADA
Jorge Yeregui Tejedor, D.E.G.A., E.A.M. MÁLAGA
Gaia Redaelli, POLITECNICO DI MILANO
Lola Sánchez Moya, E.A.T. TOLEDO
Daniel Montes Estrada, E.T.S.A. SEVILLA
Maria Fullaondo, MONASH UNIVERSITY, MELBOURNE
Auxiliadora Gálvez, PSAAP
SCIENTIFIC COMMITTEE.
José María Gentil Baldrich, D.E.G.A. E.T.S.A. SEVILLA
Antonio Ampliato Briones, D.E.G.A. E.T.S.A. SEVILLA
Daniela Poli, UNIVERSITÀ DEGLI STUDI DI FIRENZE
Raimundo Bambó, E.I.N.A. ZARAGOZA
Rubén García Rubio, TULANE UNIVERSITY, NEW ORLEANS
Ignacio Senra, E.T.S.A.M. MADRID
Claudia Pirina, UNIVERSITÀ IUAV DI VENEZIA
Noelia Cervero Sánchez, D.E.G.A., E.I.N.A. ZARAGOZA
Alejandro Valdivieso, E.T.S.A. MADRID
Rubén Alcolea, E.T.S.A. NAVARRA
Jesús Vasallo, RICE UNIVERSITY, HOUSTON
Carolina García-Estévez, U.P.C. BARCELONA
Francisco Felip Miralles, UNIVERSIDAD JAUME I, CASTELLÓN
Ferrán Ventura, E.A.M. MÁLAGA
María Carrascal, E.T.S.A. SEVILLA
Jorge Molinero Sánchez, E.T.S.A. GRANADA
TEXT REVIEWER:
Belén Izaguirre Fernández
[ACCA]
acca@us.es
EDITORIAL BOARD.
Ignacio Fdez. Torres, D.E.G.A., E.T.S.A. SEVILLA
Javier López Rivera, D.E.G.A., E.T.S.A. SEVILLA
Mercedes Linares, D.E.G.A., E.T.S.A. SEVILLA
Ángel Martínez García Posada, E.T.S.A. SEVILLA
Tomás García Píriz, E.T.S.A. GRANADA
Jorge Yeregui Tejedor, D.E.G.A., E.A.M. MÁLAGA
Gaia Redaelli, POLITECNICO DI MILANO
Lola Sánchez Moya, E.A.T. TOLEDO
Daniel Montes Estrada, E.T.S.A. SEVILLA
Maria Fullaondo, MONASH UNIVERSITY, MELBOURNE
Auxiliadora Gálvez, PSAAP
SCIENTIFIC COMMITTEE.
José María Gentil Baldrich, D.E.G.A. E.T.S.A. SEVILLA
Antonio Ampliato Briones, D.E.G.A. E.T.S.A. SEVILLA
Daniela Poli, UNIVERSITÀ DEGLI STUDI DI FIRENZE
Raimundo Bambó, E.I.N.A. ZARAGOZA
Rubén García Rubio, TULANE UNIVERSITY, NEW ORLEANS
Ignacio Senra, E.T.S.A.M. MADRID
Claudia Pirina, UNIVERSITÀ IUAV DI VENEZIA
Noelia Cervero Sánchez, D.E.G.A., E.I.N.A. ZARAGOZA
Alejandro Valdivieso, E.T.S.A. MADRID
Rubén Alcolea, E.T.S.A. NAVARRA
Jesús Vasallo, RICE UNIVERSITY, HOUSTON
Carolina García-Estévez, U.P.C. BARCELONA
Francisco Felip Miralles, UNIVERSIDAD JAUME I, CASTELLÓN
Ferrán Ventura, E.A.M. MÁLAGA
María Carrascal, E.T.S.A. SEVILLA
Jorge Molinero Sánchez, E.T.S.A. GRANADA
TEXT REVIEWER:
Belén Izaguirre Fernández
[ACCA]
acca@us.es