Arquitecto, obra y método. Análisis comparado de diferentes estrategias metodológicas singulares de la creación arquitectónica contemporánea

La tesis se acerca a la cuestión del método en arquitectura focalizando su análisis principalmente en 5 obras concretas del panorama contemporáneo, tratando de desvelar las motivaciones últimas que las constituyen. El objeto y la obra arquitectónica se consideran así los elementos susceptibles de ofrecer el conocimiento material que permite desentrañar el modo y la metodología por el que éstos han sido concebidos. Con esta particular aproximación se desafían los tradicionales estudios que han comprendido al método como una sistemática universal o reglada, ya que en este caso el propósito consiste más bien en esclarecer los fundamentos y principios que subyacen a cada objeto arquitectónico más específico. Este hecho ha llevado al índice de la tesis a ordenarse según una lista de arquitectos y obras que no presentan otra particularidad que la de ser recientes y muy diferentes entre sí. Esta aparente arbitrariedad con la que las obras se eligen cobra sentido a lo largo del propio análisis y recorrido, ya que éste apuesta por recabar el suficiente contenido que diversifique y singularice cada elección, de tal modo que ya en sí, ésta obtenga rango paradigmático. El hecho de que la tesis evite los planteamientos totalitarios no quiere decir que trate de promover el relativismo de las diferentes opciones, dado que más bien pretende analizar hasta el fondo las cuestiones últimas y lo más valioso que cada opción representa. Por su parte, la conclusión de la tesis muestra una complementariedad al carácter específico de los capítulos previos, ya que ésta se atreve a avanzar con cierta voluntad conclusiva hacia la definición de los principios más sustanciales del método en arquitectura hoy. Y precisamente, una de las claves esenciales que ha mostrado la arquitectura del hoy que nos toca vivir consiste en la condición más específica de la obra arquitectónica misma por encima de cualquier connotación genérica o transcendente que ésta pueda sugerir. De tal modo que los arquitectos elegidos, por muy diferentes que aparentan ser, han tomado como punto de partida la condición objetual de la obra más allá de cualquier contenido ideal que a ésta pueda adscribírsele. En todos los casos, si bien de diferente manera, la obra arquitectónica en sí misma se ha constituido en una nueva clave en la que tratan de dirimirse las eternas dialécticas entre el objeto y su significado, entre la estructura conceptual y su connotación simbólica. De este modo, las dialécticas relativas a la unidad de la diversidad, la identidad de la multiplicidad, la síntesis que pretende la integración de lo complejo, o en su caso, la indispensable sostenibilidad de lo inconsistente, se han convertido en la temática principal de este análisis que ha comprendido al método a partir la misma paradoja por la que la arquitectura actual se ve afectada. La misma dialéctica imposible de resolver que ha conducido a la arquitectura más reciente a decantarse a favor de la consustancialidad intrínseca a la misma obra. La tesis por su parte también se ha focalizado en la obra y en el hecho arquitectónico puntual, siguiendo la tendencia de la misma arquitectura que se analizaba. Sin embargo, sus extensos análisis nos han llevado a desentrañar el sentido y la posición estratégica personal que se encuentra más allá de la exacerbación inmanente de la arquitectura de estos últimos años. Es decir, tal y como se ha insistido, el análisis de la obra nos ha llevado, a través de la pregunta por su método, al arquitecto que la ha proyectado. Y así se ha creado este triángulo trinitario, ‘Arquitecto, obra y método’, tratando de preguntarse hasta el final por la singularidad más específica del método de cada arquitecto, en el convencimiento de que método y obra se vinculan precisamente ahí, en las experiencias personales singulares que han posibilitado las mayores creaciones y más sustantivas novedades. ABSTRACT This thesis approaches the question of Method in architecture by focusing its analysis on 5 specific contemporary projects, trying to unveil their underlying constitutive motivations. Thus, architectonical object and work are considered the susceptible elements that provide the material knowledge that unravels the manner and the methodology by which they were conceived. With this particular approach, this thesis challenges other traditional studies, those that regard the Method in architecture as a regulated or universal systematic procedure. On the contrary, the purpose of this thesis is to clarify the foundations and principles that underlie each specific architectonical object. This has led to the ordering of the thesis index according to a list of architects and projects that do not present any other distinctiveness except that they are recent and very different to each other. However, this apparent arbitrariness of the choice of each architect becomes meaningful during its analytical development. This analysis attempts to seek out the content which diversifies each choice enough, and makes it singular enough, so that each selected candidate acquires paradigmatic range by itself. Therefore, the fact that the thesis avoids totalitarian approaches does not lead it to promote the relativism of different choices, but rather the thesis tries to thoroughly analyze the most valuable achievements of each option. Nonetheless, the conclusion of the thesis shows a position that complements the specific character of the previous chapters, since it dares to move forward conclusively towards the definition of the essential principles of the Method in architecture today. Indeed, the thesis shows one of the basic keys of today’s architecture, which is the specific condition of the architectural work itself above any generic or transcendental connotation. Thus, the selected architects, however different they appear to be, take the objectual condition of the work (thingness) as their starting point beyond any ideal content that might be ascribed to their architecture. Although differently, in each case the architectonical work itself has become the new indispensable key to deal with the eternal dialectics between the object and its meaning, between conceptual structure and its symbolic connotation. Thus, the dialectics between unity and diversity, the identity of multiplicity, the synthesis that aims at the integration of complexity, or even, the indispensable consistency of the unavoidable inconsistency, have all become the main themes of this analysis, an analysis that understands the issue of Method from the same paradoxical situation of today’s architecture. This is the same paradox which has led the latest architecture to align itself with the intrinsic consubstantiality of the architectonical work itself. Therefore, the thesis is also focused on the Work, on the specific architectonical fact, following the course of the same architecture that it analyses. However, extensive analyses of the thesis have led us to clarify the sense and personal strategic position that is beyond the immanent exacerbation of architecture in recent years. Therefore, as stressed throughout the text, the analysis, that has explored the Method of architectonical Work, has led us to the architect who conceived it. Thus, this trinitarian triangle, ‘Architect, Work and Method’, has been created, attempting to explore in depth the specific uniqueness of each architect’s method, convinced that Method and Work do actually connect in the singular experiences that have achieved the greatest and most substantial creations.

Selection, training and validation process of a sensory panel for bread analysis: Influence of cultivar on the quality of breads made from common wheat and spelta wheat

A protocol of selection, training and validation of the members of the panel for bread sensory analysis is proposed to assess the influence of wheat cultivar on the sensory quality of bread. Three cultivars of bread wheat and two cultivars of spelt wheat organically-grown under the same edaphoclimatic conditions were milled and baked using the same milling and baking procedure. Through the use of triangle tests, differences were identified between the five breads. Significant differences were found between the spelt breads and those made with bread wheat for the attributes ?crumb cell homogeneity? and ?crumb elasticity?. Significant differences were also found for the odor and flavor attributes, with the bread made with ?Espelta Navarra? being the most complex, from a sensory point of view. Based on the results of this study, we propose that sensory properties should be considered as breeding criteria for future work on genetic improvement.

Haus des Rundfunks en Berlin, de Hans Poelzig, 1930

Poelzig affirmed that the technical ideal consisted of using the least amount of shapes and materials possible. He understood architecture as an art, as the expression of form; In contrast to the indifference of the most widely recognized values of modernism: technical innovation in construction along with the functionality of buildings. The Haus des Rundfunks is a powerful hermetic factory in the shape of a triangle and of uniform height. Mass, geometric rigidity and the absence of textures make up a building which relinquishes expressing the new media, with a perimeter ring consisting of offices and larger spaces that are more characteristic towards their inside. Geometry is used as a means to organize and limit the shapes of the buildings. The arrangement and division of different intercommunicating spaces are subjected to the crudeness of their geometric limits. Interior spaces ranging from the most static to the most dynamic are defined through the qualities of materials and geometries. This turns the spaces into geometric grids which decompose the wall, floor and ceiling planes into fragments, regardless of the constructive reality provided by a metallic frame structure. Its polyhedral lamps enclose artificial and emphasize the value of the grid. Poelzig limits himself to dealing with planes within a closed volume of uniform height, and maintains geometric rigidity compatible with a certain degree of figurativeness. This article tries to bring to life this exemplary building, marked by its passivity and hermetism.

Impact of using new commercial glutathione enriched inactive dry yeast oenological preparations on the aroma and sensory properties of wines

The effect of the addition of a commercial enriched glutathione inactive dry yeast oenological preparation in the volatile and sensory properties of industrially manufactured rosé Grenache wines was evaluated during their shelf-life. In addition, triangle tests were performed at different times during wine aging (among 1 and 9 months) to determine the sensory differences between wines with and without glutathione inactive dry yeast preparations. Descriptive sensory analysis with a trained panel was carried out when sensory differences in the triangle test were noticed. In addition, consumer tests were performed in order to investigate consumers’ acceptability of wines. Results revealed significant sensory differences between control and glutathione inactive dry yeast wines after 9 months of aging. At that time, glutathione inactive dry yeast wines were more intense in fruity aromas (strawberry, banana) and less intense in yeast notes than control wine. The impact of the glutathione inactive dry yeast in the aroma might be the consequence of different effects that these preparations could induce in wine composition: modification of yeast byproducts during fermentation, release of volatile compounds from inactive dry yeast, interaction of wine volatile compounds with yeast macromolecules from inactive dry yeast and a possible antioxidant effect of the glutathione released by the inactive dry yeast preparation on some specific volatile compounds.

Improvement of theoretical storm characterization for different climate conditions

The different theoretical models related with storm wave characterization focus on determining the significant wave height of the peak storm, the mean period and, usually assuming a triangle storm shape, their duration. In some cases, the main direction is also considered. Nevertheless, definition of the whole storm history, including the variation of the main random variables during the storm cycle is not taken into consideration. The representativeness of the proposed storm models, analysed in a recent study using an empirical maximum energy flux time dependent function shows that the behaviour of the different storm models is extremely dependent on the climatic characteristics of the project area. Moreover, there are no theoretical models able to adequately reproduce storm history evolution of the sea states characterized by important swell components. To overcome this shortcoming, several theoretical storm shapes are investigated taking into consideration the bases of the three best theoretical storm models, the Equivalent Magnitude Storm (EMS), the Equivalent Number of Waves Storm (ENWS) and the Equivalent Duration Storm (EDS) models. To analyse the representativeness of the new storm shape, the aforementioned maximum energy flux formulation and a wave overtopping discharge structure function are used. With the empirical energy flux formulation, correctness of the different approaches is focussed on the progressive hydraulic stability loss of the main armour layer caused by real and theoretical storms. For the overtopping structure equation, the total volume of discharge is considered. In all cases, the results obtained highlight the greater representativeness of the triangular EMS model for sea waves and the trapezoidal (nonparallel sides) EMS model for waves with a higher degree of wave development. Taking into account the increase in offshore and shallow water wind turbines, maritime transport and deep vertical breakwaters, the maximum wave height of the whole storm history and that corresponding to each sea state belonging to its cycle's evolution is also considered. The procedure considers the information usually available for extreme waves' characterization. Extrapolations of the maximum wave height of the selected storms have also been considered. The 4th order statistics of the sea state belonging to the real and theoretical storm have been estimated to complete the statistical analysis of individual wave height

Hacia una arquitectura de procesos : transformaciones disciplinares a través de la Computación en los modelos de Alexander, Negroponte y Price

La premisa inicial de la tesis examina cómo las secuelas de Segunda Guerra mundial motivaron una revisión general de la Ciencia y procuraron una nueva relación entre el hombre y su entorno. Matemáticas, Física y Biología gestaron las Ciencias de la Computación como disciplina de convergencia. En un momento de re-definición del objeto científico, una serie de arquitectos vislumbraron la oportunidad para transformar ciertas convenciones disciplinares. Mediante la incorporación de ontologías y procedimientos de cibernética y computación, trazaron un nuevo espacio arquitectónico. Legitimados por un despegue tecnológico incuestionable, desafían los límites de la profesión explorando campos abiertos a nuevos programas y acciones; amplían el dominio natural de la Arquitectura más allá del objeto(terminado) hacia el proceso(abierto). Se da inicio a la tesis describiendo los antecedentes que conducen a ese escenario de cambio. Se anotan aspectos de Teoría de Sistemas, Computación, Biología y de ciertos referentes de Arquitectura con relevancia para esa nuevo planteamiento. En esos antecedentes residen los argumentos para orientar la disciplina hacia el trabajo con procesos. La linea argumental central del texto aborda la obra de Christopher Alexander, Nicholas Negroponte y Cedric Price a través de una producción teórica y práctica transformada por la computación, y examina la contribución conceptual de cada autor. El análisis comparado de sus modelos se dispone mediante la disección de tres conceptos convergentes: Sistema, Código y Proceso. La discusión crítica se articula por una triangulación entre los autores, donde se identifican comparando por pares las coincidencias y controversias entre ellos. Sirve este procedimiento al propósito de tender un puente conceptual con el escenario arquitectónico actual estimando el impacto de sus propuestas. Se valora su contribución en la deriva del programa cerrado a la especulación , de lo formal a lo informal, de lo único a lo múltiple; del estudio de arquitectura al laboratorio de investigación. Para guiar ese recorrido por la significación de cada autor en el desarrollo digital de la disciplina, se incorporan a la escena dos predicados esenciales; expertos en computación que trabajaron de enlace entre los autores, matizando el significado de sus modelos. El trabajo de Gordon Pask y John Frazer constituye el vehículo de transmisión de los hallazgos de aquellos años, prolonga los caminos iniciados entonces, en la arquitectura de hoy y la que ya se está diseñando para mañana. ABSTRACT The initial premise of the thesis examines how the aftermath of second world war motivated a general revision of science and procure the basis of a new relation between mankind and its environment. Mathematics, Physics, and Biology gave birth to the Computer Sciences as a blend of different knowledge and procedures. In a time when the object of major sciences was being redefined, a few architects saw a promising opportunity for transforming the Architectural convention. By implementing the concepts, ontology and procedures of Cybernetics, Artificial Intelligence and Information Technology, they envisioned a new space for their discipline. In the verge of transgression three prescient architects proposed complete architectural systems through their writings and projects; New systems that challenged the profession exploring open fields through program and action, questioning the culture of conservatism; They shifted architectural endeavor from object to process. The thesis starts describing the scientific and architectural background that lead to that opportunity, annotating aspects of Systems Theory, Computing, Biology and previous Architecture form the process perspective. It then focuses on the Works of Christopher Alexander, Nicholas Negroponte and Cedric Price through their work, and examines each authors conceptual contribution. It proceeds to a critical analysis of their proposals on three key converging aspects: system, architectural encoding and process. Finally, the thesis provides a comparative discussion between the three authors, and unfolds the impact of their work in todays architectural scenario. Their contribution to shift from service to speculation, from formal to informal , from unitary to multiple; from orthodox architecture studio to open laboratories of praxis through research. In order to conclude that triangle of concepts, other contributions come into scene to provide relevant predicates and complete those models. A reference to Gordon Pask and John Frazer is then provided with particular interest in their role as link between those pioneers and todays perspective, pushing the boundaries of both what architecture was and what it could become.