Influence of cement properties in the reaction rate and mechanical behavior of concrete with high fl y ash content

The use of fly ash (FA) as an admixture to concrete is broadly extended for two main reasons: the reduction of costs that supposes the substitution of cement and the micro structural changes motivated by the mineral admixture. Regarding this second point, there is a consensus that considers that the ash generates a more compact concrete and a reduction in the size of the pore. However, the measure in which this contributes to the pozzolanic activity or as filler is not well defined. There is also no justification to the influence of the physical parameters, fineness of the grain and free water, in its behavior. This work studies the use of FA as a partial substitute of the cement in concretes of different workability (dry and wet) and the influence in the reactivity of the ash. The concrete of dry consistency which serves as reference uses a cement dose of 250 Kg/m 3 and the concrete of fluid consistency utilized a dose of cement of 350 Kg/m 3 . Two trademark of Portland Cement Type 1 were used. The first reached the resistant class for its fineness of grain and the second one for its composition. Moreover, three doses of FA have been used, and the water/binder ratio was constant in all the mixtures. We have studied the mechanical properties and the micro-structure of the concretes by means of compressive strength tests, mercury intrusion porosimetry (MIP) and thermal analysis (TA). The results of compressive strength tests allow us to observe that concrete mixtures with cements of the same classification and similar dosage of binder do not present the same mechanical behavior. These results show that the effective water/binder ratio has a major role in the development of the mechanical properties of concrete. The study of different dosages using TA, thermo-gravimetry and differential thermal analysis, revealed that the portlandite content is not restrictive in any of the dosages studied. Again, this proves that the rheology of the material influences the reaction rate and content of hydrated cement products. We conclude that the available free water is determinant in the efficiency of pozzolanic reaction. It is so that in accordance to the availability of free water, the ashes can react as an active admixture or simply change the porous distribution. The MIP shows concretes that do not exhibit significant changes in their mechanical behavior, but have suffered significant variation in their porous structure

Max Bill: variaciones sobre la búsqueda de la belleza

Max Bill es un artista lógico. Quince variaciones sobre el mismo tema 1938, podría ser el epítome de la lógica de Bill: la obra como resultado de la aplicación de leyes distintas sobre una estructura de orden. La gran diversidad formal de la obra de Max Bill –entre sus diseños de objetos, su tipografía, su pintura, su escultura o su arquitectura no parece haber líneas formales evidentes- se debe a que, para él, cada tarea es diferente y depende de medios y leyes propios. Una diversidad que podría ser erróneamente interpretada como un tipo de eclecticismo. Su conferencia en el Werkbund suizo de 1948 “belleza de la función, belleza como función”, se aleja del discurso funcionalista al proponer la belleza como una igual al resto de funciones. Cada obra ha de satisfacer la finalidad para la que ha sido construida y cumplir todas las funciones que en ella intervienen pero, además, ha de ser bella. La particularidad de Bill estriba en que, reconociéndose a sí mismo como un artista lógico, incluye la belleza como una más de las funciones a cumplir por cualquier objeto. Su famoso aforismo en relación a la configuración del entorno, desde la cuchara a la ciudad, incluiría la arquitectura en el ámbito de los objetos que han de cumplir esta nueva función. La búsqueda de la belleza será una constante en su obra. No una belleza generalizable y determinada a priori, sino una belleza entendida como predicado singular, individualizada para cada tarea. De este modo, podemos analizar, alternativamente, la belleza lógica de sus construcciones geométricas y la belleza simbólica de sus monumentos; la belleza del espacio sin fin en las superficies de una sola cara y la belleza prefabricada en sus más austeras realizaciones; la belleza elemental de sus esculturas y la belleza corriente con que sus arquitecturas se integran en la ciudad. Podemos plantearnos la posibilidad de una belleza de la estructura y entender simultáneamente la belleza cruda de su obra maestra, los edificios de la Escuela de Ulm. La búsqueda de la belleza nos ayudará a entender que, en la obra de Bill, la razón intuitiva -como modo de conocimiento- toma mayor importancia de la que parece. La forma como suma de todas las funciones en unidad armónica, será el resultado de un adecuado equilibrio entre razón lógica y razón intuitiva. ABSTRACT Max Bill is a logical artist. We could consider “Fitfteen variations on the same theme”, 1938, as the Bill’s logic epitome: the work as a result of the application of different tectonic laws on the order structure. The variety of the form in Bill’s work –his designed objects, his typography, his painting, his sculpture, or his architecture do not seem to have, between them, a direct line connecting the form- is due to the fact that, for him, each task is different and it depends on the own means and tectonic laws. A kind of diversity that could be misinterpreted like certain type of eclecticism. His lecture at the Suisse Werkbund (1948) “beauty from function and as function” is far from the functionalist speech, when proposing beauty as an equal to the rest of functions. In his own words, each work has to satisfy the purpose it was built for and fulfill all functions, and furthermore it has to be beautiful. Seeing himself as a logical artist, Bill however introduces beauty as one more of the functions that any object has to fulfill. His famous aphorism related to the environment management, from the spoon to the city, would include architecture as one more of the objects that have to satisfy this new function. The pursuit of beauty is a constant in his work. It won’t be a general beauty determined in advance, but a singular predicate, individualized for each task. That way, we can analyze, alternatively, the logical beauty of his geometric constructions and the symbolical beauty of his monuments; the beauty of the endless space in the single-sided surfaces and the prefabricated beauty in his most stricts constructions; the elemental beauty of his sculptures and the ordinary beauty with which some of his architectures are integrated in the city. We can also try the possibility of a beauty from the structure and understand, at the same time, the raw beauty of his architectural masterpiece, the buildings of the Ulm School of Design. The pursuit of beauty in Bill’s work will help us to understand that intuitive reason, as a way of knowledge, takes more importance than it seems. Form, as the harmonious expression of the sum of all functions, will be the result of an appropriate balance between logical and intuitive reason.