Similarities and Differences in Barrel Vaults of Traditional and Stately Houses in the Historic Centre of Arequipa, Perú

The traditional architecture of the centre of the city of Arequipa has been analyzed by comparing floor-plans of houses from the eighteenth and nineteenth centuries in order to explain the reasons behind the arrangement of their constructional elements and the evolution of said elements and floor-plans. The historic centre of Arequipa, a city located in the South of Perú, South America (Latitude 16°23' South, Longitude 71 °31' West), is based on a ground plan from 1540 that was set during the city's Spanish foundation. It was declared Patrimony of the Humanity by UNESCO. The manorial architecture is widely known for its decorated fronts and one-of-a-kind designs, but its differences with respect to the popular architecture are not based exclusively on decorative aspects. Peru's colonial period finished around 1825, but the barrel-vault, construction style continued in Arequipa through 1868, when an earthquake destroyed the city. Thereafter, the vaults were replaced by roofs made of rails, with cinders made out of the lava stone. The stately houses belonged to the founding families who settled around the main square on forty nine blocks that formed a square-grid, street layout. Also belonging to this category are the houses of landlords and traders from post-colonial times.

Coastal Urban Flood Resislience versus Climate Change

Processes of founding and expanding cities in coastal areas have undergone great changes over time driven by environmental conditions. Coastal settlements looked for places above flood levels and away from swamps and other wetlands whenever possible. As populations grew, cities were extending trying to avoid low and wet lands. No city has been able to limit its growth. The risk of flooding can never be eliminated, but only reduced to the extent possible. Flooding of coastal areas is today dramatically attributed to eustasic sea level rise caused by global climate change. This can be inaccurate. Current climate change is generating an average sea level upward trend, but other regional and local factors result in this trend being accentuated in some places or attenuated, and even reversed, in others. Then, the intensity and frequency of coastal flooding around the planet, although not so much as a unique result of this general eustasic elevation, but rather of the superposition of marine and crustal dynamic elements, the former also climate-related, which give rise to a temporary raising in average sea level in the short term. Since the Little Ice Age the planet has been suffering a global warming change leading to sea level rise. The idea of being too obeying to anthropogenic factors may be attributed to Arrhenius (1896), though it is of much later highlight after the sixties of the last century. Never before, the human factor had been able of such an influence on climate. However, other types of changes in sea levels became apparent, resulting from vertical movements of the crust, modifications of sea basins due to continents fracturing, drifting and coming together, or to different types of climate patterns. Coastal zones are then doubly susceptible to floods. Precipitation immediately triggers pluvial flooding. If it continues upland or when snow and glaciers melt eventually fluvial flooding can occur. The urban development presence represents modifying factors. Additional interference is caused by river and waste water drainage systems. Climate also influences sea levels in coastal areas, where tides as well as the structure and dynamic of the geoid and its crust come into play. From the sea, waters can flood and break or push back berms and other coastline borders. The sea level, controlling the mouth of the main channel of the basin's drainage system, is ultimately what governs flood levels. A temporary rise in sea level acts as a dam at the mouth. Even in absence of that global change, so, floods are likely going to increase in many urban coastal areas. Some kind of innovative methodologies and practices should be needed to get more flood resilience cities

Contradictio in terminis: dialéctica de la ambigüedad en la arquitectura contemporánea

The twentieth century brought a new sensibility characterized by the discredit of cartesian rationality and the weakening of universal truths, related with aesthetic values as order, proportion and harmony. In the middle of the century, theorists such as Theodor Adorno, Rudolf Arnheim and Anton Ehrenzweig warned about the transformation developed by the artistic field. Contemporary aesthetics seemed to have a new goal: to deny the idea of art as an organized, finished and coherent structure. The order had lost its privileged position. Disorder, probability, arbitrariness, accidentality, randomness, chaos, fragmentation, indeterminacy... Gradually new terms were coined by aesthetic criticism to explain what had been happening since the beginning of the century. The first essays on the matter sought to provide new interpretative models based on, among other arguments, the phenomenology of perception, the recent discoveries of quantum mechanics, the deeper layers of the psyche or the information theories. Overall, were worthy attempts to give theoretical content to a situation as obvious as devoid of founding charter. Finally, in 1962, Umberto Eco brought together all this efforts by proposing a single theoretical frame in his book Opera Aperta. According to his point of view, all of the aesthetic production of twentieth century had a characteristic in common: its capacity to express multiplicity. For this reason, he considered that the nature of contemporary art was, above all, ambiguous. The aim of this research is to clarify the consequences of the incorporation of ambiguity in architectural theoretical discourse. We should start making an accurate analysis of this concept. However, this task is quite difficult because ambiguity does not allow itself to be clearly defined. This concept has the disadvantage that its signifier is as imprecise as its signified. In addition, the negative connotations that ambiguity still has outside the aesthetic field, stigmatizes this term and makes its use problematic. Another problem of ambiguity is that the contemporary subject is able to locate it in all situations. This means that in addition to distinguish ambiguity in contemporary productions, so does in works belonging to remote ages and styles. For that reason, it could be said that everything is ambiguous. And that’s correct, because somehow ambiguity is present in any creation of the imperfect human being. However, as Eco, Arnheim and Ehrenzweig pointed out, there are two major differences between current and past contexts. One affects the subject and the other the object. First, it’s the contemporary subject, and no other, who has acquired the ability to value and assimilate ambiguity. Secondly, ambiguity was an unexpected aesthetic result in former periods, while in contemporary object it has been codified and is deliberately present. In any case, as Eco did, we consider appropriate the use of the term ambiguity to refer to the contemporary aesthetic field. Any other term with more specific meaning would only show partial and limited aspects of a situation quite complex and difficult to diagnose. Opposed to what normally might be expected, in this case ambiguity is the term that fits better due to its particular lack of specificity. In fact, this lack of specificity is what allows to assign a dynamic condition to the idea of ambiguity that in other terms would hardly be operative. Thus, instead of trying to define the idea of ambiguity, we will analyze how it has evolved and its consequences in architectural discipline. Instead of trying to define what it is, we will examine what its presence has supposed in each moment. We will deal with ambiguity as a constant presence that has always been latent in architectural production but whose nature has been modified over time. Eco, in the mid-twentieth century, discerned between classical ambiguity and contemporary ambiguity. Currently, half a century later, the challenge is to discern whether the idea of ambiguity has remained unchanged or have suffered a new transformation. What this research will demonstrate is that it’s possible to detect a new transformation that has much to do with the cultural and aesthetic context of last decades: the transition from modernism to postmodernism. This assumption leads us to establish two different levels of contemporary ambiguity: each one related to one these periods. The first level of ambiguity is widely well-known since many years. Its main characteristics are a codified multiplicity, an interpretative freedom and an active subject who gives conclusion to an object that is incomplete or indefinite. This level of ambiguity is related to the idea of indeterminacy, concept successfully introduced into contemporary aesthetic language. The second level of ambiguity has been almost unnoticed for architectural criticism, although it has been identified and studied in other theoretical disciplines. Much of the work of Fredric Jameson and François Lyotard shows reasonable evidences that the aesthetic production of postmodernism has transcended modern ambiguity to reach a new level in which, despite of the existence of multiplicity, the interpretative freedom and the active subject have been questioned, and at last denied. In this period ambiguity seems to have reached a new level in which it’s no longer possible to obtain a conclusive and complete interpretation of the object because it has became an unreadable device. The postmodern production offers a kind of inaccessible multiplicity and its nature is deeply contradictory. This hypothetical transformation of the idea of ambiguity has an outstanding analogy with that shown in the poetic analysis made by William Empson, published in 1936 in his Seven Types of Ambiguity. Empson established different levels of ambiguity and classified them according to their poetic effect. This layout had an ascendant logic towards incoherence. In seventh level, where ambiguity is higher, he located the contradiction between irreconcilable opposites. It could be said that contradiction, once it undermines the coherence of the object, was the better way that contemporary aesthetics found to confirm the Hegelian judgment, according to which art would ultimately reject its capacity to express truth. Much of the transformation of architecture throughout last century is related to the active involvement of ambiguity in its theoretical discourse. In modern architecture ambiguity is present afterwards, in its critical review made by theoreticians like Colin Rowe, Manfredo Tafuri and Bruno Zevi. The publication of several studies about Mannerism in the forties and fifties rescued certain virtues of an historical style that had been undervalued due to its deviation from Renacentist canon. Rowe, Tafuri and Zevi, among others, pointed out the similarities between Mannerism and certain qualities of modern architecture, both devoted to break previous dogmas. The recovery of Mannerism allowed joining ambiguity and modernity for first time in the same sentence. In postmodernism, on the other hand, ambiguity is present ex-professo, developing a prominent role in the theoretical discourse of this period. The distance between its analytical identification and its operational use quickly disappeared because of structuralism, an analytical methodology with the aspiration of becoming a modus operandi. Under its influence, architecture began to be identified and studied as a language. Thus, postmodern theoretical project discerned between the components of architectural language and developed them separately. Consequently, there is not only one, but three projects related to postmodern contradiction: semantic project, syntactic project and pragmatic project. Leading these projects are those prominent architects whose work manifested an especial interest in exploring and developing the potential of the use of contradiction in architecture. Thus, Robert Venturi, Peter Eisenman and Rem Koolhaas were who established the main features through which architecture developed the dialectics of ambiguity, in its last and extreme level, as a theoretical project in each component of architectural language. Robert Venturi developed a new interpretation of architecture based on its semantic component, Peter Eisenman did the same with its syntactic component, and also did Rem Koolhaas with its pragmatic component. With this approach this research aims to establish a new reflection on the architectural transformation from modernity to postmodernity. Also, it can serve to light certain aspects still unaware that have shaped the architectural heritage of past decades, consequence of a fruitful relationship between architecture and ambiguity and its provocative consummation in a contradictio in terminis. Esta investigación centra su atención fundamentalmente sobre las repercusiones de la incorporación de la ambigüedad en forma de contradicción en el discurso arquitectónico postmoderno, a través de cada uno de sus tres proyectos teóricos. Está estructurada, por tanto, en torno a un capítulo principal titulado Dialéctica de la ambigüedad como proyecto teórico postmoderno, que se desglosa en tres, de títulos: Proyecto semántico. Robert Venturi; Proyecto sintáctico. Peter Eisenman; y Proyecto pragmático. Rem Koolhaas. El capítulo central se complementa con otros dos situados al inicio. El primero, titulado Dialéctica de la ambigüedad contemporánea. Una aproximación realiza un análisis cronológico de la evolución que ha experimentado la idea de la ambigüedad en la teoría estética del siglo XX, sin entrar aún en cuestiones arquitectónicas. El segundo, titulado Dialéctica de la ambigüedad como crítica del proyecto moderno se ocupa de examinar la paulatina incorporación de la ambigüedad en la revisión crítica de la modernidad, que sería de vital importancia para posibilitar su posterior introducción operativa en la postmodernidad. Un último capítulo, situado al final del texto, propone una serie de Proyecciones que, a tenor de lo analizado en los capítulos anteriores, tratan de establecer una relectura del contexto arquitectónico actual y su evolución posible, considerando, en todo momento, que la reflexión en torno a la ambigüedad todavía hoy permite vislumbrar nuevos horizontes discursivos. Cada doble página de la Tesis sintetiza la estructura tripartita del capítulo central y, a grandes rasgos, la principal herramienta metodológica utilizada en la investigación. De este modo, la triple vertiente semántica, sintáctica y pragmática con que se ha identificado al proyecto teórico postmoderno se reproduce aquí en una distribución específica de imágenes, notas a pie de página y cuerpo principal del texto. En la columna de la izquierda están colocadas las imágenes que acompañan al texto principal. Su distribución atiende a criterios estéticos y compositivos, cualificando, en la medida de lo posible, su condición semántica. A continuación, a su derecha, están colocadas las notas a pie de página. Su disposición es en columna y cada nota está colocada a la misma altura que su correspondiente llamada en el texto principal. Su distribución reglada, su valor como notación y su posible equiparación con una estructura profunda aluden a su condición sintáctica. Finalmente, el cuerpo principal del texto ocupa por completo la mitad derecha de cada doble página. Concebido como un relato continuo, sin apenas interrupciones, su papel como responsable de satisfacer las demandas discursivas que plantea una investigación doctoral está en correspondencia con su condición pragmática.

La Esgrima como enseñanza formal en las instituciones educativas públicas de Madrid. Del Real Seminario de Nobles al Instituto de Segunda Enseñanza Cardenal Cisneros (1725-1950).

En el presente trabajo de investigación se ha analizado la presencia de la Esgrima como materia de enseñanza dentro de diversas Instituciones educativas formales de Madrid, abarcando un rango temporal de 225 años (1725-1950). Para la realización de la investigación se elaboró un esquema de trabajo basado en la metodología de la investigación histórica, la historiografía. La búsqueda de la información se llevó a cabo, fundamentalmente en el Archivo Histórico Nacional el Archivo General de la Administración, el Archivo Regional de Madrid, el Archivo General de la Universidad Complutense de Madrid, el Archivo del Real Conservatorio Superior de Música de Madrid, el Archivo General de Palacio, el Archivo de la Villa y la Biblioteca Nacional. La investigación presentada abarca cinco Instituciones educativas en las que se estudia la presencia de la Esgrima como enseñanza formal, siendo estas el Real Seminario de Nobles de Madrid, la Escuela Central de Profesores y Profesoras de Gimnástica, el Real Conservatorio de Música y Declamación y los Institutos de Segunda Enseñanza del Cardenal Cisneros y de San Isidro. Se analizaron las diferentes Constituciones de formación, Planes de Estudios, Reglamentos Interinos de funcionamiento, Leyes de fundación, libros, Programas de asignaturas y todos aquellos documentos, tanto oficiales como internos de cada uno de los Centros tratados. Así mismo, se estudiaron las figuras de los Maestros encargados de impartir la Esgrima como materia formal en las diversas Instituciones, alcanzando la mayor relevancia D. Manuel Antonio de Brea, D. Francisco de la Macorra y Guijeño, D. Ángel Lancho Martín de la Fuente, D. Afrodisio Aparicio Aparicio y D. José Carbonell. De la investigación realizada se concluye la presencia de la Esgrima como una materia perfectamente sistematizada en cada uno de las Instituciones analizadas así como la importancia que alcanzaba la figura del Maestro de Esgrima en todas ellas, siendo en algunos casos “Maestro Mayor del Reyno” y en otros convirtiéndose en Catedráticos de Esgrima, al tiempo que todos ellos contaban con una titulación que les capacitaba para el ejercicio de su profesión. Así mismo encontramos la presencia de la mujer en una de las Instituciones, el Real Conservatorio de Música y Declamación, con los mismos derechos que sus compañeros varones para matricularse y estudiar la Esgrima. Los Maestros estudiados, fundamentalmente D. Ángel Lancho, D. Afrodisio Aparicio y D. José Carbonell, contribuyeron a popularizar la Esgrima y a su desarrollo como deporte, organizando torneos para sus alumnos y compitiendo ellos mismos en multitud de asaltos. A lo largo de los 225 años que abarca esta investigación, la Esgrima evolucionó de Destreza a Habilidad y más tarde a Deporte, sin perder en ningún momento su importancia, extendiéndose a sectores de la sociedad a los que nunca habría llegado de no ser por la labor de los Maestros de Esgrima encargados de su formación. ABSTRACT. In this research work, the presence of Fencing as an educational subject within different formal educational Institutions in Madrid, over a period of 225 years (1725-1950), has been analysed. In order to carry out this research, a work schedule was drawn up, based on the methods of the historical research, historiography. The search for the information was primarily carried out in the Archivo Historico Nacional, the Archivo General de la Administración, the Archivo Regional of Madrid, the Archivo General de la Universidad Complutense de Madrid, the Archivo del Real Conservatorio Superior de Música of Madrid, the Archivo General de Palacio, the Archivo de la Villa and the Biblioteca Nacional. The research presented covers five educational Institutions, where the presence of Fencing as a formal education is studied. These Institutions are: the Real Seminario de Nobles de Madrid, the Escuela Central de Profesores y Profesoras de Gimnástica, the Real Conservatorio de Música y Declamación and the Cardenal Cisneros and the San Isidro Secondary Schools. The different Academic formation, Syllabuses, Temporary working Regulations, founding Law, books, subject Plans and all the documents, official or internal, of each of the Centres dealt with, were analysed. Moreover, the roles of the Masters in charge of teaching Fencing as a formal subject in different Institutions were studied, and Mr. Manuel Antonio de Brea, Mr. Francisco de la Macorra y Guijeño, Mr. Ángel Lancho Martín de la Fuente, Mr. Afrodisio Aparicio Aparicio and Mr. José Carbonell were the most prominent. The conclusion of the research carried out, is that the presence of Fencing is a subject perfectly organised in each one of the Institutions analysed, as well as the importance that the role of the Fencing Master reached in every Institution, in some cases being “Maestro Mayor del Reyno” and in others becoming Fencing Professors, while all of them had a qualification that enabled them to practice their profession. Similarly, we can find the presence of women in one of the Institutions, the Real Conservatorio de Música y Declamación, where they had the same rights as her male classmates to enrol and study Fencing. The Fencing Masters who were studied, principally Mr. Ángel Lancho, Mr. Afrodisio Aparicio and Mr. José Carbonell, all contributed to making Fencing popular and also towards its development as a sport, by organising tournaments for their students and by competing themselves in a number of assaults. Over the 225 years which the research covers, Fencing evolved from Skill to Ability and later on to a Sport, without, at any moment, losing its importance, spreading to parts of society that it would never have reached if it were not for the work of the Fencing Masters in charge of teaching it.

Functional, structural and phylogenetic analysis of domains underlying the Al sensitivity of the aluminum-activated malate/anion transporter, TaALMT1.

Triticum aestivum aluminum-activated malate transporter (TaALMT1) is the founding member of a unique gene family of anion transporters (ALMTs) that mediate the efflux of organic acids. A small sub-group of root-localized ALMTs, including TaALMT1, is physiologically associated with in planta aluminum (Al) resistance. TaALMT1 exhibits significant enhancement of transport activity in response to extracellular Al. In this study, we integrated structure–function analyses of structurally altered TaALMT1 proteins expressed in Xenopus oocytes with phylogenic analyses of the ALMT family. Our aim is to re-examine the role of protein domains in terms of their potential involvement in the Al-dependent enhancement (i.e. Al-responsiveness) of TaALMT1 transport activity, as well as the roles of all its 43 negatively charged amino acid residues. Our results indicate that the N-domain, which is predicted to form the conductive pathway, mediates ion transport even in the absence of the C-domain. However, segments in both domains are involved in Al3+ sensing. We identified two regions, one at the N-terminus and a hydrophobic region at the C-terminus, that jointly contribute to the Al-response phenotype. Interestingly, the characteristic motif at the N-terminus appears to be specific for Al-responsive ALMTs. Our study highlights the need to include a comprehensive phylogenetic analysis when drawing inferences from structure–function analyses, as a significant proportion of the functional changes observed for TaALMT1 are most likely the result of alterations in the overall structural integrity of ALMT family proteins rather than modifications of specific sites involved in Al3+ sensing.

La iglesia de Santiago de los españoles en Roma y su entorno entre los siglos XV y XIX. Una historia a través del dibujo

Plaza Navona representa una de las visitas obligadas de Roma, pero solo algunos advertirán en ella la presencia española en la sala de exposiciones del Instituto Cervantes o en la inmediata Libreria Española. Todavía serán menos los que se percatarán de la huella española dejada en aquella iglesia de fachada anónima situada, en el extremo sur de la plaza: la antigua iglesia de Santiago de los Españoles. La presente tesis pretende, utilizando el dibujo como guía, herramienta y fin del proceso de análisis y estudio, reconstruir el proceso de conformación y construcción de la que fue iglesia española principal, cuya fundación hace patente el destacado papel jugado por la “nación” castellana en Roma durante la Edad Media; y en torno a la que se aglutinaron las actividades religiosas, diplomáticas y financieras de los castellanos que vivieron en la actual capital italiana. Se intentará recrear en el tiempo la que es hoy la iglesia de Nuestra Señora del Sagrado Corazón, sometiéndola a una restitución gráfica disciplinada, homogénea y objetiva en la medida de lo posible de las varias etapas que la han caracterizadas, desde su fundación hasta cuando en 1878 España se deshizo de ella, ya en ruina, vendiéndola. Como nos comenta Gaetano Moroni, de todas las comunidades nacionales que se encontraban en Roma la española parece ser efectivamente una de las más rica y prestigiosa. Aunque lo que no cuenta Moroni no haya sido todavía demostrado, dicho enunciado resulta de todas formas interesante puesto que pone el acento sobre el hecho de que ya desde el siglo X parece ser habitual de ocupar y reutilizar antiguas ruinas, usándolas como base para la construcción de hospitales para los peregrinos. Esta operación se hizo particularmente frecuente sobre todo antes del Gran Jubileo de 1450: de hecho desde la primera mitad del Quattrocento se fundan distintas iglesias y hospitales nacionales para acoger y prestar una adecuada asistencia y socorro a los innumerables peregrinos que llegaban a la ciudad, edificios que se van construyendo sobre los restos de antiguos edificios de época romana. Prueba de ello es en efecto la fundación originaria de la iglesia y hospital de los Españoles que, parte del conjunto de edificios que compone la Plaza Navona, situada en el corazón de Campo Marzio y cuya posición y forma corresponden a la del antiguo Estadio de Domiciano, y que ahora es en sus dimensiones, en su imagen arquitectónica y en su consistencia material, el resultado de la definición proyectual y de las transformaciones que se llevaron a cabo sobre lo que quedaba del antiguo templo español del siglo XV, entre finales del ‘800 y los años 30 del siglo XX . Transformaciones devastadoras, huellas grabadas o canceladas que encuentran una justificación en los acontecimientos históricos reflejados en el patrimonio urbano. El análisis de todas las fuentes permite trazar, si no la totalidad, buena parte de las modificaciones que la antigua iglesia de Santiago ha sufrido. La construcción del templo se puede dividir en tres momentos decisivos: una primera etapa de fundación en 1450-1478 en la que la iglesia tenía fachada y entrada en via de la Sapienza, hoy Corso Rinascimento; una segunda de significativa ampliación hacia Plaza Navona con una nueva fachada monumental hacia ese espacio público en 1496-1500; y una última importante ampliación entre 1525-1526, llevada a cabo por el arquitecto Antonio da Sangallo el Joven. Tras la intensa vida del templo, en el siglo XVIII, éste cae en ruina y finalmente es vendido en 1878 a la orden de los misioneros franceses de Nuestra Señora del Sagrado Corazón que la reconvierten en iglesia reformando totalmente el conjunto en 1881, según proyecto de Luca Carimini. En 1936, en plena fase de rectificación de trazados urbanos por obra del régimen fascista, según proyecto de Arnaldo Foschini, se mutila su extremidad hacia vía de la Sapienza dejando su estado tal y como se contempla en la actualidad. ABSTRACT The objective of this thesis is the reconstruction of the design and edification process -using drawings and sketches as a guide, tool and the end of the analytical process- of a church which was once the preeminent Spanish church in medieval Rome, known today as Nostra Signora del Sacro Cuore (Our Lady of the Sacred Heart). The founding of this church illustrates the important role held by the Castillian “nation” in Rome during the Middle Ages. It was the focal point of all the religious, diplomatic and economic activities of the Castillian community residing in today’s Italian capital. The aim of this proyect is a recreation the church in time by submitting it to a disciplined, homogenous and objective graphic restitution of the various stages most characteristic the temple, starting from its foundation until 1878 when, in a state of ruins, the church was finally sold off by Spain. Gaetano Moroni once commented that of all the international communities found in Rome, the Spanish community seemed to be one of the wealthiest and most prestigious. Such a statement proves interesting as it emphasizes that starting in the 10th century we see there was a widespread custom of occupying and reusing old ruins for use as the bases of new constructions of hospitals for pilgrims. This custom became especially frequent just before the Jubilee Year of 1450: in fact, in the first half of the Quattrocento we see the founding of many different national churches and hospitals which provided shelter and care to the countless pilgrims arriving in the city, buildings which were constructed on top of the ruins of ancient buildings left over from Roman times. Proof of this is the original foundation of the Spanish church and hospital forming part of the Piazza Navona, built upon and following the outline of the Stadium of Domitian, in the heart of Campo Marzio. Now, in its dimensions, its architectural image and its material substance, it represents the predominant result of the planning definitions and the transformations which affected the old 15th-century Spanish temple. Ocurring between the end of the 19th century and the 1930s, the transformations were devastating, erasing original peculiarities and engraving new ones, transformations made justifiable by the historical events reflected in its urban environs. Analyzing all sources allows us to trace, even if not in entirety, still a sizeable portion of the modifications undergone by the old Church of Saint James. The construction of the temple can be divided into three decisive moments: its foundation, from 1450 to 1478, when the church’s façade and main door looked out on to the Via della Sapienza, today’s central avenue of Corso del Rinascimento; the second stage being a major expansion towards the Piazza Navona (1496-1500) with a new, monumental façade facing the public space; and the third was the last significant expansion, carried out from 1525 to 1526 by the architect Antonio da Sangallo the Younger. Despite an intense and bustling life during the Modern Age, in the 18th century the church began to fall into ruin and was finally sold in 1878 to the order of French missionaries of Our Lady of the Sacred Heart, who reconverted it into a church and completely renovated the structure in 1881 in a project supervised by Luca Carimini. In 1936, the corrective urban redesign of Rome carried out by the fascist regime and implemented by Arnaldo Foschini mutilated the part bordering Via della Sapienza, leaving it as we see it today.

Aplicación de la técnica de inyección del terreno por fracturación hidráulica a las cimentaciones de puentes en circunstancias de especial dificultad

La implantación de una gran obra de paso facilita en multitud de ocasiones la vida de aquellos que aprovechen las ventajas que ofrece esta estructura. Sin embargo, el camino que lleva a su construcción supone importantes y tortuosos retos cuando el terreno de cimentación presenta condiciones geotécnicas no compatibles con las grandes cargas que el viaducto necesita transmitirle para su buen funcionamiento. El trabajo que desarrolla esta Tesis Doctoral proporciona una herramienta eficaz y económica, por lo reducido de su extensión y medios, que permite allanar el camino que acomete la construcción de una estructura de tal envergadura. Mediante el análisis de la problemática del terreno y de las distintas soluciones de cimentación empleadas en la actualidad, se conduce al lector hacia una técnica de cimentación innovadora que combina la técnica del micropilotaje, para la canalización de las cargas estructurales, junto a la técnica de la inyección de fracturación hidráulica, que mejorará el terreno de implantación de los micropilotes, conformando así un medio capaz de recibir y transmitir grandes cargas en cualquier tipo de terreno. La técnica ya empleada del micropilotaje, por su trabajo esencialmente axil, requiere, aunque sin problema, la constitución de sistemas de fuerzas que equilibren el sistema de cargas provenientes del viaducto. Pero su capacidad resistente viene condicionada por el terreno circundante. Cuando la roca rodea el micropilote, su empleo se realiza sin problema y sin necesidad de mejorar el terreno. Pero sin terreno consistente, el empleo de inyecciones de fracturación hidráulica a través de los propios micropilotes, no sólo mejorará la capacidad resistente de los micropilotes, aumentando la inercia necesaria cuando las cargas son de origen sísmico o estructural ferroviario, sino que resolverá y eliminará los problemas de estabilidad que presentan las laderas que frecuentemente deben recibir las cargas de la obra de paso. Tras recoger el análisis ya realizado en el Trabajo de Investigación, donde se justificaba la alta capacidad resistente de un micropilote con terreno circundante mejorado por la inyección, en la actual Tesis se emplean modelos matemáticos sobre un caso real de viaducto sometido a un gran sismo e implantado en una enorme quebrada (500 m) de Colombia, sujeta a lluvias torrenciales y en la zona de mayor sismicidad del país. Con ello se comprueba la estabilización que se alcanza en el terreno de cimentación con el empleo de esta técnica de transmisión de carga y mejora del terreno. De esta forma se completa un ciclo que justifica las bondades de esta combinación de técnicas de cimentación, pero se abren las puertas a nuevos entornos de aplicación, como edificios antiguos de cualquier tipo que requieran recalces, y no sólo en la implantación de grandes obras de paso. ABSTRACT The establishment of a large bridge represents, in many cases, a better life for those who can take profit of the advantages provided by that structure. Nevertheless, the process of building this structure has to overcome important and difficult circumstances whenever the geotechnical conditions of the bridge site are not adequate to carry the large loads transmitted by the bridge structure. This study develops a method both effective and economical, due to the extension and means necessary for its application, which allows to solve properly the foundation of a structure of that importance. Considering the geotechnical problems inherent to the bridge site, along with the different foundation solutions that are presently used and their limitations, the study leads the reader to an innovative technique which combines the micropile system, for transmission of the structural loads of the bridge, with the technique of hydraulic fracture grouting for improvement of the ground around the micropiles, allowing to both stabilizing and transmitting large loads in any kind of ground. It is well known that the micropiles work axially, and this condition requires an adequate distribution of those units, in order to properly absorb the load system introduced by the viaduct. The resistance of the bridge foundation is, in any case, provided by the ground. When rock is encountered, the micropiles have been successfully used without improving the ground. However, as it is shown in this study, by using the micropiles as sleeve-pipes for hydraulic fracture grouting, not only the micropile resistance can be improved in any ground, but it is possible to develop grouted “solids” in the ground, whose inertia allows to absorb actions of structural and seismic origin. Additionally, as it is shown and analyzed in the Thesis, the ground improvement can give an adequate safety factor to the slopes frequently encountered in bridge sites. In order to properly justify those advantages of combining micropiles with ground improvement through fracture grouting around the micropiles, mathematical models have been developed and applied to a real case of a cable-stayed bridge installed on a very large ravine (500 m) in Colombia, located in the highest seismic zone of the country, and subject to torrential rains. The results of this numerical analysis show the high safety condition provided by the ground improvement to the viaduct site. In conclusion, the Thesis shows the important improvement that can be provided by the combination of micropiles and soil improvement, through fracture grouting, to the problem of founding bridges. However, it can be understood that this technique could be applied successfully to underpinning buildings, specially old buildings of any type, apart from its use in bridge foundations.

Planning and projects: three visionaires Friedmann, J., Trueba, I. and Ramos, A.

It is impossible to talk about planning as a scientific meta-discipline without mentioning one of the most influential worldwide figures in the second half of the twentieth century: John Friedmann. His contribution to the planning concept on his "Planning as Social Learning" theory is still very relevant. This paper shows the intellectual connection between Friedmann and Angel Ramos and Ignacio Trueba, two of the Spanish intellectual drivers in the engineering project knowledge area, who contributed to founding the Engineering Projects Spanish Association. The three of them share a broad vision of the project and abandon the "blue print" planning model. They also see the project as a transformational tool that requires a different planning style to the one which prevailed in the 70s - both in public and private domains. They were pioneers in structuring Knowledge / Action in a different way, both in academic institutions where disciples helped to bring about change- and with direct action via projects.

NURBS-Based Geometry Parameterization for Aerodynamic Shape Optimization

La motivación de esta tesis es el desarrollo de una herramienta de optimización automática para la mejora del rendimiento de formas aerodinámicas enfocado en la industria aeronáutica. Este trabajo cubre varios aspectos esenciales, desde el empleo de Non-Uniform Rational B-Splines (NURBS), al cálculo de gradientes utilizando la metodología del adjunto continuo, el uso de b-splines volumétricas como parámetros de diseño, el tratamiento de la malla en las intersecciones, y no menos importante, la adaptación de los algoritmos de la dinámica de fluidos computacional (CFD) en arquitecturas hardware de alto paralelismo, como las tarjetas gráficas, para acelerar el proceso de optimización. La metodología adjunta ha posibilitado que los métodos de optimización basados en gradientes sean una alternativa prometedora para la mejora de la eficiencia aerodinámica de los aviones. La formulación del adjunto permite calcular los gradientes de una función de coste, como la resistencia aerodinámica o la sustentación, independientemente del número de variables de diseño, a un coste computacional equivalente a una simulación CFD. Sin embargo, existen problemas prácticos que han imposibilitado su aplicación en la industria, que se pueden resumir en: integrabilidad, rendimiento computacional y robustez de la solución adjunta. Este trabajo aborda estas contrariedades y las analiza en casos prácticos. Como resumen, las contribuciones de esta tesis son: • El uso de NURBS como variables de diseño en un bucle de automático de optimización, aplicado a la mejora del rendimiento aerodinámico de alas en régimen transónico. • El desarrollo de algoritmos de inversión de punto, para calcular las coordenadas paramétricas de las coordenadas espaciales, para ligar los vértices de malla a las NURBS. • El uso y validación de la formulación adjunta para el calculo de los gradientes, a partir de las sensibilidades de la solución adjunta, comparado con diferencias finitas. • Se ofrece una estrategia para utilizar la geometría CAD, en forma de parches NURBS, para tratar las intersecciones, como el ala-fuselaje. • No existen muchas alternativas de librerías NURBS viables. En este trabajo se ha desarrollado una librería, DOMINO NURBS, y se ofrece a la comunidad como código libre y abierto. • También se ha implementado un código CFD en tarjeta gráfica, para realizar una valoración de cómo se puede adaptar un código sobre malla no estructurada a arquitecturas paralelas. • Finalmente, se propone una metodología, basada en la función de Green, como una forma eficiente de paralelizar simulaciones numéricas. Esta tesis ha sido apoyada por las actividades realizadas por el Área de Dinámica da Fluidos del Instituto Nacional de Técnica Aeroespacial (INTA), a través de numerosos proyectos de financiación nacional: DOMINO, SIMUMAT, y CORESFMULAERO. También ha estado en consonancia con las actividades realizadas por el departamento de Métodos y Herramientas de Airbus España y con el grupo Investigación y Tecnología Aeronáutica Europeo (GARTEUR), AG/52. ABSTRACT The motivation of this work is the development of an automatic optimization strategy for large scale shape optimization problems that arise in the aeronautics industry to improve the aerodynamic performance; covering several aspects from the use of Non-Uniform Rational B-Splines (NURBS), the calculation of the gradients with the continuous adjoint formulation, the development of volumetric b-splines parameterization, mesh adaptation and intersection handling, to the adaptation of Computational Fluid Dynamics (CFD) algorithms to take advantage of highly parallel architectures in order to speed up the optimization process. With the development of the adjoint formulation, gradient-based methods for aerodynamic optimization become a promising approach to improve the aerodynamic performance of aircraft designs. The adjoint methodology allows the evaluation the gradients to all design variables of a cost function, such as drag or lift, at the equivalent cost of more or less one CFD simulation. However, some practical problems have been delaying its full implementation to the industry, which can be summarized as: integrability, computer performance, and adjoint robustness. This work tackles some of these issues and analyse them in well-known test cases. As summary, the contributions comprises: • The employment of NURBS as design variables in an automatic optimization loop for the improvement of the aerodynamic performance of aircraft wings in transonic regimen. • The development of point inversion algorithms to calculate the NURBS parametric coordinates from the space coordinates, to link with the computational grid vertex. • The use and validation of the adjoint formulation to calculate the gradients from the surface sensitivities in an automatic optimization loop and evaluate its reliability, compared with finite differences. • This work proposes some algorithms that take advantage of the underlying CAD geometry description, in the form of NURBS patches, to handle intersections and mesh adaptations. • There are not many usable libraries for NURBS available. In this work an open source library DOMINO NURBS has been developed and is offered to the community as free, open source code. • The implementation of a transonic CFD solver from scratch in a graphic card, for an assessment of the implementability of conventional CFD solvers for unstructured grids to highly parallel architectures. • Finally, this research proposes the use of the Green's function as an efficient paralellization scheme of numerical solvers. The presented work has been supported by the activities carried out at the Fluid Dynamics branch of the National Institute for Aerospace Technology (INTA) through national founding research projects: DOMINO, SIMUMAT, and CORESIMULAERO; in line with the activities carried out by the Methods and Tools and Flight Physics department at Airbus and the Group for Aeronautical Research and Technology in Europe (GARTEUR) action group AG/52.

La silla de la discordia : la pequeña escala como campo de experimentación en la modernidad : Breuer, Mies y Stam

El siglo XIX fue un siglo dedicado a los grandes edificios públicos. Los teatros, las academias, los museos. Sin embargo la arquitectura durante el siglo XX se dedicará al estudio de la casa. Todos los usos y tipologías se verán fuertemente revisados pero el núcleo de todos los esfuerzos y verdadero inicio de la arquitectura moderna será la vivienda. A partir de ella todos los preceptos modernos se irán aplicando a los distintos programas. Nikolaus Pevsner señala a William Morris como el primer arquitecto moderno porque precisamente entendió que un arte verdaderamente social, en consonancia con su tiempo y la sociedad a la que sirve, ha de ocuparse de aquello que preocupe a la gente. Con la nueva situación de la vivienda en el centro de las motivaciones disciplinares el mueble adopta un nuevo protagonismo. En un momento avanzado de su carrera Marcel Breuer observa entre curioso e irónico cómo el mueble moderno había sido promocionado paradójicamente no por los diseñadores de muebles sino por los arquitectos1. La respuesta la da Le Corbusier en una de sus conferencias de 1931 recogida en Precisiones 2 cuando señala la reformulación del mobiliario como el "nudo gordiano" de cuya resolución pendía la renovación de la planta moderna. El Movimiento Moderno se había visto obligado a atacar este tema para poder avanzar en sus propuestas domésticas. El Movimiento Moderno se propuso solucionar los problemas de la vivienda y de una Europa en reconstrucción pero se exigía además ser capaz de aportar una visión propositiva de la vida moderna. No se trataba únicamente de resolver los problemas ya existentes sino que además había la necesidad autoimpuesta de anticipar la domesticidad del futuro. Para ello sus viviendas al completo, mueble e inmueble, debían de presentarse bajo esa nueva imagen. El manifiesto fundacional de la Deustcher Werkbund extendía el radio de acción del nuevo arquitecto desde la construcción de las ciudades a los cojines del sofá. Este mobiliario tenía la compleja misión de condensar sintéticamente todos esos ideales que la modernidad había traído consigo: abstracción, higiene, fascinación maquínica, confianza positivista en la ciencia o la expresión material optimizada. Objetos de la vida moderna, en palabras de Le Corbusier, susceptibles de suscitar un estado de vida moderno. Pocas sillas en la historia del diseño habrán acarreado tanta polémica y tanta disputa por su autoría como la sillas voladas de tubo de acero en sus diferentes versiones. Para entenderlo situémonos en el año 1927 a las puertas de la exposición "Die Wohnung" ("La vivienda") organizada por los maestros de la Bauhaus y dirigida por Mies van der Rohe en la ladera Weissenhof de Stuttgart. Muchos nombres célebres de la arquitectura mostraron en esa ocasión su personal propuesta para la vivienda moderna y los objetos que la habitan. Entre ellos los muebles con tubo de acero fueron una presencia constante en la exposición pero hubo una pieza que destacó sobre todas las demás por su novedad y audacia. La pieza en cuestión era el modelo de silla volada, esto es, sin apoyos posteriores y cuya rigidez estaba conferida al esfuerzo solidario de la estructura continua de tubo de acero y que terminaría por convertirse en el cruce de caminos de tres figuras de la disciplina arquitectónica: Marcel Breuer, Mies van der Rohe y Mart Stam. Cada uno de ellos desarrolló su propio modelo de silla volada en sus versiones MR por parte de Mies, L&C Arnold de Stam y el posterior modelo BR 33 de Marcel Breuer. Los tres, en algún momento de su vida reclamaron de uno u otro modo su autoría como objetos que les pertenecían intelectualmente. Estas sillas se convirtieron en la expresión máxima de uno de los ansiados anhelos de la modernidad, la propia materialidad del acero, en su versión optimizada, era la que había derivado en una forma completamente nueva de un objeto cotidiano y cuyo tipo estaba ya totalmente asumido. Los nuevos materiales y las nuevas formas de hacer habían irrumpido hasta en los utensilios domésticos, y habían sido capaces de reformularlos. El punto de partida para esta investigación es precisamente esa coincidencia de tres figuras de la arquitectura moderna, los tres de formación artesanal, en un mismo modelo de silla y en una misma fecha. Tres arquitectos que se habían encargado de asegurar que el movimiento moderno no reconocía problemas formales sino solamente de construcción, iban a coincidir en el mismo tiempo y lugar, precisamente en una misma forma, como si tal coincidencia hubiera sido producto de una voluntad de época. Sin embargo el interés de este estudio no radica en una indagación sobre la autoría sino sobre cómo un mismo objeto resulta ser propositivo e interesante en campos muy diversos y la forma en que cada uno lo hace suyo incorporándolo a su propia investigación proyectual. La silla, más allá de ser un objeto de diseño exclusivamente, trasciende su propia escala para situarse inmersa en un proceso de búsqueda y exploración a nivel conceptual, formal, constructivo y estructural en la arquitectura cada uno de ellos. En un momento en que el oficio del arquitecto está siendo intensamente redefinido considero especialmente pertinente esta investigación, que en definitiva versa sobre la forma distintiva en que el pensamiento arquitectónico es capaz de proyectarse sobre cualquier disciplina para reformularla. ABSTRACT The nineteenth century was a century dedicated to the great public buildings; theaters, schools or museums. However the architecture in the twentieth century was devoted to the study of housing. All uses and typologies were heavily revised but the focus of all efforts and true beginning of modern architecture was housing. From these beginnings all modern precepts were applied to the various programs. Nikolaus Pevsner points to William Morris as the first modern architect precisely because he understood that a truly social art in line with its time and the society it serves must deal with social concerns at that time. With the new housing situation at the center of disciplinary concerns furniture took on a new prominence. At an advanced stage of his career Marcel Breuer observed partly with curiosity, partly with irony how modern furniture had been promoted not by furniture designers but by architects. The answer is given by Le Corbusier in one of his lectures of 1931 collected in Precisions when he pointed the reformulation of furniture as the "Gordian knot" for the renewal of modern plan resolution. Modernism had been forced to confront this issue in order to advance their domestic approaches. Modernism not only put forward a solution to the problems of housing and a Europe under reconstruction but is also needed to be able to contribute to an exciting vision of modern life. Not only did solve existing problems but also it had the self-imposed necessity of anticipating future domesticity and to do their houses full, movable and immovable, they should be submitted under this new image. The founding manifesto of the Deutsche Werkbund extended the scope of the new architect from building cities to the couch cushions. This furniture had the complex mission of synthetically condensing all the ideals of modernity had brought with it: abstraction, hygiene, mechanization, positivist confidence in science or material expression. Objects of modern life, in words of Le Corbusier, were likely to give rise a state of modern life. Few chairs in design history have resulted in so much controversy and so much dispute over their invention as the various versions of cantilevered tubular steel chairs. To understand this let us place ourselves in 1927 at the gates of the exhibition "Die Wohnung" ("Housing") organized by the teachers of the Bauhaus and directed by Mies van der Rohe in Stuttgart Weissenhoflung. Many famous names in architecture at that time showed their personal proposals for modern housing and the objects that inhabit them. Amongst these objects, the steel tube furniture was a constant presence at the exhibition but there was a piece so audacious that it stood out from all the others. This piece in question was the cantilever model chair, that is, which had no further rear support and whose rigidity was attributed to the solidity of its continues structure of steel tube. This piece would eventually become the crossroads of three very different personalities: Mart Stam, Marcel Breuer and Mies van der Rohe. Each of them developed their own model of cantilevered chair in different versions; The MR model developed by Mies van der Rohe, the L&C by Arnold Stam and a later model BR 33 by Marcel Breuer, and the three, at some point in their lives demanded the authorship of its invention as objects that belonged to them intellectually. These chairs epitomized one of the coveted objects of modernity, steel material in its optimized version, was what had led to a completely new form of an everyday object whose this type was fully adopted on board in design. New materials and production methods had burst into world of household objects, and had been able to reformulate their design. The bold design then became a dark object of controversy. The starting point for this doctoral thesis is the concurrent invention of the same model of chair by three different figures of modern architecture. These three architects, who were responsible for ensuring that the modern movement considered construction rather than form as the main design consideration, were working in the same place and at the same point in time. It was almost as if these three architects were shaped by the culture of the time (Zeitgeist). However the focus of this study lies not in an investigation of responsibility of ownership but in the investigation fo how the same object can turn out to be purposeful and interesting in many different fields and the way in which each researcher makes it his own by developing his own project research. 1927, the year of their meeting, was a initiatory year in the career of our players. The chair, beyond being only a design object transcended its own scale and became immersed in a process of research and development on a conceptual, formal, structural and constructive level in the architectural approach of each of the architects. At a time when the role of the architect is being redefined intensely I consider this research, which ultimately concerns the distinctive way the architectural thought can be projected onto and reformulate any discipline, to be particularly relevant.