ARCHITECTURE

Author: ULARGUI AGURRUZA JESUS.
Year: 2003.
University: POLITÉCNICA DE MADRID.
Place of defense: ESCUELA TECNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The research is structured around two main figures, the Boston architect, Henry Hobson Richardson and the Chicago architect Louis Sullivan and Henry, more accurately, on a series of works regarded as "minors" within the whole of its book: small public libraries and the offices of Richardson bank builds at the end of his life Sullivan. It affects so only in the relationship between these new institutional programs (whether public or private) and the efforts to develop the experimental form of a building in terms of their needs and their inherent possibilities. The work is carried out from three levels of study, which may be understood as mechanisms Project invariant around whom these Architects develop their proposals: The first of them, "implantation and place," explores the relationship between men and nature . In "program and plant responds to the compositional mechanisms to be put into play for the resolution of these new programs functional. Lastly "section and art" refers to the conditions of these monumental works. As three stories that take place in the same time, the thesis presents the study of the buildings from the analysis tools Architecture: lifted, and plant section, away from formal and stylistic matters.

Author: BONED PURKISS JAVIER.
Year: 2003.
University: POLITÉCNICA DE MADRID.
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The aim of the thesis is to identify similarities that may appear to be established between two disciplines, architecture and music in a specific cultural moment. This need a acercarmiento the architecture as a complex phenomenon, which includes what we might describe as their size musical.El work focuses on the confusing but interesting period of the fifties and sixties of the last century, by tender at that time and especially in the architectural world, there are a number of important changes and there is a way d ehacer that is associated with certain musical phenomena. The study is to analyze the similarities or relationships of certain compositional aspects of the so-called "serial music" and certain architectures that are beginning to occur at the end of the fifties of the past century. The material chosen is based on a series of organizational and compositional concepts that must be similar to both disciplines. It is not at any time set up a series of relationships biunívocas or reach demonstrations type algebráico, which undoubtedly would place us in some ways and coordinates study of more proias of unp rimer functionalism, registered in numerical methods and mathematical the varied and complex laws and relationships that dominate all aspects of knowledge in the second half of the twentieth century. Above it, or rather, apart from the numerical relationships, including those that have been raised in the past was to bring to an ideal of beauty, we risk propose together in a particular phenomenon through a broad conceptual establishing abacus a network, a field relevant concepts always referred to a certain type of architecture and music. We proceeded by approximation, we have tried to understand the phenomena managed a "corpus" comprehensive theoretical, for attempting to describe and explain a number of specific architectures from a world musical-serial similar. On the other hand, if you have always existed reciprocal influences between architecture and other arts, this time architectural lent itself to a particular intensification and expansion of its interpretive horizon. The compare and try to bring some aquitectura the mechanisms of compositional music serial, and is intended to dispel a little more if possible, said horizonate. One interpretation, of course, distinct, with another caríz that precedents and specific when it comes to his character prospositivo for subsequent interpretations of the architectural world.

Author: CUROS VILA JOAN.
Year: 2003.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: ESTRUCTURES A L'ARQUITECTURA.
Place of preparation: UPC.

Author: LANGOHR KLAUS.
Year: 2003.
University: POLITÉCNICA DE CATALUÑA.
Place of preparation: EDIFICIO A0 - OMEGA CAMPUS NORD.

Author: SAUMELL LLADÓ JUAN.
Year: 2004.
University: SEVILLA.
Place of defense: E.T.S. ARQUITECTURA.
Place of preparation: E.T.S. ARQUITECTURA.

Author: Álvarez Lay Alfredo Carlos.
Year: 2004.
University: A CORUÑA.
Place of defense: Escuela Técnica Superior de Arquitectura.
Place of preparation: Escuela Técnica Superior de Arquitectura.

Summary: This is a set of 11 chapters on a constructive laminar surface using a very thin and light brick and mortar, saving lights major until 50 meters. We aim to prove that: 1 .- His originality and design, calculation and constructive system 2 .- It is a technological innovation 3 .- investigate their values from the viewpoint of their architectural quality used a form of assessment based on views enshrined architects in subpoenas and interviews on the subject. EP: (Eladio Dieste, Roads, F. Navy)

Author: ALVADO BAÑON JOAQUIN.
Year: 2004.
University: POLITÉCNICA DE VALENCIA.
Place of defense: UNIVERSIDAD POLITÉCNICA DE VALENCIA (DPTO. PROYECTOS ARQUITECTONICOS).
Place of preparation: UNIVERSIDAD POLITÉCNICA DE VALENCIA.

Summary: The trip castaway. The construction of critical thinking on the city. Architecture. Area knowledge "Architectural Projects." Architect: Joaquin Alvado Bañón. This thesis tries to redefine citric thinking about the city setting out models of architectural work, in which the facts are structured on urban processes and not on facts (architectural objects). The city model structure on which work is a dynamic model and irreversible, a model in constant transformation where the facts urban (and not objects) set the time for criticism. Work on the city dynamic and not consolidated objective data that are otherwise strangers or extra discipline. In this attempt, not to miss anything long on knowledge of the city investigated on the time in the city, while non-linear through the project arqutiectónico related past and future in a proposal today. The methodological research that I propose is to modeling the effects of which theorists propose a range tactical sense in the development of a new system critical of the city. These models allow discuss methodologies for establishing paradigms concrete work and citrus specific developments on the city. The choice of abstract theoretical models are set forth from the paradigm private versus public paradigm in the construction of the city. The referee rigorous work are not objects but the facts urban. The clarity of the speech part of town as dynamic structure and not as set of facts urban static objetuales. The working model with which the thesis structure is a model of elastic definitions, a model in which the signifiers are structured around the meanings and processes in search of balance, which is maintained at the boundary, in order to build an expository language more precise. The public in the city, private space, time, the contemporary city, how the city â |, they are isolated, so that the defining part of the meaning, which are reconstructed. TRIP trip as a way of building a critical thinking on the city staff. Travel, round trip, to rebuild certain "steps" in order to establish some definitions on the contemporary architectural project. BOAT Players: Actions public. Artifacts. Purpose: Container. Vehicles, culture, sports, etc., stacked inside a container (shape). Program: exchanger people, objects and artifacts. Exchange and travel as a program capable of defining the model space. Construction: Links translucidos serigrafiados and concrete and steel untreated artificial. Scene: Graphics movement. "Plots of clusters" of Alison & Peter Smithson.

Author: BARBA GONZALEZ JOSE JUAN.
Year: 2004.
University: POLITÉCNICA DE MADRID.
Place of defense: E.T.S. DE ARQUITECTURA.
Place of preparation: E.T.S. DE ARQUITECTURA.

Summary: The research carried out in this thesis is divided into three Parts. The first lays the foundations for the research to analyse the main instruments of architecture, graphic representation, its basic codes, its theories and their interpretations, not only as elements prior to construction but also to ascertain their meanings, which are broader than those of a simple first draft and to see how, in architecture, a drawing is capable of slipping beyond its chained link with space. This research does not endeavour to do a historical reconstruction of every architectural project. A reflection is proposed, during the moments of transit, on the crisis of architecture, during the moments of inflexion of this. For this reason there is an analysis of what relationship exists between the representation of construction and the Inventions or fantasies which sometimes try to register the present moment as a critical contribution of their time. Drawing or graphic representation and the model which corresponds to it become an argument in favour of an architecture which gathers together other means and materials and with this provokes new ways of inhabiting and therefore new ways of living. For this reason this thesis is based on the beginning of modernity, on the works by Giovanni Battista Piranesi which better reflect this transit, the Carceri. The first Part analyses the global work of a Venetian architect, which was done in Rome, in a period of historical, social, cultural and architectural crisis, at the end of the eighteenth century, paying special attention to the Carceri series, the only series of engravings which have been repeated, manipulated, redrawn as a set and republished years after their first edition. The research does not start as a historical regression; it is presented as the result of the celebration of the bicentenary of his death in a gallery in Hannover where one is invited to reflect on Piranesi's drawings and those done by contemporary architects, trying to discover what relationship exists between architecture understood as only construction and the Invention or fantasies which it sometimes tries to represent. Giovanni Battista Piranesi, when compared with other architects two hundred years later, takes on a new perspective. The questioning, for the first time, of the idea of style and the impossibility, at the end of the eighteenth century, of proposing a single new stylistic discourse is very similar to that which took place in the 1970s with the crisis of Modernity and the appearance of Post-Modernity. This first Part lays the foundations for the study of two outstanding works which follow the same path of reflection and creation as those of Giovanni Battista Piranesi. Where as G. B. Piranesi went to the city which at that time was the centre of western culture and carried out his graphic manifestos in an era when social, scientific and cultural convulsions, like the crisis over the meaning of architecture were as important as constructed achievements, first Rem Koolhaas and then Bernard Tschumi went to New York leaving behind a weakened post-May'68 Europe. Both went to the city which best represents western culture, the culture of the twentieth century, the city of New York, the city as an architectural metaphor. Both have in common with the Venetian architect that they, at similar times, worried little about the realization of their proposals. They focused on architecture which aimed beyond construction, architecture of the spaces of representation, not of the spaces of action and use, more in analogy with philosophy, literature, poetry and thought than with mechanics, the statics of materials or physics. The second Part includes the research done by Rem Koolhaas and presents the work -or manifesto- which synthesizes his research during his stay in America, taking New York, and Manhattan specifically, as a model. The research was published under the title 'Delirious New York: A Manifesto for Manhattan'. In this Part the process followed for the Carceri work is repeated. It goes from the global analysis which determines who is the subject of the object studied as far as a detailed analysis, singled out in the work 'Delirious New York'. The research traces the sources which condition the metalinguistic process on which Rem Koolhaas embarked on to present his research on Manhattan. For this reason each chapter of the manifesto is questioned and explored. The index which Rem Koolhaas used for the publishing of his work is not used as the index for these chapters in this thesis. The initial drawing which he did soon after arriving in New York is used. This serves as the basis for the shaping of those chapters of 'The City of The Captive Globe'. The third Part expounds the second of the works which take Manhattan as a reference, the edition which compiles the works done over four exhibitions and which are presented under the title of 'The Manhattan Transcripts'. This process is the same again. It starts with a global analysis which determines the context in which Bernard Tschumi brought his research to the surface. Neither Rem Koolhaas nor Bernard Tschumi generate a methodological process, but rather a 8 graphic 8fb metalanguage supported on private interior utopias. They show their works in an analysis where the subjective experience is made and solidified in the projects that they show. Naturally, the subjectivity of these poetic inventions does not mean a regression towards the private, but rather a hope for transformation via Invention. The three architects fled stylistic processes. They rejected them in reality. Drawn inventions have a subversive character. Their proposals seem to lead to the unimaginable, even the absurd. Both, on a different scale, present a sequence of spatial events, juxtaposing spaces, actions and facts in a similar way to how the spatiality of the 'Carceri d'invenzione' by Piranesi seems to be structured, according to an absurd principle which does not respect spatial continuities. In the Carceri with the details meticulously drawn, the order and limitations of the spaces, however, remain obscure and ambiguous, as if we were looking at the impossible, multiple occupations of the same space, with the aim of making the simultaneous experience of a time sequence possible in the Invention. The research is focused on the idea that architectural language can represent a metalinguistic language that, by juxtaposition, allows not being as exclusive as conventional methodological processes. The city of New York, considered as a laboratory in the same way as Rome was by G. B. Piranesi, permits research by the accumulation of layers that generate, and with this increases the field of architecture in a process of approach to the real that attempts to be more intimate.

Author: SEGUI BUENAVENTURA URIEL.
Year: 2004.
University: POLITÉCNICA DE MADRID.
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: This work is a study referred to the action of deleting involved in the craft of architecture plans, but also is considered involved in other creative fields like poetizar, philosophizing and the draw. It is organized into four parts: The first introduction, which is done as a reflection on the need for the realization of this action in learning to draw, write and projection reaching understood as a necessity. A second part in which he examines the origin of the term and its technical evolution in different moments in history, ranging from Leonardo to the present. In a third section discusses metaphors and corporiedades in which the action takes place delete; finally, the fourth part of the work, with an exhaustive description of the phenomenon in the areas from where they had been studying the topic, instead of the experience of writing, instead of projecting architecture and the place of the generic plot. The methodology followed well and says the problem from different perspectives and it is perfectly consistent with the graphics and conceptual objects in the field of view. The way to attack the problem, in principle, responded to questions classic  what?,  why?  And how?. But then, through them, I get a fairly free and innovative way to answer them and send them through alterations from an extensive bibliography.

Author: FENTANES GUTIERREZ-ZAMORA KARLA ANGELICA.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: ETSAB.
Place of preparation: ETSAV, EDIFICI SC1 Campus SANT CUGAT DEL VALLÈS.

Author: GARCIA LOURO DO NASCIMENTO E OLIVEIRA MARGARIDA M..
Year: 2004.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: ETSAB, EDIFICI A.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: Both the problems of the current urban metropolitan, as well as their confrontation with the new themes that characterize contemporary city has become the main field of reflection of the current investigation. In this regard, and underlines the critical reference to the major components of urban transformation in the post-industrial landscape of the city, resulting from the new economic models, the increase in mobility and, most importantly, the development and implementation of network systems today forcing the definition of new forms of territorial organization. At this juncture falls consumption, which, expanded in conceptual terms, including new habits associated with the increase in leisure time and the demand for different forms of entertainment and culture. About these innovative features are defined in terms of urban typologies and territorial joints. The object of study reflects the global nature of these concerns, and is imposed in the frame of the specificity of the European context, and the various contingencies that have marked accession to the European Union, in which the context and the universe Portuguese Iberian have excelled significantly. Within this context, we have chosen the metropolitan area of Lisbon territory as ideal for the study and comparison of these thoughts, either by allowing contrasting realities include the analysis and understanding of various factors of internal transformation in each of their areas, as for the character of a whole increasingly complex, which is designed to articulate the possibility of future large-scale developments. The object of study is manifested by the approximation of three specific groups other than those which are associated reorganization strategies are very different: the rehabilitation of schools, retraining and upgrading the periphery of areas of natural landscape value. Underlying this election, stand out as key aspects Consequently, the common feature of the system frame in urban network on which we will constitute the metropolitan area of Lisbon, as the various strategies reorganization in which consumption is chosen as the foundation of omnipresent characterization. Thus, taking as its starting point the concern involves the specific field of contemporary strategy of consumption, projected at the level of territorial reorganization of the systems and in particular the Metropolitan Area Metropolitana de Lisboa, the approximation is defined by a prospecting critical and reflective about their current condition. In that sense, the theme of WWW.CIUDAD.CONSUMO - The impact of network consumption in the territorial reorganization of the Metropolitan Area of Lisbon, is proposed as a contribution to the discussion and understanding of the metropolitan urban development and characterization current. In short, this research on the impact of consumer networks in the reorganization of contemporary urban space, as applied to the specific reality of the metropolitan area of Lisbon, was demarcates by plurality and complementarity of the various actions. In this way, both revisions of concepts, such as the strategies outlined and the expectation situations addressed in each phase of research, leaving open this complex problem. In this sense, the investigation, it is assumed as a contribution, as a starting point, both in the discussion of new concepts, in the clarification of new ideas, such as the establishment of new hypotheses. Palabras-llave: Networks, Consumption, City Contemporary, Urban Metropolitan, Metropolitan Lisbon

Author: SANCHEZ VERTIZ RUIZ RENE LAURO.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: CB4, Campus Sud.
Place of preparation: ETSAV, EDIFICI SC1.

Summary: Part of the success of the evangelization of indigenous highlands of central Mexico is due to the environmental design of sacred space, the environment profane through differential effects of visual perception, sound or climate. Two worlds clashed during the Spanish conquest of the sixteenth century. The indigenous religion was the environment: the man created gods like climate and other facts of the environment; activity ritual, almost always carried out in the open, responsive to the path in the sky solar and other natural events. What God did not oppose the sensitivity or body, so to evangelize indigenous people and to preserve the faith of converts, missionaries -frailes mendicantes- promoted spaces that without great wealth, foster multi liturgical spectacular: altars lit with sunlight directly into sacred dates, impressive acoustics, thermal stability, flavorings, etc.. The space âvacíoâ is not such, but an environment filled with information carefully noticeable. At the time there was an overview and synthesis today difficult to capture through our approaches to extreme specialization. The ephemeral rituals and certain elements now considered âdecorativosâ were not simple additions to the permanent architectural space, but designed so comprehensive and met sometimes more than one function, focusing on qualities of an environment that has undergone profound changes since then. The conversion to Christianity always blended local pagan traditions. Party equinoxes and solstices, like many people farming in Asia and Europe, also existed in Mesoamerica, where only made some adjustments that facilitated their assimilation. The centers evangelism Mexicans were built in stages. Initially, the worship took place outdoors, while the typical temple quickly built a ship, which had internal dimensions and environmental features unknown to the indigenous, who in addition to working as a laborer in the construction, perhaps could decide important environmental aspects of space religious. Perceptions visual, acoustic and climatic share certain similarities as forms of energy and perceived as facts, so in this thesis are some points that are treated simultaneously, âhorizontal'. The rhythms of the environment, such as daily cycles or seasons, constantly reshaping some noticeable features of sacred space (daylight, components of the climate). Other shorter intervals and artificial multi affecting so the viewer itinerant. The work consists of three main parts. The first âLa perception and space religiosoâ focuses on the human spatial perception, making space considerations and establishing basic differences sacred space in front of the colonial prehistoric. It also notes how in the Mesoamerican religion shapes the environment gods, whose temples, while worship events of the environment, can calculate their trajectories through the solar rhythms. The second part, âReconstrucción historic environmental century XVIâ tries to evoke the atmosphere climate, visual and noise in the area, today altered at various levels. The widespread loss of humidity (surface water, vegetation), affects the other components of the climate (temperature, wind and radiation), in addition to the visual and acoustic environment. In the third, âRecursos architectural perception in the space of evangelizaciónâ discusses some design solutions space religious 8 colonial 328, climatic effects, visual and acoustic. The three parties have sided conclusions. At the end of three, the general conclusions appear.

Author: GARCIA ALVARADO RODRIGO.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: ETSAB. Aula Pi Calleja.
Place of preparation: ETSAB, EDIFICI A SEC..

Summary: The digital media have provided new opportunities in the architectural work, especially in the representation of the project. Incorporating varied resources charting which have spread rapidly in the professional and academic training. Although without sufficient reflection and adapt to the discipline, creating several opportunities inquiry. Since the most immediate use of drawing programs, which are not without implications relevant but everyday and subtle experiments to sophisticated systems as immersive still uncertain and fraught with misunderstandings. In this picture technology, the computer animation in architecture is at a particular crossroads; gives a capability previously unavailable in the discipline (moving images), but tied with conventional procedures of representation and visual media contemporaries, such as film and television. This allows collect essential features of the architectural expression, but also interact with other artistic areas and encourage the use of new techniques of work, particularly for future generations of architects. In addition to the animation is incorporated into other communications technologies and interaction, captivating for its dynamism and apparent closeness to the perception of the actual buildings. Indeed is a resource that has begun to be used in the last decade by a good number of practitioners and researchers, initially tested their abilities. In this regard have been warned contributions of the more obvious digital animation in architecture, particularly in the display of the projects, but also some difficulties. The which relate mainly to insufficient support specific programs to develop an architectural presentation and the very professional inexperience in the temporary exhibition designs. These conditions are repeated among specialists in the field, often suggesting the film as a reference possible. For its cultural dissemination and capacity to present a space in time (though perhaps also because the film has long captivated the architects). Thus, the background study film for conducting architectural animation is a known possibility of research that could contribute to the development of this new medium of representation in the discipline. A record of the documentation on the subject, warning also allowed broad professional interest in this resource expression, as well as a limitation of technical manuals, which describe the development mostly geometric patterns and basic aspects of the display. There were also some comments works or cinematographic techniques to support the implementation of architectural animations, but given a few examples and rare characteristics. The whom, but to exhaust the subject, proof of the relationship between the two matters and the need for a thorough analysis. Moreover, the revised texts of cinema, as well as the careful observation of various productions, promptly revealed a good combination of technical conditions. Although not quite as expected, since virtually no reference on the filming of buildings or displacement of cameras in and 8 spacios, 3f4 but opening other unexpected conditions, such as the composition of the image or montage. These references also revealed the need to review background on the perception of moving images and new technological resources of animation, key factors for establishing and future capabilities of these procedures representation.

Author: BECKERS BENOIT PIERRE LOUIS.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: Aula Pi Calleja. ETSAB.
Place of preparation: ETSAV, EDIFICI SC1 Campus SANT CUGAT DEL VALLÈS.

Summary: In many fields of research architectural, are developing methods algorithm essentially based on the geometry: is the case, for example, of âmétodos geométricosâ applied acoustics, lighting â â natural or artificial or in the rendering. In the acute problems relating to color, and perhaps to the heat, feel the need of a geometrical interpretation suited to such environments. Â But what we must work geometry? A geometry which can integrate, of course, different perceptive properties, in order to present itself as a kind of interface between perception and expression is what we call a sensitive geometry. The first chapters of the thesis (1 to 5) are essentially introductory. He feels the need to involve music (6 and 7), and then to go to thinkers presocráticos (8). Then, it discusses the problem of perspective Central (9), and its location between different modes of representation (10 to 12). A study of different progressions (13) leads us then to reassess the âÓpticaâ Euclidean and scope of the prospect Renaissance (14). Described in the manner of drawers (15), the prospect Central shown, through their invariants (16), a safe model of sight; applied to the law Weber-Fechner (17), allows generalizarla (18), the fundamental property of perception, which I propose to call escorzo. After an example of application (19), we can then go back to the problem of color (20) and their particularities.

Author: MARTI AUDI NURIA.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: AULA PI CALLEJA.
Place of preparation: ETSAV, EDIFICI SC1 Campus SANT CUGAT DEL VALLÈS.

Author: ESCUDERO SANCHEZ M. EUGENIA.
Year: 2005.
University: CANTABRIA.
Place of defense: FACULTAD DE FILOSOFIA Y LETRAS.
Place of preparation: FACULTAD DE FILOSOFIA Y LETRAS.

Summary: Global comparative study of urban development and architecture of the Four villas on the coast of the Sea en los siglos XVI, XVII and first half of the eighteenth century. Special attention is given to social and economic issues that allow an understanding of the architectural and urban processes that took place in those nuclei port.

Author: KASIS ARICEAGA ANUAR ABRAHAM.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: AULA PI CALLEJA-ETSAB.
Place of preparation: ETSAB, Edifici A - SD.

Author: GARRIDO-LESTACHE RODRIGUEZ ELVIRA.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: DEPARTAMENT CONSTRUCCIONS ARQUITECTONIQUES.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The development of a numerical model of depreciation for making the change in the market value of housing over its useful life due solely to its depreciation over time, has two fundamental complications. The first is to establish the most suitable technique depreciation, and their mathematical formulation variables that compose it, the second of which is to have an adequate database for its implementation, reliably and breadth in the number of variables as the number of samples. In the present study, we have analyzed the three depreciation techniques currently in use, depreciation linear parabolic depreciation and depreciation logarithmic, have questioned their mathematical approaches, concepts and variables that comprise it. Of all of them has been chosen as the exponential depreciation that's right for your application to market value, justifying this election. By teaming up with the current depreciation concept of depreciation of the building and not with the concept of depreciation of the market value, has moved the mathematical formulation of the first concept on the second, obtaining a coefficient that is imposed on the so-called market value along the entire work as à ¤ theoretical. This ratio has been applied on the market values of the database, previously purified, in order to eliminate the outliers that could distort the results and maintaining continuous variables involved in the formation of value, so that Value change is due solely to the age of the building. This has obtained a new factor has been called over all the work as à ¤ â market and has been compared to both. The findings of the study validate the model and procedures, obtaining that currently applied depreciation on the value of construction are lower than on the actual market value, leaving the door open for further research could establish the reasons for the differences between both.

Author: DUTRA GRILLO ANTONIO CARLOS.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: AULA PI CALLEJA.ETSAB.
Place of preparation: ETSAB, Edifici A - SD.

Summary: This thesis deals with the relationship between architecture and nature, nature is considered on the basis of contemporary scientific conception within the framework of the Science of Complexity. In this context, particular emphasis is given to the issue of mímesis of nature, questioned the validity of this procedure in architecture and explored their prospects at the moment. First, it identifies and provides an initial analysis of the production that takes contemporary architectural links with the concepts from the Science of Complexity. In this production, there is a tendency predominantly symbolic and formalist in the incorporation of scientific concepts against a limited consideration of the potential that new scientific vision of nature suggests contribute. He then elaborates on the Science of Complexity, clarifying its key concepts and philosophical horizons, with a view to adapting to the context of mímesis. In this scenario, we unveils a universe complex scheduled for concepts such as self-organization, no-linealidad, random, unpredictable and indeterminismo; also highlights the relevance of these concepts in any dynamic system, which includes the company and the body human both biophysical and psychosocial. Then, it produces a table of evolutionary mímesis of nature in the arts and architecture, analyzed the issue from a long historical perspective. This demonstrates the persistence and diversity of this procedure over the history of art and architecture, though not always teorizada as such. Finally, establishing the final conclusions on the subject. Analizándose strategies and arguments of the mímesis of nature in architecture, is detected in its full force today, with a tendency to a cientificización of this process, which dates back to the Renaissance. And analyzed the contributions of the Science of Complexity in the process Mimetic, discussions about its vast potential in various aspects of architecture: the prospect of a future for a continued mímesis founded in cognitive science, the new image of nature and relevance of the image of the complex architecture, the potential for a subjectification of the scientific complexity in the consideration of making architectural, and two readings of mimetic ecological architectures.

Author: SOUZA BIERRENBACH ANA CAROLINA DE.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA.
Place of defense: DEPARTAMENTO DE COMPOSICIÓN ARQUITECTÓNICA.
Place of preparation: ETSAB , EDIFICI A SD.

Summary: The main objective of this thesis is closer to the production of architectural Lina Bo Bardi looking to capture their vision of the world and their way of living. It seeks to assimilate how architecture bobardiana incorporates the human body in terms of individual and collective how assimilated the parallel nature, the thesis investigates what are the connections and confrontations that exist between the project launched by the world architecture Lina Bo Bardi and promoted by the practice artísticrurquitectónica of his time. Finally, asked what are the relationships that exist between their positioning in the world and that spread some philosophical currents of modernity Thus, it becomes possible to understand the production bobardiana from their own internal issues, its inherent potential, for straight-related discussions artístico-arquitectónicos and philosophical relevant. As a first approximation to the work by Lina Bo Bardi and it may be noted that there are some recurring mechanisms linking its architecture with the world. These devices can be apprehended from the processes themselves proyectuales and from buildings made by Lina Bo Bardi The hypothesis is that the relationships that are established between architecture bobardiana and the world are based primarily on two fundamental approaches that are in practice artístico-arquitectónicas and in the philosophical discussions of his time the abstract and the Mimetic. It is suspected that the production of architectural Lina Bo Bardi is constructed from a complex plot that articulates these two orientations tensándolas while taking them compatible. However, it is possible to note that throughout his obrll the emphasis dislocates from the abstract into what Mimetic. In terms of season framework is intended to focus the study on the projects carried out in a specific period of the occupation of Lina Bo Bardi, especially fruitful for all his work was the period from 1946 to 1964. It is from this stage that establishes a series of devices that are constantly reelaboran along the race Lina Bo Bardi As for the identification of objects estudiq thesis focuses some of the housing projects designed by Lina Bo Bardi within the period proposal (House of Glass - 1951), another for a friend (House Valéria Cirell- 1958) and one for the lawyer Ruben Nogueira (Casa do Chame-Chame - 1958) Yla House Figueiredo Ferraz (1962), Casa Mário Cravo (1958) and Casa Circular (1962). The method used in this thesis aims approaching these objects architectural Lina Bo Bardi in a way cuidadosointentando observe its details. It aims to stop at various stages of the creative process bobardiano This research deals in revealing the pre-historias of buildings, when Lina Bo Bardi generating projects world of architecture also focuses on discovering their histories, when visions of world and modes inhabited boosted by architecture can finally find the men, and instigamos to simultaneously give meaning to the April-our lives, and our realities.