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Tese de mestrado. Construção de edifícios. 2005. Faculdade de Engenharia. Universidade do Porto

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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.

Esta tesis aborda el tema de la generación, modelización y virtualización de estructuras arquitectónicas, con aplicación práctica a edificios históricos.Es caracteristico de este tipo de estructuras, la gran comlejidad geométrica que se materializa entre múltiples interrelaciones de las muchas morfologías parciales.La metodología esencial de esta investigación es el estudio de edificios en su totalidad, mediante una modelizción laminar por Elementos Finitos.En resumen, el esquema de objetivos de la tesis en su solución definitiva es el siguiente: Análisis lineal del edificio del Sagrario de la Catedral de la ciudad de México, como una unidad global asimilando cada una de sus partes a láminas.Finalmente la conveniencia de poder observar el sólido virtual tensionado de una forma dinámica y ágil ha creado la necesidad de desarrollar un programa de virtualización numérica (mediante el lenguaje VRML) de sólidos estructurales absolutamente novedosa y que constituye uno de los logros de este trabajo.

El tema que aborda la tesis es la relación entre la entidad urbana y el hecho hidrográfico de un curso de agua como un río o la presencia de un mar; la manera en que son procesados en forma urbana los espacios de vinculación entre estos dos componentes: la ciudad y el agua. La hipótesis inicial fue plantear a la costa de la ciudad como una ¡°unidad de análisis histórica¡±, una unidad que construida a partir de la metodología desplegada posee la suficiente productividad para un trabajo de historia urbana, y otorga un nuevo significado al tema.Se analiza el proceso de ocupación y uso de las costas urbanas, junto a la complejización de los dispositivos materiales que vehiculan esa intervención en el espacio. Cómo ese proceso de ocupación fue variando en el tiempo y se vincula a un conjunto de relaciones culturales y técnicas. La construcción de nuevas infraestructuras portuarias en la segunda mitad del siglo XIX ©de infinita mayor capacidad y eficiencia operativa que sus antecesoras© no solo comunicó territorios lejanos con la ciudad, sino que con sus emergencias constructivas dentro de ella generaron accidentes artificiales que incidieron en la forma, uso y significación de gran parte del espacio urbano de esas ciudades, que simultáneamente en esos tiempos atravesaron procesos de fuerte expansión y complejización de sus estructuras urbanas. Este es el inicio del segmento temporal analizado, teniendo por otro extremo mediados de siglo XX, cuando nuevas necesidades portuarias provocan la obsolescencia de esas instalaciones que ya no crecerán mas en estos lugares de la ciudad, comenzando lentamente otra etapa de reutilización urbana que alcanzará su desarrollo sobre fines del XX hasta la actualidad.El caso empírico trabajado ©Santa Fe, Argentina© fue analizado considerando que los procesos espaciales de una sociedad no tienen en su totalidad ni un origen en esa misma sociedad ni tampoco fuera de ella, sino que son prácticas sobre necesidades particulares que procesan influencias y demandas tanto propias como ajenas. Y ello se presenta de manera mas evidente en los espacios costeros, donde el análisis necesariamente pasa por el entrelazado entre necesidades internas, demandas externas y mutuas influencias de modelos; pasa por el abordaje de un núcleo de relaciones constitutivo de una problemática que tiene carácter universal aun en una visibilidad circunstanciada. Por ello la tesis contiene, además de lo propio del caso y su abordaje riguroso con fuentes primarias, una evaluación de cómo fueron abordados en distintos casos y enfoques este tema, y como se ha utilizado este aparato para analizar el caso específico.Desarrollos analíticos mediante, la hipótesis demostró una productividad y riqueza otorgando una nueva significación al tema, condensado en tres definiciones que representan los aportes a una nueva interpretación del fenómeno y su contribución en el campo de estudios de las ciudades y su historia, tres definiciones que se verifican en el tiempo como un proceso de larga duración que puede ser reconstruido, y cuya contemporaneidad no es mas que una fase articulada temporalmente en esa extensión mayor. Dichas definiciones son: a. La costa como ¡°espacio público singular¡±; b. La costa como ¡°tema del plan urbano¡±; c. La costa como ¡°controversia de modernidades¡±.Las prácticas analizadas tanto del caso Santa Fe, como de otros globales que se encuentran relacionados temáticamente, o inmediatos que se vinculan empíricamente ¨Ccomo los de las ciudades de la cuenca del Río de la Plata©Paran¨¢¨C, hacen converger episodios que van desde las infraestructuras y equipamientos urbanos, la emergencia del urbanismo, Le Corbusier y las pol¨¦micas estéticas de la vanguardia, hasta las pugnas culturales entre cosmopolitismo y tradición, y definen a la costa no sólo como un lugar de proyecto, sino como un espacio donde se plasma un definido proceso histórico estructural de la ciudad / This thesis will explore the relation between urban entity and the presence of a waterway like a river or an ocean, the way the existing connecting spaces are processed and how the two components, city and water interact with each other. The starting hypothesis was presenting the coastal area of a city like a¡± historical unit¡± rich enough to be worthy of urban history research and to give new meaning to the subject. The occupancy and use given to coastal areas is explored to show historical variations and their ties to technical and cultural changes. The second half of the XIX century saw the advent of new harbor infrastructure highly superior in operative capacity and efficiency to anything seen so far. City and port became closer to each other as the emerging new structures encroached into the urban space and influenced the way the space was conceived, reshaped and used. Concurrently, cities were at the time undergoing profound changes in terms of expansion and complexity of their own urban structures. This moment constitutes the beginning of this analysis, which will span a century. By mid©XX century changing needs in harbor operations made the existing infrastructure obsolete. The new large©scale infrastructure would surface separately from the urban fabric, and urban spaces would undergo a process of reorganization that peaked at the end of the century and has extended to the present. The case under study here ¨CSanta Fe, Argentina© was analyzed under the premise that most spatial processes in a given society do not originate either within or outside of it; rather, they are the product of demands and forces both intrinsic and alien to it. And coastal areas are a perfect example, with their manifest, distinct web of such forces and demands. Interestingly, all this turns to be universally emblematic rather than restricted to a specific case in point. In view of this, this thesis aims at shedding light not only on the case specifically addressed but on other cases as well , on how they were approached and on how comparisons contributed to the analysis of the case. Three definitions are presented here which will hopefully contribute to the study of cities and their history and which will provide the frame to reconstruct a long©lasting process that includes the present: a. The coast as a ¡°singular public space; b. The coast as an ¡°urban plan issue¡±; c. The coast as ¡°a controversy of modernities.¡± The practices under study, which comprise not only the city of Santa Fe and comparable cases worldwide but other cities in the Parana©Rio de la Plata basin, bring together elements, events and issues as diverse as urban infrastructure and equipment, the surfacing of urbanism, Le Corbusier and the controversial esthetics of avant©garde and cultural clashes between tradition and foreign influence. They also define a waterfront not just as an opportunity for projects but as a place where the distinctive historical and structural evolving of the city can be appreciated.

Attending the thought of a myriad of authors, this dissertation brings together a theory of knowledge regarding time, which departs from recognizing in the history of philosophy, the different ways ‘time’ has been conceived. It also acknowledges common characteristics between conceptions, which lead towards two main currents: Internal time, the one of the thoughts, of the spirit; and external or physical time, in which finally everything exists. Through recognition of architectural fact, as the fundamental encounter of architectonic encounter, three different classes of participants are distinguished, according to its way of dealing with intentionality. First, it comes to attention, the subjective component, the one in charge of formulating and directing intentionality; in second place, the objective component is pointed at, since it’s the one meant to receive intentional addressing; and last, there is the contextual component, which will condition every relation between the first two components. After the triple component core that conforms the architectural fact, is set, this study re-conducts its efforts, in order to define the structural complexity of the components. This gets tackled by setting a basic material quantity, or unitary complexity, a central consensual point, from which two complexity horizons can be projected, one towards multiple and the other towards partial complexity. Therefore having three structural possibilities for each one of the components, from which are distinguished amounts of time, directed to the architectural fact. By settling a system that seeks interaction between components, in any of their different structural complexities or better called, subcomponents, a dialectic treatment is pursued. This allows to recognize meaning, or importance, as result of interaction. With this a third level of association is achieved; this, will link every pair of subcomponents, in a causal or casual line of events, causal in diachronic order and casual in synchronic order. Diachronic differs from synchronic, in the way it admits two different orders by itself, depending on which subcomponent embodies the role of antecedent, and which the role of consequent. This provides again the system, with a triad. The whole resolves with a system of approaches, which takes care of the mathematical combination of the three levels or association, counting each one of them with a triad. The dialectic system then congregates 81 pairs, result of the combination of terms, which are formed by the subcomponents in any of the three possible temporal orders. After having achieved a tailored system of analysis, this study returns to the study cases, selected in a first moment, as they were detected, rich in temporal properties, after considering their component inherent qualities. The study elaborates on continuing the decision of tackling these five fascinating and notable projects: The Maison à Bordeaux of Rem Koolhaas\OMA, the Blur Building of Diller + Scofidio, the Kunsthaus in Graz, of Peter Cook and Colin Fournier, and finally, the Sendai Mediatheque, of Toyo Ito. In order to provide with a comparative exercise among casual and causal, the same pair of subcomponents is grouped, with its three possible temporal orders, setting twenty seven packs, distributed according to the potential that each project exposed, in a more less equable way. Each pack of the system of analysis, was destined to a project, from which it was thought intuitively that a bigger and better amount and quality of information could be obtained, according to its author declared intentions. Exploration under this system, pursued deciphering temporal implications in the architectural discipline. Confining as well, every possibility in which time could influence architecture, under a universe of finite elements, defined by the variables implicit en the associative levels. Its task is to complement the three basic texts, dedicated to the study of time in architecture, written in the 20th century, being these: Space, Time and Architecture, of Sigfried Giedion; Architectura Occidentale of Christian Norberg-Schulz; and What time is this place? of Kevin Lynch. Besides taking advantage of them. This research offers an innovative system of analysis, while it points out new temporal concepts in five buildings, which form part of a new original kind of architecture, intelligible, appealing and passionate, full of addressed intentions, and well accomplished dares, an architecture conceived with time.

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