O presente trabalho propõe a leitura da obra de Adolf Loos (1870-1933) através das transformações históricas que marcaram a Europa na passagem da segunda metade do século XIX à primeira do século XX. A complexidade de sua obra é uma expressão privilegiada para o entendimento das contradições instauradas no período. Por um lado, o fôlego de suas ideias é dado pela persistência de problemáticas que surgiram no século XIX; por outro, parte de sua obsolescência também se explica pela resistência que Loos apresentou a tais mudanças. Transformações que ele identificou como perdas. O tema da perda permeia toda sua produção: nos edifícios, por vezes ele figura na justaposição de elementos contraditórios (tradição ou modernidade), por outras na cisão irreparável entre interior e exterior (público ou privado) e, em alguns casos, o uso de espelhos e aberturas simetricamente dispostas cria uma tensão de ambiguidade entre espaço e imagem (realidade e representação). O eixo de leitura proposto nesta dissertação se estabelece a partir das reações do arquiteto às perdas impostas por sua época. A obra estudada é interpretada como um trabalho de luto. Textos e edifícios representativos do pensamento de Adolf Loos são investigados à luz de algumas reflexões de importantes pensadores da cultura europeia do período, como Walter Benjamin, Camilo Sitte, Georg Simmel e Sigmund Freud. A abordagem se dá através de três temas centrais: a morte da tradição, a perda de vitalidade no espaço público das metrópoles e a decadência da experiência subjetiva. / It has been over a century since Adolf Loos\'s (1870-1933) most famous works, such as Ornament and Crime (1908) and Goldman & Salatsch building (1911), came to fruition. And, in spite of that, the contradictory nature of his legacy as an architect and writer still fuels and replenishes the debates and investigations of scholars to this day. This dissertation proposes a look at Adolf Loos\'s works through the historical transformations that characterized the transition of the second half of the nineteenth century to the twentieth century. The complexity of his production is a powerful expression of the contradictions that established this period. On one hand, the perseverance of his ideas comes from the persistence of issues that were originated on the nineteenth century, on the other; his obsolescence can also be explained by his opposition to the changes that came along with the new century. Loos identifies these changes as losses. Loss is a theme that impregnates all his production. In his architecture it often surfaces as contradictory elements (tradition and modernity) overlapping one another, or, at times, as an irreparable rupture between interior and exterior (public and private), and in some cases he creates a tension of ambiguity between space and image (reality and representation) by the use of mirrors and symmetrically opposed openings. It is this demeanor, and his reactions to the losses imposed by his time, that will be the axis that guides this dissertation. We can interpret many signs in his work as symbols of mourning. We investigate writings and buildings that represent his thought through the light of important contemporary thinkers of occidental culture, such as Walter Benjamin, Georg Simmel, Camilo Sitte e Sigmund Freud. We will approach his production by three lines: the death of tradition, the loss of vitality of public spaces in the metropolis and the decadence of subjective experience.

Estudos recentes utilizaram filtração com absorvedores de W para representar o efeito da rugosidade do ânodo. Para verificar a validade desta metodologia, neste trabalho, foram avaliados espectros de energia na faixa utilizada em radiologia diagnóstica convencional (40, 80 e 150 kV), gerados por tubos de raios X com ânodos rugosos por meio de simulações baseadas no Método de Monte Carlo. Para isto, foi desenvolvido um programa computacional com a ferramenta GEANT4, a qual simula a interação da radiação com a matéria. Neste programa, foram abordados: a modelagem geométrica do sistema, os processos físicos envolvidos e a aplicação de uma técnica de redução de variância baseada no fracionamento (splitting) de bremsstrahlung. Para a modelagem geométrica, as superfícies rugosas dos ânodos foram geradas a partir de um modelo estocástico de crescimento baseado na equação de Edwards-Wilkinson. Os ânodos foram modelados com um ângulo fixo de 16º e de material constituído de 95% de tungstênio e 5% de rênio. As superfícies dos ânodos foram geradas com rugosidades de 0,0; 0,5; 1,0; 2,0; 3,0; 4,0; 5,0 e 6,0 ?m. Também foi realizada a caracterização do feixe de radiação X pelos parâmetros da energia média e da camada semi-redutora (CSR). Estes parâmetros foram calculados numericamente a partir dos espectros de raios X gerados por simulação de Monte Carlo. Os valores das energias médias sofreram aumentos da ordem de 20 a 30% e as CSR\'s entre 11 a 25% aproximadamente, com o aumento das rugosidades, dependendo da energia máxima do espectro. A comparação entre os espectros produzidos com ânodo rugoso e os espectros gerados com a adição de filtração de W no feixe primário de radiação X mostraram que ambos alteram a forma da distribuição espectral, porém de modos distintos. Ou seja, o efeito da rugosidade é diferente do efeito da filtração. / Recent studies employed the filtration with tungsten absorbers to represent the effect of the anode roughness. To verify the validity of this method, in this work, the Monte Carlo method was used to simulate the spectra of X rays employed in conventional radiodiagnostics (40, 80 and 150 kV), generated by anode roughness. To perform this task, a computational program was developed with the GEANT4 toolkit, which simulates the interaction of radiation with matter. In this program, the geometric modeling of the system, the relevant physical processes and the application of a variance reduction technique based on bremsstrahlung splitting were implemented. In the geometric modeling, the rough surfaces of the anodes were generated from a stochastic model of roughness growth based on the Edwards-Wilkinson equation. The anodes were modeled with a fixed angle of 16º and material consisting of 95% tungsten and 5% of rhenium. The anode surfaces were generated with roughness of 0.0, 0.5, 1.0, 2.0, 3.0, 4.0, 5.0 and 6.0 ?m. The X ray spectra were characterized by the half-value layers (HVL) and mean energies. These parameters were calculated numerically from X ray spectra generated by the Monte Carlo simulation. The increase in the mean energy values was of the order of 20 to 30% and in the HVLs between 11 and 25% approximately growing with the roughness, depending on maximum energy of the spectrum. Comparison between spectra from anodes with roughness and spectra generated by adding tungsten filtration on primary X ray beam showed that both change the shape of the spectral distribution, but in different ways. In other words, the roughness effect and the filtration effect are not equivalent.

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The reputation given to Adolf Loos and Gustav Klimt as opposites, as well as the understanding of Loos's writings as supporting this reputation, correspond less to the works as such than to the general dichotomic mode of understanding that we inherited from the so-called platonic dichotomy of being and appearance. / Indeed, common to their respective work are the relationships in which stand the elements forever understood as antagonistic. Neither opposition nor transparency, their work bring forth an intermediary state, the state of coexistence of difference. / By questioning the relationships between elements taken as opposites, Loos and Klimt are challenging the secular dichotomy of being and appearance, and with it the whole understanding of artistic creation and of the work of art as such.

vii, 82 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Adolf Loos is most widely known for his essay Ornament and Crime (Ornament und Verbrechen), in which he sarcastically compares architectural ornament to the tattoos of "savages." Loos sought to modernize Vienna through the introduction of American and British culture and was known as one of Austria's most notorious cultural critics. Celebrated for breaking with the historicist culture of the late nineteenth century, Loos is often heralded as the father of the Modem Movement, but many of his writings and designs contradict such a classification. This thesis will explore the origins and motives behind Loos' s conception of modernism to suggest a better understanding of his role as cultural critic and architect in Vienna as well as his relationship to the architects and architecture of the subsequent generation. / Committee in Charge: Dr. Leland M. Roth, Chair; Dr. William Sherwin Simmons; Dr. Marilyn S. Linton;

Estudos recentes utilizaram filtração com absorvedores de W para representar o efeito da rugosidade do ânodo. Para verificar a validade desta metodologia, neste trabalho, foram avaliados espectros de energia na faixa utilizada em radiologia diagnóstica convencional (40, 80 e 150 kV), gerados por tubos de raios X com ânodos rugosos por meio de simulações baseadas no Método de Monte Carlo. Para isto, foi desenvolvido um programa computacional com a ferramenta GEANT4, a qual simula a interação da radiação com a matéria. Neste programa, foram abordados: a modelagem geométrica do sistema, os processos físicos envolvidos e a aplicação de uma técnica de redução de variância baseada no fracionamento (splitting) de bremsstrahlung. Para a modelagem geométrica, as superfícies rugosas dos ânodos foram geradas a partir de um modelo estocástico de crescimento baseado na equação de Edwards-Wilkinson. Os ânodos foram modelados com um ângulo fixo de 16º e de material constituído de 95% de tungstênio e 5% de rênio. As superfícies dos ânodos foram geradas com rugosidades de 0,0; 0,5; 1,0; 2,0; 3,0; 4,0; 5,0 e 6,0 ?m. Também foi realizada a caracterização do feixe de radiação X pelos parâmetros da energia média e da camada semi-redutora (CSR). Estes parâmetros foram calculados numericamente a partir dos espectros de raios X gerados por simulação de Monte Carlo. Os valores das energias médias sofreram aumentos da ordem de 20 a 30% e as CSR\'s entre 11 a 25% aproximadamente, com o aumento das rugosidades, dependendo da energia máxima do espectro. A comparação entre os espectros produzidos com ânodo rugoso e os espectros gerados com a adição de filtração de W no feixe primário de radiação X mostraram que ambos alteram a forma da distribuição espectral, porém de modos distintos. Ou seja, o efeito da rugosidade é diferente do efeito da filtração. / Recent studies employed the filtration with tungsten absorbers to represent the effect of the anode roughness. To verify the validity of this method, in this work, the Monte Carlo method was used to simulate the spectra of X rays employed in conventional radiodiagnostics (40, 80 and 150 kV), generated by anode roughness. To perform this task, a computational program was developed with the GEANT4 toolkit, which simulates the interaction of radiation with matter. In this program, the geometric modeling of the system, the relevant physical processes and the application of a variance reduction technique based on bremsstrahlung splitting were implemented. In the geometric modeling, the rough surfaces of the anodes were generated from a stochastic model of roughness growth based on the Edwards-Wilkinson equation. The anodes were modeled with a fixed angle of 16º and material consisting of 95% tungsten and 5% of rhenium. The anode surfaces were generated with roughness of 0.0, 0.5, 1.0, 2.0, 3.0, 4.0, 5.0 and 6.0 ?m. The X ray spectra were characterized by the half-value layers (HVL) and mean energies. These parameters were calculated numerically from X ray spectra generated by the Monte Carlo simulation. The increase in the mean energy values was of the order of 20 to 30% and in the HVLs between 11 and 25% approximately growing with the roughness, depending on maximum energy of the spectrum. Comparison between spectra from anodes with roughness and spectra generated by adding tungsten filtration on primary X ray beam showed that both change the shape of the spectral distribution, but in different ways. In other words, the roughness effect and the filtration effect are not equivalent.

In meinem Text werde ich mich auf jene Musik beschränken, die ungefähr in dem dritten Viertel des 20. Jahrhunderts in Slowenien entstand und mit dem Imperativ des Neuen als ästhetischer Grundkategorie dieser Periode verbunden wurde. Von dem breiteren geistig-historischen Kontext des Modernismus in der Musik ausgehend werde ich die Situation zu dieser Zeit im Westen und im Osten vergleichen, wonach ich mich der Erörterung einzelner typischen Werke, die in dem erwähnten Rahmen entstanden sind, widmen werde. Der Schwerpunkt wird dabei auf jene Gruppe von Komponisten gelegt, die sich den Namen Pro musica viva gab und der eine Schlüsselstellung für das Verständnis des Modernismus in Slowenien zukommt.

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[EN] "Luxury" has always been a cause for debate throughout history. It was criticized by Plato and Aristotle and limited during the times of the old Roman Empire. However, luxury has now become a natural part of our lives. The change in the meaning of luxury represents the step from the ancient world to the modern world, and the step from feudalism to capitalism, becoming associated to new values: 01_ The value of the private sphere and the individual. The step from the ancient world to the modern world also entails the step from public luxury to private luxury. 02_ The emotional value of luxury. Our desires and imagination lead us towards new desires. As the value of something which is intangible. 03_ The value of the superfluous. This would be a luxury which does not provide any added value. 04_ The material value. The material value is closely linked to the emotional value of luxury, as it isn't so much about the cost of the material, but about the shapes and sensations which are obtained with it. 05_ The value of refinement. The qualitative value of luxury, which leads towards the evolution of societies. 06_ The value of innovation. Throughout history luxury has been the promoter of innovations. Technique has played a vital role in architecture, giving rise to new spatial possibilities. The thesis looks into the values associated to luxury, identifying them in the architecture of Adolf Loos aiming to represent a modern vision of luxury. The similarities in the biographies of Adolf Loos and Peter Zumthor (central European architects, both sons of artisan fathers, influences by their time spent in the United States,...) justify the choice the latter as a modern reference in the research, which establishes a link between said vision from the early 20th century and the architecture of the early 21st century. This proves how these values remain current even today, although logically their transfer to architecture is different. Lastly comparing this modern vision of luxury with contemporary visions of luxury by means of different conversation. The aim is to move away from the prejudice associated to luxury to prove how architecture can go beyond what is necessary with the aim of improving the living conditions of the inhabitant. / [ES] El "lujo" ha sido siempre motivo de debate a largo de la historia. Ya fue criticado por Platón y Aristóteles y limitado en la antigua Roma. En el presente, el lujo se ha integrado de forma natural en nuestras vidas. El cambio del significado del lujo representa el paso del mundo clásico al mundo moderno, y el paso del feudalismo al capitalismo1, asociándole nuevos valores: 01_ El valor de la esfera privada y el individuo. El paso del mundo clásico al mundo moderno implica también el paso del lujo público al lujo privado. 02_ El valor emocional del lujo. Los deseos e imaginaciones llevan a nuevos deseos. Se trata del valor de lo intangible. 03_ El valor de lo superfluo. Se trata de aquel lujo que no aporta ningún valor añadido. 04_ El valor material. El valor material está íntimamente ligado al valor emocional del lujo, pues no se trata tanto del coste del material, sino en las formas y sensaciones que con él se consiguen. 05_ El valor del refinamiento. Se trata del valor cualitativo del lujo, que lleva a evolucionar a las sociedades. 06_ El valor de la innovación. El lujo ha sido a lo largo de la historia impulsor de innovaciones. La técnica ha jugado un papel vital, dando lugar a nuevas posibilidades espaciales. La Tesis investiga los valores asociados al lujo, identificándolos en la arquitectura de Adolf Loos para mostrar una visión moderna del lujo. Las similitudes en las biografías de Adolf Loos y Peter Zumthor (arquitectos de Europa Central, ambos hijos de padres artesanos, influenciados por sus vivencias en Estados Unidos,¿) justifican la elección de este último como un referente contemporáneo en la investigación, que establece un nexo entre dicha visión de principios del siglo XX y la arquitectura de principios del siglo XXI. Así se demuestra como dichos valores permanecen vigentes hoy en día, aunque lógicamente su traslación a la arquitectura sea diferente. Finalmente se contrasta esta visión moderna del lujo con las visiones contemporáneas del lujo mediante diferentes conversaciones. Se trata de alejarse de los prejuicios sobre el lujo para demostrar como la arquitectura puede ir más allá de lo necesario con el fin de mejorar las condiciones de vida del habitante. / [CA] El "luxe" ha estat sempre motiu de debat al llarg de la història. Ja fou criticat per Plató i per Aristòtil i limitat a l'antiga Roma. En el present, el luxe s'ha integrat de forma natural en les nostres vides. El canvi de significat del luxe representa el pas del món clàssic al món modern, i el pas del feudalisme al capitalisme , associant-li nou valors: 01_ El valor de l'esfera privada i l'individu. El pas del món clàssic al món modern implica també el pas del luxe públic al luxe privat. 02_ El valor emocional del luxe. Els desitjos i imaginacions porten a nous desitjos. Es tracta del valor de l'intangible. 03_ El valor del superflu. Es tracta d'aquell luxe que no aporta cap valor afegit. 04_ El valor material. El valor material està íntimament lligat al valor emocional del luxe, doncs, no es tracta tant del cost del material, sinó en les formes i sensacions que amb ell s'aconsegueixen. 05_ El valor del refinament. Es tracta del valor qualitatiu del luxe, que porta a evolucionar a les societats. 06_ El valor de la innovació. El luxe ha estat al llarg de la història impulsor d'innovacions. La tècnica ha jugat un paper vital, donant lloc a noves possibilitats espacials. La Tesi investiga els valors associats al luxe, identificant-los en l'arquitectura d'Adolf Loos per a mostrar una visió moderna del luxe. Les similituds en les biografies d'Adolf Loos i Peter Zumthor (arquitectes d'Europa Central, tots dos fills de pares artesans, influenciats per les seves vivències als Estats Units, ...) justifiquen l'elecció d'aquest últim com un referent contemporani en la recerca, que estableix un nexe entre aquesta visió de principis del segle XX i l'arquitectura del segle XXI. Així es demostra com aquests valors romanen vigents avui en dia, encara que lògicament la seva translació a l'arquitectura sigui diferent. Finalment es contrasta aquesta visió moderna del luxe amb diferents versions contemporànies del luxe mitjançant diferents converses. Es tracta d'allunyar-se dels prejudicis sobre el luxe per a demostrar com l'arquitectura pot anar més enllà del necessari amb la finalitat de millorar les condicions de vida de l'habitant. / Bruns Banegas, S. (2015). Adolf Loos.Visiones del lujo en la arquitectura [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/55503 / Premios Extraordinarios de tesis doctorales

[EN] In 1914, the philosopher Ludwig Wittgenstein (1889-1951) designed and started to build a wooden house on the steep hillside of Lake Eidsvatnet in Skjolden, Norway. In this small village, Wittgenstein had found the required peace to work on logic. But their plans to settle in Norway were cut short by the outbreak of World War I and he only occupied the house in some visits throughout his life, the last of them only five months before his death in Cambridge. Nevertheless, the House of Skjolden was central to Wittgenstein's thinking development and the only place he really felt capable of working. To date, the relationship between Wittgenstein and architecture was limited to the 1929's house of Vienna for his sister Margaret, built in collaboration with the architect Paul Engelmann. This thesis develops for the first time the project of the only one house that the philosopher thought and built for himself, certifies its ethical commitment to architecture, reclassified as Loos did vernacular architecture and presents elements that anticipate solutions that he would apply in the house of Vienna. / [ES] En 1914, el filósofo Ludwig Wittgenstein (1889-1951) proyectó e inició la construcción de una casa de madera en la escarpada ladera del lago Eidsvatnet en Skjolden, Noruega. En esa pequeña villa, Wittgenstein había encontrado la tranquilidad necesaria para trabajar en lógica. Sin embargo sus planes de instalarse en Noruega se vieron truncados por el estallido de la Primera Guerra Mundial y sólo ocupó la casa en algunas visitas a lo largo de su vida, la última de ellas cinco meses antes de morir en Cambridge. Pese a ello, la casa de Skjolden fue central en el desarrollo del pensamiento de Wittgenstein y el único lugar en el que de verdad se sintió capaz de trabajar. Hasta hoy, la relación entre Wittgenstein y la arquitectura se había limitado a la casa de Viena que construyó para su hermana Margaret en 1929 en colaboración con el arquitecto Paul Engelmann. Esta tesis desarrolla por primera vez el proyecto de la única casa que el filósofo pensó y construyó para sí mismo, certifica su compromiso ético con la arquitectura, recalifica como hiciera Loos, la arquitectura vernácula y plantea elementos que anticipan soluciones que aplicaría años más tarde en la casa de Viena. / [CA] En 1914, el filòsof Ludwig Wittgenstein (1889-1951) va projectar i va iniciar la construcció d'una casa de fusta a l'escarpada vessant del llac Eidsvatnet a Skjolden, Noruega. En aquest xicotet poble, Wittgenstein havia trobat la tranquil·litat necessària per treballar en lògica. No obstant això, els seus plans d'instal·lar-se a Noruega es van veure truncats per l'esclat de la Primera Guerra Mundial i només va ocupar la casa en algunes visites al llarg de la seva vida, l'última només cinc mesos abans de morir a Cambridge. Malgrat això, la casa de Skjolden va ser central en el desenvolupament del pensament de Wittgenstein i l'únic lloc en què de veritat es va sentir capaç de treballar. Fins avui, la relació entre Wittgenstein i l'arquitectura s'havia limitat a la casa de Viena que va construir el 1929 junt a l'arquitecte Paul Engelmann per a la seua germana Margaret. Aquesta tesi desenvolupa per primera vegada el projecte de l'única casa que el filòsof va pensar i va construir per a si mateix, certifica el seu compromís ètic amb l'arquitectura, requalifica, com va fer Loos, l'arquitectura vernacla i planteja elements que anticipen solucions que aplicaria més endavant a la casa de Viena. / Clemente Quintana, E. (2015). EL PROYECTO DE LA CASA DE LUDWIG WITTGENSTEIN EN SKJOLDEN, NORUEGA [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/56462