ARCHITECTURAL DESIGN (2)

Author: GARCÍA YERENA MARÍA LUISA.
Year: 2004.
University: LAS PALMAS DE GRAN CANARIA [www.ulpgc.es].
Place of defense: E.T.S. ARQUITECTURA.
Place of preparation: E.T.S. ARQUITECTURA.

Summary: The paper addresses the process of building space in the city of Guadalajara, based on the analysis of the instruments of urban planning that were issued to guide its urban development, in the period between 1933-1999. The study is part of a set of reflections around a tour histórico-urbano, which sets specific periods and key moments in the evolution of urban planning in Guadalajara, where he believes the relationship between the rules, the proposal the plan and the material manifestation of urban complex processes. The thinking here discharged, are an effort to address the problems of urban planning considerations necessary for the construction of new approaches, which would allow for a downsizing and articulation of the practice planificatoria consistent with the new economic, political, social and territorial which emerging in the city of the twenty-first century

Author: PALLÉS PEDREIRA CRISTINA INÉS.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Author: ACOSTA PÉREZ EVA.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The thesis makes a morphological analysis of the domestic architecture of the city of Coatepec, Veracruz, Mexico in the central portion of the country, based primarily on the perception and representation of traditional buildings built between the seventeenth and nineteenth centuries through the features tipológicos -invariantes form, as well as integrating the study of natural and artificial environment, socio-economic and cultural conditions as to the loss or retention of this architecture, giving representation to the town. Coatepec since its origin has undergone changes, changes that occur naturally due to urban growth, the introduction of new materials and technology, cultural exchanges, unexpected changes, new architectural styles or trends and economic problems. Esta investigación se deriva como respuesta a los aspectos psicológicos, socioeconómicos, culturales, técnicos y del medio ambiente que marcan los valores determinantes de cada época. The regional urban development trends, as in many parts of Mexico and Latin America, marking the formation of new neighborhoods on the periphery, growing cities and historical centers undergoing changes. The problem of architectural and urban recovery in moments of transformation of the built environment should be degree of sensitivity and collective culture of a society, recognizing the value of architecture and operate in good time and caution, on the ability to enter the territory new values as a result of an evolving society, searching for the right balance with the environment. El análisis de estos cascos no puede ser independiente al resto de la mancha urbana, debe ser un estudio armónico, con el objetivo de revitalizar no solo inmuebles, sino la calidad de la vidad de la sociedad, buscando equilibrio entre tecnología tradicional y contemporánea y reordenamiento use of soil. The defense of traditional architecture not only mark as a guideline for what has already been built, but believes its components in the future, as the architectural project requires freedom of thought and expression but becoming aware of the specific circumstances involved in this type of architecture.

Author: PINA LUPIAÑEZ RAFAEL.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The main focal point of this work is set at the Architectural Project. Among the different meanings that acquires term project, especially one that interested refers to the process by which the architecture and general thought. Saénz of aiza, quoting Unamuno, sees the project as a problem, ie that which is not known solution. So, the problem of the project and the problem of life, presents obvious parallels, while both consist in finding a solution unknown and unspecified. The project, as in life, the uncertainty of the outcome, and even their dependence on the arduous, it does not mean that his pursuit and development to be done outside all sorts and regularity. By contrast, the draft, as in life, is imprescindJble conducted according to certain principles computers, at least intentional mind, leading to better results. The research speaks more of attitudes and approaches that of fixed rules, in the conviction that "it is not possible trillar the path of the project." Rather, it has sought to deepen the conditions and the means necessary to venture into the path proyectual, with the intention of leading to a successful outcome. One result, as has been said, is fatal and necessarily unknown, open and unspecified "a priori" but that in any case it should be, necessarily beneficial to man. So, in the specificity, the approach to project needs to be made whole. The study proyectual was imposed in this case as a form of "specificity of the general" on the understanding that, at times, and without compromising analytical visions, on the other hand defended in this work, it is imperative approach to the whole as such. This thesis has been sought, therefore, conduct a comprehensive and concise reflection on the fact proyectual, so self-contained, with the global nature and summary of the project. The examination of the draft should not be axiomatic nor demonstrative. It is axiomatic, as though some essential basic principles of "architectural" -necesidad and truth is not seeking to establish roads closed, and moves away from any intentionality deterministic. It is not demonstrative, but rather inquiry has been called "snacks provided in the mism veto" on conviction be deepening in the right direction, but not categorically reject any other except when infringe on the essentiality ethics of architecture. Esencialidad ethic that allows shaping the real meaning or rationale for the architectural and consequently the project is planned for the greater good of human beings, and it is therefore important to use resources of others and act on a natural or artificial always fragile, in need of care and respect. Only architectures that perverted sense, become vehicles for the expression of other interests, deserve to be disqualified from the approach taken in this investigation. The above suggests the process of this project from the point of view, in a scientific manner, subject to the exercise of reason and away from all walks arbitrary, ineffable, emotional and subjective. Notwithstanding the existence of sufficient background, which permitirran talk about a current scientific proyectual from antigOedad, work that occurs puts special emphasis on the modern, or to be more precise, in the modern status of the project. Understanding by condition moerdna one that feels rooted in the ideas of self-criticism, scientific progress and social distance to be diametrically positions mercantilist, metafísicas, obscurantist, relativistic, esoteric, arbítrarias, subjective. The work consists of three parts (blocks) each of three chapters and four appendices. Its structure is, in some ways, classical insofar as it evolves 8 from l 1026 or more generally to the specific. The very name of the blocks gives an idea of this approach towards the concrete: epistemic, theoretical and poetic. In conclusion, the work closes with an appendix in which practical "way of recommendations for beginners," suggests some lines of action, always in the most elementary prudence prevents, as has been said, make the rules fixed in the field proyectual. The first set, called epistemic, aims to establish the foundations of a general nature which are used in the development of work. Thus, the three chapters are devoted to analyzing the relationship of architecture with the thought, art and science, in the latter case, considering the influences and formal methodology. It also addresses the relationship between architecture and project, and takes into consideration the need, timing and conditions to be met theoretical study on the architectural project. This block concludes with reference to ethical foundation of the architecture, and consequently the modern project. Truth and need -lógica internal and so in effect, constitute the key players who manage the entire development process for the project. The second block, called theoretical, is devoted to an analysis of three primary functions which are abstract and theoretical foundations of the architecture, and consequently what proyectual. Conceived, order and unity, are notions that, so concatenating, and seamless clear, developed over three capítuclos this second block. Distinction three notions that, in essence, trying to do the same as in architectural necessarily converge: the order tends to the unit and vice versa, as well as the concept or idea is to order and unity. Three concepts are at the same time, three generators and three features demonstrations of the same reality: the architecture. The third block, called poetic, focuses on aspects relating to the development process of the project. In other words, production processes proyectual understood as concurrency syncretic various methods of analysis and synthesis, dialéc Do j-ica and successive approximations, criticism and verification. Always with an eye on the concept of integrity, unity and order, ie the architectural consistency and intensity of the work. Consistency and intensity that are based on criteria integrators need, coherence and membership or ownership, as managers of external sense (reason for being) and the truth (internal logic) of the work. Only from that discipline is devoid of all dogmatism, we believe, can achieve the true poetic quality of the work. Rigor fleeing from self-deception and traps language (Wittgenstein) to find the clarity and simplicity throughout the architectural complexity of fact, without falsehoods. Rigor imposed by the need to justify decisions through reason and logic inherent in the work, even if they are the daughters of intuition, of the dream, or madness. The process consists of proyectual seek poetic synthesis between what the work is, what it contains and what it represents. The coordinated integration of the three basic systems (construction, function and method) gives the work its consistency and intensity.

Author: RUIZ BARBARIN ANTONIO.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: I wanted this job was to be treated as a virtual trip through his life to get the work of Luis Barragan, a journey undertaken with eyes tellers travelers debt. Also with gratitude, and that we owe a lot to all those architects who over time have succeeded in creating spaces so suggestive and exciting, so full of meaning. So I think that a tour like this became imperative in forming around architect who precie be modern and critic at the same time. In this analysis of the general to the particular of his life and work, has been deepened in two of its most special work: his house and the house in Tacubaya Gilardi, in a more leisurely, methodical and scientific. Although the work barraganiana is a closed architecture itself inwards, it denies the outside world. Rather, it examines, and analyzes their response to it determines the project and sets its own way of being. After all, is the way to interact with the world Luis Barragan, a whole set of relationships and dualities and, as appropriate, joint interior. The works of Luis Barragan not known simply by analyzing and reading blueprints; worth it with total accuracy in assessing each of its physical corners. But it would not be enough to empapamos them sensually: its atmosphere, its sounds, its silences. For them, after all, ours. So get to share the rules of the game, if I may say so, with the author of the works themselves. Rules formal systems that incorporate modern critically such as neoplasticismo, Surrealism and Cubism, always attentive to the values regionalist Mexicans. Maybe a little comment, a sentence, a small sketch, a picture, a coincidence, somewhat arbitrary in principle has become a real revelation, as possibly happened to focus my work in his house and the house Gilardi , selected because after making my pilgrimage to including them I had the feeling that something hidden inside it that, despite that attracted me, I could not reach. Some old photographs of the attic Beistegui Le Corbusier and text Josep Quetglas on Barcelona Pavilion of Mies van der Rohe was commissioned to feed my curiosity about what is the secret of his charm, interrogándolas in myriad ways and means for their effective communication, technical implementation, austere lines, magical atmosphere, their persuasive and seductive beauty. It was not, nor is it my intention to give a certainty formal allegations or new grounds with regard to the work by Barragan, the aim of this research is rather provide some data hitherto hidden and new interpretations to better understand the origin and meaning fantasies projected in its work, including increasing the number of questions. Leaving look Barragan as before and librándole his aura colorful, customs and purely visual, and serve as a tool to advance a more serious and less innocent of their work. To look at it another way, from the other side of the mirror in front of the post that we have his work, englobándolo under the heading of "another look", and contributing as much as possible to question certain issues that I think were not the product of deep convictions and that required an explanation. I think the last time Luis Barragan demanded another way of looking at his work, to clarify that his career was not alien to the ideals of the Modern Movement, because from personal experience and scientific sought another way to rapprochement and understanding their spaces, perhaps more metaphysical, in order to narrow the meaning of their architectures, naked, simple and intense relationship with nature. With this research we traveled with Luis Barragan from the family ranch Corrales in the Sierra Mazamitla, in Paris 1925, we learned Pavilion Melnikov, L'Esprit Nouveau Le Corbu 8 sier and d23 to Frederick Kiesler. He also went southern Spain and came to the Alhambra, in a trip initiatory whose feelings never leave us, and northern Morocco. We came back to Guadalajara to take air and back through New York to Paris in 1931, where everything changed, where we witnessed a party in the attic of Beistegui ... Â And what a feast! To then get off to Menton and found after so long, Ferdinand Bac and their gardens. Then got into Poissy ... Â what a shocking was that! And we continue traveling through Spain, France, Italy and Greece, and when we could not over by the weight of luggage that we accumulate, we returned to Mexico, where everything was filtered and distilled. Perhaps helped us in this task of the new friendships Barragan: "Nano" Reyes, Clemente Orozco, Miguel Covarrubias, Frida Kahlo ... Who taught us to look with eyes Mexicans already reconciled with the tradition. And that erupted color. Then came Max Cetto, Mathias Goeritz and other German artists and architects who, fleeing the war in their suitcases brought the Bauhaus, and thanks to them intimamos with Mies, Rietveld and Loos. And Mexico still traveling through a large number of excellent books and friends, we approached other worlds and cultures. Thus, without moving from there, we traveled to India to Fatehpur Sikri, the town red abandoned. And once again returned to Italy, where we were touched by the towers of San Gimigniano and houses of Morocco. California and the world of what Wright went with a good friend, Richard Neutra, and also talked with Louis Kahn respect to a courtyard that was planning in La Jolla (Calif.). In the end, tired and sick, and only viajábamos with the mind, silence and solitude. But we had a wonderful trip, finally, through the water that took us to Japan, with its wonderful Shinto temples, and we empapamos of its way to understand life and death, we share ideas with Carlo Scarpa, and former in Mexico again Wright. On this trip has been vital understood his vision of architecture as a domain of the unmeasurable, sensual, elemental, and the mysterious, and explained his presence as necessary "as water, bread. Or light in our lives. " And this trip is completed in the Alhambra, in the courtyard of Mirtos. And there, following him and seeing what he saw, we reencontramos with its architecture reflected in the large pool, which basically is a piece of heaven on earth trapped. For me, in the work of Luis Barragan, rarely in architecture has accomplished so much with so little, and seldom material poverty has produced such spiritual wealth.

Author: ECHEVERRÍA VALIENTE ERNESTO.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: It is a very ambitious research project that seeks to link the informacvión of cultural property histórico-arquitectónicos at various scales with the computer, not only to a perfect classification, and short, but as an interactive system in which they can live go integrated new data, in a manner consistent promote further action, analyze problems and identify some of the futures, in effect, create a living archive of the assets of the university, always related to their contexts past, present and anticipating the futures, transcending, the same as honoree said, the documentation of existing features to turn it into a base for prospecting and future projection. The methodology followed is very clear and perfectly consistent with the goals and acotaciones visual and conceptual field of the thesis. It must be said that, being a very technical argument, methodologically sins once in cdando a certain lack of order. There can be no talk of a unique methodology, as in the letter are either separated those in the tool and to study the development of the university and their property. Much of the effort of this dissertation is the combination of a (punramente computer science and mathematics) to the other (a more historical, architectural and speculative). The rest of the methodology is very clear, very well acotando every relationship, but in terms of chips may err sometimes taxonomist. Work is original and brings three investigations and important proyeccción: Wearing a herramient6a large capacity for storing, mixing and synthesis of data. An architectural and historical analysis of the Universidad Complutense And in third grade, objective guidelines for the development of the university because of the viewpoint edificatorio. In some, and this is important, so called methodologies for consefvación-evolución of Cultural Heritage. The literature presented in each and every one of the areas in which it moves the argument and in each of the sections, most of the literature generally refers to a more than enough the Ifuentes, even becoming part the content of the thesis. Do not forget the most own research project, and ademásinforma some pormenorizaciones a more instrumental linked to the tools of collection, classification and management of data within the GIS system and its conversion into useful information.

Author: SORIA LOPEZ FRANCISCO JAVIER.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: PROJECTES ARQUITECTÓNICS.
Place of preparation: ETSAB , EDIFICI A CAMPUS SUD.

Summary: The work is carried out from a humanistic perspective of the architecture, analyzing the path of social dialogue processes associated with architectural design and production, which are based on the premise of the quest for balance between the built environment and its natural and cultural environment. The starting point of the investigation touches the very origin of the dialectic between the natural and artificial. With this in mind, the architecture is defined as a 'second nature', adapted to the needs of man, which go beyond the purely functional and pragmatic to lie in a fundamental way in the spiritual, which ultimately characterized precisely, its purely human condition. Secondly, it develops an analysis histórico-interpretativo of trends in sustainable architecture of the last two decades of the twentieth century (1980-2000). This is discussed in some detail the concept of 'sustainable development' and its influence on the current architectural practice and the main methods for evaluation. To close the theoretical framework and main chapter of the thesis discusses the concepts of dialogía and hermeneutics trilogy (prefiguration, configuration and refiguración), developed by the lingà ¼ ista M. Bajtin and philosopher P. Ricoeur respectively, as a methodological basis for the analysis and interpretation of a sustainable architecture. It tries to link sustainability and dialogia as a single concept, which is close to the architecture of comprehensive and holistic manner, and try to view it as a multi-cultural phenomenon. Here arises the central working hypothesis, which states that the biophysical and tangible factors, as well as social and intangible are both cultural parameters essential for tackling the design of a truly sustainable architecture. 1 Based on this' sustainability dialógica 'as a filter, explores four examples architectural whose relationship with the natural environment is deemed appropriate from the point of view of its physical impact, but because both are linked in intangibles, willfully and forceful the nature of the site. In this way he examines the design process as an exercise in social communication, which allows an appreciation of intersubjective relations aesthetic, ethical and symbolic architecture enables between user and context. The research concludes with a reflection globa] on the role of architecture as a bridge between man and his environment. Toca essentially the position of the architect in relation to the so-called sustainable architecture, which should, based on the arguments go beyond complying with the parameters of low environmental impact, and try to meet their responsibility to the spiritual needs of man , by their nature subjective and intangible, usually left in the background in sustainable design. This is ultimately a close link between man and nature through its architecture as a way to improve their quality of life, while ensuring environmental conservation.

Author: PARTIDA MUÑOZ M. GABRIELA.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: ETSAB.
Place of preparation: ETSAB, EDIFICI A CAMPUS SUD.

Summary: The thesis recovers the idea of architecture that part of processes of collaboration between architect and artist; rescuing those works that revolutionized Mexico and pierced the traditional conceptions of the elements making up spaces through a fresh look and innovative of its authors. It presents the Camino Real Hotel in Mexico City, Ricardo Legorreta, as a major subject of study and as a meeting point of the strategies that were instrumental in the re-development of the relationship between art and architecture, and that introduced the component that generated reflexive a new philosophy: "The Emotional Architecture" hinted by Luis Barragan, but defined by Mathías Goeritz. Both tried not only to isolate the most recognized patterns in the Mexican tradition, but build and explore new relationships between the real and the unreal, functional and emotional, architectural and artistic technique and the creative process, the two dimensions and space. In 1968 Mexico hosted the Olympics, which demanded improvement of the image of the city. The Camino Real Hotel was built as part of the equipment and was commissioned Ricardo Legorreta, who proposed a complex partnership structure formed by workers depth of art and architectural activity, among whom are: Luis Barragan, Mathias Goeritz, Jesus (Chucho) Reyes , Alexander Calder, Pedro Friedeberg, Rufino Tamayo, Rodolfo Morales, Luis Covarrubias, Lance Wyman, Peter Murdock, Charles Sevigny, Barbara Rodes, among others, which meant that the hotel would move as the most representative example to understand these dynamics work. The Camino Real Hotel has come to recognize intemacionalmente as "a new platform for the Mexican architecture", but has not been analyzed from the point of view converging various efforts that have recovered the value of working in partnership and the integration of art and architecture in search of new ways of architectural expression. The concept of Crossing Paths is the engine that gives meaning to the series of works that generated the change, and knew that finding the midpoint where it was possible to combine multiple talents in the same discipline. We review three key personalities that formed a kind of computer-based and who were key to give meaning and follow up on this kind of work: Luis Barragan, Mathías Goeritz and Jesus (Chucho) Reyes. It chose seven works chronologically above the hotel: El Pedregal de San Angel, The Museum Experimental The Eco, the Chapel of the Capuchin, Towers Satellite, Plants Automex, Smith Kline & French Laboratories, and Path Friendship. The impetus behind each of these works is based on a process where art or architecture interact in order to record or produce certain impressions. Po.-Io in this thesis the authors are not the protagonists, but the works and the dynamics of integration. Thus, the thesis is divided into three parts: The first part introduces the actors in this story within the framework of collaboration, finding moments clues about their matches and crossing paths. The second part presents chronologically the intersections of each of the works selected as a threshold where they are structured, from a purely architectural analysis, all the concepts that guide a way to understand the main object of study: the Camino Real Hotel. The third focuses on the Camino Real Hotel and its specific moment, not only as a sign that the variety of paths converge artists and architects in their work together, but as an example of great architectural value. Under this approach, these figures could not be studied rather than independently, they can take a new hílo driver that promotes a different way of looking and architecture.

Author: ORTIZ MORENO EDUARDO.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The Alpujarra has maintained characteristics outside the range of conditions which history has served. Features own - not estáticas- emerging always, in the face of dominant in the environment at any given time and attempts to impose them, brought by a permanent boost local "active marginality." The East, the corporate organization and the concurrent architecture allows identified this phenomenon as an embodiment of the values of Utopia. Certainly, the timing between the conquest of this territory (last of the Iberian Peninsula with an Islamic Kingdom) and the wars that kept him in the foreground throughout the sixteenth century, with the birth and growth of the utopian in a Europe with Spanish supremacy in many areas, had to possible influence. Since then, contact between the creator of Utopia, Thomas More, Erasmus, Juan Valdes and ultimately, between these and other humanist Europe, many Spaniards, peers and contemporaries and founders of the movement, are amply documented. Notoria is also the admiration that La Alpujarra awoke at the time or the singular generosity of the letter from the Capitulate that gave the Catholic Monarchs, drawing in a lot of Grenada Kingdom "sincrético-utópico" that alpujarreños joined grade, as is also documented. These and other historical circumstances historical, geographical or cultural, here are pointing towards the likelihood of carácterde "source" that La Alpujarra could take as utopian, but also for the survival of human desires in Grenada syncretic then wake up. The monitoring of the case by those tracks, collecting the greatest interest and end up with the next and happy but the path that we must follow here in the search for matches with Utopia is its architecture. And he does not walk lack of material: The Alpujarra East is a varied and hostile, which requires an intensive intervention antrópica for settlement. The abundant, and also varied architectural production because it provides ample area for research through its mainstream values then City Utópica (Ideal City and also, as we shall see) and thereby establish the correlation between the two and obtain consistent nature of the possible source for this utopian, La Alpujarra (characteristic source, and also close to reality as utopian, since its permanence and sustainability makes these settlements to some "Utopia decanted"). The first four chapters of the work will be consumed in this task: to isolate a set of principles or values as utopian and trace their presence in La Alpujarra. The titles of the chapters, coincident with the wording of each scenario, report of the process: 1. That there are corporations and settlements, and then preexisting pervivientes yet to identify a source, in its days of utopian proposals, and still today, as plasmaciones close to them; 2. That will happen at such sites populations engaged in a scheme to keep marginality; 3. That arqutiectura is paramount among their cultural expressions and 4. Such architecture is perpetuated in constant compositivas and elementary rules of transformation. Once this renowned Architecture lineage - utopian conclusions to these first four Capítulos- the richness of its solutions allows betting on the current validity, contrastables of them. At least, in terms and with the margins that are handled in Chapter fifth, "The validity of such architectural solutions is constrastable and opposable to embodiments acríticas." And so, a world of insights and pervivencias becomes a world of appearances and realidas operational, and there are emerging, moreover, and future potential as one of the most valid between the scenarios that are "offering" today for the humanity. The sixth chapter, "What values can operate on the global stage pancomunicado" looks back on these scenarios, in grad 8 or with 40f jetura and fiados a more questionable possibility of obtaining the most innovative proposals, they simply recreate as what desirable in the Alpujarra is a reality. Following the findings, in which we affirm confirm hipótesis- and Literature, there is an appendix in which Theme, for the convenience of management, have been collected orderly quotations and fragments of materials used.

Author: LLOBET RIBEIRO XAVIER.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: In this thesis we discover a model of city developed jointly by the architect Mies van der Rohe and the city planner Ludwig Hilberseimer, which we have called the Metropolis as a Garden City. This name comes from a sketch by Hilberseimer in 1927, where we can see how he wanted to incorporate the architectural prototype of the Weissenhof colony in his city planning schemes. The Metropolis as a Garden City is a model of an ecological, sustainable, and socially just city, which remained completely hidden because of the disciplinary division their own authors established. To reconstruct it, we have decided to establish a double look analyzing the architecture of Mies through the eyes of Hilberseimer, and the city planning of Hilberseimer through the eyes of Mies. In the first part, we analyze the historical and cultural context where the Metropolis as a Garden City is produced, that is to say, its SUPERSTRUCTURE. From the analysis of a text by Mies and another by Hilberseimer, we discover that the antecedents of the Metropolis as a Garden City are in the theory of the Linear City by Arturo Soria (1882), and in the theory of the Garden Cities by Ebenezer Howard (1898). In the second part, we analyze the city planning model of the Metropolis as a Garden City. We arrive to the conclusion that the great contribution of Hilberseimer is produced in the field of the INFRASTRUCTURES, and we create the hypothesis that the first city planning models by Hilberseimer are applications of the theory of the Linear City. The next step was to introduce the variable of the landscape through the architectural model of the Weissenhof. In the third part, we analyze the transformation of the urban space from the architecture, which Mies calls STRUCTURES. Mies propose to redefine the texture of the city from the concept of mixed height, that is to say, mixing the architecture of the city and the architecture of the suburb. We create the hypothesis that this mixture is an application of the theory of the Garden Cities. The first example is the Weissenhof colony. If we bear in mind the refusal which the city planning of Le Corbusier suffered after the Second World War; the necessity to âdeconstruct❠the political and philosophical systems in the 60s and 70s; and the serious social and environmental pathologies we suffer now, maybe we would appraise the possibility to put the Metropolis as a Garden City in practice, and to convert it in a framework to our own generation and to the future generations.

Author: MELGAREJO BELENGUER MARIA.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: Aula Pi Calleja. ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The Doctoral Thesis: âHacia a concept of interior space :1927-1937; LillyReich and Charlotte Perriand â, seeks to influence some aspects of architecture from another point of view, as you said Corbusier: âde inside fueraâ. He directs his attention to the interior space, the inside is now seen as a glove to steal away, the interior is what is left exposed. In investigating the Most historians of architecture has been ignored on the inside. Architecture is always photographed from the outside, so it is not easy to find images of the interior. It has been decoupled â foreign affairs, has been ignored in the interior life of that architecture, the population in most of the time does not make an appearance. The design of the interior space is mentioned in passing or is relegated to a secondary role as is the design of furniture. This thesis considers the architecture is a whole. It tries to prove that any transformation comes from the inside. This examines the transformation of the interior space concept, in the period between 1927 and 1937.Es in this decade to carry out its work two designers are: Lilly Reich and Charlotte Perriand. You want to get value in this work that has so far been mentioned in passing or silenced by the history of architecture. This will be the common thread that will enable us to the analysis. It will be on presentations where both dare to experiment more freely, innovative proposals for the interior. It is a thesis relations, to find links invisible, meeting points, in short: â teaming creative, with a new energy, with absolute confidence and determination to cambioâ, as Mies van der Rohe said about the commission in 1927 the exhibition dedicated to housing (Die Wohnung) in Stuttgart. The thesis is divided into three parts: 1. Part one: returning to the essence aims to establish the background to this transformation of the concept of interior space, part of an event: the International Exposition of Modern Industrial and Decorative Arts in Paris in 1925. Exhibition in which he revealed the final break with tradition Academic. The theory part of the comparison between âel interiorâ still recreates environments of the nineteenth century, the bourgeoisie and the construction of the pavilion LÂ'Esprit Nouveau by Le Corbusier in the exhibition, which will become evident in a new era. This first part is halted in 1927, believes this year as a starting point for true transformation to exposure in Stuttgart: The house is raised to answer the question Do you how to live?. 1927 is also the year of commencement of joint work between Lilly Reich and Mies van der Rohe and Charlotte Perriand with the workshop of Le Corbusier. The second part: building the new season focuses on the year 1929, exhibits of âSalon d' Automneâ in Paris and The International Exposition in Barcelona Part three: Towards a new way of living Closes bracket in 1937, when Charlotte Perrriand leaves the workshop of Le Corbusier and Mies van der Rohe prepares his departure to the United States and with it the separation of Lilly Reich. It tries to show that in the time since it has become a collective sense of the project has already been consolidated transforming the concept of internal and with it a new way of living. What is summarized in the words of Peter Smithson: âhacia 1932, the heroic period of architecture gave start something NUEVOâ

Author: MENDOZA RAMIREZ HECTOR.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The thesis focuses on the moment Guadalajara became aware of the need to update its way of doing architecture. The city since its founding in 1452, had a gradual growth, remain until mid-twentieth century happened excessive growth. Then reigned the need to maintain order and territories to resolve, both to the demand for housing, such as the construction of new infrastructure to meet and accommodating the collective efforts of citizens tapatíos. This represented an enormous amount of work for a growing population without a clear idea city, and where the way to build was based on nearly craft techniques. In addition to these factors, there is the premise that until 1948 there was no school of architecture in Guadalajara. In the early part of the thesis, are reconstructed the events surrounding the founding of the first school of architecture. The figure of Ignacio Diaz Morales, its director, is presented as a character concerned at the thought and teaching profession. He got sponsorship from the government and other authorities to create school teachers and import Europeans who enrich their academic profile. It keeps track of the early years of this institution and the most important subjects that led a special discernment. These classes are highlights Visual Education, taught by Mathías Goeritz during his first years in Mexican soil, as well as the provision of an additional foreign teachers as Silvio Alberti, Horst Hartung and Eric Coufal. As a complement to the first chapter gives a brief follow-up of urban growth Guadalajara and introduces the context in which it was constructed buildings that were being addressed in the second part of the thesis. The second part of the thesis retrieves the work of those who were students and teachers, foreign or local, the first school of architecture. Alejandro Chavez Zohn and Gabriel de la Mora (students), Salvador de Alba and Julio de la Peña (local teachers), Eric Coufal and Horst Hartung (European teachers). This suggests guidelines for approaching the look and check the quality of the school through the buildings tapatíos. Construction jaliscienses of these architects bring a special interest in the relationship of architectural object with the city, the incorporation of new technologies constructive, and the experimental geometry. The work of collective nature of these six authors form the subject of study, which is discussed in four scenarios identified by the type of intervention. The âescenario 1â presents 5 examples within the same area. In âescenario 2â shown 7 examples of equipment scattered in different parts of the city. The âescenario 3â realized three tall buildings that differ from common constructions tapatías. The âescenario 4â revises two projects outside the metropolitan area of Guadalajara. Accompanying the text, and adding the valuable artwork that is recovering from the various original files are displayed architectural drawings, sketches and prospects made by the author show that the spatial quality of individual projects. The thesis appeals to the revaluation of the work almost unheard of excellent architects who for various reasons have remained in the background in the architectural landscape. In this case focuses on professional complete, creators of an architecture that more correct, since its geographical position profited from their own cultural background, leaked the new influences and made real contributions space.

Author: CATERS ADELAIDE DE.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The thesis intends to consider compliance with the form aaltiana. The view taken is essentially materialistic, in the sense that understanding the behavior of matter could explain the uniqueness of the work of Aalto. It is suspected the presence of a hidden law, generating its forms, especially detectable in the contours, which may at first sight appear random. One could verify their existence, not only in Aalto and architecture, but also in other authors and other disciplines that seek different materials. We have chosen two authors: Marcel Proust and Sergei M. Eisenstein, a writer and a filmmaker. The thesis comes by the intersecting of the respective investigations, to reveal the mechanisms of the formation of the âpuesta in formaâ in each case, their similarities and differences. Moreover, the theory relies on a methodological basis, making data interspersed theorists, from a number of sources. At the forefront of research, objects produced by Aalto: as a starting point, pieces of glass, as the very famous Savoy vase, in the series Aalto. Follow the church of the Three Crosses, Vuoksenniska, since the nebula of his first sketches to the fullness of its three ships built. The same process is applied in different areas placed on how Aalto, smaller scale: the color untuoso of his paintings, the stroke of his drawings nervous travel; the matter cavernosal and coagulated the monument in Suomussalmi; the loosening of his experiments wood of the thirties, the display windows of the chapel Seinà ¤ joki; several luminaries, a jewel in gold. Then two projects capable of transmitting a value nuclear and the idea of wrapping: Essen theater and pavilion for the exhibition in New York. Different aspects revealed in the course of this study will ultimately verified in the process of project of the town Mairea. The way aaltiana is fulfilled according to a process which is also in Proust, both in the manufacture of writing in the narrative. This study is based on the narrative line of Proust's novel, A la recherche du temps perdu. The breadth of the novel (3,000 pages) undertakes to treat only some parts. Among the multitude of characters who inhabit the novel, have chosen some of them: the carafes of Vivonne, Albertine, Odette and small phrase Vinteuil. The contribution of Eisenstein is different. On the one hand, the thesis analyzes different sequences of their films: âel festínâ, the only scene in color in Ivan the Terrible; drop of milk in general, a scene Way Down East, Griffith, gathered in October; Billy Budd, Melville collected in the Potemkin. Eisenstein has also produced a very important text centered around theoretical retracing his thinking and his memory. At different times of the thesis, involving fragments of his writings: the analysis of a Bañista Degas, a quote from the text Stuttgart, which gives a reading of the sheeting Piranesi, elastic Disney figures and figures from the clouds evanescentes , the ecstatic nature of Greco.

Author: BARONCEA ION JUSTIN.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: This study has as its main point of departure and why the concern over urban areas historic Bucharest, which were destroyed in the 80's century XX.El case Bucharest is related to the Berlin: the two cities suffer the destructive consequences of urbanism totalitarian. This justifies our choice to study mainly places, and constructed works projects located in these two ciudades.Nos intend to analyze places where there is nothing but memory and projects for such places, in an attempt to lay the groundwork for a theoretical tool reference to the rapprochement with the relationship between memory and place. The study is divided into three parts and an introduction in the case of contemporary Bucharest, which is a more detailed presentation of the subject matter of estudio.el case Bucharest â intervention urban year 1977-1989La introduction explains what happened in Bucharest in the years 1977-1989: During these years of totalitarian communist regime was destroyed fifth of the historic area of the city to build a new "Civic Center", which was introduced brutally in the middle of the city, regardless of their historical evolution, structure and urban development trends already existían.I â notes About remaining in the urban culture of Bucharest The first part seeks to establish how the city has developed in Bucharest over the centuries XVII - XX and to demonstrate that this development has been done under the sign of permanence, continuity cultural.Se puts Bucharest in the context of the phenomenon of cultural continuity where the city is manifested as a continuation of tradition and as a product of permanencia.II â About the place and memory â gave a theory on memory lugarEn the second part of the study establishes a relationship between place and memory based on the theories about the place of Derrida, Eugene Trias and Francoise Choay, theories of Heidegger and Eugenio Trias on Being and permanence and RicÅur and Todorov on memory, and based on studies and projects related to John Hejduk memoria.Se analyze specific modalities of recovering the "essence" and " memory "of places where there was nothing but the memory of John Hejduk projects, Meinhard von Gerkan, Daniel Libeskind, Renzo Piano and Daniel Silberfaden.Otro important objective of this second part of the study is to construct a method of analysis that is apply, in the third part, in the case studies â specific places and projects related to urban regeneration Berlin and Bucarest.III â Comparison between Bucharest and Berlin places where there is nothing but the memory / comparative study of what projected and construidoA from partial conclusions that can be learned from the first two parts of the study are discussed in the third part, a series of major projects for the recovery of the places in Bucharest and Berlin "where nothing remains more than memory. "For Berlin, compares the draft urban design Piano, and Jahn Gerkan for the area Potsdamer Platz.Se analyze the draft Gerkan for the center of Berlin to Bucharest and in the belief this comparison may provide for the recovery of the places in Bucharest where there is nothing but the memoria.CONCLUSIONESLas conclusions âresultados end of the study are a key to (re) reading of the work. The reader could start reading the conclusions, to anticipate connections between the three parts of the thesis. It is important project with the fair measure of the thresholds: size, material transparency. If the project relates the memory of the place with the memory of the city (through the doorway â time step), the accuracy of this link depends, ultimately, what we just called memory.

Author: PIRILLO CARTUCCIA CLAUDIO ARNALDO.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA, ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: This research deals with the development of deep house Curutchet, and maintains its originality in tackling one of the symbols built least investigated in the work of Le Corbusier, with a motion-oriented daily undertaken by the architect in their midst. Its starting point for the custom letter, dated August 28 48 `and the investigation concluded with the delivery of project documentation sent by Le Corbusier on May 18 49Â 'customer. The development of the thesis is divided into three chapters. The first is the development of the project in the office of Le Corbusier in NÂ º 35 of the street Sevre, Paris, which deepens the analysis of designs, techniques applied to represent the project. The second is the evaluation of the documentation delivered to the customer, its relationship with other works or experiences in his training as an architect. The third chapter develops the meaning of the architect's profession, from the text âEl Space indecibleâ Space unspeakable, by Le Corbusier, Kelsey translation of Sofia. Magazine Architecture 1 / 1947 NÂ º 321 by Le Corbusier (1945), which governs The structure is similar to the transformation, evolution, development, the draft of the house Curutchet. It is a look at the motion made by the architect Le Corbusier.

Author: TRISTAO DE ARAUJO M. LUIZA.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA-ETSAB.
Place of preparation: ETSAB, EDIFICI A CAMPUS SUD.

Author: GAUSA NAVARRO MANUEL.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA.
Place of preparation: ETSAB, EFIFICI A CAMPUS SUD.

Summary: Under the title "Logic open: Espacio-Tiempo-Información-composición-Disposición" This paper defends the emergence of a new logic architecture design space, the underlying own culture and contemporary chord with a shared territory that could search recognized across a sere experience, decisive in the last fifteen years, ralacionadas, with what might be called "logical for the comolejidad." His tour aims at developing and recognizing, in effect, the birth of a new kind of "operational logic leading to a new understanding of space, the city and ultimately his own architectural order and the way he associated. The main thesis that pantea is, in effect, the emergence of a new "map" mental and conceptual definition multiple involved with a design and a more open, that is more porous, elastic, dynamic and irregular space and therefore, with a vehiculación more effective information (in its broadest action, as a vector asset swap), ie with a new type of approach "device" (distributive instructions and combinations evolutionary) capable of combining linking, events and processes multiple heterogeneous, ie energy complex, active and agreed oriented and contigentemente in the same field of action and vibration. That willingness to "multiple research" would, in fact, in several "cross fields of knowledge beyond what is strictly discipline. Fields particularly sensitive to the settings that encourage evolutionary processes dynamic present, so increasingly significant in the demonstrations "tropicas" and "entropicas" define our era town, as mutable materialization of this dynamic nature, relieved as paradigm most obvious of this particular "condition environment" that would be the basis of many of the contemporary concerns. The awhile, in effect "relational" which refer to concepts and criteria more elastic and desprejuciados or "impositions from" or "integration" but "interactions" to raise, and the need to work with this new type that logic would change neither the continudida ritual classical (composition) or the functional modern objectuality (positional), but the interactivity of contemporary strategic (Operative), able to articulate and enhance the diversity informal and / or informational our environment. A logic more permaable and unclean more relational emerged simultaneous vision of a new "multi" hatchet mutual interaction in various stimuli, and therefore more susceptible to the development of possible processes "irregular" for change and exchange, that is a new type of génetica evolutionary associated both events combined to combinatorial structures. The transfer of static to dynamic, and therefore the order "compositional" classical or "positional" modern to a new type of order ralacional (or "disposicinal") would be one of the greatest contributions of this work that could be read as an "intentional description" of what would have been, and would remain, an individual time of transition between the last vestiges, and reformulations of modernity and the most contumdentes than adimvinaría as a new cultural period associated with the assumption a possible "espacio-tiempo-información" related to what would have been called the "digital universe" (or informational). The synthesis in a single body and theoretical argument, a whole series of intuitions, projections and / or approximations particularly crucial and would reveal hitherto scattered, and the conceptual underpinnings that apoyerían and defined this particular adventure individually and collectively.

Author: BARONCEA ION JUSTIN.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: This study has as its main point of departure and why the concern over urban areas historic Bucharest, which were destroyed in the 80's of the twentieth century. The case relates to Bucharest to Berlin: the two cities suffer the destructive consequences of urban totalitarian. This justifies our choice to study mainly places, and constructed works projects located in these two cities. We intend to analyze places where there is nothing but memory and projects for such places, in an attempt to lay the theoretical groundwork for a reference tool for reaching the relationship between memory and place. The study is divided into three parts and an introduction in the case of contemporary Bucharest, which is a more detailed presentation of the object of study. The introduction explains what happened in Bucharest in the years 1977-1989: During these years of totalitarian communist regime was destroyed fifth of the historic area of the city to build a new "Civic Center", which was introduced in the midst of brutally the city, regardless of their historical development, its urban structure and development trends that already existed. I â NOTES ON SURVIVAL IN THE URBAN CULTURE OF BUCHAREST The first part seeks to establish how the city has developed in Bucharest over the centuries Rome and show that this development has been done under the banner of the permanence of cultural continuity. It is situated Bucharest in the context of the phenomenon of cultural continuity where the city is manifested as a continuation of tradition and as a product of permanence. Â II ON THE PLACE AND THE MEMORY â HACÍA ONE THEORY ON THE MEMORY OF PLACE In the second part of the study establishes a relationship between place and memory based on the theories about the place of Derrida, Eugene Trias and Francoise Choay, theories Heidegger and Eugenio Trias on Being and permanence and RicÅur and Todorov on memory, and based on studies and projects related to John Hejduk memory. It discusses specific modalities of recovering the "essence" and "memory" of places where there was nothing but the memory of John Hejduk projects, Meinhard von Gerkan, Daniel Libeskind, Renzo Piano and Daniel Silberfaden. Another important objective of this second part of the study is to build an analysis method to be applied, in the third part, in the case studies â specific places and projects related to urban regeneration Berlin and Bucharest. III â COMPARISON BETWEEN THE PLACES OF BUCHAREST BERLIN AND WHERE NOT TO BE NOTHING MORE THAN THE MEMORY Based on the partial findings that can be learned from the first two parts of the study are discussed in the third part, a series of major projects for the recovery of places in Bucharest and Berlin "where there is nothing but memory." In the case of Berlin, compares the draft urban design Piano, and Jahn Gerkan for the area Potsdamer Platz. It analyzes the draft for Gerkan central Berlin to Bucharest and in the belief that this comparison can be used for the recovery of the places in Bucharest where there is nothing but memory.

Author: RODRÍGUEZ-MORA FERNÁNDEZ ÓSCAR.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: An alternative to interpret and understand some contemporary architecture between the twentieth century and synthesize the approach end of this work because culminates with a certain interpretation and characterization of formal features and space -invariantes- characteristic of some existing architectures. But to achieve that position thesis undertakes an approach supported unpublished policy principles underlying the deep structure of the architecture and models that respond to the world derived from science as a primary contemporary logos, particularly those who have derived new models spaces and found in translation geometries that shape. Area and shape are the two major joints in the development followed. New models of "spaces" and "geometry" desentrañados in art and architecture later in the underlying structures deep to understand these phenomena as a representation of the model order to explain the reality of an era. Espacio-tiempo flat, curved and hyperspace and its related geometries: space, not Euclidean and n-dimensionales are transferred consciously and intuitively to the world of art forms and spaces, in the first part of the thesis. The origin and formation of these invariants runs the vanguards (Cubism, Futurism, Constructivism, Neoplasticismo, etc.). Until his architectural consolidation in recent decades. Adopting this approach stems in terminology. Dislocaciones, distortions, distortions, politropismos, hipertropismos, asintotropismos, traumatic joints, and so on. Are effort undertaken characterization practice, qualitative and quantitative analysis based on figures from the canonical representations of architectures selected Eisenman, Libeskind, Coop Himmelblau, Hadid, Gehry, Miralles, ... Resolved not to reveal a new style, but to identify changes in the world order sintomatizados in space, form and architecture that transcend an understanding of reality compositional akin to recent scientific models and geometric commented.

Author: TELESCA STIEFEL ANA LÍA.
Year: 2004.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: Dña. Ana Lia Telesca Stiefel presents for his defense on the day April 20, 2005, the Doctoral Thesis title with the aforementioned. The thesis is based on the principle of the need for integrated planning, in which the environmental policy must be part of the planning area and the assertion considering information as urban environmental diagnosis. So the working assumption would be: "The inclusion of the landscape as an enhancer or restrictive planning in the drafting and implementation of plans, is part of the implementation of sustainable development." The thesis is a synthesis of various methods of approximation to the environmental impact assessment and reading of the landscape. Attached is a good portfolio of specific bibliography in each chapter, the fruit of long experience. Examples of introductory character is well chosen as a reference genetic aspects which are then developed. In terms of the development, a proper gradation in the deeper story in the four areas of work proposals: 1-Definition of impact and impact assessment. 2-Cientificidad and objectives of the impact studies. 3 - The territorial objective quality, visibility, perception and appreciation of space. 4-perception as the correction of impact. Outline between the findings raised, the need to integrate land use planning in the ethical and aesthetic values. To reconcile human needs and environmental determinations.