OntoTag - A Linguistic and Ontological Annotation Model Suitable for the Semantic Web

OntoTag - A Linguistic and Ontological Annotation Model Suitable for the Semantic Web 1. INTRODUCTION. LINGUISTIC TOOLS AND ANNOTATIONS: THEIR LIGHTS AND SHADOWS Computational Linguistics is already a consolidated research area. It builds upon the results of other two major ones, namely Linguistics and Computer Science and Engineering, and it aims at developing computational models of human language (or natural language, as it is termed in this area). Possibly, its most well-known applications are the different tools developed so far for processing human language, such as machine translation systems and speech recognizers or dictation programs. These tools for processing human language are commonly referred to as linguistic tools. Apart from the examples mentioned above, there are also other types of linguistic tools that perhaps are not so well-known, but on which most of the other applications of Computational Linguistics are built. These other types of linguistic tools comprise POS taggers, natural language parsers and semantic taggers, amongst others. All of them can be termed linguistic annotation tools. Linguistic annotation tools are important assets. In fact, POS and semantic taggers (and, to a lesser extent, also natural language parsers) have become critical resources for the computer applications that process natural language. Hence, any computer application that has to analyse a text automatically and ‘intelligently’ will include at least a module for POS tagging. The more an application needs to ‘understand’ the meaning of the text it processes, the more linguistic tools and/or modules it will incorporate and integrate. However, linguistic annotation tools have still some limitations, which can be summarised as follows: 1. Normally, they perform annotations only at a certain linguistic level (that is, Morphology, Syntax, Semantics, etc.). 2. They usually introduce a certain rate of errors and ambiguities when tagging. This error rate ranges from 10 percent up to 50 percent of the units annotated for unrestricted, general texts. 3. Their annotations are most frequently formulated in terms of an annotation schema designed and implemented ad hoc. A priori, it seems that the interoperation and the integration of several linguistic tools into an appropriate software architecture could most likely solve the limitations stated in (1). Besides, integrating several linguistic annotation tools and making them interoperate could also minimise the limitation stated in (2). Nevertheless, in the latter case, all these tools should produce annotations for a common level, which would have to be combined in order to correct their corresponding errors and inaccuracies. Yet, the limitation stated in (3) prevents both types of integration and interoperation from being easily achieved. In addition, most high-level annotation tools rely on other lower-level annotation tools and their outputs to generate their own ones. For example, sense-tagging tools (operating at the semantic level) often use POS taggers (operating at a lower level, i.e., the morphosyntactic) to identify the grammatical category of the word or lexical unit they are annotating. Accordingly, if a faulty or inaccurate low-level annotation tool is to be used by other higher-level one in its process, the errors and inaccuracies of the former should be minimised in advance. Otherwise, these errors and inaccuracies would be transferred to (and even magnified in) the annotations of the high-level annotation tool. Therefore, it would be quite useful to find a way to (i) correct or, at least, reduce the errors and the inaccuracies of lower-level linguistic tools; (ii) unify the annotation schemas of different linguistic annotation tools or, more generally speaking, make these tools (as well as their annotations) interoperate. Clearly, solving (i) and (ii) should ease the automatic annotation of web pages by means of linguistic tools, and their transformation into Semantic Web pages (Berners-Lee, Hendler and Lassila, 2001). Yet, as stated above, (ii) is a type of interoperability problem. There again, ontologies (Gruber, 1993; Borst, 1997) have been successfully applied thus far to solve several interoperability problems. Hence, ontologies should help solve also the problems and limitations of linguistic annotation tools aforementioned. Thus, to summarise, the main aim of the present work was to combine somehow these separated approaches, mechanisms and tools for annotation from Linguistics and Ontological Engineering (and the Semantic Web) in a sort of hybrid (linguistic and ontological) annotation model, suitable for both areas. This hybrid (semantic) annotation model should (a) benefit from the advances, models, techniques, mechanisms and tools of these two areas; (b) minimise (and even solve, when possible) some of the problems found in each of them; and (c) be suitable for the Semantic Web. The concrete goals that helped attain this aim are presented in the following section. 2. GOALS OF THE PRESENT WORK As mentioned above, the main goal of this work was to specify a hybrid (that is, linguistically-motivated and ontology-based) model of annotation suitable for the Semantic Web (i.e. it had to produce a semantic annotation of web page contents). This entailed that the tags included in the annotations of the model had to (1) represent linguistic concepts (or linguistic categories, as they are termed in ISO/DCR (2008)), in order for this model to be linguistically-motivated; (2) be ontological terms (i.e., use an ontological vocabulary), in order for the model to be ontology-based; and (3) be structured (linked) as a collection of ontology-based triples, as in the usual Semantic Web languages (namely RDF(S) and OWL), in order for the model to be considered suitable for the Semantic Web. Besides, to be useful for the Semantic Web, this model should provide a way to automate the annotation of web pages. As for the present work, this requirement involved reusing the linguistic annotation tools purchased by the OEG research group (http://www.oeg-upm.net), but solving beforehand (or, at least, minimising) some of their limitations. Therefore, this model had to minimise these limitations by means of the integration of several linguistic annotation tools into a common architecture. Since this integration required the interoperation of tools and their annotations, ontologies were proposed as the main technological component to make them effectively interoperate. From the very beginning, it seemed that the formalisation of the elements and the knowledge underlying linguistic annotations within an appropriate set of ontologies would be a great step forward towards the formulation of such a model (henceforth referred to as OntoTag). Obviously, first, to combine the results of the linguistic annotation tools that operated at the same level, their annotation schemas had to be unified (or, preferably, standardised) in advance. This entailed the unification (id. standardisation) of their tags (both their representation and their meaning), and their format or syntax. Second, to merge the results of the linguistic annotation tools operating at different levels, their respective annotation schemas had to be (a) made interoperable and (b) integrated. And third, in order for the resulting annotations to suit the Semantic Web, they had to be specified by means of an ontology-based vocabulary, and structured by means of ontology-based triples, as hinted above. Therefore, a new annotation scheme had to be devised, based both on ontologies and on this type of triples, which allowed for the combination and the integration of the annotations of any set of linguistic annotation tools. This annotation scheme was considered a fundamental part of the model proposed here, and its development was, accordingly, another major objective of the present work. All these goals, aims and objectives could be re-stated more clearly as follows: Goal 1: Development of a set of ontologies for the formalisation of the linguistic knowledge relating linguistic annotation. Sub-goal 1.1: Ontological formalisation of the EAGLES (1996a; 1996b) de facto standards for morphosyntactic and syntactic annotation, in a way that helps respect the triple structure recommended for annotations in these works (which is isomorphic to the triple structures used in the context of the Semantic Web). Sub-goal 1.2: Incorporation into this preliminary ontological formalisation of other existing standards and standard proposals relating the levels mentioned above, such as those currently under development within ISO/TC 37 (the ISO Technical Committee dealing with Terminology, which deals also with linguistic resources and annotations). Sub-goal 1.3: Generalisation and extension of the recommendations in EAGLES (1996a; 1996b) and ISO/TC 37 to the semantic level, for which no ISO/TC 37 standards have been developed yet. Sub-goal 1.4: Ontological formalisation of the generalisations and/or extensions obtained in the previous sub-goal as generalisations and/or extensions of the corresponding ontology (or ontologies). Sub-goal 1.5: Ontological formalisation of the knowledge required to link, combine and unite the knowledge represented in the previously developed ontology (or ontologies). Goal 2: Development of OntoTag’s annotation scheme, a standard-based abstract scheme for the hybrid (linguistically-motivated and ontological-based) annotation of texts. Sub-goal 2.1: Development of the standard-based morphosyntactic annotation level of OntoTag’s scheme. This level should include, and possibly extend, the recommendations of EAGLES (1996a) and also the recommendations included in the ISO/MAF (2008) standard draft. Sub-goal 2.2: Development of the standard-based syntactic annotation level of the hybrid abstract scheme. This level should include, and possibly extend, the recommendations of EAGLES (1996b) and the ISO/SynAF (2010) standard draft. Sub-goal 2.3: Development of the standard-based semantic annotation level of OntoTag’s (abstract) scheme. Sub-goal 2.4: Development of the mechanisms for a convenient integration of the three annotation levels already mentioned. These mechanisms should take into account the recommendations included in the ISO/LAF (2009) standard draft. Goal 3: Design of OntoTag’s (abstract) annotation architecture, an abstract architecture for the hybrid (semantic) annotation of texts (i) that facilitates the integration and interoperation of different linguistic annotation tools, and (ii) whose results comply with OntoTag’s annotation scheme. Sub-goal 3.1: Specification of the decanting processes that allow for the classification and separation, according to their corresponding levels, of the results of the linguistic tools annotating at several different levels. Sub-goal 3.2: Specification of the standardisation processes that allow (a) complying with the standardisation requirements of OntoTag’s annotation scheme, as well as (b) combining the results of those linguistic tools that share some level of annotation. Sub-goal 3.3: Specification of the merging processes that allow for the combination of the output annotations and the interoperation of those linguistic tools that share some level of annotation. Sub-goal 3.4: Specification of the merge processes that allow for the integration of the results and the interoperation of those tools performing their annotations at different levels. Goal 4: Generation of OntoTagger’s schema, a concrete instance of OntoTag’s abstract scheme for a concrete set of linguistic annotations. These linguistic annotations result from the tools and the resources available in the research group, namely • Bitext’s DataLexica (http://www.bitext.com/EN/datalexica.asp), • LACELL’s (POS) tagger (http://www.um.es/grupos/grupo-lacell/quees.php), • Connexor’s FDG (http://www.connexor.eu/technology/machinese/glossary/fdg/), and • EuroWordNet (Vossen et al., 1998). This schema should help evaluate OntoTag’s underlying hypotheses, stated below. Consequently, it should implement, at least, those levels of the abstract scheme dealing with the annotations of the set of tools considered in this implementation. This includes the morphosyntactic, the syntactic and the semantic levels. Goal 5: Implementation of OntoTagger’s configuration, a concrete instance of OntoTag’s abstract architecture for this set of linguistic tools and annotations. This configuration (1) had to use the schema generated in the previous goal; and (2) should help support or refute the hypotheses of this work as well (see the next section). Sub-goal 5.1: Implementation of the decanting processes that facilitate the classification and separation of the results of those linguistic resources that provide annotations at several different levels (on the one hand, LACELL’s tagger operates at the morphosyntactic level and, minimally, also at the semantic level; on the other hand, FDG operates at the morphosyntactic and the syntactic levels and, minimally, at the semantic level as well). Sub-goal 5.2: Implementation of the standardisation processes that allow (i) specifying the results of those linguistic tools that share some level of annotation according to the requirements of OntoTagger’s schema, as well as (ii) combining these shared level results. In particular, all the tools selected perform morphosyntactic annotations and they had to be conveniently combined by means of these processes. Sub-goal 5.3: Implementation of the merging processes that allow for the combination (and possibly the improvement) of the annotations and the interoperation of the tools that share some level of annotation (in particular, those relating the morphosyntactic level, as in the previous sub-goal). Sub-goal 5.4: Implementation of the merging processes that allow for the integration of the different standardised and combined annotations aforementioned, relating all the levels considered. Sub-goal 5.5: Improvement of the semantic level of this configuration by adding a named entity recognition, (sub-)classification and annotation subsystem, which also uses the named entities annotated to populate a domain ontology, in order to provide a concrete application of the present work in the two areas involved (the Semantic Web and Corpus Linguistics). 3. MAIN RESULTS: ASSESSMENT OF ONTOTAG’S UNDERLYING HYPOTHESES The model developed in the present thesis tries to shed some light on (i) whether linguistic annotation tools can effectively interoperate; (ii) whether their results can be combined and integrated; and, if they can, (iii) how they can, respectively, interoperate and be combined and integrated. Accordingly, several hypotheses had to be supported (or rejected) by the development of the OntoTag model and OntoTagger (its implementation). The hypotheses underlying OntoTag are surveyed below. Only one of the hypotheses (H.6) was rejected; the other five could be confirmed. H.1 The annotations of different levels (or layers) can be integrated into a sort of overall, comprehensive, multilayer and multilevel annotation, so that their elements can complement and refer to each other. • CONFIRMED by the development of: o OntoTag’s annotation scheme, o OntoTag’s annotation architecture, o OntoTagger’s (XML, RDF, OWL) annotation schemas, o OntoTagger’s configuration. H.2 Tool-dependent annotations can be mapped onto a sort of tool-independent annotations and, thus, can be standardised. • CONFIRMED by means of the standardisation phase incorporated into OntoTag and OntoTagger for the annotations yielded by the tools. H.3 Standardisation should ease: H.3.1: The interoperation of linguistic tools. H.3.2: The comparison, combination (at the same level and layer) and integration (at different levels or layers) of annotations. • H.3 was CONFIRMED by means of the development of OntoTagger’s ontology-based configuration: o Interoperation, comparison, combination and integration of the annotations of three different linguistic tools (Connexor’s FDG, Bitext’s DataLexica and LACELL’s tagger); o Integration of EuroWordNet-based, domain-ontology-based and named entity annotations at the semantic level. o Integration of morphosyntactic, syntactic and semantic annotations. H.4 Ontologies and Semantic Web technologies (can) play a crucial role in the standardisation of linguistic annotations, by providing consensual vocabularies and standardised formats for annotation (e.g., RDF triples). • CONFIRMED by means of the development of OntoTagger’s RDF-triple-based annotation schemas. H.5 The rate of errors introduced by a linguistic tool at a given level, when annotating, can be reduced automatically by contrasting and combining its results with the ones coming from other tools, operating at the same level. However, these other tools might be built following a different technological (stochastic vs. rule-based, for example) or theoretical (dependency vs. HPS-grammar-based, for instance) approach. • CONFIRMED by the results yielded by the evaluation of OntoTagger. H.6 Each linguistic level can be managed and annotated independently. • REJECTED: OntoTagger’s experiments and the dependencies observed among the morphosyntactic annotations, and between them and the syntactic annotations. In fact, Hypothesis H.6 was already rejected when OntoTag’s ontologies were developed. We observed then that several linguistic units stand on an interface between levels, belonging thereby to both of them (such as morphosyntactic units, which belong to both the morphological level and the syntactic level). Therefore, the annotations of these levels overlap and cannot be handled independently when merged into a unique multileveled annotation. 4. OTHER MAIN RESULTS AND CONTRIBUTIONS First, interoperability is a hot topic for both the linguistic annotation community and the whole Computer Science field. The specification (and implementation) of OntoTag’s architecture for the combination and integration of linguistic (annotation) tools and annotations by means of ontologies shows a way to make these different linguistic annotation tools and annotations interoperate in practice. Second, as mentioned above, the elements involved in linguistic annotation were formalised in a set (or network) of ontologies (OntoTag’s linguistic ontologies). • On the one hand, OntoTag’s network of ontologies consists of − The Linguistic Unit Ontology (LUO), which includes a mostly hierarchical formalisation of the different types of linguistic elements (i.e., units) identifiable in a written text; − The Linguistic Attribute Ontology (LAO), which includes also a mostly hierarchical formalisation of the different types of features that characterise the linguistic units included in the LUO; − The Linguistic Value Ontology (LVO), which includes the corresponding formalisation of the different values that the attributes in the LAO can take; − The OIO (OntoTag’s Integration Ontology), which  Includes the knowledge required to link, combine and unite the knowledge represented in the LUO, the LAO and the LVO;  Can be viewed as a knowledge representation ontology that describes the most elementary vocabulary used in the area of annotation. • On the other hand, OntoTag’s ontologies incorporate the knowledge included in the different standards and recommendations for linguistic annotation released so far, such as those developed within the EAGLES and the SIMPLE European projects or by the ISO/TC 37 committee: − As far as morphosyntactic annotations are concerned, OntoTag’s ontologies formalise the terms in the EAGLES (1996a) recommendations and their corresponding terms within the ISO Morphosyntactic Annotation Framework (ISO/MAF, 2008) standard; − As for syntactic annotations, OntoTag’s ontologies incorporate the terms in the EAGLES (1996b) recommendations and their corresponding terms within the ISO Syntactic Annotation Framework (ISO/SynAF, 2010) standard draft; − Regarding semantic annotations, OntoTag’s ontologies generalise and extend the recommendations in EAGLES (1996a; 1996b) and, since no stable standards or standard drafts have been released for semantic annotation by ISO/TC 37 yet, they incorporate the terms in SIMPLE (2000) instead; − The terms coming from all these recommendations and standards were supplemented by those within the ISO Data Category Registry (ISO/DCR, 2008) and also of the ISO Linguistic Annotation Framework (ISO/LAF, 2009) standard draft when developing OntoTag’s ontologies. Third, we showed that the combination of the results of tools annotating at the same level can yield better results (both in precision and in recall) than each tool separately. In particular, 1. OntoTagger clearly outperformed two of the tools integrated into its configuration, namely DataLexica and FDG in all the combination sub-phases in which they overlapped (i.e. POS tagging, lemma annotation and morphological feature annotation). As far as the remaining tool is concerned, i.e. LACELL’s tagger, it was also outperformed by OntoTagger in POS tagging and lemma annotation, and it did not behave better than OntoTagger in the morphological feature annotation layer. 2. As an immediate result, this implies that a) This type of combination architecture configurations can be applied in order to improve significantly the accuracy of linguistic annotations; and b) Concerning the morphosyntactic level, this could be regarded as a way of constructing more robust and more accurate POS tagging systems. Fourth, Semantic Web annotations are usually performed by humans or else by machine learning systems. Both of them leave much to be desired: the former, with respect to their annotation rate; the latter, with respect to their (average) precision and recall. In this work, we showed how linguistic tools can be wrapped in order to annotate automatically Semantic Web pages using ontologies. This entails their fast, robust and accurate semantic annotation. As a way of example, as mentioned in Sub-goal 5.5, we developed a particular OntoTagger module for the recognition, classification and labelling of named entities, according to the MUC and ACE tagsets (Chinchor, 1997; Doddington et al., 2004). These tagsets were further specified by means of a domain ontology, namely the Cinema Named Entities Ontology (CNEO). This module was applied to the automatic annotation of ten different web pages containing cinema reviews (that is, around 5000 words). In addition, the named entities annotated with this module were also labelled as instances (or individuals) of the classes included in the CNEO and, then, were used to populate this domain ontology. • The statistical results obtained from the evaluation of this particular module of OntoTagger can be summarised as follows. On the one hand, as far as recall (R) is concerned, (R.1) the lowest value was 76,40% (for file 7); (R.2) the highest value was 97, 50% (for file 3); and (R.3) the average value was 88,73%. On the other hand, as far as the precision rate (P) is concerned, (P.1) its minimum was 93,75% (for file 4); (R.2) its maximum was 100% (for files 1, 5, 7, 8, 9, and 10); and (R.3) its average value was 98,99%. • These results, which apply to the tasks of named entity annotation and ontology population, are extraordinary good for both of them. They can be explained on the basis of the high accuracy of the annotations provided by OntoTagger at the lower levels (mainly at the morphosyntactic level). However, they should be conveniently qualified, since they might be too domain- and/or language-dependent. It should be further experimented how our approach works in a different domain or a different language, such as French, English, or German. • In any case, the results of this application of Human Language Technologies to Ontology Population (and, accordingly, to Ontological Engineering) seem very promising and encouraging in order for these two areas to collaborate and complement each other in the area of semantic annotation. Fifth, as shown in the State of the Art of this work, there are different approaches and models for the semantic annotation of texts, but all of them focus on a particular view of the semantic level. Clearly, all these approaches and models should be integrated in order to bear a coherent and joint semantic annotation level. OntoTag shows how (i) these semantic annotation layers could be integrated together; and (ii) they could be integrated with the annotations associated to other annotation levels. Sixth, we identified some recommendations, best practices and lessons learned for annotation standardisation, interoperation and merge. They show how standardisation (via ontologies, in this case) enables the combination, integration and interoperation of different linguistic tools and their annotations into a multilayered (or multileveled) linguistic annotation, which is one of the hot topics in the area of Linguistic Annotation. And last but not least, OntoTag’s annotation scheme and OntoTagger’s annotation schemas show a way to formalise and annotate coherently and uniformly the different units and features associated to the different levels and layers of linguistic annotation. This is a great scientific step ahead towards the global standardisation of this area, which is the aim of ISO/TC 37 (in particular, Subcommittee 4, dealing with the standardisation of linguistic annotations and resources).

Acoustic characterisation of cinema screens

As a consequence of cinema screens being placed in front of screen-speakers, a reduction in sound quality has been noticed. Cinema screens not only let the sound go through them, but also absorb a small amount of it and reflect the sound which impacts on the screen to the back, coming forward again in case it impacts on the loudspeaker. This backwards reflection in addition to the signal coming from the loudspeaker can lead to constructive or destructive interference at certain frequencies which usually results in comb filtering. In this project, this effect has been studied through researching amongst various data sheet provided by different manufacturers, acoustical measurements completed in the large anechoic chamber of the ISVR and some theoretical models developed with MatLab software. If results obtained with MatLab are accurate enough in comparison to the real measurements taken in the anechoic chamber this would lead to a good way to predict which would be the attenuation added to the system at each frequency, given that not all manufacturers provide an attenuation curve, but only an average attenuation. This average attenuation might be useless as sound waves have different wavelengths and its propagation through partitions varies. In fact, sound is composed by high and low frequencies, where high frequencies are characterised by a small wavelength which is usually easier to attenuate than low frequencies that characterised by bigger wavelengths. Furthermore, this information would be of great value to both screen manufacturers, who could offer a much more precise data in their data sheets; and customers, who would have a great amount of information to their disposal before purchasing and installing anything in their cinemas, being able to know by themselves which screen or loudspeaker should be best to meet their expectative. RESUMEN. La aparición de la digitalización de las bandas sonoras para las películas hace posible la mejora en la calidad de sonido de los cines. Sin embargo, un aspecto a tener en cuenta en esta calidad del sonido es la transmisión de éste a través de la pantalla, ya que normalmente tras ella se encuentran situados los altavoces. Las propiedades acústicas varían dependiendo del tipo de pantalla que se utilice, además de haber poca información a la que acceder para poder valorar su comportamiento. A lo largo de este proyecto, se analizan tres muestras de pantallas distintas donadas por distintos fabricantes para poder llegar a la conclusión de dependiendo del tipo de pantalla cuál es la distancia óptima a la que localizar la pantalla respecto al altavoz y con qué inclinación. Dicho análisis se realizó en la cámara anecoica del ISVR (University of Southampton) mediante la construcción de un marco de madera de 2x2 m en el que tensar las pantallas de cine, y un altavoz cuyo comportamiento sea el más similar al de los altavoces de pantalla reales. Los datos se captaron mediante cuatro micrófonos colocados en posiciones distintas y conectados al software Pulse de Brüel & Kjær, a través del cual se obtuvieron las respuestas en frecuencia del altavoz sin pantalla y con ella a diferentes distancias del altavoz. Posteriormente, los datos se analizaron con MatLab donde se calculó la atenuación, el factor de transmisión de la presión (PTF) y el análisis cepstrum. Finalmente, se realizó un modelo teórico del comportamiento de las pantallas perforadas basado en las placas perforadas utilizadas para atenuar el sonido entre distintas habitaciones. Como conclusión se llegó a que las pantallas curvadas son acústicamente más transparentes que las pantallas perforadas que a partir de 6 kHz son más acústicamente opacas. En las pantallas perforadas la atenuación depende del número de perforaciones por unidad de área y el diámetro de éstas. Dicha atenuación se reducirá si se reduce el diámetro de las perforaciones de la pantalla, o si se incrementa la cantidad de perforaciones. Acerca del efecto filtro peine, para obtener la mínima amplitud de éste la pantalla se deberá situar a una distancia entre 15 y 30 cm del altavoz, encontrando a la distancia de 30 cm que la última reflexión analizada a través de Cepstrum llega 5 ms más tarde que la señal directa, por lo cual no debería dañar el sonido ni la claridad del habla.

High-speed trains and tourists: what is the link? Evidence from the French and Spanish capitals

The objective of this paper is to analyse the factors influencing tourists? choice of a destination and the role of High Speed Rail (HSR) systems in this choice. The methodology proposed consists in analysing two capitals in Europe, i.e. Paris and Madrid where HSR services are important, to investigate the factors influencing holidaymakers in choosing these cities, and the role of HSR in this choice. The main outcome of this paper is to show that several factors influence the choice of a tourist, like the presence of architectural sites, the quality of promotion of the destination itself, the presence of events, and also HSR services. However we found that the HSR system has affected the choice of Paris and Madrid in a different way. Concerning the French case study, HSR is considered a real transport mode alternative among tourists, therefore HSR is chosen to reach Paris as well as for revisiting it. On the other hand, Madrid is chosen by tourists irrespective on the presence of HSR, while HSR is chosen for reaching cities close to Madrid. Data collected from the two surveys have been used for a further quantitative analysis. Models have been specified and calibrated to identify the factors influencing holidaymakers to revisit Paris and Madrid and the role of HSR in this choice has been highlighted.

Jacques Tati : vivienda experimental y espacio de trabajo a mediados del siglo XX

La obra fílmica del director francés Jacques Tati podría considerarse como el perfecto reflejo del paradigma edificatorio de mediados del siglo XX en plena posguerra europea, una época ávida de transformaciones de las que el cine supo hacerse eco. Particularmente, el cine de Tati refleja las preocupaciones del ciudadano europeo de posguerra sobre las consecuencias de las masivas construcciones erigidas en sus devastados núcleos urbanos y la puesta en práctica de la ciudad funcional propuesta por la Carta de Atenas (1931). Pero, además, el análisis del cine de Jacques Tati permite un acercamiento a la modernidad desde diversos puntos de vista como la movilidad, el diseño urbano, las nuevas construcciones, los espacios de trabajo en los nuevos distritos terciarios, la vivienda -tradicional, moderna y experimental- o el diseño mobiliario en la posguerra. A través de su alter ego -Monsieur Hulot- Tati interacciona curioso con las nuevas construcciones geométricas de paños neutros y cuestiona su ruptura con la tradición edificatoria francesa, enfatizando la oposición entre el pasado nostálgico y la modernidad de las décadas de los 50 y 60, salpicadas por el consumismo feroz del recién estrenado estado de bienestar. La confrontación funcional, volumétrica, estética e incluso cromática entre ambos mundos construidos –el tradicional y el moderno- invita al espectador a un ejercicio de reflexión y crítica sobre la arquitectura moderna de este período en Europa. En particular, la mirada cinematográfica de Tati se centra en dos conceptos fundamentales. Por una parte, su atención se dirige a la famosa casa mecanicista Le Corbuseriana materializada en la ultra-moderna casa Arpel (Mon Oncle, 1958) y proyectada en la misma época en la que se desarrollaban importantes prototipos de vivienda experimental como la Casa de Futuro de Alison y Peter Smithson o las viviendas de Jean Prouvé. Debe ponerse de manifiesto que la crítica de Jacques Tati no se centraba en la arquitectura moderna en sí misma sino en el empleo erróneo que los usuarios pudieran hacer de ella. Por otro lado, Tati centra su atención en el prisma miesiano a través de los bloques de oficinas que conforman la ciudad de Tativille en Playtime (1967). Se trataba de una gran ciudad moderna construida explícitamente para el rodaje de la película y basada en los casi idénticos tejidos urbanos residenciales y terciarios ya en funcionamiento en las principales capitales europeas y norteamericanas en aquellos años. Tativille funcionaría como una ciudad autónoma disponiendo de diversas instalaciones y con el objetivo de integrarse y consolidarse en la trama urbana parisina. Lamentablemente, su destino al final del rodaje fue bien distinto. En definitiva, el análisis de la producción fílmica de Jacques Tati permite un acercamiento a la arquitectura y al urbanismo modernos de posguerra y al contexto socio-económico que favoreció su crecimiento y expansión. Por ello, su obra constituye una herramienta visual muy útil que aún hoy es consultada y mostrada por su claridad y humor y que invita a los ciudadanos –telespectadores- a participar en un ejercicio crítico arquitectónico hasta entonces reservado a los arquitectos. ABSTRACT The film work of French director Jacques Tati could be considered as the perfect reflection of the mid-20th century European post-war building paradigm, a period of time plenty of transformations perfectly echoed by cinema. In particular, Tati’s film work reflects the European post-war citizen’s concerns about the consequences of massive constructions built in their desvastated urban centres, as well as the development of functional cities proposed by the Athens Charter (1931). But, on top of that, an analysis of Jacques Tati’s cinematography allows for an approach to modernity from different perspectives, such as mobility, urban design, new buildings, working spaces in the new tertiary districts, housing -traditional, modern, and experimental-, or furniture design during the post-war period. Embodied by his alter-ego –Monsieur Hulot,- Tati curiously interacts with the new geometric constructions of neutral facades and questions the break with the French building tradition, highlighting the opposition between the nostalgic past and modernity of the 50s and 60s, affected by the fierce consumerism of the new welfare state. The functional, volumetric, aesthetic and even chromatic confrontation between both built worlds –traditional vs modern- invites the viewer to an exercise of meditation and criticism on the European modern architecture of that period. Tati’s film look is particularly focused on two basic concepts: on the one hand, his attention addresses Le Corbusier’s famous mechanistic house which is materialized in the ultra-modern Arpel house (Mon Oncle, 1958) and designed, in turn, when the development of other important experimental dwelling prototypes like Alison and Peter Smithson’s House of the Future or Jean Prouvé´s houses was taking place. It must be highlighted that Jacques Tati’s criticism was not addressed to modern architecture itself but to the wrong use that citizens could make of it. On the other hand, Tati focuses on the Miesian prism through the office buildings that shape the city of Tativille in Playtime (1967). It was a big, modern city built specifically for the film shooting, and based on the almost identical residential and tertiary urban fabrics already active in the main European and American capitals those years. Tativille would work as an autonomous city, having several facilities at its disposal and with the goal of getting integrated and consolidated into the Parisian urban weave. However, its final use was, unfortunately, quite different. In conclusion, an analysis of Jacques Tati’s film production allows for an approach to modern post-war architecture and urbanism, as well as to the socio-economic context that favoured its growth and expansion. As a result of this, Jacques Tati’s film production constitutes a suitable visual tool which, even nowadays, is consulted and shown due to its clarity and humour, and at the same time invites citizens –viewers- to participate in an architectural criticism exercise that, so far, had been reserved to architects.

La representación de la arquitectura moderna : la villa Stein-de Monzie en "L'Oeuvre Complète" de Le Corbusier y Pierre Jeanneret : influencia de la visión cinematográfica

Esta tesis doctoral trata de investigar cuánto hubo de presencia del cine en el pensamiento de Le Corbusier y Pierre Jeanneret, a la hora de acometer la publicación y maquetación de las páginas dedicadas a la Villa Stein-de Monzie en Garches, en “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Qué mecanismos cinematográficos pusieron en juego, cuando montaban las páginas de L´Oeuvre Complète. Más que encontrar elementos cinematográficos utilizados de manera directa; el objetivo de esta tesis es profundizar en los mecanismos, procedimientos, sistemas de generación de ideas a lo largo del proceso de proyecto; en las maneras de percibir y experimentar los espacios, o de observar las formas. El armazón lo compone por lo tanto el análisis del modo en que Le Corbusier representa la villa en L´Oeuvre Complète, sus intenciones y la función pedagógica de este modo de representar; así como sus diferencias con respecto a lo realmente construido. Una realidad elaborada sobre un tablero; maquetando su representación, eligiendo los fragmentos, y componiendo las láminas (cercana a la de un director de cine). La justificación del objeto a estudiar se plantea en el primer capítulo: L´Oeuvre Complète (1937), la reedición en francés, alemán e inglés de la primera edición en alemán, Ihr Gesamtes Werk (1929).Se establecen las intenciones de Le Corbusier de que se convierta en un modelo de Tratado de Arquitectura Moderna, eminentemente visual. Se estudian los mecanismos formales y geométricos de composición del libro, y el modo en el que L´Oeuvre Complète debe ser leída. El desarrollo de los siguientes capítulos (del 2 al 9) recoge el método principal de investigación de esta tesis, basado en una lectura longitudinal, crítica y sistemática, a partir de la observación atenta de la representación de la villa Stein-de Monzie en Garches, en las páginas nº 140 a 149 de L´Oeuvre Complète. Se efectúa mediante un desarrollo lineal y secuenciado, como si de un guión cinematográfico se tratara. Cada capítulo describe y analiza cada uno de los diferentes fragmentos, permitiendo al mismo tiempo enlazar temas de interés que ayudan a comprender aspectos de la villa de Garches, de su concepción en la intensa labor de proyecto (con numerosas variantes y propuestas), e incluso de su aparición en el cine. Además, la tesis arroja luz sobre unos documentos bastante desconocidos: las láminas de la colección del Museo Cooper-Hewitt de nueva York, para la villa de Garches. El análisis de la presentación de la villa de Garches en L´Oeuvre Complète, constata que para Le Corbusier, el fragmento, per se, ha de ser perfecto, produciendo la máxima emoción. Como un prestidigitador, Le Corbusier los manipula, o le niega información al espectador mediante el uso de la elipsis en el relato. Los textos concatenan las imágenes, soportan el hilo de la narración. Los bocetos quieren siempre seducir al espectador: son dibujos que rezuman vitalidad, con una técnica muy cercana a la ligne claire del cómic. Las plantas son un laboratorio para demostrar su jerarquía y su libertad de composición; eliminando elementos, distorsionando la valoración de líneas y apareciendo algún elemento no ejecutado. Los alzados, esquemáticos y abstractos, demuestran el control de la geometría para garantizar la emoción. Las fotografías son controladas en su fase de captura (elección del punto de vista, cuidada puesta en escena de los objetos, composición con la luz, uso de las sombras para la aparición del fuera de campo); pero también en la fase de postproducción y edición, donde son cortadas, alisadas superficies, borrando o dibujando elementos sobre ellas. El montaje compone asimismo una representación dinámica, fragmentada y múltiple de la villa. Como sucede en el cine, los fragmentos sólo encuentran su razón de ser una vez son re-creados y montados en la cabeza del espectador. La falta de raccord es un mecanismo buscado por Le Corbusier, trasladando a la representación una de las primordiales características de la villa de Garches: su permanente dualidad simultánea. Todos estos mecanismos son desplegados por Le Corbusier, para ofrecer una versión idealizada de la villa, que recoja todas las virtudes de los distintos proyectos e incorpore el factor tiempo. ABSTRACT This doctoral thesis tries to investigate how much the cinema affected Le Corbusier and Pierre Jeanneret´s thoughts, at the moment of undertaking the publication and layout of the pages dedicated to the villa Stein-de Monzie in Garches, in the book “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Which cinematographic mechanisms they brought into play, when they were mounting those pages. Instead of finding cinematographic elements, used directly; the aim of this thesis is to go deeply into the mechanisms, methods, systems of generation of ideas along the project process; into the ways of seeing and feeling the spaces, or of watching the forms. The body is composed therefore by the analysis of the way in which Le Corbusier represents the villa in L'Oeuvre Complète, his intentions and the pedagogic function of that way of representation; as well as its differences with the real built villa. One reality elaborated on a board; laying out its representation, choosing the fragments, and composing the sheets (near to the work of a director of cinema). The justification of the object to studying appears in the first chapter: L'Oeuvre Complète (1937), the reissue in French, German and English of the first edition in German, Ihr Gesamtes Werk (1929). This chapter shows the intentions of Le Corbusier of turning the book into a model of modern architecture, highly visual. The formal and geometric mechanisms of composition of the book are studied, and the way in which L'Oeuvre Complète must be read. The development of the following chapters (from 2 to 9) gathers the principal method of investigation of this thesis, based on a longitudinal, critical and systematic reading; from the watching of the representation of the villa Stein-de Monzie in Garches, in the pages nr. 140 to 149 of L'Oeuvre Complète. It is carried out by a linear and sequenced development, as a cinematographic script. Every chapter describes and analyzes each of the different fragments, allowing at the same time to connect interesting issues that help to understand aspects of the villa in Garches, of its conception in the intense project process (with numerous variants and designs), and even of its appearance in films. Also, the thesis throws light on some unknown documents: the sheets of the collection of the Museum Cooper-Hewitt in New York, for the villa in Garches. The analysis of the presentation of the villa in Garches in L'Oeuvre Complète, proves that for Le Corbusier, the fragment, itself, has to be perfect, getting the maximum emotion. As a prestidigitator, Le Corbusier manipulates them, or denies information to the spectator by means of the use of the ellipsis in the story. The texts concatenate the images, support the thread of the story. The sketches always attempt to seduce the spectator: they are drawings that leak vitality, with lines very near to the ligne claire of the cómic. The plans are a laboratory to demonstrate their hierarchy and their freedom of composition; deleting elements, distorting the thickness of lines and showing some not executed elements. The elevations, schematic and abstract, shows the control of the geometry to guarantee the emotion in architecture. The pictures are controlled in their instant of capture (choice of the point of view, elegant mise-en-scène of the objects, composition with light, use of the shadows for the appearance of out of vision); but also in the postproduction and edition time, when surfaces are cut, smoothing, erasing or drawing elements in them. The montage composes in the same way a dynamic, fragmented and multiple representation of the villa. As in the films, the fragments only find their raison d'être once they have been re-created and mounted into the mind of the viewer. The continuity error is a mechanism allowed by Le Corbusier, transfering to the representation in the book one of the basic characteristics of the villa in Garches: its constant simultaneous duality. All these methods are displayed by Le Corbusier, to offer an idealized version of the villa, which gathers all the virtues of the different projects, and incorporates the time factor.