Some past decision theory models for euro construction model codes and for road drainage in Spain, and modest hints with multi-criteria methods for agro and environmental assurance

The authors are from UPM and are relatively grouped, and all have intervened in different academic or real cases on the subject, at different times as being of different age. With precedent from E. Torroja and A. Páez in Madrid Spain Safety Probabilistic models for concrete about 1957, now in ICOSSAR conferences, author J.M. Antón involved since autumn 1967 for euro-steel construction in CECM produced a math model for independent load superposition reductions, and using it a load coefficient pattern for codes in Rome Feb. 1969, practically adopted for European constructions, giving in JCSS Lisbon Feb. 1974 suggestion of union for concrete-steel-al.. That model uses model for loads like Gumbel type I, for 50 years for one type of load, reduced to 1 year to be added to other independent loads, the sum set in Gumbel theories to 50 years return period, there are parallel models. A complete reliability system was produced, including non linear effects as from buckling, phenomena considered somehow in actual Construction Eurocodes produced from Model Codes. The system was considered by author in CEB in presence of Hydraulic effects from rivers, floods, sea, in reference with actual practice. When redacting a Road Drainage Norm in MOPU Spain an optimization model was realized by authors giving a way to determine the figure of Return Period, 10 to 50 years, for the cases of hydraulic flows to be considered in road drainage. Satisfactory examples were a stream in SE of Spain with Gumbel Type I model and a paper of Ven Te Chow with Mississippi in Keokuk using Gumbel type II, and the model can be modernized with more varied extreme laws. In fact in the MOPU drainage norm the redacting commission acted also as expert to set a table of return periods for elements of road drainage, in fact as a multi-criteria complex decision system. These precedent ideas were used e.g. in wide Codes, indicated in symposia or meetings, but not published in journals in English, and a condensate of contributions of authors is presented. The authors are somehow involved in optimization for hydraulic and agro planning, and give modest hints of intended applications in presence of agro and environment planning as a selection of the criteria and utility functions involved in bayesian, multi-criteria or mixed decision systems. Modest consideration is made of changing in climate, and on the production and commercial systems, and on others as social and financial.

The environmental and economic effects of innovative measures in urban parcels delivery

The main scope of this research is to identify and evaluate solutions to redesign the parcels delivery logistic process to achieve higher level of quality, lower operational costs, energy consumptions and air pollution. The study is starting from the analysis of the delivery process managed by a leader company operating in Rome. Main delivery flows, personnel and fleet management costs, quality performances and environmental impacts are investigated. The results of this analysis are benchmarked with other European situations. On the basis of the feedback of this analysis, a set of operational measures, potentially able tackle the objectives, are identified and assessed by means of a simulative approach. The assessment is based on environmental and economic indicators allowing the comparison between new and reference scenarios from the viewpoints of the key players: operator, customer and Society. Moreover, the operational measures are combined into alternative packages by looking for the sets capable to maximize the benefits for the key players. The methodology, tested on Rome case study, is general and flexible enough to be extended to parcels delivery problem in different urban contexts, as well as to similar urban distribution problems (e.g. press, food, security, school)

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.

Best practises for multilingual linked open data: a community effort

The W3C Best Practises for Multilingual Linked Open Data community group was born one year ago during the last MLW workshop in Rome. Nowadays, it continues leading the effort of a numerous community towards acquiring a shared view of the issues caused by multilingualism on the Web of Data and their possible solutions. Despite our initial optimism, we found the task of identifying best practises for ML-LOD a difficult one, requiring a deep understanding of the Web of Data in its multilingual dimension and in its practical problems. In this talk we will review the progresses of the group so far, mainly in the identification and analysis of topics, use cases, and design patterns, as well as the future challenges.

Los paisajes del desecho: reactivación de los lugares del deterioro

Actualmente en nuestro planeta producimos 1.300 millones de toneladas de residuos urbanos al año. Si los extendemos sobre la superficie de un cuadrado de lado 100 m (una hectárea) alcanzarían una altura de 146 km. ¿Cuál es el origen de nuestros residuos? ¿A dónde va esta basura? ¿Cómo nos afecta? ¿Tiene alguna utilidad? Se trata de un problema antiguo que, en los últimos tiempos, ha adquirido una nueva dimensión por el tipo y la cantidad de residuos generados. Las primeras preocupaciones de la ciudad por ordenar estos problemas dieron lugar al establecimiento de espacios o lugares específicos para la acumulación de los residuos urbanos: los vertederos. Los desechos hoy se generan más rápidamente que los medios disponibles para reciclarlos o tratarlos. Los vertederos de residuos urbanos son y seguirán siendo, a corto y medio plazo, soluciones válidas por ser un método de gestión relativamente barato, sobre todo en los países en vías de desarrollo. Como consecuencia y necesidad de lo anterior, se plantea demostrar que la recuperación y la transformación de estos vertederos de residuos urbanos (lugares del deterioro), una vez abandonados, es posible y que además pueden dar lugar a nuevos espacios públicos estratégicos de la ciudad contemporánea. Son espacios de oportunidad, vacíos monumentales producto de una reactivación arquitectónica y paisajística realizada a partir de complejos procesos de ingeniería medioambiental. Pero las soluciones aplicadas a los vertederos de residuos urbanos desde mediados del siglo XX se han realizado exclusivamente desde la ingeniería para tratar de resolver cuestiones técnicas, un modelo agotado que ya no puede gestionar la magnitud que este problema ha alcanzado, haciéndose necesaria e inevitable la participación de la arquitectura para abrir nuevas líneas de investigación y de acción. En estos primeros compases del siglo XXI existe una “nueva” preocupación, un “nuevo” interés en los paradigmas de lo ecológico y de la sostenibilidad, también un interés filosófico (que igualmente otorga un nuevo valor al residuo como recurso), que dirigen su mirada hacia un concepto de paisaje abierto y diferente a modelos anteriores más estáticos, recuperando como punto de partida el ideal pintoresco. El landscape urbanism se consolida como una disciplina capaz de dar respuesta a lo natural y artificial simultáneamente, que sustituye a las herramientas tradicionales de la arquitectura para solucionar los problemas de la ciudad contemporánea, incorporando las infraestructuras de gran escala, como un vertedero de residuos urbanos, y los paisajes públicos que generan como el verdadero mecanismo de organización del urbanismo de hoy. No se trata solo de un modelo formal sino, lo que es más importante: de un modelo de procesos. Esta nueva preocupación permite abordar la cuestión del paisaje de manera amplia, sin restricciones, con un alto grado de flexibilidad en las nuevas propuestas que surgen como consecuencia de estos conceptos, si bien los esfuerzos, hasta la fecha, parecen haberse dirigido más hacia el fenómeno de lo estético, quedando todavía por explorar las consecuencias políticas, sociales, económicas y energéticas derivadas de los residuos. También las arquitectónicas. El proyecto del landscape urbanism se ocupa de la superficie horizontal, del plano del suelo. Desde siempre, la preparación de este plano para desarrollar cualquier actividad humana ha sido un gesto fundacional, un gesto propio necesario de toda arquitectura, que además ahora debe considerarlo como un medio o soporte biológicamente activo. En términos contemporáneos, el interés disciplinar radica en la continuidad y en la accesibilidad del suelo, diluyendo los límites; en que funcione a largo plazo, que se anticipe al cambio, a través de la flexibilidad y de la capacidad de negociación, y que sea público. La recuperación de un vertedero de residuos urbanos ofrece todas estas condiciones. Un breve recorrido por la historia revela los primeros ejemplos aislados de recuperación de estos lugares del deterioro, que han pasado por distintas fases en función de la cantidad y el tipo de los desechos producidos, evolucionando gracias a la tecnología y a una nueva mirada sobre el paisaje, hasta desarrollar una verdadera conciencia de lo ecológico (nacimiento de una ideología). El Monte Testaccio en Roma (siglos I-III d.C.) constituye un caso paradigmático y ejemplar de vertedero planificado a priori no solo como lugar en el que depositar los residuos, sino como lugar que será recuperado posteriormente y devuelto a la ciudad en forma de espacio público. Una topografía de desechos generada por acumulación, organizada y planificada durante tres siglos, que nos hace reflexionar sobre los temas de producción, consumo y proyecto arquitectónico. El Monte Testaccio revela una fuente de inspiración, un arquetipo de gestión sostenible de los recursos y del territorio. A través de la experiencia en la recuperación y transformación en espacios públicos de casos contemporáneos, como el antiguo vertedero de Valdemingómez en Madrid o el de El Garraf en Barcelona, se han analizado las técnicas y las soluciones empleadas para establecer nuevas herramientas de proyecto planteadas en clave de futuro, que revelan la importancia de los procesos frente a la forma, en los cuales intervienen muchos factores (tanto naturales como artificiales), entre ellos la vida y el tiempo de la materia viva acumulada. Son lugares para nuevas oportunidades y ejemplos de una nueva relación con la naturaleza. La reactivación de los vertederos de residuos, a través del proyecto, nos propone una nueva topografía construida en el tiempo, el suelo como soporte, como punto de encuentro de la naturaleza y los sistemas tecnológicos de la ciudad que posibilitan nuevos modos de vida y nuevas actividades. Los vertederos de residuos son inmensas topografías naturales surgidas de procesos artificiales, atalayas desde las que divisar un nuevo horizonte, un nuevo mundo, un nuevo futuro donde sea posible lograr la reversibilidad de nuestros actos del deterioro. Pero la voluntad de estas recuperaciones y transformaciones no consiste exclusivamente en su reintegración al paisaje, sino que han servido como muestra de las nuevas actitudes que la sociedad ha de emprender en relación a los temas medio ambientales. ABSTRACT Here on our planet we currently produce 1.3 billion tonnes of urban waste per year. If we were to spread this over a surface of 100m2 (one hectare), it would reach a height of 146km. What is the origin of this waste? Where does our refuse go? How does it affect us? Does it have any uses? We are dealing with an old problem which, in recent times, has taken on a new dimension due to the type of waste and the amount generated. Cities’ first concerns in resolving these problems gave rise to the establishment of areas or specific places for the accumulation of urban waste: landfills. These days, waste is generated more quickly than the available resources can recycle or process it. Urban waste landfills are and will continue to be, in the short and mid-term, valid solutions, given that they constitute a relatively cheap method for waste management, especially in developing countries. Consequently and necessarily, we plan to demonstrate that it is possible to recover and transform these urban waste landfills (areas of deterioration) once they have been abandoned and that they can give rise to new strategic public areas in contemporary cities. They are areas of opportunity, monumental vacancies produced by an architectural reactivation of the landscape, which is achieved using complex processes of environmental engineering. But the solutions applied to urban waste landfills throughout the 20th century have used engineering exclusively in the attempt to resolve the technical aspects. This is a worn-out model which can no longer handle the magnitude which the problem has attained and therefore, there is an inevitable need for the participation of architecture, which can open new lines of research and action. In these first steps into the 21st century, there is a “new” concern, a “new” interest in the paradigms of environmentalism and sustainability. There is also a philosophical interest (which assigns the new value of ‘resource’ to waste) and all is aimed towards the concept of an open landscape, unlike the previous, more static models, and the intention is to recover picturesque ideals as the starting point. Landscape urbanism has been established as a discipline capable of simultaneously responding to the natural and the artificial, replacing the traditional tools of architecture in order to resolve contemporary cities’ problems. It incorporates large scale infrastructures, such as urban waste landfills, and public landscapes which are generated as the true organisational mechanism of modern day urbanism. It is not merely a formal model, it is more important than that: it is a model of processes. This new concern allows us to address the matter of landscape in a broad way, without restrictions, and with a great degree of flexibility in the new proposals which come about as a consequence of these concepts. However, efforts to date seem to have been more directed at aesthetic aspects and we have yet to explore the political, social, economic and energetic consequences derived from waste – nor have we delved into the architectural consequences. The landscape urbanism project is involved with the horizontal surface, the ground plane. Traditionally, the preparation of this plane for the development of any human activity has been a foundational act, a necessary act of all architecture, but now this plane must be considered as a biologically active medium or support. In contemporary terms, the discipline’s interest lies in the continuity and accessibility of the land, diffusing the limits; in long term functionality; in the anticipation of change, via flexibility and the ability to negotiate; and in it being a public space. The recovery of an urban waste landfill offers all of these conditions. A brief look through history reveals the first isolated examples of recovery of these spaces of deterioration. They have gone through various phases based on the quantity and type of waste produced, they have evolved thanks to technology and a new outlook on the landscape, and a real environmental awareness has been developed (the birth of an ideology). Monte Testaccio in Rome (1st to 3rd Century AD) constitutes a paradigmatic and exemplary case of a landfill that was planned a priori not only as a place to deposit waste but also as a place that would be subsequently recovered and given back to the city in the form of a public space. This spoil mound, generated by organised and planned accumulation over three centuries, makes us reflect on the themes of production, consumption and architectural planning. Monte Testaccio reveals a source of inspiration, an archetype of the sustainable management of resources and land. Using our experience of contemporary cases of land recovery and its transformation into public spaces, such as the former Valdemingómez landfill in Madrid or the Garraf in Barcelona, we analysed the techniques and solutions used in order to establish new project tools. These are proposed with an eye on the future, seeing as they reveal the importance of the processes over the form and involve many factors (both natural and artificial), including the life and age of the accumulated living matter. They are places for new opportunities and examples of our new relationship with nature. The reactivation of landfills, via this project, is a proposal for a new topography built within time, using the ground as the support, as the meeting point between nature and the technological systems of the city which make it possible for new ways of life and new activities to come about. Landfills are immense natural topographical areas produced by artificial processes, watchtowers from which to discern a new horizon, a new world, a new future in which it will be possible to reverse our acts of deterioration. But the intention behind these recoveries and transformations does not only hope for landscape reintegration but it also hopes that they will also serve as a sign of the new attitudes that must be adopted by society with regard to environmental matters.

Corteza y gravedad: el plano del suelo como estrategia en la arquitectura contemporánea

Es, en el encuentro de los edificios con el terreno, donde el suelo como realidad se transforma en cualidad arquitectónica. La presente tesis aborda el estudio del plano del suelo, haciendo una revisión crítica de la arquitectura como mecanismo de pensamiento proyectual. Este análisis se enmarca a partir de los años sesenta, por considerar que es cuando comienza a evidenciarse la ruptura respecto a la herencia del Movimiento Moderno. Es entonces cuando la arquitectura marca un punto de inflexión, y empiezan a surgir diferentes actitudes metodológicas respecto al suelo, totalmente nuevas. Las clásicas acciones de encuentro como posar, elevar o enterrar fueron poco a poco sustituidas por otras más complejas como plegar, inclinar o esponjar. Utilizando como marco de restricción los encuentros o desencuentros del objeto arquitectónico con el terreno, se analiza el suelo como estrategia arquitectónica tratando de demostrar como su manipulación puede ser una eficaz herramienta con la que establecer relaciones específicas con el lugar. La capacidad que presenta el suelo, como elemento arquitectónico, de explorar y modificar las características de cada entorno, hacen de esta superficie una eficiente forma de contextualización. Por tanto, la manipulación del suelo que aquí se plantea, opera transcodificando los elementos específicos de cada lugar y actúa como estrategia arquitectónica que pone en relación al edificio con el contexto, modificando las particularidades formales de dicho plano. Frente a la tendencia que reduce la expresión arquitectónica a una simple apariencia formal autónoma, se plantea la manipulación del plano del suelo como mecanismo de enraizamiento con el lugar, enfatizando para ello la condición terrestre de la arquitectura. El plano del suelo es el que ata al edificio mediante la gravedad a la corteza terrestre. En realidad se trata de realzar el carácter mediador del suelo en la arquitectura, definiendo para ello el establecimiento de elementos comunes entre realidades distintas, potenciando el valor del suelo como herramienta que puede transcodificar el entorno, trasformando su datos en elementos arquitectónicos concretos. En este proceso de traducción de información, el suelo pasa de ser un objeto pasivo a ser uno operativo, convirtiéndose en parte activa de las acciones que sobre él se ejercen. La tesis tiene también como propósito demostrar cómo, la clave de la rápida evolución que el suelo como estrategia arquitectónica ha sufrido en los últimos años, mucho debe a la expansión del suelo en otras artes como en la escultura, y mas concretamente en el landart. Surgen entonces nuevas disciplinas, en las que se propone la comprensión del lugar en los proyectos desarrollando una visión integral del mundo natural, convirtiéndolo en un tejido viviente y conector que pone en relación las actividades que sustenta. También encontramos en Utzon, y sus plataformas geológicas, al precursor de la importancia que más tarde se le daría al plano del suelo en la arquitectura, ya que inicia cierta actitud crítica, que hizo avanzar hacia una arquitectura más expresiva que requería nuevos mecanismos que la relacionasen con el suelo que los soportaba, proponiendo con sus plataformas una transformación infraestructural del suelo. Con su interpretación transcultural de las estructuras espaciales arquetípicas mayas, chinas y japonesas, irá enriqueciendo el panorama arquitectónico, adquiriendo de este modo más valor el contexto que acabará por ser entendido de forma más compleja. Los proyectos de arquitectura en muchas ocasiones se han convertido en territorios propicios de especulación donde construir teoría arquitectónica. Desde este contexto se analizan cuatro estrategias de suelo a través del estudio de cuatro posiciones arquitectónicas muy significativas desde el punto de vista de la manipulación del plano del suelo, que construyen una interesante metodología proyectual con la que operar. Los casos de estudio, propuestos son; la Terminal Pasajeros (1996-2002) en Yokohama del estudio FOA, la Casa de la Música (1999-2005) de OMA en Oporto, el Memorial Judío (1998-2005) de Berlín de Peter Eisenman, y por último el Museo MAXXI (1998-2009) de Zaha Hadid en Roma. Descubrir las reglas, referencias y metodologías que cada uno nos propone, nos permite descubrir cuáles son los principales posicionamientos en relación al proyecto y su relación con el lugar. Las propuestas aquí expuestas abordan una nueva forma de entender el suelo, que hizo avanzar a la arquitectura hacia nuevos modos de encuentro con el terreno. Nos permite también establecer cuáles son las principales aportaciones arquitectónicas del suelo, como estrategia arquitectónica, que han derivado en su reformulación. Dichas contribuciones abren nuevas formas de abordar la arquitectura basadas en el movimiento y en la flexibilidad funcional, o en la superposición de flujos de información y circulación. También plantean nuevas vías desdibujando la figura contra el fondo, y refuerzan la idea del suelo como plataforma infraestructural que ya había sido enunciada por Utzon. Se trata en definitiva de proponer la exploración de la superficie del suelo como el elemento más revelador de las formas emergentes del espacio. ABSTRACT Where the building hits the ground, it is where the latter as reality becomes architectural quality. This thesis presents the study of the ground plane, making a critical review of architecture as a mechanism of projectual thought. This analysis starts from the sixties, because it is when the break begins to be demonstrated with regard to the inheritance of the Modern Movement. It is then when architecture marks a point of inflexion, and different, completely new methodological attitudes to the ground start to emerge. The classic meeting action like place, raise or bury are gradually replaced by more complex operations such as fold, bend or fluff up. Framing it within the meetings or disagreements between architectural object and ground, we analyzed it as architectural strategy trying to show how handling can be an effective tool to establish a specific relationship with the place. The capacity ground has, as an architectural element, to explore and modify the characteristics of each environment, makes this area an efficient tool for contextualization. Therefore, the manipulation of ground that is analyzed here, operates transcoding the specifics of each place and acts as architectural strategy that relates to the building with the context, modifying the structural peculiarities of such plane. Opposite to the reductive tendency of the architectural expression to a simple formal autonomous appearance, the manipulation of the ground plane is considered as a rooting mechanism place that emphasises the earthly condition of architecture. The ground plane is the one that binds the building by gravity to the earth’s crust. In fact, it tries to study the mediating character of the ground in architecture, defining for it to establish commonalities among different realities, enhancing the value of the ground as a tool that can transcode the environment, transforming its data into specific architectural elements. In this process of translating information, the ground goes from being a liability, to become active part of the actions exerted on the object. The thesis also tries to demonstrate how the key of the rapid evolution that the ground likes architectural strategy has gone through recently, much due to its use expansion in other arts such as sculpture. New disciplines arise then, in which one proposes the local understanding in the projects, developing an integral vision of the natural world and turning it into an element linking the activities it supports. We also find in Utzon, and his geological platforms, the precursor of the importance that later would be given to the ground plane in architecture, since it initiates a certain critical attitude, which advances towards a more expressive architecture, with new mechanisms that relate to the ground that it sits in, proposing with its platforms an infrastructural transformation of the ground. With his transcultural interpretation of the spatial archetypal structures, he will enrich the architectural discourse, making the context become understood in more complex ways. Architectural projects in many cases have become territories prone to architectural theory speculation. Within this context, four strategies are analyzed through the study of four very significant architectural positions, from the point of view of handling the ground plane, and the project methodology within which to operate. The case studies analyzed are; Passenger Terminal (1996-2002) in Yokohama from FOA, The House of the music (1999-2005) the OMA in Oporto, The Jew monument (1998-2005) in Berlin the Peter Eisenman, and finally the MAXXI Museum (1998-2009) the Zaha Hadid in Rome. Discovering the rules, references and methodologies that each of those offer, it allows to discover what the main positions are regarding the building and its relationship with the place where it is located. The proposals exposed here try to shed a different light on the ground, which architecture advancing in new ways on how meet it. The crossing of the different studied positions, allows us to establish what the main contributions of ground as architectural strategy are. Such contributions open up new approaches to architecture based on movement and functional flexibility, overlapping information flow and circulation, consider new ways that blur the figure against the background, and reinforce the idea of ground as infrastructural platform, already raised by Utzon. Summarizing, it tries to propose the exploration of the ground plane as the most revealing form of spatial exploration.

La invención en la obra de Julio Lafuente: entre la utopía y la construcción

La obra de Julio Lafuente es extraordinariamente abundante y heterogenea, de un experimentalismo tan admirable en casos particulares como difícilmente caracterizable en su conjunto. El inventario ha revelado la existencia de más de 360 proyectos, de los que cerca de 200 están construidos, e incluye obras de arquitectura, urbanismo, escenografía y mobiliario, muchas de ellas reconocidas internacionalmente y profusamente publicadas entre 1950 y 1980. Es decir, nos encontramos ante un panorama de producción, divulgación y reconocimiento de su obra en el pasado reciente que contrasta con el actual desconocimiento de la misma. Situación que esta tesis doctoral pretende revertir. La investigación se articula en dos partes. La primera de ellas constituye el núcleo argumental y se compone de cuatro capítulos que permiten comprender el carácter de la obra de Julio Lafuente: su biografía profesional, una panorámica contextualizada de su obra, el estudio en profundidad de dos obras escogidas y la revisión transversal de los aspectos más relevantes en su arquitectura. Este primer volumen incluye dos capítulos adicionales: una bibliografía exhaustiva de sus obras y la traducción de publicaciones específicas coetáneas, recogidas en un anexo. La segunda parte consiste en una catalogación de la obra de Julio Lafuente, inexistente hasta la fecha, desarrollada por la autora en paralelo a su participación en la realización del Archivo de Julio Lafuente en Roma, lo que ha facilitado el acceso directo a la documentación original. Una revisión panorámica de diversas obras de Lafuente en relación con otras obras y corrientes de pensamiento coetáneas ha permitido comprender la pertenencia inequívoca de la obra de Julio Lafuente a su contexto: fundamentalmente, la Italia del período comprendido entre 1950 y 1980, un contexto del que se nutre y al que contribuye sin descanso. La mayor parte de la abundante obra arquitectónica de Lafuente se dedica al desarrollo de edificios de vivienda, normalmente construidos en los ensanches de Roma. En el conjunto de esta prolija trayectoria sobresalen, sin embargo, algunos logros extraordinarios que han permitido apoyar el desarrollo argumental de la investigación. Entre ellos, se han escogido para su estudio en profundidad dos obras —el hotel en la roca (1967), en Gozo (Malta) y el hipódromo de Tor di Valle (1959), en Roma—, que constituyen sendos casos singulares en los que Lafuente alcanza las cotas más altas de coherencia, significación y calidad arquitectónica, y que caracterizan el marco en el que se desarrolla la investigación: entre la utopía y la construcción. Al mismo tiempo, se trata de dos obras complementarias que llevan al extremo algunos de los aspectos a los que Julio Lafuente presta más atención en el conjunto de su obra, como la relación con el lugar, la invención estructural o el cuidado de los detalles constructivos. Estos rasgos se han revisado de un modo transversal en el último capítulo, incidiendo en algunos casos particulares que, a modo de metonimia, han permitido tomar la parte por el todo. La investigación confirma el compromiso de la obra de Lafuente con la lógica constructiva, si bien la componente idealizada se reconoce, aunque en un tono menor respecto al empeño constructivo, en una gran parte su arquitectura. Esta tendencia a la idealización es, posiblemente, una de las razones que ha llevado a quienes hasta hoy han escrito sobre su obra, a especular con las ideas de invención y utopía en la arquitectura de Julio Lafuente. El catálogo inédito de la obra de Julio Lafuente constituye la segunda parte de la tesis doctoral y permite realizar consultas posteriores que puedan dar continuidad a la investigación aquí iniciada. ABSTRACT The architectural work of Julio Lafuente is extraordinary wide and heterogeneous, of so admirable experimentalism in particular cases as difficult to be characterized as a whole. The inventory of his work has revealed the existence of more than 360 projects, of which about 200 are built, including works of architecture, urban planning, scenery and furniture, many of which were internationally recognized and widely published between 1950 and 1980. This overview of production, spread and recognition of his work in the recent past hugely contrasts with the current lack of knowledge of it. Situation that this PhD thesis aims to reverse. The thesis is divided into two parts. The first part is the core argument and comprises four sections that provide insights into the nature of the work of Julio Lafuente: professional biography, a contextualized view of his work, in-depth study of two selected works and cross review of the most relevant aspects in his architecture. This volume includes an exhaustive bibliography and translation of contemporaneous specific publications, incorporated in an annex. The second part consists of a catalog of the work of Julio Lafuente, non-existent to date, developed in parallel with the participation of the author in the making process of the Archive of Julio Lafuente in Rome, which has provided access to the original documentation. Research develops a wide-ranging approach to the architecture of Julio Lafuente in its context. To this purpose, various of his works have been reviewed in relation to other contemporary works, which have revealed a direct attachment of Lafuente’s work to its context: mainly Italy, for the period between 1950 and 1980. Most of his wide architectural work is related to housing projects, usually built in the extensions of Rome. In this broad regular work, however, highlight some outstanding achievements which have given support to the research argumental line. Among them, two works have been selected for an in-depth study: the hotel in the Maltese rock of Gozo (1967) and the Tor di Valle racecourse building (1959) in Rome. Both are individual cases in which Lafuente reaches the highest levels of coherence, significance and architectural quality, and both characterize the frame in which this research takes place: between utopia and construction. These selected projects are two complementary works that embody some of the aspects to which Julio Lafuente pays more attention, such as the experiencing of place, the structural invention or concern for construction details, among others. These features have been reviewed through a transversal regard in the last chapter, focusing on some particular cases, in the way in which metonymy is used, allowing to take the part for the whole. Research confirms that the work of Julio Lafuente stands out for its commitment to construction logic, while the idealized component is recognized, although in a minor key with respect to constructive engagement, in most of his architecture from the beginning to his latest proposals. This tendency to idealization is probably one of the reasons that has often led to those who have written about him, to speculate on the ideas of invention and utopia in the work of Julio Lafuente. The unpublished catalog of the work of Julio Lafuente, which constitutes the second part of the thesis, presents the architectural work of Julio Lafuente and allows further research that could continue the one started here.

Criterios de restauración, intervención y revitalización del patrimonio industrial : la fábrica de gas de San Paolo en Roma

La tesis está centrada en el patrimonio industrial, y trata de ahondar en los temas enunciados en el título, Criterios de restauración, intervención y revitalización del patrimonio industrial (capítulo 1). La fábrica de gas de San Paolo en Roma (capítulo 2): En el primer capítulo, se profundiza en los criterios institucionalizados de actuación en el patrimonio, pero también se habla sobre la singularidad, los valores originales, estratificados en cada construcción y su contexto. Ello resume la intención de la doctoranda al entender la necesidad del análisis de cada obra en modo profundo, concreto y abierto a novedosos acercamientos, antes de su transformación. Al hablar de intervención frente a restauración, se aborda la conocida polémica que plantea el modo de acercarse al legado histórico. Parece necesario enunciar cómo se consideran en el trabajo estos términos. Mientras la restauración (como diría Cesare Brandi, constituye el momento metodológico del reconocimiento de la obra de arte en su consistencia física y en su doble polaridad estética e histórica, en orden a su transmisión al futuro) es una acción más restrictiva, que implica atención suma a la recuperación y conservación de los valores significativos y únicos del bien, en comunicación con un (posible) equipo interdisciplinar; por intervención se entiende aquí un desarrollo más personal y libre por parte del proyectista, en el que se produce un proceso dialéctico entre la preexistencia y el posicionamiento crítico adoptado a la hora de dar un obligado nuevo uso a ese bien. Es decir, el contraste está en el diferente reconocimiento de la materialidad física y sus significados. En torno a la restauración/intervención, se analizan las perspectivas de actuación en España e Italia, contrastando factores como la formación del arquitecto o el entorno laboral-cultural, y utilizando el método analítico comparativo de casos. Habría un tercer concepto: el de revitalización del patrimonio industrial, Éste hace referencia a su transformación, a sus usos más comunes y compatibles, a la redimensión artística que ha experimentado la arquitectura industrial gracias al arte contemporáneo y a su relación con la Modernidad. Por último, se enuncia en el título el caso de estudio, la Fábrica, que ocupa el segundo capítulo. Se trata de un enorme conjunto industrial singular semi abandonado en el confín del centro histórico, cuyo protagonista es un gran gasómetro, que la autora ha tenido la oportunidad de descubrir en su estancia en la Ciudad Eterna. Este barrio constituyó el primer y único sector industrial de la Roma moderna a inicios del siglo XX. Por varias causas históricas y voluntad política, la ciudad prácticamente no tuvo más desarrollo industrial que el área mencionada, donde se implantaron servicios y actividades de gran transformación (Matadero, Mercados Generales, Almacenes Fluviales, Central Montemartini o esta fábrica). A partir de 1920, se empezó a construir un tejido productivo que la llevó de la situación de posguerra al milagro económico. Frente al mito de la Roma monumental o de la Roma cotidiana, aparece el aspecto industrial como mito de la contemporaneidad. Sin embargo, esta ciudad es demasiado antigua como para convertirse en moderna, y su proceso industrial en contraste con su larga historia resulta breve. La inmediata relación de la fase industrial romana con el resultado de este desarrollo viene identificada con las instalaciones señaladas, más significativas por su excepcionalidad que por la duración del momento irrepetible que representan. Su presencia física perdura a pesar de su abandono, aisladas tras su muro perimetral y casi desconocidas. Esto las hace apetecibles para la especulación inmobiliaria y resultan un caso de estudio ideal para realizar un Plan de Intervención Global, en el que determinar una serie de intervenciones necesarias, usos compatibles y directrices para la ordenación del conjunto, coherentes con los conceptos manejados en el primer capítulo. ABSTRACT The thesis focuses on industrial heritage, delving into the topics listed in its title, Criteria for the restoration, intervention and revitalisation of industrial heritage (chapter 1). The San Paolo gas factory in Rome (chapter 2): Chapter one elaborates on the official criteria to take action on heritage, but also deals with the singularity and original values unique to each construction and its context. This underlines the PhD candidate’s intentions by understanding the need for an in-depth and specific analysis, open to novel approaches to each site before its transformation. When speaking of intervention, as opposed to restoration, we address the well-known controversy that stems from the different ways of approaching historical heritage. It seems necessary to explain how these terms are interpreted in this piece of work. Whereas restoration (as Cesare Brandi would say, constitutes the methodological moment in which the work of art is appreciated in its material form and in its historical and aesthetic duality, with a view to transmitting it to the future) is a more restrictive action, demanding the utmost attention to the recovery and preservation of the piece of heritage’s defining and exceptional values, (ideally) in communication with a interdisciplinary team. By intervention, we hereby understand a more personal and free procedure carried out by the designer in which a dialectical process takes place between preexistence and the critical stance taken in order to give that good a much needed new use. That is, contrast lies in the different recognition of physical materiality and its meanings. As for the restoration/intervention dilemma, the different courses of action followed in Spain and Italy will be analysed, contrasting the architects’ training, the labourcultural environment and taking an analytical comparative case study method. There is a third concept: the revitalisation of industrial heritage, which refers to its transformation, its most common and compatible uses, the artistic redimensioning that industrial architecture has experienced thanks to contemporary art, and its relationship with Modernity. Lastly, the title refers to the case study, i.e., the analysis of the Factory, which makes up chapter 2. It is an enormous and semiabandoned peerless industrial complex on the edge of the historical city centre whose main landmark is a huge gasometer, which the author had the chance to discover during her stay in the Eternal City. This district made up the first and only industrial sector in the modern Rome of the early 20th century. Due to a number of reasons, both historical and political, barely no further industrial development took place in the city beyond the mentioned area, where processing services and activities were set up (Slaughterhouse, General Markets, Riverside Warehouses, Montemartini Power Plant or the said factory). In the 1920s began the construction of the productive fabric that raised the city from its postwar plight to the economic miracle. As opposed to the myth of monumental Rome and daily-life Rome, this industrial Rome rose as contemporaneity’s myth. However, this city is too ancient to become modern, and its industrial process strikes us as brief when confronted with its long history. The close relationship between Rome���s industrial stage and the consequences of this development is best represented by the aforementioned facilities, more relevant due to their uniqueness than the length of the once-in-a-lifetime moment they represent. Their physical presence lives on despite abandonment and isolation, as they stand vastly unknown behind their perimeter walls. This renders them appealing to property speculators, becoming an ideal case study for the creation of a Global Intervention Plan in which to determine a series of necessary actions, compatible uses and directives, all of them consistent with the concepts dealt with in chapter 1. RIASSUNTO La tesi è focalizzata sul patrimonio industriale e cerca di approfondire le tematiche contenute nel titolo, Criteri di restauro, intervento e rivitalizzazione del patrimonio industriale (capitolo 1). La Fabbrica del gas di San Paolo a Roma (capitolo 2): Nel primo capitolo vengono presi in esame i criteri istituzionalizzati di attuazione nel patrimonio, ma si parla anche della unicità, i valori originali, stratificati in ogni costruzione ed il suo contesto. Questo riassume l’intenzione della dottoranda di capire la necessità dell’analisi di ogni opera in modo profondo, concreto e aperto a nuovi approcci, prima della sua trasformazione. Nel parlare di intervento versus restauro, si affronta la famosa polemica che considera il modo di avicinarsi all’eredità storica. Appare necessario precisare come questi termini sono considerati in questo lavoro. Mentre il restauro (come direbbe Cesare Brandi, costituisce il momento metodologico del riconoscimento dell’opera d’arte nella sua consistenza fisica e nella duplice polarità estetica e storica, in vista della sua trasmissione nel futuro) è un’azione più restrittiva, e quindi implica massima attenzione al recupero e conservazione dei valori significativi ed unici del bene, in comunicazione con una (eventuale) squadra interdisciplinare; per intervento si intende qui un processo più personale e libero del progettista, nel quale si produce uno sviluppo dialettico tra la preesistenza e la posizione critica adottata quando si deve dare un nuovo uso di quel bene. Vale a dire che il contrasto risiede nel diverso riconoscimento della materialità fisica e i loro significati. Intorno al restauro / intervento, si analizzano le prospettive di attuazione in Spagna e Italia, contrastando diversi fattori come la formazione dell’architetto o l’ambiente lavorativo-culturale, ed impiegando il metodo analitico comparativo dei casi. Ci sarebbe un terzo concetto: quello della rivitalizzazione del patrimonio industriale. Questo fa riferimento alla sua trasformazione, ai suoi usi più comuni e compatibili, al ridimensionamento artistico vissuto dall’archeologia industriale grazie all’arte contemporanea ed al suo rapporto con la Modernità. In ultimo, si enuncia nel titolo il caso di studio, ovvero l’analisi della Fabbrica, che occupa il secondo capitolo. Si tratta di un enorme complesso industriale semi-abbandonato al confine con il centro storico, il cui protagonista è un grande gasometro, che l’autrice ha avuto modo di scoprire durante il suo soggiorno nella Città Eterna. Questo quartiere costituì il primo e unico moderno settore industriale della Roma moderna all’inizio del Novecento. Per diverse ragioni storiche e volontà politiche, la città praticamente non ha subito ulteriore sviluppo industriale oltre l’area citata, dove si impiantarono servizi e attività di grande trasformazione (Mattatoio, Mercati Generali, Magazzini Generali, Centrale Montemartini o questa fabbrica). Dal 1920, si inizió a costruire un tessuto prodottivo che portò la città dalla situazione post-bellica al miracolo economico. Di fronte al mito della Roma monumentale o della Roma quotidiana, appare questa Roma industriale come mito della contemporaneità. Tuttavia, questa città è troppo antica per diventare moderna, ed il suo processo industriale in contrasto con la sua lunga storia risulta breve. Il rapporto diretto della fase industriale romana con il risultato di questo sviluppo viene identificato con gli impianti segnalati, più significativi per la loro unicità che per la durata del momento irripetibile che rappresentano. La loro presenza fisica perdura nonostante l’abbandono, isolati dietro il loro muro di cinta e quasi sconosciuti. Questo li rende auspicabile per la speculazione immobiliare e sono un caso ideale per eseguire un Piano di Intervento Globale, che determini una serie di interventi necessari, usi compatibili e linee guida per la pianificazione del tutto, in linea con i concetti utilizzati nel primo capitolo.

Fernando García Mercadal y el Movimiento Moderno

La tesis plantea el estudio de la figura de Fernando García Mercadal (1896- 1985) y su obra, en el contexto del proyecto moderno perteneciente a la racionalidad teórica colectiva de la segunda generación del Movimiento Moderno en Europa, y explora la vida y circunstancias de un arquitecto que aunque nacido en el XIX, trajo la modernidad a España. El Movimiento Moderno en España, se articula en las décadas de los años 20 y 30 a través del GATEPAC y un grupo de arquitectos racionalistas en Madrid que Carlos Flores denomina Generación del 1925. Fernando García Mercadal, primero de su promoción en 1921 y pensionado en Roma, pertenece a ambos y pronto se convierte junto con Josep Lluis Sert, en una de las figuras más relevantes del panorama moderno español. Único miembro fundador del GATEPAC que había nacido en el siglo XIX, publica habitualmente en la revista AC (1931-1937), y en la revista Arquitectura desde 1920. Organiza en la Residencia de Estudiantes, entre 1928 y 1932, un famoso ciclo de Conferencias que imparten Le Corbusier, Mendelsohn, Van Doesburg, Gropius y Giedion. También asiste a la reunión constituyente de los CIAM en La Sarraz en 1928, al CIAM II en Frankfurt en 1929 y al CIAM III en Bruselas en 1930. Fue profesor en la Escuela de Arquitectura de Madrid y Arquitecto Jefe de la Oficina de Urbanismo y de Parques y Jardines del Ayuntamiento de Madrid, cargo al que accede por oposición en 1932. Tras la guerra fue depurado e inhabilitado profesionalmente, hasta que en 1946 comienza a trabajar en el Departamento de Arquitectura del I.N.P. donde continúa hasta los años 70. En 1979 es nombrado Académico de número de la Real Academia de Bellas Artes de San Fernando y muere en Madrid en 1985. Estos son los datos conocidos y aunque en la tesis se aportan nuevos datos inéditos, es en las premisas para su interpretación donde este trabajo de investigación pone el acento. En la historiografía de nuestra arquitectura moderna, pervive una tendencia a suponer una desconexión entre la vanguardia arquitectónica en los años 20 y 30 y el movimiento moderno internacional. El manto de silencio que cayó sobre la generación anterior a la guerra, una vez terminada esta, contribuye a reforzar la idea, cuyo origen y causas exceden el ámbito de trabajo, aunque se tratarán tangencialmente por ser ineludible hacerlo. La tesis pone en cuestión ese planteamiento desde el convencimiento fundamentado en los datos y en la consulta de fuentes originales, que la arquitectura española anterior a la guerra, aun con las circunstancias particulares del país, estuvo en sintonía con la europea, siendo esta la hipótesis de partida de la investigación. Las aportaciones más significativas que, a mi entender, presenta la tesis doctoral, y tienen mayor originalidad, son las siguientes; 1.Puesta en valor de la arquitectura de FGM, antes y después de la guerra, abandonando la idea de su supuesta renuncia a las ideas modernas a partir de los 30; 2. Puesta en valor, con aportación de datos concretos, de la Intensa relación mantenida por FGM y otros arquitectos españoles del Movimiento Moderno con los arquitectos de igual tendencia en el resto de Europa, a través de contactos recíprocos y continuos; 3. Estudio de la obra de FGM en el marco del Movimiento Moderno como una nueva arquitectura basada no tanto en la epidermis, como en una forma de hacer y encarar los problemas donde el proceso es tan importante como el resultado; con el Urbanismo como una nueva ciencia, y con el desarrollo de nuevos programas funcionales acordes a las necesidades de la sociedad contemporánea como el Rincón de Goya y el Hospital de Zaragoza. Se manejan tres métodos de trabajo. Los dos primeros aportan un nuevo enfoque al análisis crítico de FGM y su obra, situándole en el contexto internacional, además del español. El tercero, de carácter instrumental, permite el manejo y sistematización de la documentación. El primer método, consiste en aplicar el criterio generacional de Pevsner o Giedion entre otros, al Movimiento Moderno en España, situando a Fernando García Mercadal como arquitecto de la segunda generación, para hacer un análisis crítico comparativo de su trayectoria con otros arquitectos europeos de la misma, que permita establecer semejanzas y diferencias. El segundo método, complementario al anterior, consiste en estudiar las relaciones internacionales de FGM con las figuras más próximas a él y sus posibles influencias. Por último, y en relación con la documentación de obras y proyectos, se manejan a su vez dos criterios. Para la obra completa, y debido a la inexistencia de originales del Legado García Mercadal, se utiliza con carácter general el material ya publicado, disperso en libros y revistas. En el caso de las cinco obras seleccionadas, se completa con búsqueda en archivos, toma de datos in situ actualizados cuando es posible, y una recopilación de su repercusión en prensa escrita de su momento. ABSTRACT This research study focuses on Fernando Garcia Mercadal (1896-1985) and his work in the context of the Modern project as part of the collective theoretical rationality of the second generation of European Modern architecture. It explores the life and circumstances of the architect, who even though born in 19th century introduced Modern architecture in Spain. Modern architecture (Modern Movement) in Spain covered two decades between 20's and 30's through GATEPAC and a group of rationalists in Madrid that Carlos Flores named “generation of '25”. Fernando Garcia Mercadal, top of his class in 1921 and granted with the scholarship in Rome, belonged to both groups and early in his career he became, along with Josep Lluis Sert, one of the most relevant figures of Modern Architecture in Spain. He was the only member of GATEPAC who was born in 19th century. He frequently published on the magazine “AC” (1931-1937) and on “Arquitecture” magazine since 1920. He organized a series of famous lectures at “Residencia de Estudiantes” (Madrid) between 1928 and 1932 in which Le Corbusier, Mendelsohn, Van Doesburg, Gropius or Giedion took part. He was a member of the constituent meeting of CIAM in La Sarraz in 1928, CIAM II in Frankfurt in 1929 and CIAM III in Brussels in 1930. Mercadal was a teacher at Escuela de Arquitectura de Madrid and the Chief of the Urban Planning, Parks and Gardens Office of the Council of Madrid. He earned his position by public examination in 1932. After the civil war he was disqualified professionally until 1946, when he started working at the Architecture Department at INP until 70's. In 1979 he was elected as an academic member of “Real Academia de Bellas Artes de San Fernando” and later died in 1985. These are the well-known facts and even though this research study provides unpublished facts, it focuses on the premises to interpret them. Throughout the historiographical discourse of Spanish Modern architecture there is a tendency to assume a disconnection between the Avant-garde architecture movements in 20's and 30's and International Modern architecture (Modern Movement). The generation preceding the war remained silent in regard to this issue and once the war was over, they contributed to support the disconnection. The origin and cause exceed the frame of this work, even though they are incidentally commented due to its importance. This research study questions the approach explained above, based on the facts and the original sources. Its first hypothesis states that Spanish architecture before the civil war was, under its own circumstances, in tune with European architecture. The most important and original contributions of this research study are the following under my point of view: 1. To highlight the architecture of FGM, before and after the war, leaving behind his reputed withdrawal of Modernity after 30's; 2. To highlight the intense relationship between FGM and other Modern Spanish architects and other European architects sharing the same ideas, providing detailed facts; 3. Study of FGM's work in the context of Modern architecture as a new architecture based on its know-how and the way problems are faced. The process is as important as the result, not so much based on the dermis; with urban planning as the new science and with the development of the new functional programs based on the needs of contemporary society as in Rincón de Goya or Hospital de Zaragoza. Three work methods are used. The first two add a new vision of the critical analysis related to FGM and his work, positioning him in the international context in addition to Spain. The third is used as an instrument to manage and systematize the documentation. The first method applies the generational criteria of Pevsner or Giedion (among others) to Modern architecture in Spain, positioning Fernando Garcia Mercadal as a second generation architect. A critical-comparative analysis of his career and contemporary European architects is made to establish similarities and differences. The second method is complementary to the previous one and studies the international relationships of FGM with other recognised architects that were close to him and their possible influences. At last, in relation to his works and projects, two methods are used. For the complete works, due to the lack of originals, published material found on magazines and books is used as the source. In the case of the five selected buildings, it is complemented with archive search, onsite data collection when possible and the impact on the press at that moment.

Technical Challenges in the Construction of Gothic Vaults: The Gothic Theory of Structural Design

The construction of a Gothic vault implied the solution of several technical challenges. The literature on Gothic vault construction is quite large and its growth continues steadily. The main challenge of any structure is that, during and after construction, it must be "safe", that is, it must not collapse. Indeed, it must be amply safe, able to support different loads for long periods of time. Masonry architecture has shown its structural safety for centuries or millennia. The Pantheon of Rome stands today after almost 2,000 years without having needed any structural reinforcement (of course, the survival of any building implies continuous maintenance) . Hagia Sophia in Istanbul, finished in the 6th century AD, has withstood not only the dead loads but also many severe earthquakes . Finally, the Gothic cathedrals, with their appearance of weakness, are• more than a half millennium old. The question arises of what the source of this amazing strength is and how the illiterate master masons were able to design such daring and safe structures . This question is usually evaded in manuals of Gothic architecture. This is quite surprising, the structure being a fundamental part of Gothic buildings. The present article aims to give such an explanation, which has been studied in detail elsewhere. In the first part, the Gothic design methods "V ill be discussed. In the second part, the validity of these methods wi11 be verified within the frame of the modern theory of masonry structures . References have been reduced to a minimum to make the text simpler and more direct.

Implementation and management of private traffic limitation in urban areas: experiences and methodologies.

This paper shows the results of a research aimed to formulate a general model for supporting the implementation and management of an urban road pricing scheme. After a preliminary work, to define the state of the art in the field of sustainable urban mobility strategies, the problem has been theoretically set up in terms of transport economy, introducing the external costs’ concept duly translated into the principle of pricing for the use of public infrastructures. The research is based on the definition of a set of direct and indirect indicators to qualify the urban areas by land use, mobility, environmental and economic conditions. These indicators have been calculated for a selected set of typical urban areas in Europe on the basis of the results of a survey carried out by means of a specific questionnaire. Once identified the most typical and interesting applications of the road pricing concept in cities such as London (Congestion Charging), Milan (Ecopass), Stockholm (Congestion Tax) and Rome (ZTL), a large benchmarking exercise and the cross analysis of direct and indirect indicators, has allowed to define a simple general model, guidelines and key requirements for the implementation of a pricing scheme based traffic restriction in a generic urban area. The model has been finally applied to the design of a road pricing scheme for a particular area in Madrid, and to the quantification of the expected results of its implementation from a land use, mobility, environmental and economic perspective.

A novel context ontology to facilitate interoperation of semantic services in environments with wearable devices

The LifeWear-Mobilized Lifestyle with Wearables (Lifewear) project attempts to create Ambient Intelligence (AmI) ecosystems by composing personalized services based on the user information, environmental conditions and reasoning outputs. Two of the most important benefits over traditional environments are 1) take advantage of wearable devices to get user information in a nonintrusive way and 2) integrate this information with other intelligent services and environmental sensors. This paper proposes a new ontology composed by the integration of users and services information, for semantically representing this information. Using an Enterprise Service Bus, this ontology is integrated in a semantic middleware to provide context-aware personalized and semantically annotated services, with discovery, composition and orchestration tasks. We show how these services support a real scenario proposed in the Lifewear project.

On a meaningful integration of web services in data-intensive biomedical environments: The DICODE approach

This paper reports on an innovative approach that aims to reduce information management costs in data-intensive and cognitively-complex biomedical environments. Recognizing the importance of prominent high-performance computing paradigms and large data processing technologies as well as collaboration support systems to remedy data-intensive issues, it adopts a hybrid approach by building on the synergy of these technologies. The proposed approach provides innovative Web-based workbenches that integrate and orchestrate a set of interoperable services that reduce the data-intensiveness and complexity overload at critical decision points to a manageable level, thus permitting stakeholders to be more productive and concentrate on creative activities.

Air quality modeling and mortality impact of fine particles reduction policies in Spain

Background: In recent years, Spain has implemented a number of air quality control measures that are expected to lead to a future reduction in fine particle concentrations and an ensuing positive impact on public health. Objectives: We aimed to assess the impact on mortality attributable to a reduction in fine particle levels in Spain in 2014 in relation to the estimated level for 2007. Methods: To estimate exposure, we constructed fine particle distribution models for Spain for 2007 (reference scenario) and 2014 (projected scenario) with a spatial resolution of 16x16 km2. In a second step, we used the concentration-response functions proposed by cohort studies carried out in Europe (European Study of Cohorts for Air Pollution Effects and Rome longitudinal cohort) and North America (American Cancer Society cohort, Harvard Six Cities study and Canadian national cohort) to calculate the number of attributable annual deaths corresponding to all causes, all non-accidental causes, ischemic heart disease and lung cancer among persons aged over 25 years (2005-2007 mortality rate data). We examined the effect of the Spanish demographic shift in our analysis using 2007 and 2012 population figures. Results: Our model suggested that there would be a mean overall reduction in fine particle levels of 1mg/m3 by 2014. Taking into account 2007 population data, between 8 and 15 all-cause deaths per 100,000 population could be postponed annually by the expected reduction in fine particle levels. For specific subgroups, estimates varied from 10 to 30 deaths for all non-accidental causes, from 1 to 5 for lung cancer, and from 2 to 6 for ischemic heart disease. The expected burden of preventable mortality would be even higher in the future due to the Spanish population growth. Taking into account the population older than 30 years in 2012, the absolute mortality impact estimate would increase approximately by 18%. Conclusions: Effective implementation of air quality measures in Spain, in a scenario with a short-term projection, would amount to an appreciable decline infine particle concentrations, and this, in turn, would lead to notable health-related benefits. Recent European cohort studies strengthen the evidence of an association between long-term exposure to fine particles and health effects, and could enhance the health impact quantification in Europe. Air quality models can contribute to improved assessment of air pollution health impact estimates, particularly in study areas without air pollution monitoring data.