ARCHITECTURAL DESIGN (4)

Author: PERUCHO LIZCANO JESÚS MARÍA.
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 author tries to initially relocate Architecture narrative structures that used to produce emotions. Once the structures studied literature and the way of perceiving reality peculiar architectural involved in all directions simultaneously, the author acknowledges the impossibility of this translation as a result of the repeated and cyclical repetition of the stimulus that leads to the architecture, unlike the reading linear offered literature. The work is directed from here to discuss how to use the space literature. And repeatedly displayed a basic structure that is presetne both on the first page of Don Quixote and more conocidad poems. In every instance in which emphasizes the emotion, appear or are represented three areas dimensional space associated with touch, the area of the floor space and transcendent (large). When architecture makes an effort to reach its fullness, used, as demonstrated through the various ways to build the Christian church that is a prototype duplicate. The example provided is El Escorial. This basic structure is overlap in every moment of three elementary sites, takes two forms, depending on the relative importance that reaches each of the three areas cited space: These forms are: The infinite vertical linked to actions in spaces without time off. The infinite horizontal dominated by the lure of the great mythic dimension. These structures, which are inflexible, are where the thrills Architecture.

Author: MARTINEZ RAMIREZ SERGIO.
Year: 2005.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of preparation: ETSAB, EDIFICI A CAMPUS SUD.

Author: TAPIA MARTÍN CARLOS.
Year: 2005.
University: SEVILLA [www.us.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE SEVILLA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE SEVILLA.

Summary: This thesis explores the intricate relationship of the investigation with the information that comes in to acometerla. In the virtual users no longer matters, and the virtue of our world, we know by their symptoms, will be able to do an adequate transit from encyclopedic knowledge to saber-en-ciclos, relationally, completely. Therefore, attempting to recreate in analog digital, it is a contradiction. It is not possible that this object paper containing the meaning of the thesis, nor would dump coherent whole delo stored for several years. That would be like looking for a double their ego, a tautology in the manner of itself is horrified when we finally meet. The dual path, or what the literature of fiction called doppelganger to decant the investigation process in a way, is momentarily interrupted, as in this figure fantasmatic, a chance interferenciar or even be something different, and maybe with meaning, but like everything else in our time also may put at risk in this duality aims and objectives. Everything here is enclosed in a digital format, which, expands networked interactuaciones, and demand participation. Everything that is represented here, there is reality itself, given that reality is nothing but conceived through intermediaciones of surface appearances in Parmenides, the illusions in Berkeley, utopias in Thomas More, the catch of realistic objective Descartes, Kant of the imagination, in the remoteness of the interpretations individuals Peirce, of overcoming what is natural from Hegel to Marx, in the absence Jabés of experience in Vopn Glaserffeld, simulation in Baudrillard, the social construction in Bourdieu, what mánrico and against what phenomenological in Ubeskind of etogramas of Pardo and Castro Nogueira, the atlas Serres, diagrams Eisenman, controls the speed of conscience in Virilio, the media Garcia Calvo, of the paradoxes to Zen Buddhism, from veladruas and desvelamientos psychological Lacan, the mimesis, abstractions, intuitions, but also the extemporalidades of pathways and devenires art, which makes maps, and Unexpectedly that generates ways of understanding the present. Nothing is subject to belongings at fixed points. Nothing said here is no longer architecture, from the bet we did, because the complexity, the whole, the reality is much greater than the sum of its parts, and none of them can be considered without the others, with a particularity, that nothing is defined by its borders, its shape, form, but because of its connectivity. This makes extraction for consideration of a party set up to make it impossible to affect their recognition. It appears our hands for the understanding, an interface for maintaining the complexity and against the simplification and reduction, which functions involved in the culture, through procedures of action in it, and towards the works. The architecture can be everything, because it is in everything, it does not entail full, as it dissolves in turn therein, without criterion of belonging stable. The question is how to the proceedings, in the medium between things in the world.

Author: CASADO MARTINEZ RAFAEL.
Year: 2005.
University: SEVILLA [www.us.es].
Place of defense: ESCUELA TECNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TECNICA SUPERIOR DE ARUITECTURA.

Summary: The research work is started from an unusual position negatively to the architectural form. From the denial of perception arises a reflection on the form of architectural space. An area without generic form is a space devoid of identity. Â What formalizes space, structure or abstract the event the limits?. We are analyzing the values configurators space analizandolo as perceived - represented artists (painters, photographers and architects) as a pilot basis in the event of projecting. The light reveals the place internal power outside the area, something that comes from outside, which allows the expression of the interior, which is necessary for the perception, but that is outside the building space. The light overrides / blind as making an impact where the plane lose its character limit again transformed into light emitting, reflecting plane. Keeping the role of light in that reveal the way, guess who think space is thinking darkness and their shadows, because it is so closely linked to the same space. The shadow is a limit to be generated from another limit, the boundary limit. It is the shadow (the darkness) the shape of architectural space. The aim is to show that the projected space, in this case the real and virtual architecture within is linked to the shadows and, therefore, production in the proposed architecture to inhabit should consider it. Projects are presented in the shadow thrown or darkness has been instrumental in the genesis of the project or process has been dormant in him. The work is divided into three parts: A) In the first part of the thesis addresses aspects of human perception regarding the constitution of architectural space. We distinguish three categories of the linkage between population and Space: The image (apariencia-ficción), the reality (being) the existence and presence / absence (be). The decisive role of the shadow on the distinction and definition of the categories of space appearance, presence and existence closely related to the perception of espectador-habitante and protagonist of architecture. Linking real habitante-espacio set out in the shade. Since stimuli collected by the senses man DISCOVER, and ORGANIZED RECREATES the real space, becoming aware of him, and his position in it through the PERCEPTION of the shadows, which delimits the threshold between two realities, the insider the outside of a place. New and old ways of living pleasantly architecture agree that balance of shadows that formalizes space just linking / identifying the spatial form and shape of the shadow. B) Shadow generating forms. Tension formative vibrant. The second part examines the role of the shadows in creating forms, as a tool generator laws generation and formal coercion. It is a formal system based on non-abstract representation in the absence of image. These forms can be absorbed in the process of the project, which is a critical selective materials conceptual, shadows, involving them in the various stages of architectural thinking led to the construction of the space: The perception, design, construction and representation of architecture . We believe that the formality of modern design and way of thinking is in the constructive use, economical, but on the whole subject that invokes the way. No subject (which recognizes objects and boundaries) no formality modern (space). We studied how the shadows provide the space to collect and relating limits. We show how the dark intensifies the perception space, linking the limits materials, avoiding distractions accessory such as ornamentation (pictured), and even the same plane making unnecessary specifier. The shadow hides the limit, it supplants, makes it unnecessary for spatial perception. In this regard the sculptures Ote 8 iza are 942 eloquent. The metal fragments that suelda producing some "unemployment space" are equivalent to shadows desgajadas limit that produced and the light that evidence. We studied the shadow and the shadow intermediate diagonal that invite think of the place and ambiguous boundary between interior and exterior. Longer either living in a territory as interim interior / exterior, the population which forms part of the membership as a spectator outside. C) The third part discusses and shows how the shadow is capable of expressing content as ethereal as is the time, as the link between space and time. The man puts the consciousness of time in this space continuum. Space is the shadow of its inhabitant experience temporary acting forms and produces sequential time as the shadow that extends reconfigure or adjust the shape of space. The shadow of the unstable nature spaces, places instantaneous, which fluctuate in an instant undetermined. Shades short formalized space analítico-proyectual identified architect and inhabitant. The man lives in the shadow. Because "A INHABITANT is in relation to TIME, in relation to SPACE." Avoid the concept nomadic and fluid as opposed to living in the shadows and contrary to the same way of living. There are aspects where unstable man (called nomadic) dwells not because it is not where it is. The lifestyle is welfare, is continuity, privacy, sequence mild, silence and space that is generated with their shadows, keeping pace sun. Perhaps this is the mission of Architecture.

Author: OCAÑA LEYVA ROBERTO.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA. ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: The investigation to explore and to analyze the realities in which the urban waterfronts are immersed. The dimension and complexity of the problematic one require therefore to make the study from a complementary perspective and interdisciplinary, by means of a practical method or studies of cases, where the balance and the space behaviour of the water within the city are valued, the re-interpretation that the architecture does of these spaces and in general you practice them for the environmental conservation. In a temporary frame that goes of the Sixties to year 2005. The first one I capitulate analyzes the importance of the water like origin of the place and the first establishments, determining element in the construction of the urban thing and in the conformation of habitat. The second l capitulate links problematic and the impacts of the excesses of water that directly league together to a series of imbalances or factors, characterized by a set of changes in the planetary atmosphere. It is evident that the frequent threats of flood in several regions of the world are realities that harm the stability of many cities, which before such situation have stimulated reactions and answers able to assure the coexistence communities in unfavourable conditions. In third I capitulate analyze the transformations that have experienced some cities in their waterfronts. Phenomenon made the reusability of and obsolete harbour zones for a new use possible. The competition by the recualificación of the parts with greater potentialities, or with residential proposals, commercial offices, or centres is accentuated. For a greater exploration the analysis includes/understands cases of marine Fronts in diverse regions of the world, and cases of fluvial Fronts in the Spanish context. One studies in addition, in this section the paradigmatic cases of Venice and Amsterdam that by their historical evolution and permanent transformation with the water are referring the world-wide one of cities of the water. The quarter and I complete I capitulate studies eight projects of architecture. Four of them re-interpret the urban spaces surroundings to the water, looking for to give to sense and meaning to the city, by means of the valuation as much of tangible and intangible aspects, as well as through its formal expression and the force of their tectonic materialization. The other four projects look for a symbiotic relation but, by means of the habitat creation human but sustainable, valuing the water like space alternative in inundables zones, or, like average for the recovery of ecosystems, both cases contribute, if not to an urban environmental planning, at least an environmental point of view for the urban planning.

Author: KONG MARIO SAY MING.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: Our dissertation proposes a watchful eye on the fundamentals of the creative process in the Architectural Drawing, contextualized in the dual of East / West and generators in the elements of harmony and proportion. The working part of a pattern as formal communication of architectural thought, specifying the relationship between graphic expression and methodology of the project in architecture. He drew two crucial moments in the western architecture: the Renaissance and the first half of the twentieth century. Notes the principles of Feng Shui, which he characterizes as the doctrine on the basis of the architectural design of any project in the East. Resort to Kandinsky to define the structural elements of graphic language. It addresses the various technical means of representation guaranteeing the representation and interpretation of strokes. Consider the drawing act as a generator of knowledge, bringing together the creative process. It looks at the importance of architectural space, which relates to the concepts of harmony and proportion in several specific examples of architecture from different eras and cultures. Hence part for a reflection on the theoretical foundations of a basic order. Notes that the proportions Chinese derived from the dimensions of the human body, as in the case of Antigà ¼ Classical age or Modulor of Le Corbusier. In the chapter on numerology reinforces the idea of using the issue as a mathematical entity, with impact on the harmony, proportion and geometry charges. Relatively the color, provides a little history on the theory of light and color. Emphasizes the importance of the symbolism of color in Chinese culture. In chapters on the Treaties of Drawing analyzes two works that influenced the architecture of the West and East, respectively: De Architectura, Vitrubio and Ying-Tsao-Fa-Chi, Li Kiai. The comparative analysis of the two works, highlight the nature estético-artístico the first scientific-technical and tenor of the second. The treaty Alberti, De Re Aedificatoria, is an example of interest in Vitrubio and in the continuity of its principles, such as firmitas, utilitas and vernustas. Successive changes in architecture, due to socioeconomic factors and the application of new construction techniques, reaching the twentieth century with Le Corbusier, the turning point in understanding the fundamental problems of the modern architecture and urbanism. We identify the factors that determine the orientation of the process of architectural design, especially the vast typology of wooden structures in Chinese architecture. In this area, there is a relationship between forms, taking into account the visual qualities and symbolic. Finally it comes in the form of short, the evolutionary picture of arquitecturasportuguesa and china, based on the study of the most important buildings in Macau. The lecture ends with the analysis of three buildings, two in Macao and other enOliveira de Azeméis, north of Portugal, authoring Siza Vieira. The analysis is based inthe relations structure, symmetry, balance and harmony Formal through geometry and laproporción to be associated symbolic interpretation of Feng Shui. At the conclusion highlights the relationship of similarity between the concepts arquitectónicasen West and East, with the idea of the center line of âel individual, the nature yla sociedad'. Keywords: Architecture, Architectural Drawing, Harmony and Share in Architecture, Feng Shui in Architecture, Architectural Drawing in the West and East.

Author: BUREAU ROQUET GUSTAVO.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The work of looking thesis, as a general objective, clarify, if possible, the immediate future of architecture burial in the Gulf of Mexico, on the assumption that in this area, the tomb still keeps a social membership which makes viable and necessary as an expression of their cultural context. It was part of a description and analysis of prehistoric space funeral, then to analyze the Judeo-Christian tradition in connection with the death. With these two analysis leads to the description of the graves in the Gulf region of Méxcio of the nineteenth and twentieth centuries, to find valences make feasible the claim of architecture in contemporary society burial in Mexico.

Author: GARCÍA DEL MONTE JOSÉ MARÍA.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: Addresses here studying the works of Paulo Mendes da Rocha as a model of the possibilities open architecture thanks to the technique of prestressing. Through the study of a number of significant projects, he examines the ways in which this technique allows for a new way certain architectural problems, from a predominantly proyectual, ie not addressed from the perspective of a historical analysis or theoretical, but through the study of the way in which technology is integrated high potential as a tool for project seeks to explain the decisions through which reveals the synergies between technical and architectural thought. This question requires an analysis of the context, which makes it necessary to study the central features of the so-called 'school São Paulo', ie architecture being desarrola in Sao Paulo from last fifties of the twentieth century. It is essential to understand that the tools project that inspire the work of Mendes da Rocha are common to the best modern Brazilian architecture. Similarly, we must consider the figure of Eugene Freyssinet, inventor of the prestressing concrete. The study of his writings about prestressing will reveal surprising tunes between his thinking and that of the school paulista. We could say that it is no coincidence that the best development of prestressing in architecture has been produced in Brazil: the underlying ideological connections seem to mark an inevitable fate. As analysis tool used an outline distributed around four points put forward in correspondence with the famous points of programmatic architecture corbusierana. The results of the architecture of Mendes da Rocha, as more sour expression of the endeavors of the modern architecture of Brazil, can be interpreted from their confrontation with the wishes of the European avant-garde architecture. The lightness, the demise of the facade while tiranizadora thinking architectural, soil recovery and duplication in the deck, the presentation of the virtues of nature, the role of space in shaping the architectural form of plant free, are all issues that this architecture leads to new limits. Once completed the analysis of the selected points, was put on the relationship of architecture Mendes da Rocha with the work of Vilanova Artigas, as a way of summing up on the concepts studied and calibrate the special degree of processing the work of Mendes da Rocha supposed. The concepts of truth and naturalness, that appear constantly in the speech and in the works of Mendes da Rocha, should be placed in contrast with the work of Artigas to really understand its meaning and its level of sophistication. They are there, ultimately, to contrast 'an architecture that is the truth architectural through sincerity formal (Artigas) and another that tells true stories through the sophistication of the form (Mendes). This is not the same '.

Author: GASCÓN BERNAL JESÚS.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: This research deals with the study of which was important footwear Augustinian convent, located outside the village of Madrigal de las Altas Torres in the province of Avila. The package which once was called the 'Escorial of Castile', where he died Fray Luis de Leon in 1591, with chairs in theology and philosophy and house provincial chapters, has seen its factories languish in parallel decline of Castilla and villa's own Madrigal until the decrees of suppression and desamortización in the nineteenth century, finally closed its doors as a convent and opened to destruction and ruin that today. The first volume develops through the historical part of the documentary sources, mainly from the archives of numerous notarized protocols establishing the following periods: 1) Foundation in the second half of the thirteenth century, an initial nucleus eremítico on the outskirts of the town the Madrigal. The first document that refers to the convent (which expresses the appreciation of Alfonso XI and his mother Constance Portugal) puts it prior to 1313, when the latter dies. By Papal Bull of 1435, confirming the Augustinian religious community, which will be renamed Our Lady of Grace, in 1438 to adscribiéndose Reform Enforcement. The Augustinian convent was acquiring a certain prestige, professing in his closing many daughters of nobility, perhaps under Madrigal converted into temporary residence of the Court, in times of Trastámara John II and where born in 1451 Queen Elizabeth Catholic (precisely in edificio-palacio to be moved later nuns). Among the personalities who inhabited its walls highlight prioresses, Mrs. Mary and Donna Hope of Aragon, daughter of Fernando natural Catholic, which will in 1525 get his nephew, King Charles I, assignment of the former palace of John II , to which accesses the Emperor, perhaps because it feels gratitude toward her aunts who are in charge of her daughter bastard, confined to the convent and die with 7 years. Some years later is the natural daughter of D. John of Austria, a professor at Madrigal, which will lead to the process of confectioner of Madrigal, where Philip II intervened personally, being at stake the legitimacy of the annexation of the Portuguese crown. 2) A second period (1540-1590) of the building begins when the nuns moved intramural the village, and transferred the old convent their brothers Order, which accepted through Santo Tomas de Villanueva. The friars Upon arrival, pose a new design developed by Fray Alonso de Madrid and Sebastian Case, which failed to take place, perhaps because of the few means at our disposal. 3) The third period of the building (1590-1640) corresponds to the implementation of the main bulk of the work that transforms the set and expand its current route, acquiring their physiognomy of classical architecture and characterized by the patronage of Cardinal Quiroga and the establishment of treaties that would finance such costly works. The old medieval construction expands and regularized to form a plant proportion tuple, which traces the design of architect John Ribero in 1590. The first work which undertakes is the church, between 1595 and 1601, then the main body of the facade and finally the cloister, interior bodies and main staircase. The convent, and was structured around two courtyards similar to the adjoining church and E. 4) The fourth period (1640-1808) was characterized by a slowdown in construction in the building, which takes discreetly in the middle third of the eighteenth century, be a stage of stability convent. 5) A final period are the years since the beginning of the nineteenth century until the present day and broadly characterized as the destruction of his. During the War of Independence, the convent suffered some significant damage, especially the church and part of the cells. Subsequently, the process desamortizador of 1836, provoc 8 to sup 1024 resión the convent and its properties, and the subsequent auction and sale in 1844-1848. Over the twentieth century monastery will lose their roofing and factories, especially the lack of use and maintenance, as well as the sale of its closure elements as building materials. In this historical study must be emphasized knowledge of the three treaties or foundations have been established between Quiroga and their executors, with the convent, where financial resources are provided that enable the realization of a work of such magnitude, with an approximate cost in around the 180,000 ducats from the plundering of the personal fortunes of Cardinal, Archbishop Toledo and Inquisitor General Gaspar de Quiroga, a native of Madrigal, with the establishment of patronage on the Chapel Staff of the Augustinian church, where they were entrerrados their parents . We also have studied some of the economic aspects of the convent, on income and charges from patronage and its evolution over time. In unpublished, has been the participation of Fray Luis de Leon in project management outside the convent after 'acquittal' of Augustinian friar by the Inquisitor Quiroga, in the second process inquisitorial 1582. It also has been investigated on movable property to be preserved from the convent known as some of the paintings by Juan Pantoja de la Cruz, to the main altar of the temple, they have come to belong to the Museo del Prado (funds dispersed), even with others names, through the late Museum of the Trinity, which was formed with some collections from the desamortización of 1836. The second volume examines some of the aspects of classical architecture of the building. It defines the sources of influence during this period of construction. The first one is situated within Toledo-Madrid, through the figure of Cardinal Quiroga and their executors in the surroundings of the Court. The second, within Salamanca-Valladolid, where it comes from John Ribero, and the fray Luis and Juan de Nates which will be responsible for completing the works of the church in 1600 on the death of Ribero. It presents the work of the various architects and artists involved in the ideation and construction of the monastery, such as John Ribero, John Nates, Alonso Vallejo, Pantoja de la Cruz, Iriarte Sunday, Francis Cillero, Francisco de la Hoya or Juan Alvarado, especially analyzing the performance of the first, as not only builds the convent church between 1595 and 1600 but, as we have discovered, it traces general convent in 1590. Based on the known facts about the life and work of John Ribero, and within the premises of classicism vallisoletano, last moment of our Renaissance, the paper explores, in the final chapters of the general outlines of the convent and the church , which show the invariants of his typology Church, as well as geometry and modulation architecture based on the proportion tuple, which has deepened both in his work, as in the compositional systems it uses. This second volume also incorporates 38 drawings on the building, both in its current state, and in their virtual reconstruction. I enclose some documentary appendices, known chronology of priors, a photo reportage of the current state of the convent and relevant literature.

Author: FIGUEIREDO E ROSA EDITE MARIA.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA-ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: ODAM: Modern values and the confrontation with the productive reality. This dissertation instigate upon the premises of the modern and itâs impact in the transformation of Portuguese architectonic practice, analyzed through the specificity of the architecture produced by a group of architects of Oporto, the ODAM group, that defended (the) modern ideals, in their individual and collective manifests. The aesthetic and conceptual foundations, constituted by this group, are researched as privileged instrument of Portuguese architectonic production outstanding the new proposal of the modernity in favour of Portuguese humanists and cultural values. The election of this group stands on the idea of the 'collective', as an ideological vehicle of divulgation of the âModern' principles. Doctrine that is taken as collectives premises, accepted as transforming bases of architecture, in its respond to society, as a cultural phenomena, and that allowed, in the specificity of the group, to reveal the fundamental lines of a production confronted between the dialectic, of modern values and the permanent valences of cultural and productive artesian. The general structure of the work was organized methodologically in four parts. The part I, is reserved to explain problematic issues within the work and summary the interrogations drown upon the analysis objects: the group ODAM. In the part II, are approached the general âapprehensions❠(concerns) of this collective, showed through projects with a âexpository' character and constituted/proposed by the group as 'absolute models'. The part III, deals with the intensive materialization of these concerns within the productive practice of the group, through the study of selected (constructed) works treated as, paradigmatic manners of doing. To conclude in the part IV, with a theoretical reflection, of the global production and a synthetic critical of the most relevant architectonic contributions elaborated by the group, intended to answer the interrogations brought out in the part I. The centrality of the work lies in the demand of understanding this âspecific collective formalityâ, by the sighting of three categories (of actuation) common to the elements of the group, here denominated as patterns, that reveal the main concerns, essential to its characterization and inherent to its conception. The period of study among 1945 to 1955 correspond to the statement of identity of the Group ODAM, constituted in 1947 and with its acme within the exhibition in 1951at the commercial athenaeum of OPorto. The first pattern contest generically with the (initial) production of modern performs of the Group, where the expressions of the artefacts are more substantial /weighty than their modern contents. In this stage are identified the first polemics works that imply the architects to associate in a vindicate group with common architectonic interests and actuations. At this stage the production reveals a commitment with the conventional values not in favour of a modern radical. In the second pattern, the formal contents correspond to an aim/ to total trust/ to belong to the ethics ideals of the machine age that is reflected in original uses, innovative programs, in the 'rationalization of the function', in a philosophy and methodology of project that it is mirrored in a more abstract form, as a universal code . In the third pattern, assimilated the modern content, other focal beliefs maybe added. To the pure abstractness of the form is associated the local identity, more humanized and the search of other relegated valences, the 'memory' and the 'instinct.' These three patterns that are presented as premises, try to confirm through the crossing of the theoretical and project production of the group, its pertinence as new mater of modern values in Portuguese architecture.

Author: DE OLIVEIRA LEPORI ANA PAULA.
Year: 2006.
University: POLITÉCNICA DE CATALUÑA [www.upc.edu].
Place of defense: AULA PI CALLEJA-ETSAB.
Place of preparation: ETSAB, EDIFICI A Campus SUD.

Summary: This dissertation is entitled âEl workshop projects as laboratory: memory and lugarâ. The central theme of the same is the relationship between socio-cultural architectural object â â user environment. This relationship is analyzed under two viewpoints: from the architectural design of the project and from the use of the object constructed. To analyze this relationship between the three actors sociocultural and investigate the elements that build the communicability of the object architecture has been developed in a laboratory architectural objects. Given the current state of architecture, which increasingly offices planned, constructed and analyzed space built outside its understood it, developing projects in different parts of the world, the thesis is developed in a series of methodological tools that encompassed they are aimed at the development of architectural projects communicative with regard to environment and the user, knowing and respecting the specific and universal each. To create this office action and intentionally territorialized complex, we turn to the construction of an experiment: a laboratory where we can isolate architectural objects, relate and analyze the particularities and generalities of various projects in very specific about the place and use. The architectural objects chosen to shape the laboratory are: Latin America Memorial, SÃ £ o Paulo (Brazil), designed by Oscar Niemeyer, 1988 â 89, Sesc Factory gives Pompéia, SÃ £ o Paulo (Brazil) 1976 â 1982, as projected by Lina Bo Bardi and Playgrounds in Amsterdam (Netherlands), designed by Aldo van Eyck between 1947 and 1973. To analyze the objects have been created tools based mainly on the theoretical Story of Paul Ricoeur, in the studies of Mikhail Bajtín for an analysis of socio-cultural and literary discourse in Topogénesis Josep Muntañola. The laboratory is divided into two parts: analysis of the architectural projected that call âProyectar the communicability of objetoâ and analysis of the architectural used, called âEl object comunicaâ. The objects chosen to investigate the dynamics between sociocultural author (through the order) â â user environment, intentionally possess characteristics shared between them and while other features that are, at first glance, rather antagonistic. They were elected architectural objects that possess a deliberate with memory and with the concept of place. The objects are within the same time frame, or if they share time between historic and preferably with us, the observers / researchers from the socio-cultural dynamics that generate. This decision allows the reading of the laboratory is closer, as they share the historical time we recognize the values, beliefs, ideas and world culture deposited in each object. In addition it was important for architectural objects elected and had passed through a period of adaptation to its environment, as it had interaccionado and with users and which still exist. A part of what traits that are common, these objects materialize different relationship with the place and geographic location, memory, scale, the identity, relationship author / user and implementation processes. The specific prompted the choice of these three objects that we will uncover along the analysis of your project and its use and the comparisons resulting from the proposed lab. Based on the tools built in this work for the reading of the draft and the use of architectural objects, we can expand the thinking that has led to this raid by the intelligibility of objects architectural and cultural engine that drives: origin and purpose of the artistic.

Author: PERIS SÁNCHEZ DIEGO.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. Arquitectura.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: THE MODIFICATION OF THE TOWN RESTORATION MONUMENTAL IN TOLEDO S. Nineteenth AND DOCTORAL XX THESIS: AUTHOR: DIEGO PERIS Sanchez. Director THESIS FRANK NAVASCUÉS PALACIO OBJECTIVES The primary objective of this dissertation is to study the evolution of the city of Toledo from a key aspect of the same: his monumental reality. The city of Toledo has undergone significant changes during the nineteenth and twentieth centuries as a result of the social, political and socially shared the concern about the heritage. The study of the urban complex and pluralistic reality of the city of Toledo requires approaches from different perspectives. THESIS. The city of Toledo is the result of additions and changes in its structure and in its urban reality built over the centuries. From the Roman town of which remains in the Roman circus and in some isolated places, there is a city Visigothic and later in the medieval city will be home to Jews, Arabs and Christians. With the presence of the court, the city will have a moment of glory in the sixteenth century with the refurbishment of some of its routes and the construction of a unique architectural heritage.

Author: MARURI GONZÁLEZ DE MENDOZA NICOLÁS.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. Arquitectura.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: THESIS Summary Space fluid, continuous horizontal space, is one of the fundamental discoveries of the Modern Movement. This new design widely studied, lives with the vertical space that has been forgotten in most references to the forefront today. This thesis aims to fill this gap by providing a new understanding of space in double height. To identify the problem, we studied the evolving shape of the space in double height (vertical space) in villas designed and built by Le Corbusier. " Charles Edouard Jeanneret, began making small buildings in the decade to 1920. In this era housing used as a weapon from which enunciate a new vanguard. The small size of its proposals, something implicit program allows circumvent the problems attached to more complex projects and establish clear clarity with a "new form". Le Corbusier at first did not recognize the category space as a concept to be used in their writing. In his first written reference to "volume" and their levels are expressed through "prospects". At deepen their understanding of these concepts are replaced by "section, which becomes obsessive and insistent, and the concept of" space "that gives the adjective" indescribable "or indescribable. The vertical space of the work of Le Corbusier built by different provisions: as the organizer (Roche), as volume to be navigated by its perimeter (Stein), as an area that is experiencing visually diagonally (Shodhan), as a major appearance (Property Villa), or as a small final meeting (Jaoul). All these issues grow in complexity, mixing between them and this way chart new avenues for the development of architecture. The method of analysis of the thesis is organized study "process" of different projects. Considered a "process" as a sequence that allows to be analyzed carefully and divided. Stream that provides moments that are considered equivalent and that are valued independently. These processes begin with the Villa Schwob (1914) and ends with the Villa Shodhan (1956) and during its development can be seen as it appears the shape of space and how this modern form evolves in its de-formación and transformation. The thesis is divided into five parts: -

Author: FERNÁNDEZ NIETO MARÍA ANTONIA.
Year: 2006.
University: POLITÉCNICA DE MADRID [www.upm.es].
Place of defense: E.T.S. Arquitectura.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA DE MADRID.

Summary: The thesis deals with the foundation and development of the Colonies Home Employee Madrid to solve the housing problem in the momentous decade 1953-1963. The paper analyzes the time, its promoters Jesuits, and institutional organization that supported the construction of the Colonies, the Housing Ministry and other administrative bodies. It also seeks to explain the process proyectual its architects (Oiza, Romany, Ferrán and Mangada, etc.) within a context of architectural transition between rationalism and Orthodox organicismo, both in Spain and the countries most influential in this field.

Author: PANIAGUA FELIX PEDRO.
Year: 2006.
University: OVIEDO [www.uniovi.es].
Place of defense: FACULTAD DE GEOGRAFA E HISTORIA.
Place of preparation: DEPARTAMENTO DE HISTORIA DEL ARTE Y MUSICOLOGIA.

Summary: Thanks to a revision weighted platitudes such as isolation -verdad half that conditioned the investigations about our artistic legacy gótico-, we think this work as lengthy as gloss maintained at the same time as a chronicle of what was testimonial. Therefore, complement the mandatory field work with a comprehensive compilation of sources, both bibliographic and documentaries as oral tradition. As for the study itself of the pieces, and after a critical evaluation of the current state of affairs - with a heritage and decimated in the process of consunción-, it should be emphasized that our attention is not limited to the analysis and documentation of manifestations " cultured ", giving equally accommodate production marginal invoice very uneven, but estimable plastic accents. In any case, we seek to avoid overly "local interpretations of the data, placing it in relation to what worked beyond our borders. Only we subtracted add that, whenever possible, acometemos classification crono-estilística material selected, thus facilitating their study and understanding.

Author: QUESADA GARCÍA SANTIAGO.
Year: 2006.
University: SEVILLA [www.us.es].
Place of defense: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.
Place of preparation: ESCUELA TÉCNICA SUPERIOR DE ARQUITECTURA.

Summary: The concept of landscape in Western culture is essentially a creation of the painting. But today is about values and connotations so wide that transcend the different individual disciplines to move to a theoretical level to move to a theoretical level speculative. We must not forget that the current rediscovery of the landscape comes from the ecology but also of geography, anthropology and especially of phenomenology. The current interpretation, the notion of landscape as the architecture itself, is framed, irremdiablemente, in a philosophical context in which the so-called gior or linguistic paradigm has had and has an indisputable dominance. The natural language or current, as social and historical building has been the basis with which all philosophical currents have tried to overcome the crisis dela traditional metaphysics. Today the world is divided linguistically and is known through language. The paradigm implies a universal language abstract, because the common language referring to a core ideal and generic, never to the individual substances and concrete. The architecture includes only when lives were runs, it smells, touches .., why, this predominance of the language hinders proper understanding of the true nature of the architecture, contributing to a degree of self in the architectural project, that led him to exhaustion. Understand the proposed architecture as a acicón in which references are as a network of models or examples of that part of the project, is a common method and consistently practiced in teaching projects, but is not explicit. As punishment deserved to be studied. Therefore in this study, on the pretext of using landscape and the landscape, has tried to describe the links which bind to the project by the act of designing. Moreover, the relationship that is established between architecture and landscape through such practice which is the architectural project, opens a new perspective, ay that the linguistic elements are minimal and do not cover the entire wealth of reciprocal action that unites them. Rather than an inquiry on the landscape or on contemporary architecture, this thesis has investigated what is the process that relates lso. The investigation will be headed, for both, is to describe how such action, the process of forming a new reality, an architecture based on a universal and specific reference is the landscape. Early in the decade of the 90's, the landscape, in all its ambiguity and definition becomes one of the targets of the debate in contemporary architecture. In 1991 the magazine Casabella, directed by Vittorio Gregotti, publishes a wonderful number, entitled Progetto di Pesaggio, dedicated to exploring the relationship of the landscape not only with architecture, but with anthropology, geography, history ... What in the sixties and seventies was the "land of architecture! Now becomes landscape. Through a new look at the landscape, it seems that it can grasp novelty of the new development process, without betraying the peculiar nexus among territory and society, between culture and environment, recognizing and assuming also a way to look investigated by the cinema, photography, sculpture, and art, no-lugares anthropological, etc.. intersections around the landscape multiply and reinforcing, which justifies the success of this concept in the contemporary debate. "necessary and urgentisima restoration" of palimpsest landscape, which Franco Purlini claimed therein number of Casabella, a complaint was with the objective of completing a specific action in response to indiscriminate deterioration of the landscape. Two years later, in 1993, Almaro Isola also called for the need to be balanced architecture, it is necessary that the nature of the landscape is not given for granted, for later. With the landscape appears as an alibi the focus of discipline arqui 8 tectónic 9f8 to has been gradually sliding towards a renunciation of unique analytical tools and operational architect of the measure, drawing the example, the reference in favor of the photographic image or linfográfca, the video, fitting, installation fleeting, or so-called landscape approaches. What this work is intended to show that the landscape may be, as well as a figurative reference, analog or emotional, a material most of the proposed architecture. This thesis began as an investigation into the landscape, but the intimate connection between Landscape and Nature, and the choices we had with this architecture, leading to analyze a concept that linked until the eighteenth century: imitation. landscape, architecture and imitation appear independent or intertwined in this job, but weave together at the end, when investigate how establishing relations between process and project contemporary landscape. The main conclusion to be reached in this thesis is that the architect is always within a horizon of relating, one of whom is lso landscape, which sometimes is chosen as a reference for their peculiar characteristics or structural principles, which are those that end up becoming an object of desire by architect when projected, if it so decides. act of projecting is considered, therefore, as the practice of a sujeto-arquitectonico fully rational, and self-conscious, and what characterizes this action over others is that desire incoativo limitation or emulation producing certain models or references. admit this means the project heteronomía architectural study the rationality of choosing a particular model or prototype, and therefore having to understand or investigate prior to that model.