How does one restore the original life and program to a building that has been repurposed several times over the preceding decades? In the 1950s, Örebro had a fine market hall with great light and spaces. In the 1970s a supermarket took over the space, and the old roof with its skylights was demolished, but the original construction with its beams and pillars remains today. Reusing the old structure while adding new elements as an addition, I am giving new life to the old market hall and bringing back open spaces and natural light. My project is a proposal to re-open the old market hall in its old facilities by giving it a new roof to bring back the qualities that was lost in the 70’s. My guidelines during the project have been construction, light transmission and material and I have been focusing on finding a balance between construction and ornament while designing my addition. / Hur kan man ge tillbaka en byggnads ursprungliga liv och program som under decennier omprogrammerats flera gånger? På 50-talet hade Örebro and fin saluhall med fantastiskt ljus och rymliga lokaler. Under 70-talet tog en mataffär över lokalerna och rev då också det vackra sågtandade tak som byggnaden hade, dock står den ursprungliga bärande konstruktionen kvar med sina pelare och balkar. I mitt projekt återanvänder jag den ursprungliga konstruktionen och väcker på så sätt nytt liv i byggnaden. Jag föreslår ett nytt tak för byggnaden för att återinföra det naturliga ljus som försvann under 70-talet samtidigt som jag skapar nya öppna rumsligheter. Under projektets gång har konstruktion, ljusföring och material varit viktiga element som jag arbetat med. I mitt tillägg har jag fokuserat på att skapa en balans mellan konstruktionen som bär och de ornament som för in ljuset i byggnaden.

Le vif intérêt de Descartes porté constamment au concept de nature se manifeste dans son usage fréquent du terme avec toute sa complexité sémantique. La nature lui signifie d’abord la physique, à laquelle il travaille particulièrement dans les années 1630. Elle est ensuite l’essence et ce qui rend possible notre disposition essentielle en nous instituant, et cet usage se trouve fréquemment en Meditationes. Mais le concept cartésien de nature n’épuise pas toutes ses apparitions dans les usages du terme explicite, car il apparaît aussi implicitement dans un lien dyadique de la recherche du jeune Descartes. D’une part, celui-ci reconnaît dès le début de sa carrière l’existence intrinsèque des vérités dans notre esprit, dont les semences de vérités et les naturae simplices en tant qu’aboutissement de ce concept. D’autre part, le but principal du jeune philosophe est d’élucider les facultés naturelles de l’ingenium, avec la méthode épistémologique qui peut en être tirée naturellement. Le « naturel (-lement) » ne concerne pas seulement le mécanisme des connaissances, mais aussi la question de ce qui les rend naturelles, à savoir leurs fondements. Le concept de nature renvoie ainsi, pour Descartes jusqu’au Discours de la méthode, moins à l’essence qu’à la structure naturelle de connaître les vérités naturellement existantes dans l’esprit, et sa physique est une science appliquée de ces vérités sur les phénomènes naturels. Cette élucidation de la naturalité épistémique est une condition préalable à sa prochaine recherche sur la naturalité ontologique par la quête de raisons de certitude, à savoir la recherche en nature au sens d’essence qui s’effectuera en Meditationes. / The keen interest of Descartes constantly found in the concept of nature manifests itself in his frequent use of the term with all its semantic complexity. Nature means to him first of all the physics, on which he works particularly in the 1630s. Then, it is the essence and what makes possible our essential disposition by instituting us, and this use is frequently found in Meditationes. But the Cartesian concept of nature does not exhaust all its appearances in the uses of the explicit term, because it also appears implicitly in a dyadic link of the research of the young Descartes. On one hand, he recognizes from the beginning of his career the intrinsic existence of truths in our spirit, among which are found seeds of truths and naturae simplices as a culmination of this concept. On the other hand, the main purpose of the young philosopher is to elucidate natural faculties of ingenium with the epistemological method that can be drawn from it naturally. "Natural(-ly)" concerns not only the mechanism of knowledge, but also the question of what makes it natural, namely its foundations. The concept of nature refers thus, for Descartes until the Discourse on Method, less to the essence than to the natural structure to know the truths naturally existing in mind, and his physics is an applied science of these truths to the natural phenomena. This elucidation of the epistemic naturality is a prerequisite for his next research on the ontological naturality by the search of reasons of certainty, namely the research of nature in the sense of essence which will be carried out in Meditationes.

Sabemos que a expressão dos cronotipos resulta de influências genéticas e ambientais. Existem evidências na literatura que nos permitem supor a participação do padrão temporal de exposição ao ciclo claro/escuro natural no estabelecimento dos cronotipos. Neste estudo nosso objetivo principal foi comparar a distribuição de cronotipos de dois grupos que vivem na mesma região rural, mas que apresentam padrões temporais de exposição ao ciclo claro/escuro muito distintos. Ao mesmo tempo, avaliamos a satisfação dos voluntários com seus horários de início de trabalho. Para isso estudamos dois grupos: Grupo de Trabalhadores em Ambiente Aberto (GTAA) e Grupo de Trabalhadores em Ambiente Fechado (GTAF). O GTAA foi composto por 29 voluntários com idade média de 30,8 ± 10,0 anos, enquanto o GTAF foi composto por 20 voluntários com idade média de 30,8 ± 9,8 anos. Aplicamos o questionário de matutinidade e vespertinidade e um questionário sobre os horários de trabalho para todos os voluntários, na maioria das vezes, em suas casas. Medidas das intensidades luminosas dos ambientes de trabalho dos voluntários foram coletadas. Comparamos a pontuação do questionário de cronotipos e a diferença entre o horário em que os voluntários trabalham e o horário em que gostariam de trabalhar entre os dois grupos. Usamos o teste estatístico de Kruskal-Wallis para essas comparações. Fizemos também uma regressão linear entre a pontuação do questionário de matutinidade e vespertinidade e a idade dos voluntários, um coeficiente de correlação foi obtido. Sugerimos com nossos resultados que o contexto fótico associado às naturezas espacial e temporal da ocupação laboral (contexto não-fótico) dos indivíduos pode modular a expressão dos cronotipos. Devido ao contexto fótico associado ao contexto não-fótico dos voluntários, o GTAA parece se ajustar melhor aos seus horários diurnos de trabalho. Finalmente, discutiremos neste trabalho a importância de se contextualizar socialmente a sincronização fótica de humanos para se estudar a expressão dos cronotipos. / It is known that the expression of the chronotypes results from both genetic and environmental influences. There are evidences in the literature which allow us to believe in the participation of the temporal pattern of exposition to the natural light/dark cycle in the establishment of the morningness/eveningness tendencies. In this study, our specific goal was to compare the distribution of the chronotypes in two groups of people sharing the same rural region for living, but with very different temporal patterns of exposition to the light/dark cycle. We also evaluated the satisfaction of the volunteers with their work schedule. Two groups were studied: Indoor Environment Group of workers (IEG) and Outdoor Environment Group (OEG) of workers. The OEG comprised 29 volunteers with average age of 30.8 ± 10.0 years old and the IEG 20 volunteers with average age of 30.8 ± 9.8 years old. We applied the Morningness-Eveningness Questionnaire and other questionnaire about the working time for all volunteers, most of times, in their homes. Measures of the light intensity of the volunteers\' working places were collected. We compared the scores of the questionnaire of chronotypes and the difference between the time in which the volunteers work and the time in which they would like to work, between the two groups. We used the statistic test of Kruskal-Wallis for these comparisons. We also applied a linear regression model between the score of the morningness-eveningness questionnaire and the age of the volunteers, obtaining a correlation coefficient. We suggest with our results that the photic context associated with the spacial and temporal natures of the working occupation, non-photic context, may modulate the expression of peoples\' chronotypes. Because of the photic context associated to the non-photic context of the volunteers, the OEG seems to have a better adjustment to the morning shift. Finaly, we discuss the importance of taking social context in consideration in studies of photic synchronization of humans.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-05-11T12:16:00Z No. of bitstreams: 1 Cristina Biazus Danieleski_.pdf: 107855847 bytes, checksum: 3e52ad5d285bbd1e32564a7637140fe3 (MD5) / Made available in DSpace on 2018-05-11T12:16:00Z (GMT). No. of bitstreams: 1 Cristina Biazus Danieleski_.pdf: 107855847 bytes, checksum: 3e52ad5d285bbd1e32564a7637140fe3 (MD5) Previous issue date: 2018-02-23 / Nenhuma / A utilização da luz natural pode contribuir com a redução do uso de iluminação artificial em ambientes internos e, consequentemente, diminuir a carga elétrica de edificações. Esta pesquisa teve como objetivo avaliar o desempenho lumínico de ambientes de cozinha e de área de serviço de residências multifamiliares com diferentes configurações espaciais na cidade de Porto Alegre – RS, por meio dos critérios da NBR 15575 e do método Useful Daylight Illuminance (UDI). Os objetos de estudo abrangeram os ambientes de cozinha e de área de serviço divididos em dois grupos: três modelos com iluminação natural de maneira direta e quatro modelos em que a cozinha foi iluminada de maneira indireta. Além disso, investigou-se a influência de elementos externos inerentes à edificação, como laje técnica e brise de proteção solar. As análises foram realizadas por meio de simulação computacional com o software DIALux e o plug-in Diva para Rhinoceros em quatro orientações solares: norte, sul, leste e oeste. A fim de alcançar resultados precisos, as refletâncias das superfícies internas foram obtidas por análise espectroradiométrica, que apontou maior capacidade de refletância dos revestimentos com cor branca. Com base nas análises realizadas pela NBR 15575, classificou-se como desempenho lumínico intermediário apenas a cozinha do modelo que possuía brise de proteção solar, à medida que todos os outros ambientes foram classificados como desempenho superior. Os resultados obtidos pelo método UDI indicaram a prevalência do intervalo autônomo nos modelos com iluminação de maneira direta e o intervalo suplementar nos objetos de estudo com luz natural obtida de maneira indireta. Com base nos modelos analisados nas duas etapas de simulação computacional, afirma-se que os ambientes que possuíam elemento externo obtiveram menores valores de iluminância. Em relação aos métodos de classificação da luz natural em ambientes internos, a iluminância no ponto do centro geométrico indicada pela normativa não coincidiu com a bancada da pia da cozinha, assim, não se teve a garantia do mesmo nível de desempenho lumínico nessa superfície, enquanto que o método UDI considera a iluminância média do recinto, abrangendo áreas com menor incidência de luz natural. / The use of natural light in indoor environments can contribute to reduce the artificial lighting and, as a result, to reduce the electrical load of buildings. The objective of this research was to evaluate the lighting performance in kitchen and service area environments of multifamily residential with different spatial configurations in the city of Porto Alegre - RS, using NBR 15575 Norm criteria and the Useful Daylight Illuminance (UDI) method. The study objects covered the kitchen and the service area into two groups: three models with direct natural lighting and four models in which the kitchen was illuminated indirectly. In addition, the research investigated the influence of external elements inherent to the building, such as technical slab and solar protection brise. The analyses were carried out through computer simulation with DIALux software and the Diva plug-in in Rhinoceros in four solar orientations: north, south, east and west. In order to achieve the most accurate results, the internal surface reflectances were obtained by spectroradiometric analysis, which indicated a higher reflectability of the white coatings. Based on the analyses carried out by NBR 15575 Norm, only the kitchen of the model that possessed sun protection brise was classified as intermediate lighting performance, as all other environments were classified as superior performance. The results obtained through the UDI method indicated the prevalence of the autonomous range in the models with direct lighting and the supplementary range in the study objects with natural light obtained indirectly. Based on the models analysed in the two stages of computational simulation, it is possible to state that the environments that had external elements obtained lower values of illuminance. Regarding methods of classification of natural light in indoor environments, the illuminance of the central point indicated by the normative did not coincide with the kitchen sink bench, therefore, the same level of light performance on this surface was not guaranteed, as the UDI method considers the average illuminance of the enclosure, covering areas with lower incidence of natural light.

Made available in DSpace on 2016-03-15T19:24:17Z (GMT). No. of bitstreams: 1 Adhemar Carlos Pala.pdf: 17542385 bytes, checksum: 402f6db7e1956f982e4159c365520341 (MD5) Previous issue date: 2014-06-10 / Fundo Mackenzie de Pesquisa / The production of residential buildings in 1940-1960 , in São Paulo s neighborhood Higienópolis, is the main target of this research that intends to discuss the lateral natural light as one of the architectural conception elements of the buildings designed at that time , whose factors are related to cultural, economic, social and technological issues, as part of São Paulo s metropolis process. These elements had contributed to awaken the author to question about the lateral natural light on the architectural conception elements of the buildings, which were selected among dozens of significant architectural works present in Higienópolis neighborhood. The selection resulted in the following case studies: Diana Building (1954) by architect Victor Reif ; Lausanne Building (1953) by architect Adolf Franz Heep , Louveira Building (1946) of architects Giovanni Battista Vilanova Artigas and Carlos Cascaldi and Prudence Building (1944) authored by architects Rino Levi and Roberto Cerqueira Cesar . The research objectives are to identify measure and simulate the amount of natural light in the different environments of selected buildings apartments; using as a parameter the Arthur Savoy Building Code, which had served as the basis for the buildings approval with the São Paulo s City Hall. The simulations of the natural light were performed by using the computer program Relux 2011, being used which it is recommended by the NBR -15575-1 (2013) and ISO 8995-1 (2013 ) on the spot measurements with the portable equipment luximeter. The results showed that the research conducted by the Building Code are, in measurements of the spots with luximeter, in the simulations with the computer program Relux and the current NBR, which deal about the appropriate luminance for indoor, show that the modernist architects were concerned with natural lighting in architectural conception elements of the buildings. / A produção de edifícios residenciais nos anos de 1940-1960, no bairro paulistano de Higienópolis, São Paulo, é o alvo principal desta pesquisa que pretende discutir a luz natural lateral como um dos elementos de concepção arquitetônica nos edifícios projetados naquela época, cujos fatores estão relacionados a questões culturais, econômicas, sociais e tecnológicas, no contexto do processo de metropolização de São Paulo. Esses elementos contribuíram para despertar no autor a indagação a respeito da luz natural na concepção arquitetônica de edifícios residenciais, que foram selecionados entre dezenas de obras arquitetônicas significativas presentes no bairro de Higienópolis. A seleção resultou nos seguintes estudos de casos: Edifício Diana (1954) do arquiteto Victor Reif; o Edifício Lausanne (1953) do arquiteto Adolf Franz Heep, o Edifício Louveira (1946) dos arquitetos João Baptista Vilanova Artigas e Carlos Cascaldi e o Edifício Prudência (1944) de autoria dos arquitetos Rino Levi e Roberto Cerqueira Cesar. Os objetivos da pesquisa são identificar, medir e simular a quantidade de luz natural nos diferentes ambientes dos apartamentos tipo dos edifícios selecionados; utilizando como parâmetro o Código de Edificações Arthur Saboya, que serviu de base para a aprovação dos edifícios junto à Prefeitura Municipal de São Paulo. As simulações da iluminação natural foram realizadas por meio do programa computacional Relux 2011, sendo utilizado o que recomenda as NBR-15575-1 (2013) e a ISO 8995-1(2013) nas medições in loco com o equipamento portátil luxímetro. Os resultados demonstraram que as pesquisas realizadas sejam pelo Código de Edificações, nas medições dos pontos com o luxímetro, nas simulações com o programa computacional Relux e as atuais NBR que tratam sobre a iluminância adequada para os ambientes internos, comprovam que os arquitetos modernistas preocupavam-se com a iluminação natural na concepção arquitetônica nos projetos dos edifícios residenciais.

Sabemos que a expressão dos cronotipos resulta de influências genéticas e ambientais. Existem evidências na literatura que nos permitem supor a participação do padrão temporal de exposição ao ciclo claro/escuro natural no estabelecimento dos cronotipos. Neste estudo nosso objetivo principal foi comparar a distribuição de cronotipos de dois grupos que vivem na mesma região rural, mas que apresentam padrões temporais de exposição ao ciclo claro/escuro muito distintos. Ao mesmo tempo, avaliamos a satisfação dos voluntários com seus horários de início de trabalho. Para isso estudamos dois grupos: Grupo de Trabalhadores em Ambiente Aberto (GTAA) e Grupo de Trabalhadores em Ambiente Fechado (GTAF). O GTAA foi composto por 29 voluntários com idade média de 30,8 ± 10,0 anos, enquanto o GTAF foi composto por 20 voluntários com idade média de 30,8 ± 9,8 anos. Aplicamos o questionário de matutinidade e vespertinidade e um questionário sobre os horários de trabalho para todos os voluntários, na maioria das vezes, em suas casas. Medidas das intensidades luminosas dos ambientes de trabalho dos voluntários foram coletadas. Comparamos a pontuação do questionário de cronotipos e a diferença entre o horário em que os voluntários trabalham e o horário em que gostariam de trabalhar entre os dois grupos. Usamos o teste estatístico de Kruskal-Wallis para essas comparações. Fizemos também uma regressão linear entre a pontuação do questionário de matutinidade e vespertinidade e a idade dos voluntários, um coeficiente de correlação foi obtido. Sugerimos com nossos resultados que o contexto fótico associado às naturezas espacial e temporal da ocupação laboral (contexto não-fótico) dos indivíduos pode modular a expressão dos cronotipos. Devido ao contexto fótico associado ao contexto não-fótico dos voluntários, o GTAA parece se ajustar melhor aos seus horários diurnos de trabalho. Finalmente, discutiremos neste trabalho a importância de se contextualizar socialmente a sincronização fótica de humanos para se estudar a expressão dos cronotipos. / It is known that the expression of the chronotypes results from both genetic and environmental influences. There are evidences in the literature which allow us to believe in the participation of the temporal pattern of exposition to the natural light/dark cycle in the establishment of the morningness/eveningness tendencies. In this study, our specific goal was to compare the distribution of the chronotypes in two groups of people sharing the same rural region for living, but with very different temporal patterns of exposition to the light/dark cycle. We also evaluated the satisfaction of the volunteers with their work schedule. Two groups were studied: Indoor Environment Group of workers (IEG) and Outdoor Environment Group (OEG) of workers. The OEG comprised 29 volunteers with average age of 30.8 ± 10.0 years old and the IEG 20 volunteers with average age of 30.8 ± 9.8 years old. We applied the Morningness-Eveningness Questionnaire and other questionnaire about the working time for all volunteers, most of times, in their homes. Measures of the light intensity of the volunteers\' working places were collected. We compared the scores of the questionnaire of chronotypes and the difference between the time in which the volunteers work and the time in which they would like to work, between the two groups. We used the statistic test of Kruskal-Wallis for these comparisons. We also applied a linear regression model between the score of the morningness-eveningness questionnaire and the age of the volunteers, obtaining a correlation coefficient. We suggest with our results that the photic context associated with the spacial and temporal natures of the working occupation, non-photic context, may modulate the expression of peoples\' chronotypes. Because of the photic context associated to the non-photic context of the volunteers, the OEG seems to have a better adjustment to the morning shift. Finaly, we discuss the importance of taking social context in consideration in studies of photic synchronization of humans.

Este trabajo de investigación analiza el fenómeno comunicacional del estilo fotográfico de Emmanuel Lubezki a través de las aplicaciones narrativas y expresivas de la cámara en la película ‘‘El Renacido’’. Cabe mencionar que se analiza el trabajo de Lubezki partiendo de la luz como elemento fundamental de expresividad. De tal modo que se logra tener una presencia de la belleza panorámica a través de los paisajes naturales que modifican las actitudes receptivas y emocionales del espectador. / This research paper analyzes the communicational phenomenon of Emmanuel Lubezki photographic style through the camera’s narrative and expressive applications in the film 'The Reborn''. It is worth mentioning that Lubezki’s work is analyzed from light as a fundamental element of expressiveness. In such a way that it is possible to have a presence of the panoramic beauty through the natural landscapes that modify the receptive and emotional attitudes of the spectator. / Trabajo de investigación

The short dark days of winter, related lack of energy, and low mood have always been part of life for those living in northern latitudes. For many, the gradual changes of the seasons are accompanied by the gradual degradation of their mental health. This disruptive effect is called Seasonal Affective Disorder (SAD). It is defined as major depressive episodes characterized by their seasonal recurrence for at least 2 consecutive years. Symptoms generally involve fatigue and a severe lack of energy leading to difficulty in performing daily activities as well as increased worry, anxiety, and irritability. Product Design in the field of SAD is positioned primarily in the treatment phase. Bright Light Therapy (BLT) products are used to attempt to alleviate the symptoms of the disorder. Efforts should focus on the prevention of mental illness to have a holistic impact on sustainable development. This project aims to identify an innovation opportunity where Product Design can be leveraged to prevent SAD. By leveraging semiotics, the study of signs and how meanings are created, in the field of lighting and design, a concept was developed that aims at complementing existing regulations in providing users with the conditions for improved well-being in the home. SAD is strongly linked to natural light and its cycles. Windows, the main provider of this kind of light in the home, have practical, comfort- and information-related roles. The developed concept aims at enhancing the meaning of windows to highlight our dependency on natural light cycles and prevent SAD. To effectively evaluate the concept and its effectiveness in creating meaning, it must be further developed and exposed to potential users.

La recherche propose de faire la démonstration qu’il existe une certaine relation de cause à effet entre la prise en compte des paramètres du confort visuel dans la conception des établissements scolaires et la performance scolaire des utilisateurs. Dans ce sens, nous essaierons de montrer comment la façon dont l’éclairage naturel sera introduit dans une salle de classe sera un facteur déterminant du confort visuel. En termes de méthodologie, nous avons retenu une approche qualitative qui permet de répondre, de manière simple et efficace, aux objectifs de cette recherche. Dans un premier temps, nous établissons un état de l'art du concept de l’éclairage naturel et du confort visuel en milieu scolaire. Ensuite, nous proposons une méthode d'analyse et d'évaluation qui s’articule autour de deux phases : - l’une consiste à analyser la qualité environnementale des établissements scolaires en Libye. L'objectif de cette phase est d’arriver à une classification typologique des salles de classe existantes dans notre zone d’étude ;- l’autre consiste à incorporer des simulations par maquette, qui nous permettent la collection des informations maximales dans le temps le plus court, par une série de photos enregistrant les conditions de confort visuel. Cela nous permet de montrer de façon simplifiée l’impact des caractéristiques des salles de classe étudiées, notamment leurs orientations, qui peuvent avoir une influence directe ou indirecte, positive ou négative, sur le confort visuel et par extension sur la performance scolaire de ces utilisateurs.D'après les résultats obtenus, nous avons constaté que les établissements scolaires en Libye, tels qu’ils sont conçus et réalisés actuellement, ne répondent guère aux besoins de leurs utilisateurs et ont sur eux un impact considérablement négatif. Enfin, à la lumière de l'ensemble des constatations, nous discutons les conséquences de nos résultats obtenus pour la conception architecturale des futurs établissements scolaires en Libye, et nous proposons ensuite d’établir une liste des recommandations appropriées au contexte climatique de la zone d'étude pour la conception des salles de classe, afin de les mettre à la disposition des architectes et des autorités pour d’éventuelles utilisations et approfondissements, qui permettent non seulement de rénover des édifices existants mais aussi d’améliorer la conception des futures constructions. / The research deals with demonstrating that there is some cause-and-effect relationship between the inclusion of visual comfort parameters in the design of schools and academic performance of the users. We try to show how the way natural light is introduced into a classroom will be a determinant of visual comfort.In terms of methodology, we used a qualitative approach which allows identifying, quickly and easily, the context of this research. At first, we establish a state of the art of the concept of day lighting and visual comfort in schools. Then, we propose a method of analysis and evaluation based on two phases:- One is to analyze the environmental quality of schools in Libya. The objective of this phase is to arrive at a typology of existing classrooms in our study area;- The other is to incorporate model simulations, which allow us to obtain the maximum information in the shortest possible time, by a series of photographs recording the conditions of visual comfort. This allows us to understand, in a simple way, the impact of the studied classroom characteristics, including their orientations, which may have a direct or indirect influence, positive or negative, on visual comfort and by extension on the academic performance of the users.According to the results, we found that the Libyan schools, as they are currently designed and implemented, do little to address the needs of their users and have a considerable negative impact on them.Finally, in the light of all these findings, we discuss the implications of our results for the architectural design of future schools in Libya. We then propose to establish a list of recommendations appropriate to the climatic context of the study area for the design of classrooms in order to make them available to architects and authorities for possible uses and further investigations. This allows not only to renovate the existing buildings but also to improve the design of future buildings.

En este estudio se examinan los recursos de la cinematografía de Emmanuel Lubezki en relación a las nuevas corrientes que se han generado debido al tratamiento que este le ha dado a sus películas de la última década, por medio de la investigación de papers anteriores que tratan el tema del cine de Lubezki y porque lo hace reconocido y único en su estilo, también, la visualización de variedad de entrevistas en las que Lubezki explica el sentido que el toma y lo que aprendió durante su crecimiento como cineasta en el cine de actual. La información recogida nos muestra los aspectos básicos en los que se fija un cinematógrafo, como la iluminación, la composición, las cámaras, objetivos, etc. Se realiza un estudio de todos estos elementos basados en el respectivo uso que hacia Lubezki de estos como estrategia para reconocer el estilo del cineasta. / This study examines the resources of Emmanuel Lubezki's cinematography in relation to the new currents that have been generated due to the treatment that he has given to his films of the last decade, through the investigation of previous papers that deal with the Lubezki's film theme and because it makes him recognized and unique in his style, also, the visualization of a variety of interviews in which Lubezki explains the meaning he takes and what he learned during his growth as a filmmaker in current cinema. The information collected shows us the basic aspects in which a cinematograph is fixed, such as lighting, composition, cameras, lenses, etc. A study is made of all these elements based on Lubezki's respective use of these as a strategy to recognize the filmmaker's style. / Trabajo de investigación