• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 206
  • 75
  • 16
  • 10
  • 6
  • 2
  • 2
  • Tagged with
  • 315
  • 315
  • 140
  • 66
  • 66
  • 66
  • 66
  • 66
  • 52
  • 48
  • 48
  • 48
  • 36
  • 31
  • 31
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Arquitecturas matéricas

Trías de Bes, Juan 15 May 2013 (has links)
The "Material Architectures" PhD thesis is comprised of five parts: 1- An introduction to the formulation and the objective of the PhD thesis . I.e. an interrogarion of the qualities of Matter in the configuration of Form . 2- Devoted to understanding Matter and its involvement in the making of architecture. 3- An analysis . reflections and extraction of concepts from seven selected works of Peter Zumthor. 4- The conclusions . 5- An epuilogue. The Ihesis is structured as follows : 1.- The first part expounds the genesis of the interrogation. namely the interest in understanding the planning process with Matter in "oposition" to a proliferation of "visual" architecture. The interest in Matter is focused through its participation in architectural Form . In the socalled "Material Architectures" the presence of Matter is embodied in the project's premise; a fact attributed to the momentum of the "intellectual approach" to Matter. the main objective of the research. and which the conclusions must account for. 2.-The second part is a preparation for the "momentum of the approach". To this end, the fields of understanding of the subject are reviewed. This is addressed through some basic concepts. The core premises are based on acceptance of the structural nature belween Matter and Form . On the basis of this consideration. the research explores two reference fields: Language and Space. regarding Language. the equivalences between architectural form and linguistic propositive structures are shown. The objective is to endorse the application of certain concepts from the field of poetic imagination and semiology. Wlth regard to Space, some basics on the idea of "topoi". spatial patterns and systems of representation are expounded. The aim is to introduce the terms applied in the analysis of lhe selected works . Following the exposition of the reference fields, two blocks are devoted to Ihe Matter in question; the first one is devoted to knowledge of the matter as such, and the second to its value throughout historical thinking. The first block is divided into four cognitive sections. Physics, Morphology, Metaphysics and Phenomenology. The second block comprises a brief historical overview of how Matter has been approached in the different periods of Architecture. 3.- Following the introductory chapters, the body of the research is developed in the third parlt The seven works chosen are addressed in three blocks : The Shelters (Chur and Kolumba). The Chapels (Saint Benedegt an Bruder Klaus) ant The Diaphragms (Luzi House. Vals an Bregenz). Strictly speaking, they have not been grouped chronologically or thematically. but rather in such a way as to provide the possibility of extracting ideas and concepts about the approaches . By way of a preview to illustrate these relationships, we might say that The Shelters explores the contribution of Matter to the inauguration of a "place"; The Chapels explores the relationship between Phenomenology and Matter. largely propitiated by the transcendence of the commision; and finally, The Diaphragms group deals with the relations hip between Matter and its "topological potential" 4.- The fourth part contains the conclu sions of the thesis . This phenomenon propitiates the identification of so-called "coordinates of approach to Matter" The thesis shows that, just like when we approach a place we so so in the basis of spatio-temporal parameters, similarly, when we approach Matter "intellectually". we do so using other calegories : Topology. Phenomenology and Physicality are revealed as the "coordinates of approach to Matter". And consequently. as the final conclusion of the thesis and as the intended contribution to the Project Theory.Thus, the "MATERIAL ARCHITECTURES" tille indicates architectural embodiments wich reveal the conclusions drawn in the PhD thesis . 5.- The fifth part is an epilogue by the author of the research. Broadly speaking, this is the document's roadmap.

La construcció del Montserrat modern

Garcia Fuentes, Josep M. (Josep Maria) 09 January 2012 (has links)
This PhD Dissertation studies the process of construction of the modern Montserrat after the Napoleonic destruction of the old shrine-monastery and its disendowment in 1836, and shows how this process was not the reconstruction or restoration of the old destroyed monastery but the construction, or the "invention", of a new one. This process was initiated in 1844 when the shrine was reopened and was developed until the first half of the 20th century in parallel to the definition of the contemporary Catalonia and Spain. Therefore, and understanding the modern Montserrat is the result of the complex interaction between all the agents who are implied in its construction process, the dissertation addresses in eighteenth chapters the main themes and the individuals and groups who intervened in it. These eighteen chapters are in turn structured into five groups according to the major alterations in the equilibrium of influences between the agents involved in the process at each moment. The first group of chapters specify the ¿architectural, political and social- problems of the first works, as well as the decisive intervention of Victor Balaguer and his attempt to define a Montserrat symbol "for all" within the wide national and federal symbolic universe he created; an interpretation based on the romantic approach to the mountain defined in good part during Humboldt's visit in 1800. Balaguer's intervention was centered in the valuation of gothic architecture and in the first attempts to define an architectural project; but it was frustrated with the end of the reign of Amadeo I, and the federal dream. It was then when was defined the first culture of the catalanism, and when the "group of Vic" take a step and alter, with their "patriotic-religious campaigns", Balaguer's symbolic construction to their own advantage, what carried out the definition and valuation of Romanesque architecture, as well as the definitive popularization of the mountain. The second group of chapters, then, studies the intense symbolic construction of the mountain that takes place during the end of the 19th century as the consequence of the tensions generated by the campaigns of the "group of Vic". The construction of the rack-and-pinion railway, the rosary monuments, the panorama in the Exposition of 1888, the architecture of Gaudi and others, or the popular reproductions of the mountain, are some of the cases analyzed. The architectural consequences that this symbolic construction had over the construction process are analyzed in the third group of chapters that culminates with the general project defined by Puig i Cadafalch. That incorporates the unique mountain as an element of project and it goes well beyond the dilemma on styles. But despite the construction of this project was initiated, it was never completed due to the Spanish Civil War. The fourth group of chapters is only one chapter that makes a brief digression on Montserrat and the Western modern cultural construction of the mountain together with its relation with the 18th, 19th, and 20th centuries' architecture. The fifth and last group of chapters returns to the chronological order and studies the process of construction during the first years of Franco's dictatorship, as well as the projects that were done then. And that failed due to the changes that took place after the "Enthronement festivities" of 1947; and that provoked the definitive wreck of the architectural construction of the modern Montserrat. Finally, the epilogue raises some of the most important questions the dissertation makes evident, emphasizing the importance that tourism and modern mass mediums had during all over the process, and how Montserrat, in a wider context, is a paradigmatic example of modern heritage-making processes. The annex contains the cataloguing ¿by the author- of all the documents forming the "Architectural Archive of Montserrat" and that, together with other materials, are analyzed in the dissertation.

Arquitectura y surrealismo: Barragán y O'Gorman, dos procesos en busca de una tradición.

Loredo Cansino, Reina Isabel 16 September 2013 (has links)
The great dilemma of the 19th century, in art and architecture, was the conciliation between order and liberty. It was not exclusively about wager on the new or the old, the mechanic or the natural, but it was related to the finding of a harmonic and balanced relationship, that allows the rise and evolution of the images and forms that would come into being the ideals of the Modernity. Therefore, artists and architects rejected the banal use of the history, as a producer of forms and styles, and triggered the reconciliation, integration, coexistence, and dialogue with the inherit past and tradition . That is the case of the Artistic Avant-gardes, specially the Surrealism, a movement that assayed with techniques and methods. Through this it was re-considered the relation of concepts such as time, space, history and tradition , developing the bases for the experimentation with the mechanisms of perception and expression, the collective memory, dreams, utilization of archetypical and symbolic material, and the objectivation of the unconscious activity. These techniques and methods had resonance in some modern architects , whom from previous theoretical discourses such those of Schinkel or Semper (that defend a deeper use of the traditional forms , and the re-interpretation of the types), reflected about the concept of tradition and made an effort to discover the objective forms of it. The dissertation reflects on the compositional character of the architecture, inquiring into the ambit of the processes and generating ideas of the modern project, revealing that the modern architects also sought the establishment of a particular nexus with the history, denying the rejection of the heritage from the past, investigated and experimented with the vernacular and the primitive, immersing themselves in the storage of the tradition, the one of the objective forms, forms that were above the languages and styles. Thus, it is deeply and independently deployed the conceptual structures that prefigured the Avantgard and Modern Architecture, and that causes the present interpretation about concepts such as tradition , time, the habitual and particularly the special configuration . In the aim of re-reading the Mexican architecture of the post-revolutionary age and its relationship with the Avant-garde, it was analyzed the architectonic production of Juan O'Gorman and Luis Barragán, through three typical compositional mechanisms of the avant-garde: the automation, the displacement, and the spaesamento or disorientation, which allow to state the underlying existence of certain concepts related to the Surrealism. This approach to determined works of the architects, explains two trajectories which , despite being parallel, are defined by common elements that have much to do with the primitive sources in which their work is based. Without the will to wager for the existence of a surrealist architecture, this research avoids seeing the Surrealism as a system of production of forms, but recognizes that, thanks to the experimentation in the production processes of the Artistic Avantgarde, an alternative door was open in the general creative process with incidence in the modern cultural debate.

Francesc Mitjans y el Camp Nou : estudios previos, proyecto ejecutivo y dirección de obra, 1954-1957

López Alonso, Ignacio 24 October 2014 (has links)
Este estudio se ha centrado en las diversas fases de proyecto y la primera etapa de la construcción del Camp Nou, entre 1954 y 1957. Con la intención de ampliar al máximo la capacidad de localizar variables e indeterminaciones del proceso; mediante la concentración en un caso y un escenario temporal específicos. Los objetivos principales de este estudio son: Primero, la construcción de una serie de condiciones de contorno locales del desarrollo del Proyecto y la obra. Segundo, la localización y el análisis de los materiales base de la genealogía del Estadio. A fin de contrastar esta información con el Proyecto Ejecutivo desarrollado y la obra finalmente ejecutada. Finalmente el estudio buscará los mecanismos de transmisión cultural intencionada del edificio como muestra concreta de arquitectura moderna. La construcción del contexto se ha realizado recurriendo a diferentes referencias bibliográficas . Buscando establecer una confrontación entre los análisis realizados en el post-franquismo con la recurrencia a los materiales originales. Sin restringirse a materiales específicos de la teoría arquitectónica. De éstos se deduce la existencia de un sustrato de profesionales vinculados a movimientos de vanguardia desarrollados en la II República. En la posición sociopolítica adecuada para realizar la transición desde una presunta "arquitectura nacional" hacia una arquitectura moderna. Son indisociables del proyecto del Estadio las tensiones de la cuestión urbana propias de aquel momento. Vinculadas al desarrollo de la Avenida del Generalísimo y a la implantación de una operativa urbanística ligada a la modernidad. Reflejo del impulso dado a la recuperación en los años 50 de una arquitectura "de vanguardia". Escenificada por el propio Régimen en la V Asamblea Nacional de Arquitectos de 1949. El cuerpo central de este estudio se ha centrado e localizar los materiales originales utilizados o definidos por los autores a lo largo del proceso de proyecto y construcción. Procediendo a posteriori a su análisis. Para cruzar las conclusiones de éste con la información existente en torno al proyecto definido y el edificio ejecutado. Francisco Mitjans y Miró (FMM) recibió el encargo de modo directo, al ser presidente del Club en aquel momento su primo Antonio Miró-Sans . Y lo desarrolló entre 1954 y 1957 junto a José Soteras y Lorenzo García Barbón (LGB). La localización en el archivo de FMM de un amplio listado bibliográfico ha permitido establecer la existencia de un estudio de casos. Extraídos de diversas revistas y medios gráficos nacionales e internacionales . En paralelo, se ha identificado en los archivos del COAC un Proyecto de Estadio para 135.000 espectadores, firmado únicamente por LGB. Fechado en 1953. Se puede establecer una doble genealogía del Estadio. Consecuencia de la identificación de la existencia de una serie amplia de coincidencias en la "estructura formal" o de elementos entre ambos precedentes y el proyecto construido. Modificando los supuestos base de la literatura aparecida en los últimos años en torno al proyecto del Estadio. Se ha de hacer constar además la existencia en la práctica de un doble proyecto. Un primer Proyecto Ejecutivo describió gráficamente un Estadio asimétrico de tres graderías superpuestas . Por otro lado, la intensidad de la definición formal realizada en obra se podría establecer prácticamente como un segundo proyecto sobre el proyecto. En este caso, simétrico y de dos graderías superpuestas. Según la Dra. Beatriz Colomina la arquitectura moderna se definiría, como un arte interpretativo, crítico. Esta interpretación se encontraría en las diversas publicaciones del Estadio. Controladas en buena parte por los propios autores. Así como en las diversas exposiciones, maquetas y actos en torno al proyecto y la obra. En todos ellos se construyó una imagen virtual del edificio. Una interpretación, arquitectura moderna, no identificable con el edificio construido, sino con el edificio proyectado. / The Camp Nou design and first stage of construction was developed between 1954 and 1957. This thesis attempts to analytically trace back these processes. It is in the aim of this study to reduce variables and uncertainties, through the concentration on a specific case and a defined temporal plateau. The main objectives of this study are: The definition of the local scene, bind to the development of the project and construction process. The identification, selection and analysis of the Stadium Genealogy base materials. To be contrasted with the developed Implementation Project and the finally executed edifice. This procedure is focused on the extraction of design mechanisms. Finally, the detection and evaluation of cultural transmission systems developed for this specific sample of modern architecture. The scene for the construction used different bibliographic references. It crosses over the post-Francoist analysis and the original materials recurrence. It is developed without a restrictive selection of specific architectural theoretic materials. As a conclusion it is possible to define the existence of a substratum of professionals. This ground group was connected with the “avant-garde” movements in the Second Spanish Republic. They were in the proper sociopolitical position to guide the transition from an alleged national architecture to a modern architecture. Furthermore the Stadium project is inseparable from the urban issue tensions. This strain is linked to the development of the Avenida del Generalísimo and the implementation of modernism urban planning strategies in Barcelona. Following the new impulse given in the early 50´s to the local modernism, officially presented in the V National Assembly of Architects, in 1949. The central part of this study is focused in locating the original materials used or defined by the authors. After analyzing these materials they can be intertwined with the existing information about the defined project and the built building. Francisco Mitjans i Miró (FMM) was committed directly by the president of the Club at that moment, his cousin Antonio Miró-Sans. He developed the works together with José Soteras and Lorenzo García Barbon (LGB). The location in the FMM Archive of an extensive bibliographical listing has established the existence of a case-study. It is based on a selection of various national and international magazines and print media. In parallel, in the COAC Archive a Stadium Project for 135,000 spectators signed by LGB in 1953 has been found. Its existence modifies the basis of the literature appeared in recent years on the Stadium design. A double genealogy of the Stadium has been traced, resulting from the identification of a large number of coincidences both in the "formal structure" and in some elements between the original samples and the final design. A pragmatic adaptation process through a collage of references over a former typology becomes a new formal system. The practical existence of a dual project should also be noted. A first Proyecto Ejecutivo (Implementation Project) graphically described as an asymmetric three-overlapping-stands Stadium. Moreover, the definition made in the intense working site led to a second overlay Project. It was defined, adapted to the pragmatic needs of the moment, symmetric and with only two overlapping stands. According to Dr. Beatriz Colomina, modern architecture is defined as a critical or an interpretative art. To this definition the various publications of the Stadium would adjust. Exhibitions, models and events controlled by the authors are also incorporated. In all of them a virtual image of the building was constructed. It defines an interpretation, or modern architecture, therefore not identifiable with the constructed building, but with the first "Proyecto Ejecutivo".

¿Iluminación o ventilación? Posibilidades de adaptación de las pautas de diseño de la Red Sarah (Brasil) al clima mediterráneo de Cataluña

Fernandes, Eloisa Pizarro 17 October 2014 (has links)
A través de esta tesis se investiga las soluciones utilizadas por el arquitecto Joao Filgueiras Lima - Lelé en los hospitales de la Red Sarah, situados en ciudades brasileñas. Sus proyectos cumplen con las exigencias climáticas y aprovechan la iluminación y ventilación natural con el objetivo de convertir sus obras en espacios de cura, apoyados por la arquitectura. También se investiga la arquitectura hospitalaria contemporánea construida en Cataluña. Y se analiza la posibilidad de que las pautas de diseño aplicadas a los climas de Brasil puedan ser compatibles al clima mediterráneo. El elemento arquitectónico más destacado en las obras del arquitecto Lelé y especialmente en la Red Sarah es el "shed", utilizado en las cubiertas de los hospitales con el principal objetivo de permitir el paso de iluminación cenital y ventilación natural. La investigación está desarrollada bajo las siguientes premisas: la primera es que la utilización del shed es muy adecuada a ámbitos hospitalarios; la segunda es que es muy pertinente para climas cálidos y húmedos, incluso para situaciones de temperaturas extremas; la tercera es que el clima mediterráneo se caracteriza por temperaturas bajas en invierno, pero también, amenas en varios meses del año, permitiendo el aprovechamiento de los recursos naturales de sol y viento; la cuarta premisa es que en Cataluña también se están desarrollando arquitectura hospitalaria con aplicación de ventilación e iluminación natural. Por todo eso se ha suscitado la hipótesis de que sería posible adaptar algunas pautas de diseño de los hospitales de la Red Sarah para el clima mediterráneo de Cataluña. Como procedimiento metodológico, esta investigación empieza, en la primera parte, con la caracterización de los climas estudiados y con la definición de conceptos teóricos según varios autores. En la segunda parte, se hace un repaso en los antecedentes históricos de la arquitectura hospitalaria europea, en Cataluña y Brasil. A continuación, se explica que es la Red Sarah de hospitales en Brasil y en seguida se hace un análisis cualitativo identificando los elementos claves utilizados en tres edificios de la Red y los criterios de diseño de tres hospitales catalanes. Finalmente, en la tercera parte, se hace un análisis cuantitativo, con base en simulaciones computacionales, donde se demuestra el comportamiento de dos edificios a nivel de funcionamiento térmico, lumínico y de ventilación. Todo eso nos permite hacer una serie de análisis y concluir que sí, es posible aplicar las pautas de diseños de la Red al clima mediterráneo, haciendo adaptaciones al sistema constructivo local y apoyándose en sistemas de climatización artificial para garantizar el confort en determinadas épocas del año. / This doctoral thesis researches into the solutions used by the architect Joao Filgueiras Lima - Lelé in the hospitals of the Red Sarah (Sarah network}, located in Brazilian cities. His projects fulfill the climate requirements and they take advantage of the daylighting and natural ventilation with the aim of turning his works into healing spaces supported by architecture. This thesis also researches into the contemporary hospital architecture built in Catalonia and it analyses the possibility of applying in the Mediterranean climate the design patterns used for the Brasilian climates. The most remarked architectural feature in Lelé's works and especially in the Sarah Network is the so called "shed", used in the hospital roofs with the main aim of letting the zenithal lighting and natural ventilation pass through. This research is carried out considering the following premises: the first one is that the utilization of the "shed" is very appropriate for hospital areas; the second one is that it is very appropriate for warm and humid climates, even for the case of extreme temperatures; the third one is that the Mediterranean climate is characterized by low temperatures in Winter, but also mild in several months of the year, which allows taking advantage of natural resources like sun and wind; the fourth premise is that hospital architecture with application of daylighting and natural ventilation is also being developed in Catalonia. Due to all of these reasons it has been considered that it would be possible to adapt some of the Red Sarah (Sarah Network) hospital design paterns for the Mediterranan climate of Catalonia. As methodological procedure this research starts in its first part with the description of the studied climates and with the definition of the theoretical concepts according to several authors. In the second part, this thesis reviews the historical background of the hospital architecture in Europe, Catalonia and Brazil. Following this, it is explained what Brasil 's Red Sarah (Sarah Network) is and immediately after there's a qualitative analysis that identifies the key features deployed in three buildings of the Network and the design criteria of three Catalan hospitals. Lastly, in the third part a quantitave analysis is done based on computer simulations, which shows the performance of two buildings in terms of thermal, lighting and ventilation functioning. All of this allows us to do a series of analysis and finally come to the conclusion that it is indeed possible to apply the design patterns of the Sarah Network to the Mediterranean climate, making adjustments to the local building system and relying on artificial air conditioning in order to guarantee the required comfort in certain times of the year.

Documentación gráfica del patrimonio arquitectónico aplicado a su gestión, conservación y difusión : el caso de estudio de la villa de Ágreda (Soria)

Peinado Checa, Zaira 21 November 2014 (has links)
El patrimonio cultural está constituido por todos aquellos elementos y manifestaciones de la actividad humana que constituyen un valor esencial para la identidad de un territorio, pueblo o cultura porque están producidos en el proceso histórico de su sociedad. En la actualidad, el patrimonio está siendo cada vez más apreciado por sus ciudadanos y son más los agentes que se interesan por su protección, en el sentido de conservación y transmisión del legado cultural a generaciones futuras. Sobre esta línea de actuación, los objetivos de esta tesis son establecer distintas metodologías para llevar a cabo la preservación del patrimonio, en particular el patrimonio arquitectónico, a través de las tecnologías digitales más actuales. La exposición del trabajo se ha desarrollado sobre el patrimonio arquitectónico de Ágreda, una población de intensa historia y centro estratégico donde confluyeron diversas culturas y civilizaciones. Entre sus monumentos más notables, se ha trabajado sobre el arco Califal, el torreón de la Muela y la iglesia de San Miguel. Los procedimientos que velan por la preservación activa y puesta en valor del patrimonio arquitectónico son tres, gestión, conservación, y el último, fomentar su conocimiento a través de la difusión. En los tres casos, la base principal de trabajo ha girado en torno al modelo tridimensional del objeto patrimonial. De ahí, que la documentación gráfica del patrimonio arquitectónico fuese el primer paso hacia la preservación del patrimonio arquitectónico. Y por tanto, el levantamiento arquitectónico a través de las tecnologías más avanzadas fuese el instrumento fundamental para la digitalización del patrimonio. Las tecnologías utilizadas y contrastadas en este estudio han sido la combinación de fotogrametría Structure from Motion terrestre y aérea por un lado y por otro, el láser escáner. En ambos casos, se ha conseguido un modelo tridimensional métrico y fidedigno de empleo sobre los tres ámbitos de protección. El primero de los ámbitos de aplicación es la gestión. A día de hoy, las instituciones gestionan el patrimonio mediante Sistemas de Información. La utilización de estándares abiertos en dichos sistemas permitiría una mejora susceptible en el ámbito de la interoperabilidad. De esta forma, se plantea un modelo de datos basado en información espacial tridimensional a través del estándar abierto e interoperable CityGML (estándar OGC) que permite almacenar información temática de la catalogación arquitectónica. El siguiente ámbito es el de la conservación arquitectónica. Se delimita el término conservación al de mantenimiento, en base a la monitorización del bien patrimonial, con la utilización de un instrumento que facilite el diagnóstico y análisis de las patologías, deterioros y daños sufridos en el bien por diversos agentes. El método propuesto ha sido el denominado Sistema de Información Monumental (SIM) donde se fusiona el potencial de la tecnología SIG con el modelo tridimensional, por lo que permite enlazar información geométrica con información alfanumérica del estado de conservación. En último lugar, se ha podido comprobar cómo un modelo tridimensional puede estar destinado al uso de la difusión, aun cuando se haya elaborado para otro fin (como un proyecto de intervención), valiéndose de herramientas para la transmisión de nuestro legado. El marco de referencia han sido la realidad aumentada, Google, las fotografías panorámicas, los entornos web y las animaciones y recorridos virtuales aplicados al caso de estudio de la villa de Ágreda. Porque la suma de las tecnologías más la documentación gráfica han hecho un recurso capaz de convertir al patrimonio cultural en un espacio plenamente didáctico, interactivo y abierto a todos los participantes, elevando el valor de estos lugares / Cultural heritage consists of all the elements and manifestations of human activity which constitute the essential value for the identity of a territory, people or culture because they are also produced in the historical process of their society. Today, the heritage is being increasingly appreciated by citizens and agents are more interested in their protection, in the sense of preservation and transmission of cultural heritage for future generations. On this line of action, the objectives of this thesis are to establish different methodologies for carrying out heritage preservation, particularly on the architectural heritage through the latest digital technologies. The exhibition of work has been developed on the architectural heritage of Agreda, a population of intense history and strategic center where different cultures and civilizations converged. It has worked with the most notable buildings as the arc Caliphate, the tower of La Muela and the church of San Miguel. The procedures that ensure the active preservation and enhancement of the architectural heritage are three, management, conservation, and finally, to promote their knowledge through diffusion. In all three cases, the main base of work has revolved around the three-dimensional model of the heritage object. Hence, the graphic documentation of the architectural heritage was the first step towards the preservation of the architectural heritage. And therefore the architectural survey through the most advanced technologies to be the essential instrument digitized heritage. The technologies used and compared in this study were a combination of terrestrial and aerial photogrammetry “Structure from Motion” on the one hand and on the other, the laser scanner. In both cases, a metric and reliable three-dimensional model has been achieved of employment on the three areas of protection. The first application area is the management. Today, institutions managing heritage through Information Systems. The use of open standards in such systems will allow an improvement in the area of interoperability. Thus, it sets up a data model based on threedimensional spatial information through open and interoperable standard CityGML (OGC standard) that allows to store thematic architectural documentation. The following is the scope of architectural conservation. Defined the term conservation as maintenance, based on the asset monitoring, using an instrument which facilitates the diagnosis and analysis of diseases, deterioration and damage in the heritage by various agents. The proposed method has been called Monumental Information System (SIM) which has merged the potential of GIS technology with three-dimensional model by allowing geometric information link with alphanumeric information condition. Finally, it has been seen how a three-dimensional model may be intended for broadcast use, even though it is intended for other purposes (such as an intervention project), using tools for the transmission of our heritage. The framework has been augmented reality, Google, the panoramic photographs, web environments, animations and virtual tours applied to the case study of the town of Ágreda. Because the addition of technologies and graphic documentation have been able to convert a resource cultural heritage in a fully didactic, interactive and open space for all participants, raising the value of these places.

Lucio Costa : o processo de uma modernidade. Arquitetura e projetos na primeira metade do século XX.

Brito, Samuel Silva de 08 May 2014 (has links)
Pàgines introductòries (1 a 55) en castellà. / This project deals with the architectural works of Lucio Costa (1902-1998) and his projects built during the decades of the 1920's, 1930's, and 1940's. lnside a historiographical narrativa, we have structured an architectural series through a process of perspectiva by reading about Lucio's mature modernism starting with an analytic montage that describes his first eclectic works. Without rigorous cataloging and the illustration of various photographs, sketches, and original drawings, our analysis sought to verify the transformation process of architectural criteria consolidated along his almost 30 year practice. Fixture identification, overlap, and elimination of paradigms that arase since his first eclectic works deepened into a national romanticism and neocolonialism which followed after his abrupt conversion to modern vanguard, where he longed to search far maturity through an adaptation of specific characteristics by the traditional means of the Luso-Brazilian. / Este trabajo analiza la obra arquitectónica de Lucio Costa (1902-1998), proyectos y obras construidas durante las décadas de 1920, 1930 y 1940. A través de una narrativa historiográfica estructuramos su conjunto arquitectónico desde una perspectiva de proceso, realizando la lectura de su modernidad madura con un montaje analítico, el cual se inicia en sus primeras obras eclécticas. Sin un rigor de catalogación, y con la ilustración de diversas fotos, croquis y dibujos originales, nuestro análisis buscó verificar el proceso de transformación de los criterios arquitectónicos consolidados a lo largo de casi treinta años. Identificando la fijación, superposición y eliminación de los paradigmas que se manifestaron desde su obra ecléctica inicial, que luego se profundizó en un romanticismo nacional, el neocolonial, y que siguieron después de su brusca conversión a la vanguardia moderna, en donde no tardó en buscar madurez a través de la adaptación de características específicas del ambiente y de la tradición luso-brasileña. / Este trabalho trata da obra arquitetônica de Lucio Costa (1902-1998), projetos e obras construídas durante as décadas de 1920, 1930 e 1940. Dentro de uma narrativa historiográfica estruturamos seu conjunto arquitetônico desde uma perspectiva de processo, fazendo a leitura de sua modernidade madura a partir de uma montagem analítica que se inicia em suas primeiras obras ecléticas. Sem um rigor catalográfico, e com a ilustração de diversas fotos, croquis e desenhos originais, nossa análise buscou verificar o processo de transformação dos critérios arquitetônicos consolidados ao longo desta práxis de quase 30 anos. Identificando a fixação, sobreposição e eliminação dos paradigmas que se manifestaram desde sua inicial obra eclética, que pronto se aprofundou em um romantismo nacional, o neocolonial, e que seguiram após sua brusca conversão à vanguarda moderna, onde não tardou em procurar maturidade através da adaptação de características específicas do meio e da tradição luso-brasileira.

Carlos Martí Arís e i suoi eteronimi : vocazione all'anonimo

Licitra, Fabio 10 June 2014 (has links)
Cotutela Universitat Politècnica de Catalunya i Università di Bologna / This research enquires into the investigating perspective of Carlos Marti Arias. To this effect his privileged field of action is framed, more concretely the articulated link that is established in architecture between theory and practice, covering also the various incursions in the world of art and human production in general, all of which turns architectonic project into a complex disciplinary field. However, the approach to his figure is instrumental, this is, it is considered as the key which allows the entrance into an articulated cultural environment which, if on one side it coincides with his town Barcelona, on the other side it transcends it thanks to those " bridges of knowledge" that occasionally CMA constructed towards the world around him. We are here referring to his theoretical construction meant to consolidate such reciprocity as exists between ltaly and Spain, its base being their urban and typological thematic, the extremes being Milan and Barcelona. We refer as well to his vision of the Modem Movement experience and the relative question of the residence, this one havling priority in his view. We are speaking of his natural vocation for silence that he opposes to the deafening noise of the contemporary and that he couples with the discreet word of craft. This would be a way of listening. Listening to the other and listening to the world. All things considered, we do refer to his idea of architecture as "labored world of times past" as a net of correspondence among the land, times, events, human beings, be they nearby or far away; these being the ideal conditions for those who wish to insert their own work in the maze of the world's paths, notwithstanding the risk of being lost in oblivion. These days, when the architectonical project is more and more a Vehicle for subjective and arbitrary formal experimentation, the lessons rendered by CMA point to a way out: to a shared World, a mode where arrogance is opposed by such discretion as leads to approach tradition and humbly seek shelter in the shadow of the masters. Tradition and Masters, Heteronomy and Names, complementary worlds to which CMA entrusts his Project for anonymity, a supra personal Project decidedly tending to outline the inedited links it contains. / Este trabajo indaga en la perspectiva investigadora de Carlos Martí Arias. A tal efecto, se delimita su campo de acción predilecto, más concretamente el nexo articulado que en arquitectura se instaura entre la teoría y la práctica, incluyente de las diversas incursiones en el mundo del arte y de la producción humana en general, que hacen del proyecto arquitectónico un campo disciplinario complejo. Ahora bien su figura se enfoca de modo instrumental, esto es, como clave para adentrarse en un ámbito cultural articulado, que, si bien por un lado coincide con su ciudad, Barcelona, por el otro la trasciende gracias a aquellos “puentes del conocimiento” que ocasionalmente CMA tendía en su entorno. Nos referimos aquí a su construcción teórica destinada a consolidar aquella reciprocidad existente entre Italia y España, cuya base la constituyen sus temáticas urbanas y tipológicas, siendo Milán y Barcelona los extremos. Nos referimos a su visión sobre la experiencia del Movimiento Moderno y al tema relativo de la residencia, para él prioritario. Nos referimos a su natural vocación al silencio que opone al fragoroso ruido de la contemporaneidad y pone a la par la discreta palabra del oficio. Una manera de ponerse a la escucha . Escucha del otro y del mundo. Nos referimos en resumen a su idea de la arquitectura entendida como “territorio roturado de los tiempos remotos”, como trama de correspondencia entre tierra, tiempo, hechos, hombres, cercanos o lejanos; condiciones ideales para quienes desean disolver su propio trabajo en el sendero laberíntico del mundo, indiferentes al riesgo de perderse en el olvido. Hoy, en que el proyecto arquitectónico resulta cada vez con mayor frecuencia vehiculo de experimentación formal subjetiva y arbitraria, las lecciones de CMA indican una vía de salida: un mundo, un modo, compartido en que a la arrogancia se opone la discreción, que incita a acercarse a la tradición y a abrigarse humildemente en la sombra de los maestros. Tradición y Maestros, Heteronimia y Nombres, complementariedades a las cuales CMA confía su proyecto de anonimato, supra personal y obstinadamente tendente a poner en él de relieve las relaciones inéditas.

La restauració històrica de la llotja de Palma de Mallorca (1866-1905). Lliçons d'una intervenció vuitcentista

Dilmé Bejarano, Enric 17 October 2014 (has links)
The research presented here focuses on the situation of the unprecedented nineteenth-century work on the llotja or market house of Palma de Mallorca (1866-1905). Carried out while the restoration of the monument was in full swing, it resulted in an important theoretical and practical discussion, from which one can extract enlightening ideas for the current exercise of the discipline. In order to place the study in context, we start by taking a quick look at the legal and theoretical-practical panorama of Spain during the second half of the 19th century at both a national and a local level, paying special attention to the active Provincial Commission for Historical and Artistic Monuments of the Balearic Islands, and even more important for us, the Sub-commission for understanding the restoration work at the llotja. We explore the regulations for heritage protection and the evolution of these regulations, the contemporary interventions at both an Iberian and a Balearic level, which influenced the restoration of the llotja, and insofar as it is possible, we attempt to understand the thinking of those who prometed the action. With the context established, the research rests on the new objective-systematic method of architectural restoration, of the architects José Luís González and Albert Casals (2013), as a means of evaluating the work on the llotja from a double perspective: that of the preservation of the values that those in charge of the action had detected, and that of the precepts which would end up shaping the discipline. We use a characterization of the llotja in both space and time to develop the first of these, using discrimination criteria typical of the discipline (function, architectural type, place, history) as well as social criteria (prometer, use, meaning). We then go on to determine the assessment that was made of the monument from a three-fold perspective: instrumental, significant and documental. The comparison of this initial assessment with the finished work offered us information on the relevant level of conservation of the fundamental values of the llotja achieved with the nineteenth-century intervention. The second part of our analysis begins with the documentation that the intervention generated and from a direct observation of the monument, the aim being to see the solution that was given to basic questions of the discipline such as authenticity, false historic appearance, perceptibility, artistic assessment, patina, technical integration and adaptation to the setting. This part uncovers a voluntarily contained action, which stands in contrast to the prevailing current of the time: substantial interventions, utilitarian repairs, historicist reforms or stylistic reconstructions in accordance with the free interpretation of the reigning principies of Viollet-le-Duc. Our research also examines the interesting epilogue of the discussions on the end result between supporters and opponents. This confrontation of opinions led to a critical process that would add new arguments to the restoration of the llotja, and by extension, to the discipline. Contemporary criteria such as minimal intervention or architecturally false appearance, or such contemporary concepts within the field of the protection of cultural assets as world heritage, which are introduced "a posteriori", lend even more meaning to in investigations such as tje research that we are presenting here. Finally, the study is accompanied by a series of documents extracted from all the work dossiers deposited in local and state archives and relating to the work carried out on the llotje between 1866 and 1985. We have also included a number of historical images and maps, as well as a series of drawings prepared by ourselves, which on the one hand, have allowed us to correct certain historiographical errors that have existed since the very first studies of the building, while on the other they have facilitated a graphic interpretation of the solutions / La recerca que presentem gira a l'entorn de la inèdita intervenció vuitcentista a la llotja de Palma de Mallorca (1866-1905). Duta a terme en ple procés de formació de la restauració monumental, es va impulsar amb un important discurs teòric i pràctic del qual se'n poden extreure alliçonadores nocions per l'exercici actual de la disciplina. Per tal d'emmarcar l'estudi es fa una ullada prèvia al panorama legal i teoricopràctic de l'Espanya de la segona meitat del segle XIX, tant d'àmbit nacional com local, posant una atenció especial en l'activa Comissió Provincial de Monuments Històrics i Artístics de Balears i en la més important, encara per a nosaltres, Subcomissió per entendre en les obres de restauració de la llotja. Es repassa la normativa de protecció del patrimoni i la seva evolució, les intervencions contemporànies, tant d'àmbit hispànic com del medi illenc, que van influir en la restauració de la llotja i ens apropem, en la mesura del possible, al pensament dels impulsors de l'actuació. Un cop esbossat el context, la investigació es recolza en el nou mètode objectivosistèmic de la restauració arquitectònica, dels arquitectes José Luís González i Albert Casals (2013), per tal d'avaluar l'actuació a la llotja en una doble direcció: la de la preservació deis valors que havien detectat els responsables de l'actuació i la dels preceptes que acabarien configurant la disciplina respecte a la preservació dels valors que els impulsors de la restauració havien detectat i, respecte als preceptes que configuren la disciplina. Per desenvolupar el primer apartat es fa una caracterització de la llotja, en l'espai i en el temps, a través de criteris de discriminació disciplinaris i socials. A continuació es passa a determinar la valoració que es va fer del monument en la seva triple condició: instrumental, significativa i documental. La comparació d'aquesta valoració inicial amb l'obra acabada ens informa sobre el grau rellevant de preservació dels valors fonamentals de la llotja que es va assolir amb la intervenció vuitcentista. La segona part de la nostra anàlisi parteix de la documentació que la intervenció va generar i de l'observació directa del monument amb el propòsit de veure la solució que es va donar a qüestions bàsiques de la disciplina com ara l'autenticitat, el fals històric, la discernibilitat, la valoració artística, la pàtina, la integració tècnica i l'adequació a l'entorn. Aquesta part descobreix una actuació voluntàriament continguda que contrasta amb el corrent que aleshores imperava: intervencions completives, reparacions utilitàries, reformes historicistes o reconstruccions estilístiques segons la lliure interpretació dels postulats imperants de Viollet-le-Duc. La nostra investigació repassa a més l'interessant epíleg de les discussions sobre el resultat assolit entre impulsors i detractors. D'aquesta confrontació de parers en deriva un procés crític que afegira nous arguments sobre la restauració de la llotja i, de retruc, sobre la disciplina. Criteris contemporanis com són la intervenció mínima o el fals arquitectònic, o conceptes tant actuals, en l'àmbit de la protecció de béns culturals, com el de patrimoni mundial que "a posteriori" es posen sobre la taula, donen encara més sentit a una investigació com la que presentem. El treball s'acompanya finalment d'una sèrie de documents exhumats de tots els expedients d'obra, dipositats en arxius locals i estatals, sobre les intervencions a la llotja dutes a terme entre 1866 i 1985. S'adjunten també una sèrie d'imatges i plànols històrics, així com un seguit de dibuixos d'elaboració pròpia que ens han permès, per una banda, corregir certes errades historiogràfiques que s'arrossegaven des dels primers estudis sobre l'edifici i, per altra, facilitar la interpretació gràfica de les solucions proposades en el debat sobre la restauració de la llotja

De concreto a conceptual : relaciones entre arte y arquitectura en el contexto helvético contemporáneo

Fernández Morales, Angélica 16 June 2014 (has links)
Swiss architecture is known for its high level of quality and for being an international leader in innovation and experimentation. This is due, in part, to its close relationship with art. The thesis thematizes this fact focusing on the last five decades of the Swiss architectural scene, and analyzes the relationships it establishes, especially on a design level, with modern and contemporary art in the form of both theoretical and creative influences, and interdisciplinary collaborations. This research aims to clarify the relationship between the quality of swiss architecture and the influence of the visual arts, delimiting the artistic movements involved in that relationship. That objective also includes the forms of expression used by architects - drawings, models, etc-. Interdisciplinary collaborations between artists and architects are also studied, analyzing their contribution to the field of architecture. Another subject of research is whether Switzerland has, as a country, features that provide it a unique architectural potential and, if so, which are they and why. Related artistic movements range from geometric abstraction -especially the Concrete Art movement developed in Switzerland-to conceptual art, with a special focus on minimalism and arte povera. Among the most important artists are included Joseph Beuys and Alberto Giacometti. Herzog & de Meuron, Peter Zumthor, Gigon & Guyer, Roger Diener and Christian Kerez are some of the most prestigious representatives of that architecture, and the influence of art in his work has been declared by them on frequent occasions. As for interdisciplinary collaborations, they stat mostly in the contemporary Swiss art scene, but some international artists like Donald Judd or Ai Wei Wei were also involved. The thesis pinpoints the connection between both disciplines through different parameters or fields of architectural analysis . First, the re lative to formal design issues : the structure and volumetric configuration of the building, the use of color, the choice and treatment of materials , and the use of images - as a design reference and as a graphic pattern for the buildings' surfaces-. Secondly, the influence of art in the visual communication of the project and the built work, noticeable in the forms of expression of the architects treated, as well as in their involvement in the photographic documentation of their buildings. The research concludes that the quality of Swiss architecture of the last five decades is based on four defining features: the integration in the site, a selective reductionism, the sensitivity in the choice of materials and a skillful use of the building systems, features all of them based in design decisions supported by inspirations from artistic movements such as land art, povera art and minimalism . The forms of expression used by the architects mentioned above have also many points in common with those movements, especially in early design stages, and is characterized by a high degree of artlessness and spontaneity and a rejection of artifices or graphic virtuosity. The enriching contribution of the collaboration with artists in the field of architecture, under the premise of a theoretical and aesthetic harmony between architects and artists, is confirmed. As for the country characteristics, direct relations are set between their political, cultural and economic conditions and their architectural production. Against the proposal of several Swiss theorists who relate the idiosyncrasies of the current Swiss architecture with an unbroken fidelity to Modern -based on political and cultural factors-this research argues, however, that this is mainly defined by the confluence of different sources of inspiration. / La arquitectura suiza es conocida por su alto nivel de calidad y por ser un referente internacional en innovación y experimentación. A ello contribuye, en parte, su estrecha relación con el arte. La tesis tematiza este hecho centrándose en las últimas cinco décadas de la escena arquitectónica suiza, y analiza las relaciones que ésta establece, sobre todo a nivel proyectual, con el arte moderno y contemporáneo, en forma tanto de influencias teóricas y creativas, como de colaboraciones interdisciplinares. La investigación tiene como objetivo clarificar la relación entre la calidad de su arquitectura y la influencia de las artes visuales, acotando los movimientos artísticos que intervienen en esa relación. Dicho objetivo abarca también los modos de expresión arquitectónica —dibujos, maquetas, etc.— Se pretende también profundizar en las colaboraciones interdisciplinares entre artistas y arquitectos, analizando su aportación al campo de la arquitectura. Por último, se plantea si Suiza presenta, como país, rasgos que le aporten un singular potencial arquitectónico y, en caso afirmativo, cuáles son y a qué se deben. Entre las corrientes artísticas relevantes se incluyen desde la abstracción geométrica —en especial el movimiento Concreto, desarrollado en Suiza— hasta el arte conceptual, destacando el minimalismo y el arte povera; otros artistas relevantes son Joseph Beuys y Alberto Giacometti. Herzog & de Meuron, Peter Zumthor, Gigon & Guyer, Roger Diener y Christian Kerez son algunos de los representantes más prestigiosos de la escena arquitectónica, y la influencia que tiene el arte en su trabajo ha sido manifestada por ellos en frecuentes ocasiones. En cuanto a las colaboraciones interdisciplinares, predominan los trabajos con artistas suizos contemporáneos, pero algunos internacionales, de la talla de Donald Judd o Ai Wei Wei, también han sido partícipes. La tesis va desgranando la conexión entre ambas disciplinas a través de diferentes parámetros o ámbitos de análisis arquitectónico. En primer lugar, los relativos a las cuestiones formales de diseño: la estructura y configuración volumétrica del edificio, el uso del color, la elección y tratamiento de los materiales, y el uso de imágenes —tanto como referencia proyectual como a modo de patrón gráfico en las envolventes—. En segundo lugar se trata la influencia del arte en la comunicación visual del proyecto y del edificio construido, apreciable en las formas de expresión de los arquitectos tratados así como en su implicación en la documentación fotográfica de su obra. La investigación concluye que la calidad de la arquitectura suiza de las últimas cinco décadas responde a cuatro rasgos definitorios: la integración en el lugar, la reducción selectiva, la sensibilidad en la elección de los materiales y el hábil empleo de los sistemas constructivos, rasgos basados en decisiones proyectuales respaldadas por inspiraciones artísticas procedentes de movimientos como el land art, el arte povera o el minimalismo. Las formas de expresión de los arquitectos tratados tienen también muchos puntos de conexión con dichos movimientos, especialmente en fases proyectuales iniciales, y se caracteriza por un alto grado de naturalidad y espontaneidad y un rechazo a los artificios o virtuosismos gráficos. Se constata la aportación enriquecedora de la colaboración con artistas en el campo de la arquitectura, bajo la premisa de una sintonía teórica y estética entre arquitectos y artistas. En cuanto a las características del país, se establecen relaciones directas entre sus condiciones políticas, culturales y económicas y su producción arquitectónica. Frente a la propuesta de varios teóricos suizos que relacionan la idiosincrasia de la arquitectura suiza actual con una fidelidad ininterrumpida al Movimiento Moderno —basada en factores políticos y culturales— la presente investigación argumenta, en cambio, que esta viene sobre todo definida por la confluencia de fuentes de inspiración diferentes.

Page generated in 0.2 seconds