[EN] Adolf Loos, controversial Viennese architect of the late nineteenth century and early twentieth century, revolutionized the architecture of its time, change and create a foundation for a new architecture. This research analyzes the color treatment that makes seven of their mansions: Villa Karma (1903-1906), Villa Steiner (1910), Villa Scheu (1912-1913), Villa Duschnitz (1915-1916), Villa Strasser (1919), Villa Moller (1927-1928), Villa Müller (1928-1930). The analysis was performed by extracting written and graphic documentation necessary to configure it in a chromatic of each of the villas, which were obtained the conclusions chips material. It was observed that the color is consistent with space and its function. Loos argued for an honest architecture without superfluous and useless ornamentation and the use of noble materials. Loos replaced and exceeded the ornament through the intrinsic nature of every noble material. By using the materials and get painting interiors where color is present. (...) The colors can be used together in a room exactly the same way, provided they are as pure as the colors of a flower meadow. (Loos, 1929) / [ES] Adolf Loos, controvertido arquitecto vienés de finales del siglo XIX y principios del siglo XX, revolucionó la arquitectura de su tiempo, crearía un cambio y las bases para una nueva arquitectura. En esta investigación se ha estudiado el tratamiento que hace del color en siete de sus mansiones: Villa Karma (1903-1906), Villa Steiner (1910), Villa Scheu (1912-1913), Villa Duschnitz (1915-1916), Villa Strasser (1919), Villa Moller (1927-1928), Villa Müller (1928-1930). El análisis se ha realizado extrayendo de documentación escrita y gráfica el material necesario para poder configurarlo en unas fichas cromáticas de cada una de las villas, de las cuales se han obtenido las conclusiones. Se observó que el color va en consonancia con el espacio y con su función. Loos abogaba por una arquitectura honesta sin ornamentación superflua e inútil y por el uso de materiales nobles. Loos sustituyó y superó el ornamento por medio de la naturaleza intrínseca de cada material noble. Mediante el empleo del material y pintura consigue unos interiores donde el color se hace presente. (...)Los colores se pueden utilizar juntos en una habitación exactamente de la misma manera, siempre y cuando sean tan puros como los colores de un prado de flores. (Loos, 1929) / [CA] Adolf Loos, controvertit arquitecte vienés de finals del segle XIX i principis del segle XX, va revolucionar l'arquitectura del seu temps, crearia un canvi i les bases per a una nova arquitectura. En esta investigació s'ha estudiat el tractament que fa del color en set de les seues mansions: Vila Karma (1903-1906), Vila Steiner (1910), Vila Scheu (1912-1913), Vila Duschnitz (1915-1916), Vila Strasser (1919), Vila Moller (1927-1928), Vila Müller (1928-1930). L'anàlisi s'ha realitzat extraient de documentació escrita i gràfica el material necessari per a poder configurar-ho en unes fitxes cromàtiques de cada una de les viles, de les quals s'han obtingut les conclusions. Es va observar que el color va d'acord amb l'espai i amb la seua funció. Loos advocava per una arquitectura honesta sense ornamentació supèrflua i inútil i per l'ús de materials nobles. Loos va substituir i va superar l'ornament per mitjà de la naturalesa intrínseca de cada material noble. Per mitjà de l'ocupació del material i pintura aconseguix uns interiors on el color es fa present. (...) Els colors es poden utilitzar junts en una habitació exactament de la mateixa manera, sempre que siguen tan purs com els colors d'un prat de flors. (Loos, 1929) / Álvarez González, MA. (2016). ESTUDIO DE LA APLICACIÓN DEL COLOR EN SIETE VILLAS DE ADOLF LOOS [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62175

Tomo 1. Parte didáctica.Estudio sobre las relaciones entre arte y vida y sus consecuencias sobre la forma del espacio escénico moderno.Tomo 2. Parte reflexiva.Definición de lo tragicómico como género del arte moderno desde el romanticismo hasta nuestros días.

Confronted with issues, whose (socioeconomic) causes cannot be resolved through the modification of the built environment, architectural interventions may often inadvertently aid the reproduction of the problems they seek to resolve. In eliminating symptoms of social inequality, alienation and marginalization, architecture can legitimize the social order out of which they arise. In such situations, architects’ attempts to concern themselves with narrowly practical concerns are insufficient even to their own aims, and in order to properly address the issues facing it, architecture must simultaneously operate as a vehicle for social critique and political emancipation. In the work of philosopher Slavoj Žižek, a critical-emancipatory intervention corresponds to an emphasis of a constitutive tension and discord (“the gap”) within what is commonly perceived as a stable, neutral background. Critique strives not to explicitly reveal existing problems. Instead, it reveals an inherent inconsistency within an implicit, ideological fantasy of order and harmony that allows us to naturalize these problems. Consequently, the critical-emancipatory potential of architecture resides not in its programmatic content nor in its representational image, but in its capacity to disrupt the reassuring affective texture of ideology. Critique resides in a formally subtle (concerning architecture in its narrowest definition as an affective structure), yet politically radical shift in how problems of everyday life are interpreted and processed; re-introducing a minimal sense of disquietude that is both critical and emancipatory. The disquietude, that marks an absence of a fantasy of order and harmony, can, paradoxically, only be sustained as a product of a formally (representationally) ordered and harmonious appearance. The critical-emancipatory disquietude is not a compromise of the order and harmony, but rather a reflection of its uncompromisingly egalitarian nature.

Wie die tschechische Historiographie überhaupt, so ist auch die tschechische Musikhistoriographie lange Zeit von Stereotypen beherrscht worden, die mit wissenschaftlicher Objektivität wenig zu tun hatten. Daher ist jeder Blick 'von außen' notwendig und willkommen, weil er uns auf die Klischees, aber auch die Lücken in unserer tschechischen Musikgeschichte nicht nur hinweist, sondern uns auch, wie Helmut Loos es in seinem Artikel 'Religiosität bei Smetana und Dvořák' getan hat, dazu veranlasst, unsere Standpunkte unter neuen Fragestellungen zu überdenken.

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1 English abstract: Villa Müller versus Villa Tugendhat - A Comparison of Two Different Restoration Projects of Modernist Buildings. The work compares two successful restorations of interwar Czechoslovak avant-garde buildings realized between 1995 and 2012. At first, the respective histories of both buildings are compared since their creation through two totalitarian regimes up to their restoration. The fates of builders and architects of both villas are also described. From the point of view of historic preservation the work describes the state of both buildings before the commencement of restoration. The errors committed by the original designers are also described here. The methodology of restoration of both villas stemming from the professional points of view and relevant laws governing heritage protection is also treated in detail. The emphasis is given on preparation works preceding the design phase - the historic-structural survey, which, in both cases, was conceived as above-standard. Due to their span, these surveys have marked a key moment in relation to the modern cultural heritage within the Czech context. In the last part of the work links and comparisons are given to similar modern cultural heritage objects abroad. The work also documents the influence these two restorations have had on...

Cette thèse présente une nouvelle extension d’onduleur multiniveaux, appelé ‘Multi Neutral Point’ (MNP). Cet onduleur est déduit des topologies des structures multiniveaux ‘Neutral Point Clamped’ (NPC) et ‘Multi Point Clamped’ (MPC). Les intérêts de cette extension sont: l’absence de diodes de bouclage, la possibilité de disposer de tous les nombres de niveaux, pairs et impairs et possibilité de fonctionner en mode dégradé. Nous avons élaboré une commande rapprochée simple des transistors de puissance, d’abord pour un MNP à 3 niveaux, ensuite pour les nombres de niveaux supérieurs. Nous avons comparé les pertes de puissance d’un onduleur MNP et d’un onduleur NPC. Les pertes de l’onduleur MNP sont largement inférieures à celles de l’onduleur NPC. Dans l’optique de contrôler en courant l’onduleur MNP, une stratégie nouvelle par régulateur PID d’ordre fractionnaire est également développée. Ce contrôle permet de diminuer nettement les erreurs d’amplitude et de phase entre le courant de référence et le courant de charge. La méthode nécessite le réglage des différents paramètres de contrôle en utilisant le principe d'optimisation ‘’multi-objectif’’. Le fonctionnement de l’ensemble convertisseur-contrôle-commande est enfin largement validé par simulation et par expérimentation / This thesis presents a new extension of multilevel inverters, called 'Multi Neutral Point' (MNP). This topology is deduced from Neutral Point Clamped (NPC) and Multi Point Clamped (MPC) structures. The advantage of this extension is twofold: the absence of clamping diodes and the possibility of operating on all the numbers of levels (even and odd). We have developed a simple command; we first present the command strategy for a three levels MNP, then for a five level MNP. We have compared the power losses in the power switches of an MNP and an NPC. The power losses for an MNP are far below those of the NPC inverter. For this inverter model, we have chosen a robust current control by a fractional PID controller. This control strategy can sharply reduce the amplitude and the phase errors between the reference current and the load one. This method requires the setting of various control parameters thanks to the principle of ‘’multiobjective optimization.'' In the end the set of converter-control command is validated by simulation and experimentation; the simulated and experimental results match very well