ARCHITECTURAL DESIGN (3)

Author: HERNÁNDEZ SOLANA M. ANGELA.
Year: 2004.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA DE TELEENSENYAMENT.
Place of preparation: EDIFICI D4 CAMPUS NORD.

Summary: The work developed in the thesis focuses on the provision of quality of service in the uplink in a CDMA system based on packet switching and covers a range aspects allocation differentiated and efficient management of resources radius (power, transmission rate). Highlights; are power control, prioritization in access to the means by scheduling packages, admission control and quality assurance service during the handover. In this regard, the major contributions of the thesis has been: Study, a proposal and implementation of resource management strategies level package MAC / Scheduling. It has evaluated the behavior of distingas strategies considering scheduling the maintenance of the guarantees delay and rate the conditions of the radio channel and maintenance of channel control. In particular, the basic characteristics of the chosen implementation centralized control in the base station and fast scheduling package, in coordination with an allocation of powers based on minimizing the interference caused on the other cells, allowing strict control of an interference results in an increase in the overall capacity of the system. The proposed procedure provides better benefits that the autonomous control by the mobile transmissions seen so far in the UMTS specifications. Study and proposed a threshold of admission to ensure the quality of the signal. For determining the threshold for admission, it has conducted a thorough and critical study of the various proposals made in this area to identify the advantages and limitations of each, as well as aspects or ideas reusable. The study of these proposals has been combined with analysis of the results of operation of the system level package, so that the parameters have been identified more attractive to be used in defining the threshold. The problem has been guided by the concept of "bandwidth effective" or "effective capacity" for the characterization of the resources required by the traffic sources as to the ability of the channel radio. Evaluation of admission policies in CDMA systems to control the service level to assess the behavior of the threshold proposed admission was considered the implementation of an admission policy based on dynamic resource reserves, following a pattern typical post-reserva. This type of scheme is considered as the most attractive after making a thorough study of the various mechanisms considered in the literature to ensure the quality of service at call and in particular, the continuity of calls from commercial.

Author: ODEBRECHT SILVIA.
Year: 2005.
University: VALLADOLID [www.uva.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: The thesis explores the architectural space through the courtyard as a type of compound sky inside, with emphasis on modernity from a contemporary poetic approach that adds to its systematic rational. It raises overall objective of the interpretation of space built in different architectural and urban environments, where the focus is, from the type of patio space in their derivations, until its dissolution. This work is supported by the análisis-formal, conceptual, and the spatiality of perception-several significant examples, which give body and practical applicability to the theoretical concepts of the investigation. It starts with a description of the qualities and benefits that space can bring to the courtyard architecture and urbanism, through the needs of gracious society in which it operates, tried to justify the use of this type as old, contemporary even today on day. Among these benefits are removed considered the five most interesting and important as hot springs and developed through chapters, which are described and discussed a number of buildings that possess the qualities of each of the topics. 1 - The essence of emptiness: dealing with the yard as empty space-product of the essential architecture for its intimate dialogue with the art - but full of meaning and symbologies therefore an area dialectical and confrontational. 2 - The expansion visual spaces: dealing with the yard as inducer of enlargement visual by enabling the integration and flow between the interior and exterior is limited. 3, as-yard range: analyzing the courtyard as the core generator and articulate the structure, a system characterized compositional project. 4 - The space socializing: This chapter covers the courtyard that transcends the private sphere and is characterized as a public space. 5 - The dissolution of contour: through the historical process of dissolution of the walls, the courtyard is desmaterializa. This process provides visual growing, creating different perceptions of space. The typological characterization of the examples of its kind original passes desdoblamientos and decomposition, causing the resulting ramifications of the type. These desdoblamientos produce new features space associated with the different messages artístico-funcionales transmitting, confirming that this is a typology of great flexibility, which is where it supports the analysis of this thesis. Such features invite that type of courtyard with a renewed and continuous use.

Author: ARIAS LEMOS FERNANDO.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: Aula Pi Calleja.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The analysis of the âgrand immeuble❠in Bogotá formulated the following premises: Filling the empty space caused by the lack of analysis of Le Corbusierâs architecture in Bogotá. The analysis available emphasizes the urban aspect of Le Corbusierâs proposal in which planning assumes the fundamental aspects; in addition the history of modern architecture in Colombia reserved for Le Corbusier an ambiguous place, representing the strongest influence for the architecture that started being developed in Colombia, and at the same time, considering this architecture as a mechanical production, remote from any correspondence or resonance from the peculiarities of Bogotá. Show the relationship between Le Corbusierâs architecture and his Plan Directeur to make Bogotá a modern city. This relationship is mediated by a formal common law to the urban development, and to the architectonic project, law that supported the creation of architecture. The formal law made it possible to be moved by (react) because it was built based on a priori principles, and in turn it expressed a feasible architecture (technique and constructively valid). Conclusions: The complementarity between formal logic of the âgrand immeubleâ; that originated on the autonomy of a discipline expressed with general type principles (technical procedures for architecture construction), and the effort of adaptating the form to a particular situation. The âgrand immeuble❠represented a universal architectonic shape to become a reality on a particular situation; it was a permanent shape fixed as a typological-form (feasible, repeatable, and capable of showing the architectonic thought that created it), which represented a spirit of a characterized period; intensive development of tertiary activity in capitals, administrative headquarters of a country. Generalization of a formal solution to different specific cases was subject to the guidelines of the formal law: visual knowledge. Sight controlled, verified and penetrated the order created by shape, it imagined its movement and it caused sensations. The âgrand immeuble❠as a type began to be formulated thirty years from Le Corbusier and it was developed along the following thirty years. Looking at it this way, the formal sense of the âgrand immeuble❠would be expressed as a constant laboratory of experimentation and accumulation of experiences in sequence (common formal structure), in which each realization presented a shape that was developed based on the subsequent experience. Explain the relationship between Le Corbusier and the Colombian authority that contracted him to divide their respective responsibilities on the failure of the proposal for Bogotá (urban and architectonic). The relationship was marked by the Colombian authorityâs idiosyncrasy. While Bogotáâs urban development was set out by Le Corbusier to be carried out on the next 50 years, The âgrand immeuble❠ministerial project was immediately entrusted on him since the distribution of the city originated on architecture. With the Plan Directeur the authority (national and municipal, conservative right) was to insure an letter of introduction as a progressive and advanced government, capable of annulling an increasing belligerent opposition, because the physical space distribution would convert the city into a modern capital, close to reason, science and industry.Notwithstanding, the governmentâs failure was assumed by Le Corbusierâs architectonic and urban shape. The vertical authority that not only counted with popular support, but it did not find the will to carry out the Plan or the architecture proposed. Le Corbusier not only did not get the contract to conduct the project, but his Plan Directeur was opposed by urban landowners, habitual speculators crouched behind the voices of the cityâs councilmen and their colleagues who judged the âgrand immeuble❠architecture as alien, a product of a mechanical an disrespectful thought of the place.

Author: VALLESPIR MACHADO MARIA CONSUELO.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: Resume of the thesis: âTowards a spiritualization of matter through architecture❠This thesis presents "Eurythmy as visible speech", the art of movement which was developed by Rudolf Steiner (1863-1925), as a tool which can enable architects to recognize and create architectural forms from the sources of all possible forms: formative forces that can be found in speech sounds, consonants and vowels of human languages. In 1912 R. Steiner began to develop the art of Eurythmy from its original ancient Grecian roots of movement in space. Simultaneously and related to Eurythmy, R. Steiner created the first Goetheanum, a building for talks and presentations of performing arts. This building burnt down in 1921. A year later he modelled the forms of a second Goetheanum. The relation of R. Steinerâs artistic intention to artists and thinkers, is looked up through the development of observation. Among the examples of the modern movement is analysed the observation based in poetry of the group of architects âAmereidaâ, Chile. Observation is fundamental in the artistic process, today is recognized as a common patrimony. Considering Eurythmy as a tool for observation and creation, the formal expression of the gestures of speech appears. Therefore time is introduced into space, process is introduced, the becoming of forms, the moving form of the speech sounds through the human body become architectural forms. To make this visually understandable, buildings are analysed from the point of view of the sounds of speech. The form tendencies that can be observed in Eurythmy and architecture can also be found in forms of sculpture, painting, scientific experiment with substances in movement, as well as in manifestations of nature: in water, minerals, plants, clouds, animals, man, etc. which are illustrated with examples; for instance the archetypal form of the sound K can be seen in the crystallization of certain minerals, etc. The possibility of observation and creation out of what is process, is related to capacities that the artist himself can develop. In this sense the basis of Eurythmy is also the basis of Anthroposophy, which is a modern way of opening and expanding human capacities for perception and creation, based on R. Steinerâs discovery of the Goetheanistic observation which asks the observer to be able to unite his own life forces with the observed object, to become one with the observed object, in order to be able to experience and recognize the forces from which it has been formed. R. Steiner developed the movements and gestures of Eurythmy from the observation of speech process, Goethe create his theory on the metamorphosis of the plant, and his Faust observing processes. This way of observation is vital for a modern experience of the world, includes the time and the invisible life sources from which all things become visible. Goethe observes the spirit concretely in what he has in front. This is new: the spirit is no more a matter of faith, abstract and far away but something concrete. After have described the formal tendencies of the sounds of speech according to the results from R. Steinerâs research, are presented models as possible formal results of this specific dialog between word and form. The application of Eurythmy as a tool in architecture is an expansion of consciousness in the realm of the perception of form, and its possible effects on the development of the human beings that produce and live it.

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

Author: AMANN ALCOCER ATXU.
Year: 2005.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: INTRODUCTION We live in space yesterday a life of science fiction. In most cases, the rational housing built since the CIAM, is the element that we keep within the discipline of architecture. A few facilities have been added to the existing spatial patterns from the Modern Movement, but everything is still obeying the same patterns. The everyday exceeds architecture. Normally, as extreme ignorance, takes refuge in the security guarantees that the closeness of things, people and actions, distorting sight. The removal of the norm can be a powerful moment of awareness. It is necessary to define new rules of the game, transgressing any laws created to control forms and individuals. And that means first to realize that the primacy typological as instrumental possibility, based on the stability of forms associated with the lifestyle, lost consistency as a method of identification proyectual as individuals are changing their patterns from family life to a sedentary installation in the world outside describible as nomadic alos traditional patterns. (1) This teis tries to establish the links between the forms of thinking, of seeing the world, lifestyles and housing, and in particular, warning of the fundamental changes that the past century has starred in the Western world: the information revolution, and especially of women. If the criticism of the architecture also means challenging the world and life (2), it seeks to show that the dialectical relationship arquitectura-familia, women have been absent from the vast history, and had not belonged neither the space nor private the public. Thinking with another ideology history and culture, from the side of the dominated, allows you to analyze the home, referring to the roles assigned to each gender. If the house, "as a shell of prejudice relatives in the attitudes of the head of the family toward women and children, has been formed in millennia" (3), in less than a century, the Western woman has copnseguido empty of content . It has managed to undo the consistency of that cage: simply, has been  Who is the intended home? Thus begins the oblivion of modernity and its familia-tipo. (4) 1. Juan Herreros. Mutations in contemporary architecture. Doctoral Thesis. ETSAM. 1994. 2. Antonio Miranda. No robot or buffoon. Manual for the criticism of Architecture Ed. Chair of University of Valencia 1999. 3. Leon Trostki, Women, Family and revolution. Ed. Rojas, 1977. 4. Iñaki Ábalos. The good life. Guided tour of the homes of Modernity. Ed. Gustavo Gili. 2000. STRATEGY OF PERFORMANCE As a general proposition character has been chosen to select a format ensayistico which affords him a fluidity released expository mode of notes and references own a study exhaaustivo and conclusive. The technique exposotiva has been the result of some skill in listening and in the "art of catching" fragments of texts of others, sought or found, forced to speak in an order determined according to the way in which they have been getting needed from a standpoint real, but custom. To that end, the lived experience of what is at the starting point at the beginning of a process of overlapping and constantly restarting, trying to reach a position from a look desprofesionalizada allowing a more linked to our time, looking at what we really want to see, and where the relationship between subject and object cognoscente knowledge arises quite tough, being the resort experience -endeble in apariencia- which injects the intellectual energy to the project. To achieve this, on the one hand, it has been necessary to make cuts and simplifications, sometimes touching the frivolidad- allowing make visible the arguments. In addition, testing has been done accompanied by a parallel reading of a series of extracts from articles published in El Pais, 8 recogid 560 nts in the timeframe in which it develops the thesis. The several hundred citations, sometimes supported the exhibition and others, are the triggers of approaches that are progressively incorporated approaching experience little-known explicit and sistematizada- a certain level of category, that the distance from the story. In addition, the periodic testing tied to reality and avoids falling into abstraction. The scope of study is located in the western world, a reality as confused and ambiguous as the term itself, which has not been tried or narrow in time or space but define through situations compartidad.

Author: IGLESIAS PICAZO PEDRO.
Year: 2005.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. DE ARQUITECTURA DE MADRID.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: Thesis on draft three hospitals in Europe between the wars, the sanatorium Zonnestraal of Duiker and Bijvoet, the City Hospital of Lille Paul Nelson and the Hospital de San Sebastian Sanchez Arcas, Lagarde, Labayen and Aizpurúa, of which only priemro arrived to be held, and very cut. The work is preceded by an introduction on the debate that led to the burning of Hôtel Dieu Paris in the late eighteenth century and some proposals for its reconstruction project that also saw the light. This is a historical work that documents describe and puts into perspective this small selection of projects, but also criticism and theory, which addresses the area of contact between the project and science in the context of the hospital, perhaps the place where the rational component and hygienist of the modern movement is revealed with more force. The work tries to point out some reasons for the disinterest raised at present and among the architects of the hospital project.

Author: RIVERO PEÑA HECTOR.
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: The 1950âs is an important period for Denmark because a political, social, and economical maturity is achieved by consolidating a âstate of wellbeing.❠In the architecture field, this translates into a relevant fact: the demand for proposals. There is an evident response from architects. A series of different projects are developed, all of which are of a high quality constructive creation, in the building-nature relationship and in their capacity for contact with "life." This need for proposals, also allow young Danish architects, anxious to experiment with new forms and technologies, to find venues of action. Contributions from a young architect named Jorn Utzon stand out. A special case is his housing complexes. Three project experiences are the result of Utzon's work in relation to housing complexes: the Kingohusene housing complex in Helsingør, the housing complex in Fredensborghusene in Fredensborg; and the proposals presented as of the âExpansive❠industrialized housing system, all these projects carried out in the 1950âs and 1960âs in Denmark. These projects began with the âhouse courtyard' proposal presented by Utzon in the SkÃ¥nske hustyper competition (SkÃ¥ne, Sweden, first prize) in 1953, exploring the possibility to put together elements seemingly different. Three basic themes are analyzed in this thesis, the three current and urgent: The house, with all its middle class influence, in this case it is considered as a micro cosmos; auto adjustable space in nature, heterogeneous and individual. This natural characteristic (of a small world,) is never sacrificed, it does not yield to the compound's conditions (although always aware that it is part of it.) The domestic environment, reminiscing, fantasizing, and sensations are the elements that are to be used. The residential neighborhood is at present, diverse, peripheral, suburban, and at the end of the first decades of the century, a development model in Denmark and one of the main fields of study for Danish architects. In Utzonâs housing complexes, the house is located at intermediate point, in a border that transforms into a boundary, the threshold; the door between the country and the city (always with two fronts). The position is fundamental. A territorial balance and memorable relationships between the house and the world are always sought. There is a need to fuse architecture with nature, hence it is always present. Transformation. Another of Utzonâs researches is the standardization and industrialization of âcomponents❠in pursuit of economy and constructive accessibility. Its aim is to achieve a simple transformation of the house by the inhabitants themselves. Concepts that are so important and common in "the dwelling," as expansion, fragmentation or modification, are analyzed. Thus, the basic questions in this thesis are: How to achieve an urban coherence from individual facts? How to achieve, also, that this coherence translates into well being for the population? Utzon believes that the housing units must be models of urban integration, the less complicated the more complete; generating âcommunities❠that grow slowly and with a future, almost naturally⦠Hence, his housing complex projects try to understand what the integration procedures in the city are, accepted by a community, within a socially concrete reality that will be able to enrich urban life and the life of its inhabitants. Therefore, the question is never âhow to build more houses,❠but âhow to build better homes.❠This thesis is studying proposals against the depressing outskirts and its attributes, and the starting point is the project imagination.

Author: RODRIGUEZ LOZANO DIEGO ALBERTO.
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: If there is something sure we can say about contemporary architectural practice is that there is a certain tendency to withdraw the architect from the building. The absolute denial of a physical relation between architect and matter seems to be the unavoidable sentence of our time. But there was a time when this was different. A time when the architect worked directly with the matter he was transforming. A time when this corporal relationship with the material was an usual thing inside the creative process. That kind of practice and technique, appeared in Catalonia for the last time inside the movement popularly known as modernismo. Architects like Domènech i Montaner, Gallisá, and of course Gaudí, worked intimately with the matter. This generation was very influenced by nineteenth-century theories that clearly opposed to the increasing industry-minded times, and instead, they proposed a search to recover the most pure architectonical roots. Within the set of architects that was educated during this time, there was one that prolonged this way of work surprisingly until mid-twentieth-century, that architect was Josep Maria Jujol. The work of Jujol appear to us like a superb example of a kind of practice that is unique and absolutely different. On one hand linked to that spirit of recovering a way to work that it was already lost, and in other hand, proposing a way to understand architecture from a very different optic than that of the conventional modern or classic references. This kind of architectural work is located inside the germ of modernity and at the same time, in the hardest critic towards the same modernity. This paradoxical condition is the one that grants value to his own architectural and project practice. Our interest then, concentrates in recovering a way of work that is already lost, but without falling into anachronism, by studying a work that can operate as a critical tool, and possibly, a methodological one. What Jujol does is to over-extend a way of work that is based on the idea that the intervention should be generated punctually, concentrated in each part at a time (an anti-synthetic vision of the process), but also supported in the physical contact with the material. Both aspects, not only separates his own way of doing from the modern practice, but also confirms to us that we are situated before a work of art that is difficult to capture, slippery. Therefore, the difficulty to grasp this kind of work generates the necessity to use a polyhedrical glance. The spirit of this thesis resides in that type of glance. To avoid an excessively fragmented speech we leaned in clear concepts that draw clear limits to the object of study and they help to focus this multiple glance. The first two concepts are already present in the own title of the thesis. The latin officium and technique are terms that send us immediately to the how of things. And much more specific: to how things take place, how things generate. Our interest in Jujol is not as much the finished work but his practice, his own way to make architecture. One of the clearer achievements of the contemporary architectural practice is to have generated a series of tools âall tied to the drawing experienceâ that conform an abstract being denominated projectual method, which acquires so much protagonism that keeps away any other aspects traditionally linked to the creative process of an architectural work. This substitution of the artistic techniques by a projectual method it is also the substitution of the craftsmanship by the drawing. Then, what this thesis proposes, is to save the distance that separates both practices through a deep analysis of a way of doing, a way of fabricate architecture. We discovered in Jujol's practice the natural mixture of these two aspects: the physical contact with the material and the drawing as a tool to generate something. This thesis weighs on these two axes.

Author: MARTINEZ RAMIREZ SERGIO.
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: Education is the greatest generator of conscience, with which it is possible to face the world problems. The concept we call education has not much relevance in human development. Conscience is an extraordinarily underestimated priority in a time where things of purely material value have more priority than the esential ones (Naranjo, Claudio, 2004). Nonetheless, education represents one of the most trascendental institutions because of its importance in the social conscience; the world we have is a result of the education we have. The development, government, and development level we have is a result of the education we have. Education in architecture is not apart from the case, it is designed to do what is being done as a response to the necessities of capital, in a world whose ideology pretends to globalize the economy, as well as values and culture. Education in architecture requires to reconsider the colective concept of cultural use and habitability apart from fake necessities. We have created confusion among our students regarding the concept of human necessities over the requirements of status, leading them to look for visual results more than solutions to spatial problems in a historic period of time. The importance of the present thesis lays on the historic analysis of the influence that Bahaus and Taliesin schools have exerted over the architecture programs in Mexico, as well as the parallel evaluation of the experiences generated by this influence. This evaluation has represented a fundamental source for new proposals for the didactics of the discipline. The study of the complexity and contradiction of the study cases -- Bauhaus debating between reality and utopias of a city in fast development, and Tailesin taking up the concept of Shcool as an elite â permit to reconsider some of the traditional ways of coordinating process of prefiguration of architecure, and the way it is taught in Mexico. A didactic model with a poetic vision of the directed desing is proposed to the profesors of architecture. This model gives access to new possible ways of analysis such as phenomenologic and hermeneutic analysis of art. An important part of the originality of this research is the desire of rescuing the creative connotation of the architectonical design in Mexico and the desire to establish anachronistic and paradigmatic education models that result of an ideology that has not yet been discussed. Therefore, the purpose is sharing the apprenticeship of the past in such a way that we can build a whole new process. In this process, it will be possible to teach through learning and to create intellectual exchanges among students by an interactive system of learning â teaching based on dialogue and experimentation and supported by concrete practices. This will permit to teach how to learn as a âpossible didactic❠The purposes of this work are, in order to strengthen the perception process of design and setting, to strengthen the capacity of abstraction of students and to promote their incentive. It is also important to strengthen a responsible and commited vision of forms, contents and structures of the places with a certain social use. Architecture resulting from a âpossible didactic❠must give a response to concrete subjects that constitute real cultures in concrete places. This to support teaching practice in Mexico.

Author: VILLANUEVA SALAZAR LUCIA.
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: In this research on housing in the Mexican revolution, is on a critical and analytical buildings emerged from the forefront of momentous moments in the architectural world, there is a methodical approach to the historical and social content, as well as the analysis of the areas of architecture posrevolucionaria in the city of Cuernavaca, Morelos, Mexico. The purpose of this dissertation is to collect the scathing on the topic and build the cultural historical narration of a time of political stabilization in the country and particularly in the state of Morelos, which allowed the development of an architecture viewpoints. The works of architecture analyzed in this investigation are residential housing built around the thirties, in the city of Cuernavaca. These constructions have been a very strong footprint in the events of history on housing. Ingredients, the proposed sites, the shape of display at the site and as many more things that relate to the nature, and in turn, put you in touch with the landscape of the site, words are a way to express themselves in an architecture that is a part of modernity in Mexico, and it is not known in the professional and educational, precisely because of the missing documents. This raises the study of residential houses with typological characteristics, which is based integrator in the lookout tower. Among them are a number of residential houses along with the Golf Club, led growth in the city of Cuernavaca, south, prolonging urbanísticamente the typical North-South axis which remained almost static in its urban design for centuries. Trace colonial that is now part of Historic Center of Cuernavaca. This analytical work is developed from the standpoint of a conscience hermeneutics, it gives an interpretation of events social, political and economic times, which allowed this type of architecture viewpoints in Cuernavaca. Buildings, on the one hand, are identified as architecture posrevolucionaria by the years in which it was built, and this research is called  "Architecture product of the Revolución ', and on the other hand, posed as a phenomenon found the alleged claim that architecture is intended with the Mexican people. It is also intended to make an interpretation of cultural relations of space and its livability, analyze the relationship between politics and the language of architecture. In the twentieth century, Mexico like the rest of the world, faced different positions in the profession, was at the end of the twenties, which triggered a strong nationalist movement posrevolucionario benefited from government power; modernist movement with strong intentions , search and pioneering. This phenomenon search expression and search for an identity took on a par with other movements, some with regionalist positions, others with more features eclectic. Movements for other interesting to try here. It is proposed to make a theoretical respect to the formal proposal, conceptual content, structure usage, customs, habits and in general a study of the formal and conceptual roots, local, California, as a European, an architecture viewpoints.

Author: PERAZZONE CHRISTIAN JACQUES.
Year: 2005.
University: LAS PALMAS DE GRAN CANARIA [www.ulpgc.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: The starting point for this work, Ph.D., was presented at the outset as an investigation very modest: it was analyzing the notion of "creative process" of a French artist of the twentieth century, Auguste Herbin (1882-1960), from the work produced in the period included between 1940-43 and 1960, besides check ambigà ¼ age and the commitment of an abstraction that it intended as a renewal. Indeed, with the reading of the book "L'Art non figuratif, non objective" (non-figurative art, not objective) published in 1949, the definition of "creative process" seems to be a relay to the concepts defined by the vanguards of previous period The difficulty presented in the following manner:  How Herbin gets build a creed or even a philosophy, painting it produces, according to its terms, the triumph of the spirit over the matter, on a conceptual framework that denying the existence of the order and the supremacy of the divine about what human? But this question has led us to investigate the unique status of grammar plastic Herbin:  To what extent can we speak of an abstract pictorial vocabulary that puts the artwork as a symptom or manifestation, as well as a coherent concept?

Author: PEREZ IGUALADA JAVIER.
Year: 2005.
University: POLITÉCNICA DE VALENCIA [www.upv.es].
Place of defense: Dep. Urbanismo.
Place of preparation: Universidad Politécnica de Valencia.

Summary: In this paper we study the residential areas of open building in the city of Valencia in the period from the Comprehensive Plan of Valencia and its Waist 1946, and the General Urban Plan of Valencia from 1988. The form of growth characteristic of the modern city through the creation of polygons (integrated packages for housing and equipment, developed from a project unit that encompasses both urbanization and the Building), is not the predominant at the periphery of Valencia, where growth occurs through traditional house to house, from partial plans that, despite its formal resemblance to those of polygons, because of the use of the building open as a basis for the design, are in reality mere flat lineups and volumes. The residential building open areas of Valencia, despite its morphology, have more in common with ensanches traditional polygons that, because of their location, which is continuing in relation to other urban fabric of Valencia, because of their high density and compactness, the result of the low estimate of reserves for equipment and land, because, finally to its dual nature, its consequence of the high proportion of apples formed by linear blocks located on commercial sockets.

Author: RIBEIRO CORREIA MARIA DA GRAÇA.
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: Ruy Jervis d'Athouguia, born in 1917 belonged to the same generation Utzon, Lasdun, Coderch and Távora-architects who had attempted revolution of modernity in the years of its formation, but had matured later in the transformation of post - World War II. More than any of the architects of his time in Portugal, Athouguia was involved in the design and construction of buildings representing public. Relatively such a person does not exist a single study or detailed monograph, inexplicably, once presented a work bastísima and conyunto Awards to be something unknown in the landscape of the Portuguese architecture. The rediscovered frequent architects as Athouguia, highlights the need to reassess the architectural modernity, from a tendency to recover the values and way of designing this architecture, estimating its worth and give meaning to the theme of continuity unfinished. The work that developed in this thesis is necessarily about now undeniably a project unfinished modern-Pousada Nazareth. The aim was to identify the reasons for the lack of interest in the coincidence that raises a work has projected more than 50 years and re-examine anyone or disclosed. And as if hiciramos an explanation rendering of the project and what presentásemos as an execution just built, this did not occur rarity and the work would be considered current, and in no way anachronistic? This is the subject of one of the most intense and interesting debates and discussions of the cultural and philosophical today: on the other hand crosses the Clash of the ongoing projects and the process of transformation of the discipline. It is in this context that arise and whether they should distill the proposals of modernity to understand to what extent possible, to work in its essence, pursue this project open. Its reformulation requires, necessarily, analysis of the works in a collision of architectural practice and no proof that this theory, before subsequent use in the course of evolution and it is exactly the modern consciousness of time this idea that the practice does the future directs and produces something new. For this reason, we propose a first step in assessing the extent to which the vision not only reveals whether important in the analysis of the works, but also conclude that it is essential for the process of construction. We hope that the vision, far from being a record of mechanical means sensorios gives evidence to provide a creative apprehension of reality. We still need to work on this with the conviction that they are not society or the technique if expressed through the work, but the particular way of producing the way through the subject, which is seen in the context of synthetic if which gave its conception. We therefore do not pursue a historical analysis that contextualize the action, but the events identified determinants for maturidad of modernity and its brief collective consciousness manifested in Portugal. For a more operational analysis of the works were identified, in a paradigmatic, three decades fundamental â years 40, 50 and 60. Finally, the Pousada Nazareth is in his career, a kind of manifesto of this thesis; the three proposals developed through nearly fifteen years could correspond to the three stages identified in the analysis of his work. It shows that if an architecture based on a notion of how relationships visual made to ensure their consistency and structure the sense with which confers identity whether to work. We spectators today, as fifty years back, based on the identification of these relationships our architectural experience.

Author: VIEIRA FIGUEIRA CIBELE.
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.

Author: RODRIGUES DA SILVA ISABEL MARIA.
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: A casa de Siza (sine distant ia) begins with the analysis and description of the Ovar âCasa Duarte❠project documents (started by Álvaro Siza on December, 1980, 21 sheets in âcaderno❠72, with the collaboration of Miguel Guedes, until the Autumn of the year 1984 when the design of the shelves for the upper floor was concluded: QUADERN I, II, III). First face of a two faces very long panel which in an almost spontaneous, imperative and impulsive way leads to the other face, to another house: his first houses, four houses in Matosinhos (1954-57), the first ones of a sole project, his daily work, the âCasa de Siza❠(QUADERN IV). Along the way, the sine qua non: interest and attention of Álvaro Siza, availability and involvement of Josep Quetglas, hard work and study on the Siza works supported by his sketches and his masters â sculptors, painters, poets, architects, artisans, people (Távora, Pessoa, Gaudi, Picasso, Le Corbusier, Oud, Wright, Aalto, Lewerents, Gropius, Mies, Kandinsky, Loos, Taut, May, Scharoun, Brunelleschi, Miguel Angelo, Palladium, Terragniâ¦) â and to me â¦, time, wish and will to make it in an useful, necessary, and communicative way. But before everything, with the help of Chiara (Guedes, Anabela, Maria João, Isabel, Sizaâs staff) the documents related with Casa Duarte, belonging to Siza personal files in Rua do Aleixo 52, were collected, photographied, listed, edited using the same scale and sequenced in a first instance. They were joined by those ones I managed to find in multiple publications where, from 1982 on, the house and its project could be known, commented, visited; and by photocopies from the Siza âcadernos❠(72, dated 12/80; 75, dated 2/81; 77, dated 3/81; 89, dated 8/81; 93, dated 10/81; 94, dated 11/81; 99, dated 1/82; 107, dated 4/82; 111, dated 5/82; 124, dated october 82), where he draws, takes notes, writes, his main working tool, intimate and essential, tracking record of his continuous, obsessive and compulsive work. These sheets, 68, I was given by Siza, coming from very far, like wavesâ¦, will progressively give shape to Casa Duarte. With the closing of this work a new essay is added to the former essays on the projecting process of Álvaro Siza (Quadern I) and his architecture (QUADERN II). Always starting from Casa Duarte, another essay emerges, springs and receives life: the one on A casa de Siza (QUADERN IV). With the closing of this work, of this Não há sossego â e, ai de mim!, nem sequer há desejo de o ter⦠(Pessoa, 1930), Casa de Siza gathers live fragments of a real and open multiple testimonium from the many characters which haunt and contributed to this thesis, speaking to us of his architecture, of the permanencies ant constancies of his work (of body and models here, sine distancia, of being, seeing and doing, of the changing continuity, of the spatial deepness, of light and movement, of project strategies and instruments). And at last, Álvaro Sizaâs biography (Matosinhos, 1933), works, contests / awards / ⦠exhibitions, juries, sketches, papers, interviews, bibliographies, on three A2 sheets: the first one, 1933-1973, from his birth to the death of his wife, the painter Maria Atonia Siza; follows the 1973-1980 years, ending with Casa Duarte early sketches (1980 Christmas), with the 1980 undated Álvaro Siza curriculum; and, eventually, 1981-1984, when Casa Duarte was built and the first exhibition in his native village, Matosinhos, was being prepared (QUADERN IV). This biography of Álvaro Siza embodies another box of documents, joining the box including pictures of Casa Duarte, the video and the transcription of the visit guided by Siza, and the bibliography (QUADERN III), and the second one, where the letter to Nuno Portas (Porto, January 1967) and the video Quem é Quem. Álvaro Siza (coo production Arca-Film and RTP, 1982) can be found (QUADERN IV).

Author: VELASCO ROLDAN LUIS ALEJANDRO.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: sala d'actes, etsab.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: It is the aim of this thesis show the ability that in moderate climates, have the ventilation strategies to achieve thermal comfort without the need to resort to artificial refrigeration systems. It will deepen the study of air movement by the belief that with the current trend of constructing buildings completely sealed promote buildings that we recover the relationship between people and their environment. Moreover purpose of this work is the study of how all these things affect the design and architectural form. It advocates ventilation systems naturally nevertheless be studied mechanical ventilation systems and artificial, both for the extraordinary potential relationship / Cost of the first and by the great potential of natural complementarity with the strategies of both. Ventilation has two main objectives: to provide the renewal of air necessary to ensure indoor air quality and refrigerate space constructed and its occupants. The work focuses mainly on the latter to advise the scope of this study cooling strategies that enhance the movement of air, being away from cold climates, to minimize the heat exchange with the outside world, reduce the volume of air to renewal minimum. Attention will be given to saving potential posed by the control strategies of air in winter This study focuses mainly on the exchange mechanisms to be established within the envelope of the building, the strategies relating to the control of movement indoor air (natural or forced) and, in general, all the phenomena affecting thermal comfort once the air has entered the interior of the building. Therefore, the work focuses on the mild weather. It will encompass the scope of this study to regions with a warm climate and because they can find solutions of interest applicable to climate more consistent with the scope of this study. The first part of the study focuses on the description of all the concepts that establish the boundaries of research and get to know all cooling systems based on the movement of air. Although in the Mediterranean climate, high moisture and the reduced differential between day and night reduces the theoretical potential for some systems liabilities pre-refrigeración air, moderate temperatures allow the use of outside air as a subject premium cooling. Therefore particular attention has been paid to the influence of the velocity of air, which provides the interdependence between this and the other variables of comfort, as well as the new limits be established considering the velocity of air in the envelope thermal comfort . Classification There has been a systematic classification of strategies and components historical and contemporary ventilation. It describes the pre-conditions needed for a pre-refrigeración effective, strategies, systems and components that encourage the movement of air and finally possible forms of storage and redistribution of frigorías obtained. We analyzed all kinds of systems (natural, mechanical and artificial) to establish a simple way, any comparison or raise possible combinations. The proposed method is based on making systematic temperature, relative humidity and air speed. The analysis of these data and the conclusions drawn from them all permit assess the functioning of the ventilation strategies adopted 8 adas well 2d8 and establish general criteria design extrapolated to new projects.

Author: LARA ASPEE CARLOS ANDRÉS.
Year: 2005.
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: MOTIVATION It stems from the inclusion of certain sectors of the city of Valparaiso, Chile, on the list of World Heritage, UNESCO. Being the first city in this country, you get this qualification. The motivation is reinforced, in the intention to exploit city assets, and its contour, from the point of view of the event. GENERAL PURPOSE has to do with going revealing how, in the city state property, will build its contour, as a territory consisting of events appropriation intense. It generated an approximation to four cities recognized by UNESCO, which are Toledo. Segovia, Salamanca and Santiago de Compostela. The aim is to check the possibility of transpolar this investigation, to be applicable, in the city of Valparaiso. METHOD procedure closer to the city property, is produced through a process of observation, aiming to unveil architecture, poetic event you build, your lifestyle. It runs from contemplation, as attitude that builds a distance to the object observed, and is produced from the approximations made in the second half of the twentieth century. SCENARIOS FOR WORK is argued that the city property, it will become an essential part of urban ensemble, as they identify as a complex device, inside the structure multi-céntrica, of the contemporary city. His splendid way, is built on a spatial analysis and program, which articulates with the rest of the city. This resort is built as a fragment, which contains the condition of tissue, and the movement as an event that makes full. CONSIDERATIONS occur approaches to concepts relevant to the study. These are: City property, Event, Fragment, Resettlement and width. GENERAL BODY OF WORK corresponds to the application of the procedure raised in the method, in the cities chosen. The first part deductive, corresponds to a process information. The second part deductive, focuses on an analytical process, the contours of the city property. The third part of the procedure of the method, belongs to an interpretive process; performed on the fragments memorable space, and is based on the concepts of Fragments, Resettlement and width. DISCUSSION COMPARATIVE Contains relations to be established between the interpretations of the fragments memorable space, every town, in order to find some connection between general. CONCLUSIONS This refers to what preprocessed in the investigation.

Author: BRIS MARINO PABLO.
Year: 2005.
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: Revision of the neoplastic architecture in the light of theoretical and practical Piet Mondrian. 1 - The purpose of this paper is to discriminate between architectural works carried out by members of the De Stijl group, or its órbita- those entrocan with the developed theoretical discourse of Mondrian, which is not limited to painting, but extends the rest of the visual arts, in which the architecture has a very precise position. If we trace the possible influence of Mondrian on the architecture, it can not be limited to seeking formal parallels more or less happy (distributions windows as asymmetric rhythms like some of his paintings, the use of primary colors, etc..). Our interest will focus on searching in modern architecture (stijliana and its surroundings) examples where we can find parallels fundamental (basic) between certain buildings and the theory of the arts (almost an architectural theory) of Mondrian . To find these parallels is necessary to define the characteristics that architecture should have (manufacturing tool that will help us determine whether there is an architecture derived from the speech Mondrian). The work is divided into three parts. 2-In the first part we see the very different ideas of architecture were individual members of the group De Stijil and therefore unable to speak, generically, an architecture stijliana. It can be seen by Van Doesburg and Van der Leck, a remarkable lack of faith in the architecture itself, is able to reflect the same principles as the painting. These painters are immutable perception of the architecture: the feel inamoviblemente traditional, only modifiable, corregible, by applying himself - on the other disciplines. In the case of Oud, the architect shared with Mondrian, after their experience with Van Doesburg, the need for the architecture is capable of speaking with its own means. The divergence (slashing misunderstanding) arises when Oud he understood that the claim of Mondrian is to implement on the architecture principles drawn from the paint. The claim Modrian is much higher. The Dutch painter not believed to have uncovered any principle through the paint. Mondrian believed to have universal principles reflected through painting, and wants the rest of the arts (and sciences) reflect these principles already exist. 3-In the second part of the work we enumerate the characteristics that should be derived from the architecture of speech Mondrian, drawn from their theoretical texts and their artwork. The study we are doing on the painting of Mondrian is undoubtedly concerned, we intend to trace the origin of the two levels of simple elements that appear so inescapable in your period neoplástico - which produces several simultaneous competitions: line / plane, Color / no-color, etc.. The artist found in Cubism (in the last phase of the analytical phase) the right tool to reflect all competitions prevailing in nature (vertical / horizontal, material / spiritual, male / female, etc..). The two independent levels evident in the Cubist painting (theme and plot) were reinterpreted and simplified by Mondrian, who depuró to find simple elements (lines and rectangular planes of color and non-color), which would allow it to show relationships basic dialectical that, in his view, all work must reflect. We now examine his theoretical writings. The perception of an imbalance within the man-among its material and spiritual its part in the origin of this whole theoretical discourse of Mondrian. The Dutch painter find in the spiritual movement teosófico the necessary support to achieve its internal balance, once achieved this balance, Mondrian will reconsider the role that the arts should play in our society. The art neoplastic will cease to be an end and it will turn into a means, in 8 a consciously her 1dc4 ramienta used by the artist to represent and convey harmony with the rest of society. The role that gives the Mondrian art in his writings - each of the disciplines art is well defined and programmed. His idea is as follows: input, reflect seek harmony in the field of experimentation or her, painting. The mission of his painting is to serve as a guide to the rest of the arts for once served sumisón, disappear, as would Tafuri- "absorbed (after it has developed its own until the end of a paper carrier methodology forefront ) architecture. " The teaching and suicidal nature of the painting will be taken up by the architecture that will dissolve in the city. For Mondrián architecture makes only partially ideal neoplástico. Achieving total neoplasticismo-modification of the entire environment-can only be achieved through the construction of the ideal city neoplastic. 4-But what should represent  art-painting, architecture, and finally to the city, as a tool of amending our environment (middle), will be able to transmit a permanent harmony society as a whole (end)?. The fundamental characteristic of art neoplástico is to transmit, perform, as objectively as possible and rational image that the artist has, prior to the execution of the artwork, the origin of everything, and that everything created reflects, albeit imperfecta-. To Mondrian, this home has a dual character -directamente related to their beliefs teosóficas-, and it is precisely the polarity between the two extremes materia and spirit which generates, which allows creation. The artwork, as a replica of Origin, it must reproduce the conflict and must be image resolution through the dynamic balance of elements opposed. The image of harmony can not be static image can not be an outcome, but it is in the artwork where the resolution takes place and where, therefore, should be given the elements representatives of the conflicting poles. The art should represent the pure balance, including the representation of an element and its opposite. Mondrian is going to define this relationship of tension balanced as defined relationship. The fundamental tool that art neoplástico regardless of artistic discipline be used to represent harmony-relationship definida- is the dialect. 5 - The auction of the second part is to collect the features previously deducted: the fundamental theoretical drawn from his speech (common to all disciplines) and the formal, drawn from his painting-to the extent that this discipline must Guidance for the rest of the arts. To deduce the characteristics formal perform a dual approach. The first, from the theoretical writings specific sobrepintura, from where they extract potentially extrapolated to the architecture. The second approach we from the theoretical writings of Mondrian specific architecture -pocos but significativos-, with the idea to corroborate each feature previously deducted from the paint. 6-In the third and final part of the work we confine ourselves to analyze the different architectures that have so far been classified as neoplastic under the prism of the features that dedujimos in the second part, in order to determine whether there was any architecture that can entroncar with Mondrian's speech. The procedure, then, is a relatively simple method and therefore always responds to the same pattern: cribamos each of the projects or buildings with sieve representing the characteristics obtained. The greater or lesser depth in the analysis is proportional to the degree of compliance with the characteristics listed. 7-After this tour concludes that the Barcelona Pavilion is the only building in all that we have analyzed, which complies with the fundamental characteristics, with most of the features and all the formal criteria compositional we should have deducted architecture neoplastic derived from the theoretical discourse and practical Piet Mondrian. Moreover, we believe that it is possible to reinterpret the Barcelona Pavilion of Mies: seen as the representation of the ideal city of Mondrian. This is a small model. - Enlarged by its labyrinthine nature and ilimitado- the realization total enoplasticismo. The existence of this space model that reproduces part neoplastic allows the city to cut on the same portions potentially applicable to real cases - some of the houses in his stage Mies in Berlin (Tugendhat House, the House Exhibition, etc.). In Barcelona Pavilion Mies composition seems develop a strategy based solely on the city available to a series of defaults, the different relationships between them (mainly from opposition dialectical) home, almost, in the sole criterion compositional. In his subsequent work, and could not be otherwise, the criteria compositional multiply at the same rate as they do the actual requirement (of a program, a field, etc..). In these cases, the criteria compositional employees almost exclusively at the Pavilion can only be implemented in part or in specific areas. The dialectic. Real-leitmotif of Pabellón- weakens and tends to disappear, then ceases to be a unifying approach, which represented the building is conceived evenly, and eventually reduced to the display of independence between the structure resistant and architectural space . The interpretation that we do from here of the buildings discussed has to do with compliance with a number of features that we have reduced prior to the artwork and theoretical work of Mondrian, not pretend that this is the only possible interpretation. Nowhere is our intention to deduce the possible compliance with these characteristics will an architect or another entrocar his work with that of Mondrian. Just note, in some cases, a total lack of correspondence between the work and analyzed the characteristics derived from speech Mondrian, in others, most, only a formal parallelism, and finally, some less, in addition to the formal key parallels. Even in the latter cases maintain that the author had the intention to adjust his speech to Mondrian or make architecture that would have liked the Dutch painter. Our work is limited to establishing the parallels described, is not designed to explain the origin of the same.

Author: SANTIAGO RODRÍGUEZ EDUARDO ANDRÉS.
Year: 2005.
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 doctorate after considering the order territorial and urban footprint as a culture and a certain social metabolism, it is proposed as an object of the thesis clarify and define processes currently configured forms territorial and urban areas, focusing on the case of Madrid . The analysis period ranging from the seventies to the present day, with some references to previous issues. The thesis is divided into two volumes. The first, with the text of the theses and some maps, diagrams and tables, consists of 858 pp. The second part contains a detailed with a second methodological and statistical documentation, as well as a paragraph of thanks and errata. The main body of the thesis, which was collected in the first volume consists of ten chapters. The first five analyzed mutations operated in the industrial society and the paradigms that guide policy and analysis, with emphasis on aspects related to territorial and urban. This part is intended to clarify the conceptual and social context in which the thesis is inserted and clarify the theoretical approaches and instruments to be applied in the investigation. The last five chapters of the investigation fall on the urban landscape planning and Spanish and Madrid, occupying three quarters of the volume's main thesis, as well as an additional volume with statistical information and graphics. This part will begin by analyzing the major changes in the context Spanish and Madrid (Chapter 6). It reviews the expansive cycles and contractivos the construction of buildings, the major structural transformations of the urban environment and the political landscape, linked to changing paradigms mentioned earlier. This approximation initial introductory step toward a very detailed analysis of these changes in the specific case of the urban region of Madrid, dedicating more than 300 pp. For this purpose in chapter 7. In various paragraphs of this chapter examines in great detail the place Madrid as a major center decision (political and economic), logistical, â | and financial our country and the large deployment of infrastructure, networks and services demanded and / or at their service, which develop and transform the urban area with all its ramifications (industrial, new approaches to management, large commercial areas, decentralized offices, â |). This analysis is done prosecuting the impact of changes in the institutional framework: changes in land use planning, urban and industry, as well as figures from the same funding (which is earmarked for a specific section). We continue to analyze the logic that has guided the residential construction: he devotes Chapter 8 in this very important topic, given the explosive growth that has made housing construction in Madrid during the current real estate boom (1997-2005). In the various sections interprets the meaning and naturaliza this bomm well as the impact and processes of social polarization and spatial originated. In chapter 9 summarizes types of spatial models resulting from the processing and construction presented in the previous chapters. It analyzes it for the "parts" that make up the urban "operations" in progress, affecting about 30,000 hectares and install about 570 thousand new homes, in addition to many commercial buildings, entertainment, office, etc.. The analysis comes at the level of detail in 87 of these pieces, introducing specific mapping and a sheet for each one of them, which describes the geographical area, built, the lucrative and its various uses for which they are intended, figures approach that relies on, and companies involved in each operation. He then classifies and sorts the resulting morphology of these pieces. Last but not least in importance, is 8 analyzed 9f9 in Chapter 10 of the logic of power and profit that move and shape transformations territorial and urban analysis, drawing on the ideological framework and institutional settings as discussed in the previous chapters. Here are identified players in the "bloc Madrid real estate" with their strategies and conflicts. It discusses in detail the wide variety of "operations" carried out or planned, specifying the nature of their stated objectives and implicit and its main beneficiaries. It identifies the role occupied by different administrations as a necessary partner in the realization of the great real estate, to give legality, social credibility and financial support they need. Essentially, the role increasingly subsidiary of the administration with regard to the initiatives of the hegemonic powers, identifying the reasons behind the current crisis planning. Once found that underscores the dominance of private power in regional planning and urban design, as well as the requirement for guarantees that ensure their social acceptance, made by an institutional framework and ideological line for this. It clarifies so, a level at the same time comprehensive and detailed, the forces and mechanisms that are actually directing construction and urban agglomeration in Madrid. Mechanisms that relate to the patterns of urbanization and space resulting discussed in previous chapters. All this adds support information and documentation statistics, graphics and mapping extremely heavy and produced (partly reflected in the annexes that make up the second volume of the thesis), as well as extensive bibliographies. The thesis consists, in addition to a summary and an epilogue that summarizes and concludes the content of the investigation