In the houses that Fernando Martínez Sanabria builds on Bogota's eastern hillside, he develops a way of space integration that transforms a system of bays (1) of parallel walls into an intransitive inner ambience with the exterior close to the spatiality of the archetype so-called room.(2) The purpose of this dissertation is to study this transformational process, in which it defines a specific conception of the domestic space. It seeks to understand how from a constructive system based in the space compartmentalization of a wall; it is proposed a way of space integration that do not diminish the chambers into an undifferentiated and uninterrupted overall, changing space experience to the interior without abandoning the exterior. History places Martínez as the best Colombian architect from the 50s and 60s in the twentieth century stressing his plentiful production, specially the figurative singularity of his work related to the organic tendency, which unbars the debate over the modern architecture's pertinence in the country. This dissertation steps this appreciation aside regarding individual facts to an array of his work, where is revealed the search of a spatiality that contrast with the free plan idea, widespry d in his historie time. The houses created by Martínez, mentioned in this dissertation, represent a heterogeneous string in which it is found unity to identify an ordering structure defines by the bay of parallel walls. But this structure appears before the hillside houses in Bogota's savanna; when Martínez dedicates himself to low cost terraced houses, which divides the dissertation in two moments: firstly whe1re it is establish the system's operative base, and secondly where it is produced the transformation towards the inner ambience it pursues. (1) Bay: space contains between two load-bearing walls, commonly parallel. The bay is distinguished firstly by its long and narrow proportions and subsequently, by its longitudinal elongation and its transitive relation with the exterior. This allows its grouping in juxtapose rows of easy coating from a series of beams supported on walls. (2) Room: defines a great, unitary, and continuous inner ambience that is intransitive with the exterior. It is used to label not the space per se, but the propensity towards the characteristics of an enclosed and coated space, characterized by the interiority sensation in which it is cautiously calibrated its relation with the exterior. / En las casas que realiza Fernando Martínez Sanabria en la ladera oriental de Bogotá, desarrolla una forma de integración espacial que transforma un sistema de crujías(1) de muros paralelos, en un gran ámbito interior intransitivo con el exterior, próximo a la espacialidad del arquetipo denominada como aula. (2) El objeto de esta tesis es el estudio de este proceso de transformación en el que se define una concepción específica del espacio doméstico. Busca comprender cómo, a partir de un sistema constructivo basado en la compartimentación espacial del muro, se propone una forma de integración espacial que no diluye las estancias en un todo indiferenciado y continuo, volcando la experiencia del espacio al interior, sin renunciar al exterior. La historiografía sitúa a Martínez como el mejor arquitecto de los años 50 y 60 del siglo XX en Colombia, destacando su abundante producción y principalmente la singularidad figurativa de su obra relacionada con la corriente orgánica, que abre el debate sobre la pertinencia de la arquitectura moderna en el país. Esta tesis se aparta de esta valoración sobre los hechos individuales, a un conjunto de su obra donde se revela la búsqueda de una espacialidad que contrasta con la idea de planta libre, difundida en su momento histórico. Las casas de Martínez que aborda la tesis, constituyen una serie heterogénea en la que se encuentra unidad al identificar una estructura ordenadora definida por la crujía de muros paralelos. Pero esta estructura aparece antes de las casas de la ladera, en la sabana de Bogotá, cuando Martínez se dedica a viviendas económicas entre medianeras, lo cual divide la tesis en dos momentos; el primero, donde se establece la base operativa del sistema; y el segundo, donde se produce la transformación hacia el ámbito interior que se persigue. Aunque la tesis se ocupa de las casas de la ladera, atiende las casas anteriores de la sabana y demuestra que el origen de los aspectos más celebrados en la obra de Martínez anteceden a la señalada filiación con la arquitectura orgánica. Con ello se aporta una comprensión más objetiva de una obra que explora problemas sobre la percepción del espacio, a partir de las variaciones de un sistema establecido. La metodología empleada consiste en el análisis de la documentación final de los proyectos y las obras terminadas, con base en el archivo del arquitecto y las publicaciones sobre su obra, principalmente. El análisis trata la organización y delimitación espacial de sus casas, considerando procesos lógicos y analógicos donde se establecen relaciones con otras obras de la arquitectura y con aspectos de la biografía del arquitecto, presentes en su concepción espacial, que orientan el proceso de transformación identificado. (1) Crujía: es el espacio comprendido entre dos muros de carga, generalmente paralelos. La crujía se caracteriza primero por su proporción, larga y estrecha, y luego por su extensión longitudinal y su relación transitiva con el exterior. Esto permite su agrupación en hileras yuxtapuestas, de fácil cobertura a partir de un envigado apoyado en los muros. (2) Aula: define un gran ámbito interior, unitario, continuo e intransitivo con el exterior. Se usa para calificar no el espacio en sí mismo, sino la propensión hacia las características de un espacio cerrado y cubierto, caracterizado por la sensación de interioridad, en el que se gradúa cuidadosamente su relación con el exterior.

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La tesis es una exploración de la idea de orden como invariante intemporal de la arquitectura. De los análisis de algunas recurrencias significativas en los esquemas formales de las obras mas reconocidas del patrimonio arquitectónico, se deduce que los mecanismos de construcción del orden son limitados, recursivos y relativamente independientes de las opciones estilísticas o lingüísticas. La primera parte de la tesis puede considerarse como un pequeño tratado sobre las posibilidades y atributos de estos instrumentos, mientras que en la segunda parte se sigue un discurso que va desde la búsqueda de las múltiples relaciones entre arquitectura y naturaleza que subyacen en la apetencia anabólica hacia el orden, hasta las observaciones de la progresión hacia la complejidad de la arquitectura de este siglo-incluidas las obras de algunos maestros del movimiento moderno-, y su compatibilidad con la exigencia de orden, para terminar haciendo referencia al papel catalizador del orden en la implosión arquitectónica. La tesis apuesta finalmente por el orden económico y la complejidad implícita que es identificable en la mejor arquitectura.

The aim of this thesis is to study the relationship between the man and the house, through the example of eight great architects. This relationship remains undamaged in our times, because it tells of something as deep and essential of the human condition as the refuge’s need is. Our house is still the place we run away, and from it we observe and put order in the world. Through this study I would try to extract some values to give live to this relationship, that has become nowadays poor in the cause of the nature’s distance. The architects have to know how to restore the harmony with the nature, that has disappeared in most of our dwellings. In the words and works of the great masters we find lot of good lessons about it, but it has to be in their own houses where their example appears, without intermediaries, more clear and intense. To build for one self makes undoubtedly more free works, but this architects don’t give up their responsability and in the own house project they put forward something exemplar, that always becomes a reference point in their professional career. In spite of this relationship between the own house and the rest of the architect’s work is very important, it is not contemplated as the purpose of this thesis. On the contrary, a new manner of build and confront the existence is made in this projects, and with conviction, the architect risks -with his family- his professional and personal future. This approaches more the aim of this work, that consists in to observe with this vital relationship between the man, the builder, and the house, the built object, that in every case takes form in a very personal story. The presented works have been build in the XXth century and the architect’s values related to his work and life were still in use today. From the beginnings of this century the order between art and life has changed. Life is not more an instrument to get some ideal, and has acquired worth by one self. The role’s artist has changed too and now he has to propose his own world’s vision. This is the point of view used to organize the chapters and to observe the different examples that are, in this order, the Rudolph M. Schindler’s house in Los Angeles, the Cabanon of Le Corbusier in the Cap Martin, the Luis Barragan’s house and study in Tacubaya, the Marcel Breuer’s house of wood in New Canaan, and the Erik Gunnar Asplund’s one in Stënnas. Then the Mies van der Rohe project for a house in the mountains and the Luigi Figini’s manifesto in Milan. Finally the Mogens Lassen’s residence in Copenhague is presented with some unpublished drawings and photographs. All the examples have been selected in order to explain clearly the relationship between the dwelling and the inhabitant. Lot of other great examples were rejected because this relation seem not to be enough intense. The disparity in the subjects is due to the different aspects considered, and shows the freedom in live and build we have conquist in our era. This is, with other worths and common attitudes, what is presented to end the study. / En esta tesis se profundiza en la relación entre el hombre y su casa a través del ejemplo de ocho grandes arquitectos del siglo XX. Esta relación se mantiene intacta en nuestro tiempo, porque se refiere a algo profundo y esencial en la condición humana, como es la necesidad de refugio. La casa sigue siendo el lugar al que escapar, desde el cual observar y ordenar el mundo. Se pretende con ello rescatar valores aptos para vivificar esta relación, que en la actualidad se observa empobrecida por el alejamiento de la naturaleza. Los arquitectos debiéramos saber cómo restablecer este equilibrio, entre lo natural y lo construido, perdido en muchas de las viviendas actuales. En las palabras y en las obras de los maestros encontramos grandes lecciones, pero ha de ser en las casas donde habitaron donde este ejemplo se nos muestre, sin intermediarios, de una forma más clara e intensa. El hecho de construir para sí mismo da lugar a una arquitectura más libre, pero no por ello en estos casos el arquitecto baja la guardia sino que, todo lo contrario, propone una obra ejemplar que se convierte en punto de referencia obligada en su trayectoria profesional. Aunque esta relación con el resto de la obra se reconoce como algo fundamental, no constituye el interés principal de esta tesis. En el proyecto de su casa propia el arquitecto propone con ilusión y esfuerzo nuevos modos. No sólo diferentes formas de construir, sino también nuevas maneras de afrontar la existencia, y convencido de ello asume, junto a su familia, todo el riesgo personal y profesional. Aquí reside algo más el objetivo del trabajo, cuyo hilo conductor consiste en el seguimiento atento de esta relación vital entre el hombre, constructor, y la casa, objeto construido, y que acaba configurando en cada caso una historia muy personal, única e irrepetible. Las casas que se muestran fueron construidas por arquitectos del siglo XX y sus obras como sus vidas responden a criterios válidos también para la época actual. Desde principios de aquel siglo las relaciones entre la vida y el arte son diferentes a las de los tiempos pasados. La vida deja de ser un instrumento al servicio de un ideal para pasar a tener valor por sí misma. También el papel del artista cambia y ahora es él quien debe proponer una nueva visión del mundo, un nuevo orden. Este es el punto de vista con el que se estructura la tesis y se desarrollan los diferentes casos que son, en este orden, la casa de Rudolph M. Schindler en Los Angeles, el Cabanon de le Corbusier en el Cap Martin, la vivienda-estudio de Luis Barragán en Tacubaya, la casa de madera de Marcel Breuer en New Canaan, la Erik G.Asplund en Stënnas, el proyecto de casa en los Alpes de Mies van der Rohe y la obramanifiesto de Luigi Figini en el Barrio de los Peridistas de Milán, para concluir con la vivienda-taller de Mogens Lassen en Copenhague, de la que se presentan dibujos y fotografías inéditos. Los ejemplos se han seleccionado de acuerdo a la intensidad con que se manifiesta este trato entre la obra y el habitante, y éste ha sido el tamiz en el que han quedado otros grandes ejemplos en los que no se presentaba con igual fuerza. La disparidad de los casos estudiados responde a los diferentes aspectos que se aprecian de esta relación y es en sí misma muestra de la libertad en el construir y en el habitar adquirida en esta nueva época y que junto a otros valores y actitudes comunes se presentan para concluir el trabajo.

Segregation, discontinuity, and incompatibility are words that well describe many urban spaces, as Rowe and Koetter lamented in the 1970s. Such urban spaces were designed based on a misguided approach of architectural modernity, in which the autonomy of each building has been confused with its segregation, the relationship between the parts with the discontinuity of the fabric, and the separation between the elements with their incompatibility; the consequences of this has been disastrous for the city. However, if a building is designed as both an object and a texture at the same time, and if it is seen as the unity between constructed and open spaces, many of the problems of urban space can be clarified, using solutions that integrate, create relationships, and compatibilize the buildings and the city, interior and exterior, and the constructed and open spaces. To illustrate these problematic issues, we propose to study an urban complex located in Bogota executed between 1950 and 1982, namely, the Tequendama-Bavaria complex (the core of the International Center of Bogota), which is located in the San Diego area near the traditional city center. It is a modern center that was designed by different teams of architects, built over a time span of more than 30 years, and with a complex management process. It has been executed through a modus operandi based on the compatibility of the parts, buildings, and ensemble. The result is a unified urban center that is characterized by ¿humanized urban spaces where an intense social life occurs between the buildings,¿ as called for by Jan Gehl in 1971, referring in the same manner as Rowe and Koetter to the loss of the relationship between the parts of the city. The complex was studied by focusing on three principle issues: the building (in terms of the object and texture, and of the unity between constructed and open space), the connection between buildings (the relationships between volumes and between the ground floors), and the ensemble of the buildings as a center (formal structure, specific uses, and cohesive factors). The response to these issues can be summarized in the different design solutions of compatibility, integration, permeability, and the relationship between the parts, at different scales, based on three basic questions: Which formal criteria and architectural solutions were used in designing each building of the complex? Which solutions were taken to shape the urban continuity between the different buildings, and between constructed and open spaces? And finally, on a larger scale, what type of urban structure, between the buildings and with respect to the city, ensures a feeling of unity of a group of buildings as a center? The Tequendama-Bavaria complex proposes a solution to the dilemma of the free standing building through its duel role as both an occupant of space and a space definer, and as a shaper of texture, by addressing: 1. The individual aspects of the buildings, focusing on the combination of local concessions with declarations of independence, which leads us to study and recognize the building type and its variants, as well as the respective repercussions at the urban level. 2. The relationships that amalgamate the buildings, that is, how buildings produce a texture or a matrix between themselves and between the dialectics of object and space, and solid and empty, through different design solutions. 3. The problem of the center, which highlights that a complex can be considered to be a center when, besides being an important structured receptacle for buildings, it can bring us closer to the possibilities to create poles or focal points and therefore confluence.

Progressive social housing is a typology housing characteristic of underdeveloped countries or developing, especially in Latin America, where a systematic work is carried out and jointly by the State (Government) and the most vulnerable sector of the population to obtain a permanent housing solution, in accordance with the financial resources both in the country and the social beneficiary. This housing solution, in practical terms, is initially a temporary housing that is consolidating progressively in short time through a constructive process carried out by the user. In the case of Chile, these public policies on progressive social housing have been developed since the 1950s. At the beginning of the year 2000 there was a qualitative leap in which make the architecture of these solutions, with the creation of the new housing policy, which makes structural changes on public policy for housing and programs rooms, which exemplify proyectualmente in the various architectural proposals developed. The radical change in this new form of architecture is that the progressive growth of the housing is linked to a growth of type planimétrico (enclosure or subdivision of the housing through vertical and horizontal planes on a bearing structural support and sanitary and electrical installations), in contrast to the growth of volumetric type of predecessor architectural proposals (which only guarantee the acquisition of a subdivision in which stood a few) basic facilities (washbasin and kitchen) and then the construction of the missing enclosures based on self. In this sense, these new architectural proposals guarantee a lower economic cost and time to consolidate all the user basically because the project is proposed to be developed such as the original proposal made by the Government. However, this process of consolidation of housing in the final analysis has become in many ways, many of them by modifying (adapting) largely the original proposal for definitive housing proposed by the Government, non-compliance with the objectives to initiate them this new housing policy (incurring excessive economic costs from the user, as at the same time extending the process times). Therefore, this study is oriented in the first instance to establish the influence of social factors and the architectural factor in the typological and constructive adaptability made by the user in the process of consolidation of housing in the final analysis, intermediate stage of the systematic development of progressive social housing, in a typology of so-called housing houses Chubis (two plants in continuous block housing)(with antejardín and backyard), embedded in the complex Valley village (commune of Peñalolén, Santiago city of Chile, 2006) representing six housing built and delivered in the housing program housing Social dynamics without debt (VSDsD) of the new policy. In order to see why and the and the adaptabilidades made to the housing by the user, which is belonging to the most vulnerable social group of the population. 9 This will take place through a sequential process of research, beginning with a collection of information (case studies), the comprehensive study and analysis of these, making the conclusions of the analysis which will be the results of the initial objectives and the research hypothesis, continuing with a chapter that it was born after the results of the findings of the analysis (a new proposal of Adaptive social housing) and culminates with the findings of the investigation.

The thesis focuses on the columns in Mies, as architectural element through which we can explain all his work. The development of a chronological table that organizes the work of Mies according to the shape of the column reveals us the existence of three distinct periods, each of which corresponds to the development of a different column. FIRST PERIOD: This period corresponds to the study of the star column of small riveting profiles, where a parallelism between the work of Mies, the Alfred Grenander¿s, architect of Siemens, and Peter Behrens¿, architect of AEG, is set up. Mies builds the same construction system of small riveting profiles published in different manuals of that time, adding small construction variations to achieve his architectural concerns. For example, he proposes an alternative to the usual gusset plates to solve the joints between the column and the beam, reducing them to a point therefore getting the absolutely flat roof of the German Pavilion. SECOND PERIOD: This period corresponds to the study of the grey column, which Mies uses at the United States, where he met the architecture of great welded steel  profiles used by Albert Kahn, the Henry Ford's architect. The application of the assembly line in manufacturing automobiles requires Kahn and Ford to innovate in the structures of large size and to spread the same structural order in all the buildings of the same industrial complex. The first buildings of Mies at the IIT are almost identical to those of Albert Kahn, with small variations, starting  a process that will end with the Crown Hall. THIRD PERIOD: This period corresponds to the study of the star column built with double-T profiles and the incorporation of the waffle slab structure in the work of Mies, which he develops from its relationship with Konrad Wachsmann, professor at IIT and architect of the US Air Force. Wachsmann develops three-dimensional structures in order to build large hangars for aircrafts, which can be assembled and disassembled by unskilled people in a very short time. Moreover, they don't generate any waste material. Mies will simplify constructively this structure, finally reaching the National Gallery. CONCLUSIONS. THE EFFECTS OF SCALE IN ARCHITECTURE: An overview of the technological context allows us to explore the link between Mies and those architects who lead the construction with steel structure in different industries and who are linked to the research and technological development institutions as relevant as the Werkbund, the Bauhaus and the IIT, in which Mies has taken a leading role in places of highest responsibility. The reconstruction of this technological context throughout the three periods allows us to draw a path of the development of the steel structures, which increasingly takes on new challenges of scale. Furthermore, shows us how Mies incorporates these advances in their work, and applies them to all scales in all three pillars. ARCHITECTURAL MANIFESTO: The comparative study of transitional projects reveals how Mies proposes some collage in every one of the three periods, as an architectural manifesto, which links the concept of neo-plastic space with every new structure. This is an invariant aspect in his work from the concrete house project in 1923 and the brick house project in 1924. TOWARDS THE CLARIFICATION OF THE STRUCTURE: The comparative study of the column allows us to realize its capacity to express the structure. The step from a column to another is part of a process in the work of Mies to the clarification of the structure. Thus it is becoming cleaner and he can leave it more and more visible. It is a constructive refinement process, and it is part of the same work line initiated by Viollet-le-Duc on the constructive shape that best expresses the steel structure, the one which responds to the material logic and the constrution processes.