ARCHITECTURE (2)

Author: GONZALEZ MADARIAGA FRANCISCO JAVIER.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: DE BARCELONA..
Place of preparation: ETSEIB, EDIFICI H PLANTA 10 CAMPUS SUD..

Author: FERNÁNDEZ GARCÍA JAVIER.
Year: 2005.
University: GRANADA [www.ugr.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: The thesis seeks to unravel the conditions under which the transit of the architecture of the historic tradition of the modern tradition, that in the second decade of the twentieth century. To that end, research is applied to the specific case of the city of Granada and is leading to the mid-fifties. While the phenomenon to cover completely covers the period studied from the thirties to the early sixties. The thesis aims, from the particular, add new shades to the general discussion of contemporary architecture.

Author: BARRIOS NOGUEIRA CAROLA.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: Aula Pi Calleja- ETSAB.
Place of preparation: ETSAB, Edifici A - SD.

Summary: The analysis of Caracas´ modern episode, visualized through the urban and architectural developments undertaken in the 1950´s, has been the object of a renewed interest among Venezuelan specialists working in related fields. After the four decades that followed the period, when a generalized ideological indifference cloaked the achievements of "heroic modernity" in oblivion, it seems at the end of the century that the need for a new revaluation of Caracas´ modern heritage has arisen. It is within this critical revision that this study about the modern project of Caracas should be inserted. The thesis proposes, among other things, to situate the relevance and the particularity of the local phenomenon within an international context. To acomplish such objectives, the analysis seeks to make a detailed valuation of the field of investigation wherein the object of study is itself to be placed, in order to establish a criteria related to the structure of the discourse itself. Therefore, the intention of this thesis is to position itself within the frame of this vision of history as a construction, exploring those territories of urban experience that arise from the crossing of the discourses between modern city and museum. In this case, the binomial formed by modern city and museum becomes the field of investigation for the microhistorical analysis of mid-century Caracas modernity. Such a direction is determined by a fundamental interest in the urban processes that constitute the construction of identity and memory within the culture of great cities, where the museum seems to have a particular relevance. For that, the syntax of the modern museum will appear not only in its condition as urban artifact and architectonic container. But also, from the point of view of the museum as a ideological universe profoundly imbricated in the construction of the urban realm that falls within the system of aesthetic-cultural production and the mass consumption of collective heritage. The unbuilt project for the Museum of Modern Art of Caracas-MAMC, designed by the Brazilian architect Oscar Niemeyer in 1955, serves as the case study for the development of the first intersection: The museum in the city. With this strategic operation, the museum is identified as an architectonic gesture; a vision of museum as object-manifesto of vanguard art and architecture, that is going to be directly related to the processes of economic and spatial reconstruction of the city. In parallel, in 1956, the government commissioned the office of the Brazilian landscape architect Robert Burle-Marx to carry out the gardens for the International Exhibition of Caracas in 1960, on the terrain of the old San José estate. This unconcluded initiative, used as the focus of analysis for the second intersection: The city as museum, shows the aspirations of the metropolis to affiliate itself within the international vanguards through the technical representation of architecture, the art of landscape and its natural taxonomies in the museificación of the city.

Author: SALVATORI ELENA.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: SALA PI CALLEJA. ETSAB.
Place of preparation: ETSAB, Edifici A - SD.

Summary: This thesis investigates the development of the teaching of Architecture in Brazil and the formation of local professional field and its relation to the socio-economic context. It explores why recurrently reproduce the idea of a fragile relationship between the college and professional reality. It takes the race architect UFRGS as the case study. It examines the sociological profile of professionals trained there and the evolution of academic exercises, in a period in which professionals participated actively in the development of Curriculum. Although settled successive adjustments in teaching to correspond to a change in the self-image of the architects, academics and social processes evolved according dynamics. One of the current challenges for educators is to reconcile the demands didáctico-pedagógicas, looking for a unique professional identity, and diversity of market demands, which involve certain expertise. Another is to recover the cultural meaning of Architecture, relegated by the professional pragmatism that prevailed in the last decade of the twentieth century.

Author: MANCHON RUIZ ENRIQUE.
Year: 2005.
University: POLITÉCNICA DE VALENCIA [www.upv.es].
Place of defense: UNIVERSIDAD POLITÉCNICA DE VALENCIA.
Place of preparation: UNIVERSIDAD POLITÉCNICA DE VALENCIA.

Summary: When today examines childbirth, in the fifties, a new architecture in Spain, it is common Reference Fernandez del Amo in the short list of architects that made it possible, noting the exceptional achievement of its Poblados Colonization. Â How did that architecture? Â Do you now force their budgets? Analyzes the thesis, how Fernandez del Amo was able to design and build urban units with collective self-sufficient programs in a process of colonization was referring, own and others. Do you were followed, among others, the rural roads, desired by Nazi Germany, Fascist Italy? Do you There was this experience, the possibility of finding a path of modernity in the reinterpretation of the popular architecture?. The thesis discusses various Poblados Colonization designed and built by Fernandez del Amo, with emphasis on circumstances that are common to all of them, while insisting on the facts of each differential. It verifies how a whole, without being homogenous, this is particularly explanatory of the journey time by the Spanish architecture, in its quest for modernity. In conclusion reflected the fact that in the colonial adventure followed in the reconstruction efforts, it not only possible but that it would be even desirable, from the architecture to find a way to modern architecture that intended to perform. The reasoning can be extended until today to understand that the security of all walks of modernity, is supported in the consideration and analysis of the root causes that make possible the emergence of any new culture.

Author: BRUSCATO PORTELLA UNDERLEA.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA. ETSAB. CAMPUS SUD.
Place of preparation: ETSAB, EDIFICI A PLANTA 2 Campus SUD.

Summary: The digital architecture is a recent phenomenon, which has been little treaty in relation to the implications of its graphical representation. To make a reflection on the impact of the diverse digital architecture and achieve the main objectives of the investigation, along this thesis show different levels with respect to the use of new digital media, along with an analysis of the architectural current production, through various projects, especially in regard to process and display, apart from its use in the drawings of projects narrative or performance. From the time that projects are developed to support digital, there is a universe of new possibilities formal. The changes now taking place with this broad range of tools and experiments are reflected not only in the representation but in forms design and production. It is now that we can respond to the novelty of forms generated and assist in the reorganization of work processes in the studies and see, also, as the incorporation of these new technologies has remained as one of the backbones of their operations, opportunity for dialogue with the more traditional processes. To broaden the scope of its capabilities, is trying to point out highlights as new concepts, processes and resources from analysis of studies of architects and specific projects; looking facilitate an overall picture, with enough perspective, and allowing all think proposals such as those discussed more paradigmatic case of a global transformation in the architectural representation. The goal is to observe the phenomenon today with the changes or advances in the design and renovation of the architecture, a tour of the digital architecture, appreciating this development through specific cases studied. In terms of time frame, the study is intended to focus on contemporary architecture. As for the determination of the objects of study, the thesis focuses some of the most important projects conceived by studies such as those of Herzog & de Meuron, Jean Nouvel, Dominique Perrault and Frank Ghery, forming a first group within the first chapters the thesis, leading to a debate where digital media are used from a representational. A second group of studies analyzed, in the final chapters of the thesis, shaped by Alejandro Zaera-Polo and Farshid Moussavi (Foreign Office Architects), NOX / Lars Spuybroek and Greg Lynn, the process can be seen from the formal based combinatorial in computer algorithms, architectural concepts more experimental, mainly animation, where the involvement of digital media have issued new possibilities in defining the architectural space, especially in three-dimensional design projects, as well as the configuration of virtual environments. Drawing especially that most of these studies have developed recent projects in Barcelona, which has allowed to visit them and make a first-hand review of its work processes and provide a comprehensive background graphics. In addition to seeking a conceptualization of its inputs have revealed that several similar conditions.

Author: DOMENECH REINOSO JAUME.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Author: Romero de Contreras Elsi Solvey.
Year: 2005.
University: VALLADOLID [www.uva.es].
Place of defense: E.T.S. de Valladolid.
Place of preparation: E.T.S. de Valladolid.

Summary: The architecture of the Venezuelan Cologne and of the nineteenth century, has disappeared in the twentieth century due to a misconception of progress, desire for modernization, unwillingness of the authorities, among others. The statement also Tachira heritage has suffered losses irrreparables. In this regard, the objective of the dissertation is to study and evaluate in the context of Venezuelan architecture, architecture tachirense existing, as a monumental likely to be preserved, protected and conserved. Hence, it was determined that the architecture tachirense evolved in the context of architecture and Venezuela, with the elapse of time examples of architecture are maintained while others may have been destroyed either through ignorance or phenomena naturales.La doctoral thesis catalog has helped identify, document and analyze the current assets of Tachira likely to be retained. Just as also identified three times in the architecture tachirense very relevant. The first, religious buildings and dotacionales built at the beginning of the twentieth century, with a style acedemicista. The second, in the thirties and forties of the twentieth century buildings that point toward a functional rationality. And a third, the fifties and sixties of the twentieth century, of great importance to the architects. There is a rich heritage of buildings which has not been given a valuation process architectural by society and its government leaders, in addition to the lack of an efficient regulatory framework. This research is intended to raise awareness of the importance of architectural heritage tachirense existing and draw attention regarding any building monuments to the past that represents; with his big or small story; elegant presence with or without her, and, with their insertion into the context must be preserved.

Author: FERRER FORES JAIME JOSE.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA (ETSAB).
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: I. The evolution of the Danish architecture is developing progressively in a critical continuity with international trends; it contemplates modern proposals and accommodates them to local conditions, surroundings and character; and is identified, mainly, with the Danish cultural heritage. By opposition to the stylistic eclecticism of the beginning of the century, the bygmester school, the master builder school, which P. V. Jensen Klint founded in 1911, accommodates itself to the common beauty of the primitive architecture, with the material honesty and the craftmanâs practice. The elementary language of the traditional construction and the classicist manor house, Liselund, orients the integration of classicism with the popular tradition and culminates with a period, the Neoclassicism, that enhances the classical cultural inheritance, constructing the Faaborg Museum (1912-1915) by Carl Petersen and has its occlusion in the monumentality of the Police Headquarters in Copenhagen (1918-1924) by Hack Kampmann and Aage Rafn. II. After World War I, the artistic breakway of the European avant-garde, the technological optimism, the industrial production and the geometric elementarism conform the artistic and social utopia of the Modern Movement represented by the Exposition des Arts Décoratifs held in Paris in 1925 where the profile of a stark, rigorous country is inscribed in the Danish pavilion of Kay Fisker in which Arne Jacobsen collaborates. Nevertheless, the beginning of the Scandinavian architectonic renovation took place in the Stockholm Exhibition in 1930, where the aesthetic and social manifesto conceived by Asplund reflects the incipient constitution of the welfare state. The white, cubic and simple shapes that Arne Jacobsen builds in Bellavista (1931-1934) are the aesthetic and egalitarian expression of a social utopia. The Modern Movement, however, becomes a minority phenomenon. The progressive movement of the Functionalism and the synthesis of tradition and modernity of Nordic empirism culminates with a Functional Tradition based on the identity, the context, the crafted quality and popular tradition in a daily expression of well-being and democracy. III. World War II isolates Denmark from the rest of the world. Nevertheless, in this period of isolation, retirement and resignation, modernity, that was progressively developed in the fifties, is built up. With the incipient reconstruction of the postwar period, takes place a resurgence of modern language, the International Style and a renewed interest in the traditional architecture. The international impulses blend with the Danish constructive culture, the artisan perfection, the material commitment and the honest expression of the materials, make up a Danish essential modernity that underlies artisan tradition and cultural inheritance. Modern Danish architects I. The essential convictions of the generation of modern architects, that Giedion denominates the third generation, are characterized by the progressive assimilation and reinterpretation of the Modern Movement and by the vindication of the cultural roots of the traditional constructive culture. II. Through the works of Arne Jacobsen, Halldor Gunnløgsson, Jørn Utzon, Jørgen Bo, Vilhelm Wohlert, Erik Christian Sørensen, Jean-Jacques Baruël, Knud Peter Harboe, Knud Friis and Elmar Moltke Nielsen, this research summarizes some of the most singular moments in the construction of Danish modernity: moments in which the progressive assimilation and reinterpretation of the Modern Movement crystallize in a modernity rooted in the vindication of the cultural traditions.

Author: ROMERO DE CONTRERAS ELSI SOLVEY.
Year: 2005.
University: VALLADOLID [www.uva.es].
Place of defense: E.T.S. DE VALLADOLID.
Place of preparation: E.T.S. DE VALLADOLID.

Summary: The architecture of the Venezuelan Cologne and of the nineteenth century, has disappeared in the twentieth century due to a misconception of progress, desire for modernization, unwillingness of the authorities, among others. The statement also Tachira heritage has suffered irreparable losses. In this regard, the objective of the dissertation is to study and evaluate in the context of Venezuelan architecture, architecture tachirense existing, as a monumental likely to be preserved, protected and conserved. Hence, it was determined that the architecture tachirense existing evolved in the context of Venezuelan architecture, and that with the passing of time examples of architecture are maintained while others may have been destroyed either through ignorance or by natural phenomena. The dissertation has allowed catalog, identify, document and analyze the current assets of Tachira likely to be retained. Just as also identified three times in the architecture tachirense very relevant. The first, religious buildings and dotacionales built at the beginning of the twentieth century, with a academicist style. The second, in the thirties and forties of the twentieth century buildings that point toward a functional rationality. And a third, the fifties and sixties of the twentieth century, of great importance to the architects. There is a rich heritage of buildings which has not been given a valuation process architectural by society and its government leaders, in addition to the lack of an efficient regulatory framework. This research is intended to raise awareness of the importance of architectural heritage tachirense existing and draw attention regarding the entire building monuments to the past that represents; with his big or small story; elegant presence with or without her, and, with their insertion in the context must be preserved.

Author: VIDAL FRANQUET JACOBO.
Year: 2005.
University: BARCELONA [www.ub.es].
Place of defense: UNIVERSITAT DE BARCELONA.
Place of preparation: UNIVERSITAT DE BARCELONA.

Author: RIVERA RIVERO MARIA GABRIELA.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA.ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: In the architectonic project a crossover of tangible and intangible aspects reflected in the design process has given answer to the intentionality and social motivation of the Architect. This answer flows from the virtual to the real things with tools of the memory and it is demonstrated in the representation. Two concepts will be fundamental for the development of the thesis: Representation and Memory, axes of the objective that sets out to reach: Analyse the values of the memory present during the design process, through the representation of the architectonic project. The development of the thesis is framed within line 3 of the doctorate in architectonic projects, including a dialogic approach, made up of the dimensions: ethics, aesthetic and logical; and by the hermeneutic vision of the Architecture that crosses a circle in continuous movement from the design, the construction and the use. The subject is structured into three fundamental parts: I. In first place it is considered the study of memory´s phenomenology, to develop a parallelism towards Architecture´s field. This first part is titled âthe palace of the memory and the Architectureâ, remembering the metaphor of the Palace used by San Agustín to exemplify the wealth and magnitude of the memory for the humankind. The departure point is the investigation on the theoretical notions about the subject of the memory, that interest us in the scope of design, to take step later to its action in the architectonic ideation with the support of the inverted cone raised by Bergson, that illustrates the memory in action. Finally, we will be able to see the relation between the memory and the representation; for this purpose it is constructed a dialogic base with the crossing of the results and positions of three thesis on drawing-narration, design-education and representation of the architect´s intentions. II. The second part is centered in the analysis of the dialogue between Architecture and memory, taking a route by the hermeneutic circle with the support of four examples of great formal and conceptual quality (Jewish Museum, Igualada Cemetery, Diagonal Mar Park and a commentary on Barcelona). This second part is titled âThe imprinting in wax: values of the memoryâ. The crossing between the memory and the architecture developed in this part, originates the definition of three categories that will help us to understand the significance of this dialogue: reflective memory, memory of the places and recognized memory, in this way we can see the value of memory in the ideation, the construction and the use of Architecture. III. Having an idea on the relation of the memory and the Architecture in the three proposed categories of the thesis, in this third part, we will visualize the interaction between the attributions of the memory, that is to say, between the individual and the colectivity, enriched by the proposal of an intermediate that we will call group memory, halfway between the individual and the collective one. This third part is titled âthe figure of the carpet: memory chainsâ, in reference to the novel of H. James, who talks about the crossover of aspects that give origin to a good literary work. The analysis of the group memory in action, will be supported by the example of an Architecture workshop conformed by four architects, whose contact has facilitated the direct dialogue and the observation of the relation between the memory and the representation in the design process. We will be travelling across the individual memory towards the conformation of the group memory and later, the interaction with the collective memory will be exemplified in the joint design of a dwelling for an indigenous tribe. Finally the last reflections are presented, making emphasis in the promise that the memory does to us for the enrichment of the culture, that watching it without nostalgia, will help us to project effectively towards the future.

Author: WIESER REY MARTIN FRANZ.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: E.T.S. d'Arquitectura de Barcelona.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The âteatinasâ, zenithal ventilation and natural illumination components with very particular characteristics, were incorporated in a systematic way in the buildings of the city of Lima from the end of 18th century to the first years of 20th century. The first part of this thesis presents the subject and the justification of its election, as well as the objectives and the hypothesis. The main objective of the study is to evaluate the energetic performance of the component (the âteatinaâ) and to consider a possible contemporary use. It is proposed to investigate about its origin, the circumstances in which it appeared, the way it was diffused and how it stopped being used. Finally, the study attempts to identify a possible relation between the presence of teatinas and an integral environmental strategy in those buildings that contain them. The second part of the thesis presents the precedents and case studies of environmental architecture and discusses the subjects of comfort, sizing and control strategies, considering thermal and luminance criteria. It describes the geographical, climatic and luminosity characteristics of the city of Lima, its comfort requirements and some basic design guidelines are exposed. The third part of study, THE ANALYSIS, starts by analyzing the teatinas and reviewing previous studies about them and on similar subjects, as well as researching about the historical context in which they were developed. The element is characterized formally and the aspects considered in their composition are identified. In a second instance, based on data handled previously, the energetic evaluation of the element is developed: a thermal evaluation that considers the variables of solar radiation and ventilation, as well as a luminance evaluation that values the phenomena of the illuminance and glare. Finally, in the fourth part of the study, the SYNTHESIS, the relation between the environment and the teatinas is identified. Some guidelines for application in a contemporary context are also suggested and a mathematical model for the prediction of its size in relation to their luminance performance is proposed. As a general conclusion the teatina is identified, in its generic characteristics, like a component that, at its time, satisfied the comfort requirements of Lima citizens, taking into account the climatic and luminance conditions; considering the physical structuring of the city in addition to the cultural variables, the availability of materials, the technological resources of the time, and others. It even recognizes certain changes in its characteristics in order to adapt itself to the new exigencies of a greater illumination. In any case, under the conditions previously described, and from the perspective of its energetic performance, the teatina represented a more efficient alternative than a âconventional' window. The limitations of the teatinas as a luminance component, the particularity of the new growth of the city, the technological alternatives, the foreign formal influences, among other variables, were responsible for the progressive replacement of the teatinas and the âfarolasâ (zenithal elements that replaced the teatinas at the beginning of the 20th century). These elements of illumination and zenithal ventilation then stopped being used in the design of the buildings in Lima; although they were and are still occasionally being used, but unfortunately with very little criteria and sensitivity.

Author: DEARRIBA ROMANIDY TANIA.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: E.T.S. d'Arquitectura de Barcelona.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: This research addresses the emotional restructuring of urban spaces through the use of color, focusing on two core issues: the visual effects and the emotional response. It is, therefore, a comprehensive system of assessment and design that can only be reliable and accurate, to the extent that similar investigations are conducted and the results are meaningful and reliable. The research is divided into two phases, a theoretical and verification system. The first establishes the foundation of the system, it took the form components: Strategies, records subjective and objective. The synthesis of information provides the necessary ingredients for the development of strategies and uncover the variables, most important, involved in the amendment of the emotional response and which are incorporated in the records objective and subjective. Strategies are developed from developing teórico-asociativo and take into account the following: a. The point of Color Balance and the psychological impact associated with this. B. Stimulation and pleasure as two basic dimensions of the meaning of the environment, upon which the design with color must exercise its influence to achieve an emotional effectiveness into space. Possible strategies design with color, are set according to the psychological effect of the point of balance, and assuming the existence of two types of emotional spaces to intervene: spaces in high stimulation and pleasure in low assessments that generate stress, anxiety, etc. ; spaces and low stimulation and low on pleasure, which tend to be evaluated bored, sad, and so on. Registration is set for subjective evaluation of the emotional response through a questionnaire semantic differential. The register includes the development of objective measures of complexity associated with the visual richness and order as well as the determination of the point of balance, and the differences of color as key indicators in the comparison of stimuli. The second phase will check the effectiveness of parts of the system. Known emotional requirements of the case study, selecting the best strategy and, from there, the alternatives are developed design. In these alternatives, the complexity of design and color balance point are the variables to change. The results of the evaluation to emotional stimuli were compared with objective indices obtained some evidence concerning: 1. Factors design with color that define the preference for stimuli presented. 2. Factors design with color contributing to the connotation of a greater or lesser degree of complexity. 3. Factors design with color contributing to a greater or lesser connotation stimulation. 4. Factors design with color contributing to a greater or lesser connotation of pleasure. These signs are incorporated into the strategies identified in the first phase and form a much more complete proposal for the design of color in the spaces above emotional. Finally, the proposed system is structured in three parts: a. The subjective assessment, which is defined questionnaire and procedures based on what is evaluated: real environment or encouragement. The evaluation of real environment defines requirements emotional environment. The evaluation of possible stimulus to compare the variation in the emotional response to the design of color partner. B. The design strategies consider the existence of two types of spaces emotional, effective intervention through the design of color; his selection depends on the subjective evaluation. C. The objective recording that allows you to control the movement of physical stimuli and their possible impact on the emotional response.

Author: CASTRO GONÇALVES JOSE FERNANDO.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA DE L'ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: Modern town planning made its mark on the transformation of the city in the 20th Century, as well as on residential architecture, to which it is related. The clarity of the theoretical platform and the stability of programming on which the two central paradigms of modernity rest (The Athens Charter and housing) allow us to see the âlevel of take-up❠by architects of the precepts of modern architecture: from town planning (the idealogical basis), to building design in accordance with formal avant-garde criteria and with Le Corbusierâs «five points » (the methodological basis). In relation to the latter, it is in the high-rise âpositivist house❠that modern planning innovations in the use of space, programming and techniques can best be studied, in so far as its links can be tested at a variety of scales. The utility of the work demands, however, a precise architectural framework; for this reason we choose the âcase study❠which, for operational reasons as well as for reasons linked to the characteristics of peripheries, is centred on Portugal. We must seek to determine whether modern town planning, applied to cities that reached the 20th Century without having suffered the overwhelming industrial damage â Porto and Lisbon - confirms the idea that the Modern Movement was aiming to continue and resolve a link that had been lost between urban space and its inhabitants, as seen in the city prior to the industrial revolution. On the other hand, although without the pressure of urban growth and the influence of the technical development that accompanies growing cities, the post-war transformations that took place, at a conceptual and methodological level, also indicate a process of âmodernity❠that goes further than âideological' precepts â mostly because, being centred on formal and visual codes, it achieves results that are equally qualified. Modern architecture arrived in Portugal without any urban need and without a critical network to put its meaning into context. Therefore, although urban growth takes place within the illusion of the modern city â the park-city, the high-rise house, the minimal dwelling - the vocabulary of modern architecture would never be taken as a rejection, but rather of an âextension❠of the existing city. As public social housing demanded conservative styles, modern innovations took place mainly in buildings constructed for profit. The defence of standards of cleanliness, hygiene and circulation is therefore taken into consideration more as a result of the concerns shown in the nineteenth century than due to the political implications that arose from this. It is perhaps because of this that the residential unit is not the target of special study in relation to the economy of function and construction. Understanding of the form as a unit will be shaped by the interpretation of the âvisual' characteristics of modern architecture, taking the âstructural grid' as a âgeometric❠plan in which the design of the âblock❠and of the city is controlled. Due to circumstances related to the scale or the specific details of the intervention, an adjustment is sought, from the very beginning, to the scale of cities and buildings. This process, that gives preference to principles of building design and links them directly to the urban space, reflects the manner in which design âstandards❠are reinterpreted in relation to the âground', clarifying, for example, the manner in which they are transformed by context.

Author: SUAREZ MARIA CANDELA.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA DE L'ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The project is to be understood as a kind of movie, where the final plans (the constructed work), are only one frame. The conjunction of all of the parts is the result of the project genesis, giving them reason to be, giving them sense. A project is a specific and complete solution to a problem (Michael Baxandall, 1989). Knowing the solution, you turn your eyes back, collect available facts and reconstruct the problem that originated it; the conditions that made it possible are inferred. This dissertation is inscribed in the inferential or genetic critique area. An analysis of the project last phase is only useful to establish a series of attributes of that specific step. In such a case, any speculation about the author intentions that are not manifested in the analysed drawing(s), are renounced. It would be impossible to express outward affirmations such as âthe architectâs search wasâ¦, the effect he was looking for wasâ¦, etc❠if thereâs no supporting documents. The main hypothesis that rules this dissertation is that the projectâs final phase, as well as the constructed object, is only a step inside a process, one shot inside a film. The analysis of an architectural object through its final plans is correct but this duty must be done with the knowledge of the partiality that such a research may involve. It must be done with the knowledge that the overall sense of a project is constructed with each one of the steps realized during the process, the most intense moments may coincide or not with the static image of the finished work, whether it is on paper (not constructed work) or in space (constructed work). Once understood the relevance of the project process in the global reading of an architectural work, it is not only necessary to realize that such a process is never linear but zigzag, but also that its character is one of a living organism that follows a path of hesitations and firmness. The creative process of the villas Meyer and Hutheesing-Shodhan (first one not constructed, second one constructed) is thoroughly displayed independently in the first and second part of this dissertation. Even though the attitude is the same in both analyses, the type and quality of work materials have forced the application of different working strategies. As a conclusion, the third part of the dissertation, seeks to justify the intuition in putting these two villas together: the time, geographic and cultural distance that separates them not being a factor. For that purpose a focus has been used over a common factor of both creative processes: the hanging garden. Starting with the notion of type, a series of projects that share the formal/spatial/functional element have been putted together: the single family villas Polignac Princess (1920), Stein de Monzie (1927), Ocampo (1928), Savoye (1929) and Chimanbhai (1951-55); the immeuble-villas (1922-25) and its two direct descendants: the Esprit Nouveau Pavillion and the Banlieue Villas (1925); some of the Wanner Building apartments (1928-29), others from Village Coopératif Building (1934-48) and the immeuble-villas of the first version for the Marseille Unité d'Habitation (1945). Rather than making a genetic study on its hanging gardens, I present some latent references in this interior/exterior space, even though they were not a conscious recreation made by Le Corbusier, they are useful to explain some attributes âformal, spatial and/or symbolic- that certainly could be part of his design intentions. One of these references, already pointed out by several authors, is the Carthusian cell garden. Others are the garden attached to the balcanic houses, the âjardin clos médiéval' and the closed Persian garden or pairidaeza.

Author: SAAVEDRA VENEGAS RODRIGO ALEJANDRO.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA DE L'ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The overall objective of this study is to demonstrate and document the value to the enseñanzade architecture that there is a pedagogical model based on the experience of travel and sensitive architecture at the same time. The pedagogical model is called by Travesías America: travel to different parts of the American continent, conducted once a year since 1984 by teachers and students of the School of Architecture and Design of the P. U. C. Valparaiso, Chile. The importance of this model for teaching architecture, is opening an educational experience from a sensitive, contained in an open relationship between poetry and architecture in the years â50. This is a clear realization of the ideals of change in the teaching of architecture manifested in Europe, finished War II. It posed a didactic based on experience, seeking to rescue the values plastics and emotional nominated by leading architects. A key feature of the Tours link is in a bounded time three essential knowledge architectural experiences: travel; the project and give away. These together reinforce the capacity for abstraction, rigor and humanism, which should be an architect, to give visual and emotional qualities to their projects. The Specific Objectives of this thesis are: 1. Demonstrate the importance of travel for the formation of an architect; 2. Demonstrate the importance of the project for a student architecture, experiencing the complete design process, from the idea, to build and to inhabit it built. 3. Demonstrate that can be thought of as a work of architecture as a gift to the place and its inhabitants. 4. To check the appropriateness of the gift. The methodological framework for responding to the proposed objectives are based on analysis and experience. The first objective is accomplished by analyzing eight Tours to different geographical areas of the continent. These are, desert, jungle, Pampa, mountains, rivers, island, sea and city. In each process has been studied: in investigating their origin, travel and work. Objectives 2, 3 and 4 are achieved through experience, distinguishing memory and experience. Here, the study center in cases where the work has been conducted in very different locations each other. This is true of the Voyage to Porto Seguro whose work is located in the northeastern region of Brazil and Puerto Travesías Guadal and Villa Ohiggins whose works are located in the southwestern region of South America. By studying the action projective experience of the work of architecture at the Crossing. This process is seen in the light of the philosophy of Paul Ricoeur proposal raised by the projective action in three stages; Prefiguración (idea) Setup (build) and Refiguración (inhabit it built). From there we see the Architectural Project is an action that does not end in the definition of an idea or proposal, but it is a process that includes the build and inhabit it built. This is a central point in this thesis, since it would show that the Travesías traveling with the prefiguration melts, and with the building project, which currently gives a student an opportunity to realize an idea as a realization of View appear as designed. So we will see that in that enjoyment is the pedagogical value of this model because the experience summed up in the plastic and emotional qualities mentioned above Finally, we close this study with the definition of the work of Journey as a gift, a concept embodied in the origin of these poetic experiences.

Author: SILVESTRO JOSE MARIA.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: Aula Pi i Calleja de l'ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: This thesis focuses on the analysis of Architecture as well as on the architectsâ job itself âmainly in the construction of the so-called âspacesââ the relevance of the concept of space in cities where human beings dwell, that is to say ,ââhomesââ, in both a more appropriate as well as a more comprehensive sense. This issue becomes a challenge when reflecting upon the idea of looking at cities from the perspective of âa placeâ, where human beings live, and therefore about architectsâ job itself, as an activity that could allow them for the humanization of people. In this vein, along this research human dwelling goes beyond the concept of home by interpreting and building other ampler spaces in the context of urban dwelling. The general hypothesis in this thesis is that human beings full fill themselves going beyond their individual context. In this context, both communication and community become the most outstanding ingredients; that is the reason why the real endeavour of an architect is to create real spaces for people wherever they might go, the spaces are supposed to build places, as well as a sense of temporariness that may eventually help people become more humane by the construction of âcitiesâ. The thoughts poured along this doctoral thesis are meant to make up an authentic invitation to re-think again the construction of cities, as well as the job of architects from the most diverse viewpoints, searching for the most adequate response to all urban problems, namely: public spaces and architecture itself. All this is viewed from a deep cross cultural as well as interdisciplinary point of view. This research work is divided into five chapters. The connexion as well as the sequel of these chapters might appear clearer , by explaining that the basic scheme derives from the hypothesis made in relation to âhuman dwelling❠(a concept above mentioned in this abstract). In the theoretical frame, there is analysed the place of a space in cities. That is the reason why there is a special emphasis on the notion of âhuman beingsâ, in an attempt to discover the origin itself of âhuman dwellingâ. It is from that position where the concept of space is analysed. It is concluded that there is an individualist perspective where the whole doctoral research is based on. From this perspective of space, there is an attempt to interpret the concept of time and space from a perspective different from that of a so called existential perspective, other than that of time flow, that it to say the so called âabscence of spaceâ. The theoretical frame of this thesis is completed with the development of two important subjects. In the former, there are analysed the changes in building as well as its consumption and the transformation of urban spaces. In the latter, there is a study of the changes in movement as well as the importance of the so called urban paradigm, in order to attain human movement, in addition to the role of TIC in human communication. All in all, the âConclusions❠as well as âSome Considerations on Urban Architecture❠make up the conclusion of the present research prospective as well open, favouring future debates both theoretical and self-projecting in the world of Architecture. Finally, both professional architects as well their instructors are welcome to search further instruction and constantly re-think their role on the basis of strongly rooted knowledge. Architects are not expected to reduce their tasks to projecting and creating spaces, with a criterion based on effectiveness; they are supposed to be aware of the fact that their activity consists of creating real places, tailored to human needs.

Author: Obregón Davis Sarah Alexandra.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. Arquitectura.
Place of preparation: E.T.S. Arquitectura.

Summary: From reflection on the instruments of planning, the thesis presents a proposal on the bases and conditions that must consider any plan to mark Human Development as a central goal of its action in the territory. The thesis examines two cases - autonomous region of Andalusia (Spain) and the State of Jalisco (Mexico) - through which is a journey through the different structural issues related to the planning and human development from the perspective of the territory . Thus, the structural planning as an activity of the Civil Service and its objectives became a focal point of the analysis, which, in turn, is complemented by the vision applied tools such as urban planning, strategic plans or Agendas 21. Ultimately, the Human Development Plan is proposed as a response to this process of reflection and analysis carried out in the thesis.

Author: SÁNCHEZ MEDRANO FRANCISCO JOSÉ.
Year: 2006.
University: POLITÉCNICA DE VALENCIA [www.upv.es].
Place of defense: Universidad Politécnica de Valencia.
Place of preparation: Universidad Politécnica de Valencia.

Summary: Jose Pascual Sunday Buix Lacasa born in 09-06-1759, named the next day in the church of St. James. His father was a bricklayer and he learned the craft of building, completed his first training with a relative priest, with eighteen years until she joined the Capuchin convent of Massamagrell. Novice in March 1779 as a suitor architect, changing its name to the Fray Sunday Petrés. In March 1780 professes brother as a layman, enters the builders group's own religious institute responsible for repairs, alterations and new construction of monasteries and churches in the province of Valencia Capuchin. From convent Magdalena will conduct a long way to pockets of Valencia, Castellon, Alicante and Murcia, running repairs and perfecting his craft. In the course of a dozen years will be designed in Alzira, Segorbe, Albaida, Caudete, Monóvar and Murcian the capital. The latter allows you to stay to complete the practical training with attendance at the School of Art, founded by the Society of Friends of the Country. In 1791, called for volunteers for missions Capuchin New Grenada. The offer of Fray Domingo is accepted among others, the provincial parents helped him to prepare a curriculum suitable and in addition to seeking the tools to perform their craft in America. We need to extend the territory of conversion, occupying part of the enclaves Jesuits, establish order in Santa and all this involves erecting new convents. Shortly after arriving at Bogota Fray Domingo begin to be called by leaders of ecclesiastical heritage to carry out any work outside their order. Although there are other developers and engineers and military are stationed, is a massive task of reconstruction of buildings and public services after the earthquake of 1785. Meet the canon Andrade, the Dean of the College of the Rosary: Fernando Caicedo and the Dominican father Téllez. Continued assistance for the Dominicans, and the convent of Santa sanctuary Chiquinquira, the orders of the cathedral chapter and other public works cause misgivings in themselves responsible capuchins. At the beginning of s. Nineteenth Mutis entrusted with the construction of the first observatory on the continent; canon santafereños entrusted the task of renovation of the cathedral, carrying with it the rehabilitation of the church of St. Ignatius, and in neighboring Zipaquira may test the model space to Bogota when it starts a parish church oriented temple greater. Fray Domingo dies shortly begin the emancipation Colombian, 19-12-1811 account and fifty two years, leaves covered many works. Bogotana Cathedral and the church of Zipaquira with the facade to pull lift towers. His funeral will be an event noted, despite the intensity of the political experiences of the time. The biography, and in particular the works of Fray Domingo has been studied so far from partial perspective, the focus of interest as a way to focus more attractive to his legacy: the works performed in New Grenada. The analysis of the cappuccino from the Colombian territorial base, were forwarded to the mainland background as an exercise in memory retrieval. But given the notoriety among different work in Spain and references built in America ended up being generalists and environmental issues. The contents of this study is a full and complete review of the origin of Fray Sunday Petrés and his life on the peninsula, which represents three-fifths of their existence. It is a difficult period for mobility friar, and poor documentation directly, forcing the cross from multiple sources that yield reliable data and allow us to keep track of an unknown layman responsible for repairing convents.