Marginal Man in Modern Russian Literature

This research was focused around the intersection of two discourses: that of marginality and that of ideology. Ponomarev analysed works by Alexander Zinoviev, Vladimir Maximov and Eduard Limonov - three writers representing different groups of Soviet dissidence - from the viewpoint of the concept, drawn from anthropological theory, of marginal man. Using a methodology he describes as ideological analysis, Ponomarev showed that the ideologies of both the writers and their characters are marginal, lying as they do between official Soviet and western democratic ideologies. He showed that the works and the 'creative behaviour' of the three writers did not change after 1991, when their ideas seemed victorious. Marginality is shown to be a permanent characteristic and is linked with the main ideas of the dissident movement in the USSR. On the basis of this marginality, Ponomarev identified some common traits in dissident ideas and drew up a model of dissident ideology. This general model of dissident ideology seems to be one of the special Russian variants of the marginal ideologies of intelligentsia and could be compared to the ideology of Rodon Raskolnikov, the central character in Dostoevsky's Crime and Punishment. The discourse of ideology in the USSR in the 1970s-1980s and in 1990s Russia thus appeared as a process in which the elements of the official Soviet ideology were gradually superseded by those of the dissident ideology linked with the ideology of the underground, the Russian version of the post-modern. Marginal ideologies won and became mainstream but did not lose their basic marginal traits. Ponomarev concludes that the gap between the 'state ideology' and the dissident ideology, taken together with the special Russian version of postmodernity has shaped the current literary process in Russia, making the figure of the marginal man into the main writer type.

Synchronous Description of the Grammatical Structure of Modern Romani and Elaboration of Romani Textbook

The first outcome of this project was a synchronous description of the most widely spoken Romani dialect in the Czech and Slovak Republics, aimed at teachers and lecturers of the Romani language. This is intended to serve as a methodological guide for the demonstration of various grammatical phenomena, but may also assist people who want a basic knowledge of the linguistic structure of this neo-Indian language. The grammatical material is divided into 23 chapters, in a sequence which may be followed in teaching or studying. The book includes examples of the grammatical elements, but not exercises or articles. The second work produced was a textbook of Slovak Romani, which is the most detailed in the Czech or Slovak Republics to date. It is aimed at all those interested in active use of the Romani language: high school and university students, people working with the Roma, and Roma who speak little or nothing of the language of their forebears, The book includes 34 lessons, each containing relevant Romani tests (articles and dialogues), a short vocabulary list, grammatical explanations, exercises and examples of Romani written or oral expression. The textbook also contains a considerable amount of ethno-cultural information and notes on the life and traditions of the Roman, as well as pointing out some differences between different dialects. A brief Romani-Czech phrase book is included as an appendix.

Past is Prologue: Montana’s Historic Women’s Movement Re-emerges in the Progressive 1970s -- Dorothy Bradley, Marilyn Wessel & Jane Jelinski “In the Crucible of Change”

One-hundred years ago, in 1914, male voters in Montana (MT) extended suffrage (voting rights) to women six years before the 19th Amendment to the US Constitution was ratified and provided that right to women in all states. The long struggle for women’s suffrage was energized in the progressive era and Jeanette Rankin of Missoula emerged as a leader of the campaign; in 1912 both major MT political party platforms supported women suffrage. In the 1914 election, 41,000 male voters supported woman suffrage while nearly 38,000 opposed it. MT was not only ahead of the curve on women suffrage, but just two years later in 1916 elected Jeanette Rankin as the first woman ever elected to the United States Congress. Rankin became a national leader for women's equality. In her commitment to equality, she opposed US entry into World War I, partially because she said she could not support men being made to go to war if women were not allowed to serve alongside them. During MT’s initial progressive era, women in MT not only pursued equality for themselves (the MT Legislature passed an equal pay act in 1919), but pursued other social improvements, such as temperance/prohibition. Well-known national women leaders such as Carrie Nation and others found a welcome in MT during the period. Women's role in the trade union movement was evidenced in MT by the creation of the Women's Protective Union in Butte, the first union in America dedicated solely to women workers. But Rankin’s defeat following her vote against World War I was used as a way for opponents to advocate a conservative, traditionalist perspective on women's rights in MT. Just as we then entered a period in MT where the “copper collar” was tightened around MT economically and politically by the Anaconda Company and its allies, we also found a different kind of conservative, traditionalist collar tightened around the necks of MT women. The recognition of women's role during World War II, represented by “Rosie the Riveter,” made it more difficult for that conservative, traditionalist approach to be forever maintained. In addition, women's role in MT agriculture – family farms and ranches -- spoke strongly to the concept of equality, as farm wives were clearly active partners in the agricultural enterprises. But rural MT was, by and large, the bastion of conservative values relative to the position of women in society. As the period of “In the Crucible of Change” began, the 1965 MT Legislature included only three women. In 1967 and 1969 only one woman legislator served. In 1971 the number went up to two, including one of our guests, Dorothy Bradley. It was only after the Constitutional Convention, which featured 19 women delegates, that the barrier was broken. The 1973 Legislature saw 9 women elected. The 1975 and 1977 sessions had 14 women legislators; 15 were elected for the 1979 session. At that time progressive women and men in the Legislature helped implement the equality provisions of the new MT Constitution, ratified the federal Equal Rights Amendment in 1974, and held back national and local conservatives forces which sought in later Legislatures to repeal that ratification. As with the national movement at the time, MT women sought and often succeeded in adopting legal mechanisms that protected women’s equality, while full equality in the external world remained (and remains) a treasured objective. The story of the re-emergence of Montana’s women’s movement in the 1970s is discussed in this chapter by three very successful and prominent women who were directly involved in the effort: Dorothy Bradley, Marilyn Wessel, and Jane Jelinski. Their recollections of the political, sociological and cultural path Montana women pursued in the 1970s and the challenges and opposition they faced provide an insider’s perspective of the battle for equality for women under the Big Sky “In the Crucible of Change.” Dorothy Bradley grew up in Bozeman, Montana; received her Bachelor of Arts Phi Beta Kappa from Colorado College, Colorado Springs, in 1969 with a Distinction in Anthropology; and her Juris Doctor from American University in Washington, D.C., in 1983. In 1970, at the age of 22, following the first Earth Day and running on an environmental platform, Ms. Bradley won a seat in the 1971 Montana House of Representatives where she served as the youngest member and only woman. Bradley established a record of achievement on environmental & progressive legislation for four terms, before giving up the seat to run a strong second to Pat Williams for the Democratic nomination for an open seat in Montana’s Western Congressional District. After becoming an attorney and an expert on water law, she returned to the Legislature for 4 more terms in the mid-to-late 1980s. Serving a total of eight terms, Dorothy was known for her leadership on natural resources, tax reform, economic development, and other difficult issues during which time she gained recognition for her consensus-building approach. Campaigning by riding her horse across the state, Dorothy was the Democratic nominee for Governor in 1992, losing the race by less than a percentage point. In 1993 she briefly taught at a small rural school next to the Northern Cheyenne Indian Reservation. She was then hired as the Director of the Montana University System Water Center, an education and research arm of Montana State University. From 2000 - 2008 she served as the first Gallatin County Court Administrator with the task of collaboratively redesigning the criminal justice system. She currently serves on One Montana’s Board, is a National Advisor for the American Prairie Foundation, and is on NorthWestern Energy’s Board of Directors. Dorothy was recognized with an Honorary Doctorate from her alma mater, Colorado College, was named Business Woman of the Year by the Bozeman Chamber of Commerce and MSU Alumni Association, and was Montana Business and Professional Women’s Montana Woman of Achievement. Marilyn Wessel was born in Iowa, lived and worked in Los Angeles, California, and Washington, D.C. before moving to Bozeman in 1972. She has an undergraduate degree in journalism from Iowa State University, graduate degree in public administration from Montana State University, certification from the Harvard University Institute for Education Management, and served a senior internship with the U.S. Congress, Montana delegation. In Montana Marilyn has served in a number of professional positions, including part-time editor for the Montana Cooperative Extension Service, News Director for KBMN Radio, Special Assistant to the President and Director of Communications at Montana State University, Director of University Relations at Montana State University and Dean and Director of the Museum of the Rockies at MSU. Marilyn retired from MSU as Dean Emeritus in 2003. Her past Board Service includes Montana State Merit System Council, Montana Ambassadors, Vigilante Theater Company, Montana State Commission on Practice, Museum of the Rockies, Helena Branch of the Ninth District Federal Reserve Bank, Burton K. Wheeler Center for Public Policy, Bozeman Chamber of Commerce, and Friends of KUSM Public Television. Marilyn’s past publications and productions include several articles on communications and public administration issues as well as research, script preparation and presentation of several radio documentaries and several public television programs. She is co-author of one book, 4-H An American Idea: A History of 4-H. Marilyn’s other past volunteer activities and organizations include Business and Professional Women, Women's Political Caucus, League of Women Voters, and numerous political campaigns. She is currently engaged professionally in museum-related consulting and part-time teaching at Montana State University as well as serving on the Editorial Board of the Bozeman Daily Chronicle and a member of Pilgrim Congregational Church and Family Promise. Marilyn and her husband Tom, a retired MSU professor, live in Bozeman. She enjoys time with her children and grandchildren, hiking, golf, Italian studies, cooking, gardening and travel. Jane Jelinski is a Wisconsin native, with a BA from Fontbonne College in St. Louis, MO who taught fifth and seventh grades prior to moving to Bozeman in 1973. A stay-at-home mom with a five year old daughter and an infant son, she was promptly recruited by the Gallatin Women’s Political Caucus to conduct a study of Sex-Role Stereotyping in K Through 6 Reading Text Books in the Bozeman School District. Sociologist Dr. Louise Hale designed the study and did the statistical analysis and Jane read all the texts, entered the data and wrote the report. It was widely disseminated across Montana and received attention of the press. Her next venture into community activism was to lead the successful effort to downzone her neighborhood which was under threat of encroaching business development. Today the neighborhood enjoys the protections of a Historic Preservation District. During this time she earned her MPA from Montana State University. Subsequently Jane founded the Gallatin Advocacy Program for Developmentally Disabled Adults in 1978 and served as its Executive Director until her appointment to the Gallatin County Commission in 1984, a controversial appointment which she chronicled in the Fall issue of the Gallatin History Museum Quarterly. Copies of the issue can be ordered through: http://gallatinhistorymuseum.org/the-museum-bookstore/shop/. Jane was re-elected three times as County Commissioner, serving fourteen years. She was active in the Montana Association of Counties (MACO) and was elected its President in 1994. She was also active in the National Association of Counties, serving on numerous policy committees. In 1998 Jane resigned from the County Commission 6 months before the end of her final term to accept the position of Assistant Director of MACO, from where she lobbied for counties, provided training and research for county officials, and published a monthly newsletter. In 2001 she became Director of the MSU Local Government Center where she continued to provide training and research for county and municipal officials across MT. There she initiated the Montana Mayors Academy in partnership with MMIA. She taught State and Local Government, Montana Politics and Public Administration in the MSU Political Science Department before retiring in 2008. Jane has been married to Jack for 46 years, has two grown children and three grandchildren.

The Integration of Formal and Non-formal Education: The Dutch “brede school”

The Dutch “brede school” (BS) development originates in the 1990s and has spread unevenly since: quicker in the primary than secondary educational sector. In 2007, there were about 1000 primary and 350 secondary BS schools and it is the intention of the government as well as the individual municipalities to extend that number and make the BS the dominant school form of the near future. In the primary sector, a BS cooperates with crèche and preschool facilities, besides possible other neighborhood partners. The main targets are, first, to enhance educational opportunities, particularly for children with little (western-) cultural capital, and secondly to increase women’s labor market participation by providing extra familial care for babies and small children. All primary schools are now obliged to provide such care. In the secondary sector, a BS is less neighborhood-orientated than a primary BS because those schools are bigger and more often located in different buildings. As in the primary sector, there are broad and more narrow BS, the first profile cooperating with many non-formal and other partners and facilities and the second with few. On the whole, there is a wide variety of BS schools, with different profiles and objectives, dependent on the needs and wishes of the initiators and the neighborhood. A BS is always the result of initiatives of the respective school and its partners: parents, other neighborhood associations, municipality etc. BS schools are not enforced by the government although the general trend will be that existing school organizations transform into BS. The integration of formal and non-formal education and learning is more advanced in primary than secondary schools. In secondary education, vocational as well as general, there is a clear dominance of formal education; the non-formal curriculum serves mainly two lines and objectives: first, provide attractive leisure activities and second provide compensatory courses and support for under-achievers who are often students with migrant background. In both sectors, primary and secondary, it is the formal school organization with its professionals which determines the character of a BS; there is no full integration of formal and non-formal education resulting in one non-disruptive learning trajectory, nor is there the intention to go in that direction. Non-formal pedagogues are partly professionals, like youth- and social workers, partly volunteers, like parents, partly non-educational partners, like school-police, psycho-medical help or commercial leisure providers. Besides that, the BS is regarded by government educational and social policy as a potential partner and anchor for community development. It is too early to make reliable statements about the effects of the BS movement in the Netherlands concerning the educational opportunities for disadvantaged children and their families, especially those with migrant background, and combat further segregation. Evaluation studies made so far are moderately positive but also point to problems of overly bureaucratized structures and layers, lack of sufficient financial resources and, again, are uncertain about long-term effects.

Eye Movement Measures of Cognitive Control in Children with Tourette Syndrome

Tourette Syndrome begins in childhood and is characterized by uncontrollable repetitive actions like neck craning or hopping and noises such as sniffing or chirping. Worst in early adolescence, these tics wax and wane in severity and occur in bouts unpredictably, often drawing unwanted attention from bystanders. Making matters worse, over half of children with Tourette Syndrome also suffer from comorbid, or concurrent, disorders such as attention deficit hyperactivity disorder (ADHD) and obsessive-compulsive disorder (OCD). These disorders introduce anxious thoughts, impulsivity, inattention, and mood variability that further disrupt children with Tourette Syndrome from focusing and performing well at school and home. Thus, deficits in the cognitive control functions of response inhibition, response generation, and working memory have long been ascribed to Tourette Syndrome. Yet, without considering the effect of medication, age, and comorbidity, this is a premature attribution. This study used an infrared eye tracking camera and various computer tasks requiring eye movement responses to evaluate response inhibition, response generation, and working memory in Tourette Syndrome. This study, the first to control for medication, age, and comorbidity, enrolled 39 unmedicated children with Tourette Syndrome and 29 typically developing peers aged 10-16 years who completed reflexive and voluntary eye movement tasks and diagnostic rating scales to assess symptom severities of Tourette Syndrome, ADHD, and OCD. Children with Tourette Syndrome and comorbid ADHD and/or OCD, but not children with Tourette Syndrome only, took longer to respond and made more errors and distracted eye movements compared to typically-developing children, displaying cognitive control deficits. However, increasing symptom severities of Tourette Syndrome, ADHD, and OCD correlated with one another. Thus, cognitive control deficits were not specific to Tourette Syndrome patients with comorbid conditions, but rather increase with increasing tic severity, suggesting that a majority of Tourette Syndrome patients, regardless of a clinical diagnosis of ADHD and/or OCD, have symptoms of cognitive control deficits at some level. Therefore, clinicians should evaluate and counsel all families of children with Tourette Syndrome, with or without currently diagnosed ADHD and/or OCD, about the functional ramifications of comorbid symptoms and that they may wax and wane with tic severity.

Modern approaches to pediatric brain injury therapy.

Each year, pediatric traumatic brain injury (TBI) accounts for 435,000 emergency department visits, 37,000 hospital admissions, and approximately 2,500 deaths in the United States. TBI results in immediate injury from direct mechanical force and shear. Secondary injury results from the release of biochemical or inflammatory factors that alter the loco-regional milieu in the acute, subacute, and delayed intervals after a mechanical insult. Preliminary preclinical and clinical research is underway to evaluate the benefit from progenitor cell therapeutics, hypertonic saline infusion, and controlled hypothermia. However, all phase III clinical trials investigating pharmacologic monotherapy for TBI have shown no benefit. A recent National Institutes of Health consensus statement recommends research into multimodality treatments for TBI. This article will review the complex pathophysiology of TBI as well as the possible therapeutic mechanisms of progenitor cell transplantation, hypertonic saline infusion, and controlled hypothermia for possible utilization in multimodality clinical trials.

The effect of acute exercise and psychosocial stress on fine motor skills and testosterone concentration in the saliva of high school students

Little is known about the influence of different stressors on fine motor skills, the concentration of testosterone (T), and their interaction in adolescents. Therefore, 62 high school students aged 14–15 years were randomly assigned to two experimental groups (exercise, psychosocial stress) and a control group. Exercise stress was induced at 65–75% of the maximum heart rate by running for 15 minutes (n = 24). Psychosocial stress was generated by an intelligence test (HAWIK- IV), which was uncontrollable and characterized by social-evaluative-threat to the students (n=21). The control group followed was part of a regular school lesson with the same duration (n = 28). Saliva was collected after a normal school lesson (pre-test) as well as after the intervention/control period (post-test) and was analyzed for testosterone. Fine motor skills were assessed pre- and post-intervention using a manual dexterity test (Flower Trail) from the Movement Assessment Battery for Children-2. A repeated measure ANCOVA including gender as a covariate revealed a significant group by test interaction, indicating an increase in manual dexterity only for the psychosocial stress group. Correlation analysis of all students shows that the change of testosterone from pre- to post-test was directly linked (r = 2.31, p = .01) to the changes in manual dexterity performance. Participants showing high increases in testosterone from pre- to post-test made fewer mistakes in the fine motor skills task. Findings suggest that manual dexterity increases when psychosocial stress is induced and that improvement of manual dexterity performance corresponds with the increase of testosterone.

The relation between cognitive and motor performance and their relevance for children’s transition to school: A latent variable approach

Both theoretically and empirically there is a continuous interest in understanding the specific relation between cognitive and motor development in childhood. In the present longitudinal study including three measurement points, this relation was targeted. At the beginning of the study, the participating children were 5-6-year-olds. By assessing participants' fine motor skills, their executive functioning, and their non-verbal intelligence, their cross-sectional and cross-lagged interrelations were examined. Additionally, performance in these three areas was used to predict early school achievement (in terms of mathematics, reading, and spelling) at the end of participants' first grade. Correlational analyses and structural equation modeling revealed that fine motor skills, non-verbal intelligence and executive functioning were significantly interrelated. Both fine motor skills and intelligence had significant links to later school achievement. However, when executive functioning was additionally included into the prediction of early academic achievement, fine motor skills and non-verbal intelligence were no longer significantly associated with later school performance suggesting that executive functioning plays an important role for the motor-cognitive performance link.

Alessandro Baricco: A Modern Homer / Alessandro Baricco: Omero Modern

Alessandro Baricco is an Italian author, pianist, journalist and music critic, among a wide range of many other talents. His novels have won great critical acclaim in Italy and France and are popular around the world. While generally considered among the postmodern writers, some critics have accused him of being a forerunner in a 1990s movement dubbed letteratura giovanile, that is juvenile literature that is simplistic, targets a young audience and is created for the sole purpose of making money. This criticism is unwarranted. Baricco is a multitalented author who pays strict attention to the quality of his work and weaves plotlines replete with a diverse set of genres, literary devices and symbolism, often inspired by other great writers and thinkers. However, literary critics have yet to acknowledge one of Baricco's strongest and most important influences: Homer, the ancient Greek bard and author of the epic poems, the Iliad and the Odyssey. Taking Baricco's work in a Homeric context can aid in viewing it as valid and important work, worthy of scholarly discussion and interpretation, rather than, as some critics accuse, a one-dimensional story meant only for children. This paper will argue that Baricco's work is Homeric and, in fact, Baricco's implementation of many of Homer's devices, such as his understanding of his audience and use rhythmic language and stereotyped story patterns, has aided Baricco's great success and popularity.

La arquitectura de José M. García de Paredes ideario de una obra

Acercarse a las obras de José M. García de Paredes, y mirarlas como un conjunto de ideas que nos indican una manera de pensar y de hacer arquitectura, nos explica un ideario que persiste en el tiempo. Tomando prestado el término “explicar” en el sentido que Stravinski le da en su Poética musical1: desplegar, desarrollar, describir una cosa, descubrir y aclarar su génesis, se comprueban las relaciones que cosas aparentemente dispersas tienen entre si, cómo se originan las obras para saber cómo determinan la arquitectura, una vez que ésta tiene vida propia y uso, pasado el tiempo. El motivo de esta tesis se encuentra en el orden, análisis y estudio de su archivo, realizado a partir del año 1990. García de Paredes, titulado en Madrid, fue arquitecto entre 1950 y 1990 y se inició en la arquitectura en un tiempo tan complejo como el actual. No fue un teórico de la arquitectura, si bien conoció en profundidad su teoría y dejó escritos y reflexiones sobre la manera de abordar el proyecto. Quizás no fue un arquitecto radicalmente innovador y sus obras son silenciosas, aunque muchas encierran planteamientos rotundos que permanecen voluntariamente en penumbra. Sin embargo sus obras son nítidas, tienen el valor de la coherencia y son valiosas por el conocimiento y por los valores que transmiten. Han cumplido su objetivo y ahora son parte de los lugares para los que se construyeron y parte de la vida de las personas para las que se proyectaron. En gran medida, poseen ya la pátina del tiempo. Su obra, no muy extensa, aúna ideas necesarias para abordar la práctica del proyecto y para llegar a ese voluntario resultado final en el que la arquitectura sea, además de una expresión personal, una actividad social capaz de hacer mejor la vida de las personas. Mirar la arquitectura de García de Paredes a través del estudio de todas las cuestiones que intervienen en ella y convertir su conocimiento en un instrumento útil de trabajo en el proyecto, es el objetivo de esta tesis. Así se analizan determinadas obras para exponer temas de antes y de ahora, ideas que son a la vez antiguas y contemporáneas. Este ideario sobre la arquitectura de García de Paredes no pertenece sólo a un tiempo, pues la bella utilidad social de la arquitectura y cómo llegar a ella a través del conocimiento y de la economía intelectual, sigue vigente. Y este objetivo tiene claramente una segunda lectura, pues al poner en valor el ideario de su obra, la presente tesis constituye tanto un homenaje como un agradecimiento al arquitecto. Sintetizar este ideario ha necesitado tanto del tiempo para organizar un archivo como de la práctica de la arquitectura para constatarlo. Durante una década, entre 1981 y 1990, trabajé en el estudio de José M. García de Paredes, con la mirada enfocada hacia los proyectos que entonces se desarrollaban en su estudio. En esos años, la música y las secciones de las salas de concierto llenaban las mesas de dibujo. En 1990, tras su inesperada marcha, me encontré con un legado de documentos que constituyen un fragmento de la arquitectura contemporánea española, que encierran la explicación de proyectos y planteamientos que son respuesta clara a la realidad de su momento. La preparación entonces de la documentación para las tres monografías sobre su obra me llevó a ordenar, clasificar y a documentar los fondos del estudio de manera sistemática y cronológicamente. Los documentos, conservados en archivadores y tubos sin numerar, desvelaban una obra en un momento en el cual el escenario de fondo del debate sobre arquitectura era ético. De manera casi artesanal y próximo de un grupo coherente de arquitectos, algunos vinculados también a las artes plásticas, García de Paredes utiliza los medios materiales a su alcance, interpretando la realidad de una forma personal, alejada de la frialdad del movimiento moderno estricto, con una voluntad de mejorarla y de prescindir de todo aquello que no fuera necesario. Las obras dan respuesta a esa realidad de tal manera que la transforman, como si de un “mágico realismo” se tratara. Estos documentos con olor a antiguo, más que narrar una historia, explican la manera en que se ha hecho esa historia, cómo las biografías y los acontecimientos se entrelazan para llegar al conocido resultado final. Y de un primer análisis, disponiéndolos a la vista de un mismo tiempo, va surgiendo otro interés que no es el de explicar su obra sino el de observar el proceso de trabajo de un arquitecto para desvelar un método de proyecto. Sobre el método de trabajo de un músico, Azorín se pregunta en su artículo “Vida imaginaria de Falla”: “Es fácil ver trabajar a un pintor, no es tan fácil ver enfrascado en su labor a un literato, aunque en las redacciones solamos ver cómo escribe un poeta que hace artículos para un periódico. ¿Pero cómo imaginamos a un músico en su tarea?. ¿Cómo escribe un músico?. ¿Es que siente de pronto un arrebato lírico y un poco desmelenado, los músicos deben llevar el pelo largo, se sienta al piano y comienza a tañer como una inspirada pitonisa?. ¿es que se levanta a media noche y, arrebatado por la inspiración y a la luz de la luna, si la hay, escribe febrilmente esas garrapatitas que vemos en los hilos telegráficos de la música?" Manuel de Falla en una carta le responde: “Nada de eso, mi querido amigo, mi trabajo de compositor no es tan misterioso como usted imagina: podría compararse al de un escritor que fuera a la vez arquitecto”. ¿Y cómo trabaja un arquitecto?. La complejidad del proceso arquitectónico nos presenta sin embargo resultados finales que sólo a través de una observación minuciosa permiten entrever el recorrido desde el pensamiento hasta la obra acabada. El escritor narra lo que ve o imagina y el arquitecto construye y da forma a esa realidad o a esos deseos y para ello debe mirar, escuchar y debe saber hacer. Analizar este proceso nos lleva inexorablemente a desvelar las claves que hacen valiosas determinadas arquitecturas. En junio de 1986 García de Paredes escribe el texto “Tres paisajes con arquitecturas”4. El texto describe tres paisajes culturales diferentes en distintos tiempos. El primero que describe es el Madrid neoclásico y el significado que tiene en este paisaje el Museo del Prado. El segundo paisaje se denomina “Alhambra versus Carlos V” y en él relata un delicado escenario donde se entrelazan distintas cuestiones relativas a la intervención en lugares históricos. En el tercer paisaje “Paisaje con Ruinas” tras describir las hermosas ruinas físicas del pasado concluye con una reflexión: “Hay ruinas y ruinas… Pero quizá no sean estas las verdaderas ruinas de nuestro tiempo. Qué clase de ruina producirá nuestra modesta arquitectura del siglo XX?. Nuestro legado no debería leerse en clave de piedras como las de otras épocas que no disponían de otro lenguaje que el de construir para los tiempos. Sin embargo es posible que surjan otras claves, quizá aún no bien conocidas, que sean para las generaciones futuras de tan clara lectura como la de este tercer Paisaje”. Encontrar esas claves contemporáneas, es el objeto de este paseo por las obras y escritos de García de Paredes. Mirar, suprimido el tiempo, los planos, dibujos, escritos, libros y fotografías del archivo del arquitecto, ordenando y comprendiendo los motivos que propiciaron cada obra, nos lleva a pensar que la arquitectura de cada momento es sólo un desplazamiento de los anteriores. Nada ahora es completamente distinto de lo que era entonces y la arquitectura de antes puede ser interpretada, más allá de aspectos formales, por otras generaciones, desdibujándose el tiempo donde pretendemos ordenarla. Este legado de claves conceptuales nos es útil ahora para conocer lo que permanece en la arquitectura pensando en cuestiones actuales a través de papeles antiguos. El legado de esa “modesta arquitectura” no se debe leer pues en clave de “piedras”, como expresaba García de Paredes. Gran parte de sus obras se construyen con materiales sencillos y la lectura de su valor no es directa. Sin embargo explican en qué momento la arquitectura pasa a ser un hecho capaz de transmitir intenciones ocultas y convertirse en una actividad social en sintonía con la realidad. Desvelar esta colección de ideas para enfocar cuestiones de arquitectura, en el convencimiento de que este ideario es tan válido hoy como entonces, nos acerca a ese utópico método de trabajo del arquitecto. En este ciclo abierto se han seleccionado determinadas obras que permiten plantear mejor las cuestiones que ilustran su razón de ser y así pues se suceden lugares y personas, números y geometrías, música, artes plásticas y arquitecturas. ABSTRACT Looking at the work of José M. García de Paredes as a set of ideas that outline a way of imagining and producing architecture, explains a vision that has persisted in time. Employing the word “explain” in the same sense as Stravinsky in his Poetics of Music: deploying, developing and describing something, discovering and clarifying its origins as a way of observing the relationships between things and the way designs originate in order to understand how they determine the architecture, once it has a life and use of its own after time has passed. This thesis is based on an analysis of the archives of José M. Garcia de Paredes, which began in 1990. After graduating from the Madrid School in 1950 —an equally complex time as today— he continued to practise architecture until 1990. He was not an architectural theorist but he had a deep understanding of theory and left essays and ideas on the way to tackle projects. Although he may not have been a radically innovative architect and his work may seem subdued, much of it embodies categorical approaches, which are deliberately overshadowed. Nevertheless, his work is sharp, consistent and is valuable for the knowledge and values it transmits. It has served its purpose, it now forms part of the places for which it was built and has become part of the lives of the people it was designed for. To a large extent, his buildings already show the patina of time. While not large in number, they bring together the ideas needed to put a project into practice and arrive at an end result in which the architecture is also a personal expression, a social activity that makes life better for people. The discourse takes a new look at the architecture of Garcia de Paredes through an analysis of all the issues involved in order to turn the resulting knowledge into a useful tool for project work. It therefore now, ideas that are old but at the same time contemporary. This vision time. The beautiful social utility of his architecture and the way he arrived at it through knowledge and intellectual economy still remain valid. The synthesis of this vision has required much time to organize the archive and also a professional architectural practice to put it into perspective. The preserved documents reveal a body of work that was designed at a time when ethics shaped the underlying scenario of the Relación de architectural debate. The architect used the material resources at his disposal in an almost craftsman-like way, in the company of a congruent group of architects. He interpreted reality in a personal way, removed from the coldness of the strict Modern Movement, striving to improve it and strip off anything that was unnecessary. His buildings responded to their context in such a way that transformed it, as if they were “magical realism”. Another line of analysis emerged from an initial analysis, with all the documents in view at the same time: not to explain his work but rather to study the design process of an architect in order to discover a method. In 1986, García de Paredes wrote “Three landscapes with architectures”, which describes three cultural landscapes in different times. After describing the beauty of the physical ruins of the past, the third landscape, “Landscape with Ruins”, concludes with this observation: “There are ruins and ruins ... But these might not be the real ruins of our time. What kind of ruin will be produced by our modest 20th century architecture? Our legacy should not be interpreted in the key of mere stones, like those of past eras which had access to no other language than construction for all times. Other keys, perhaps not yet familiar, may well emerge and be as legible for future generations as this third Landscape”. This tour of the work and writings of Garcia de Paredes is aimed at discovering these contemporary keys. The legacy of such keys can now help us to know what endures in architecture; thinking about current issues through the perspective of old papers. Having set aside the time factor, looking at the drawings, essays, books and photographs from the architect’s archives, organising and understanding the reasons that gave rise to each work, I now believe that the architecture of each moment is only previous work that has been shifted. Nothing is completely different now from what it was back then. The architecture of the past can be interpreted by other generations, looking beyond the aspects of form, blurring the time factor when we want to order it. For this purpose I have selected particular works that permit a better enunciation of the issues that illustrate their rationale, hence the succession of places and people, numbers and geometries, music, art and architectures.

Materialidad poética: arquitectura suiza en el entorno de los Grisones 1992-2004

El entorno alpino de los Grisones ha sido un laboratorio donde experimentar un método arquitectónico procedente de diversas fuentes durante los años 70 en la ETHZ. Este método ha producido durante las últimas tres décadas un discurso teórico propiamente suizo alemán. La tradición continúa siendo un valor cultural para la comunidad alpina de los Grisones, que apuesta por seguir relacionando la arquitectura con su historia y su paisaje. La especificidad de cada entorno suizo alemán es un hecho obvio pero, por encima de sus rasgos característicos, hay un denominador común que les da unidad en silencio: se trata de una idea de la construcción. El fenómeno de los Grisones es territorial en su localización concreta, pero comparte el trasfondo teórico del resto de la arquitectura suizo alemana reciente. La tesis recorre transversalmente las condiciones que han dado lugar a esa trayectoria común hasta la actualidad, en que la arquitectura suizo alemana se halla precisamente en un momento de cambio generacional. La obra de Peter Märkli constituye en esta tesis un paradigma de la voluntad suizo alemana por formar parte de la continuidad cultural de la arquitectura, como una actitud de resistencia compartida frente al mundo globalizado. La tesis se articula a partir de ocho proyectos recientes, realizados por arquitectos suizo alemanes en el entorno del territorio alpino de los Grisones. Estos proyectos condensan la trayectoria arquitectónica suizo alemana durante el siglo XX, así como el fenómeno arquitectónico que ha tenido lugar en el entorno de los Grisones durante las últimas tres décadas. La tesis analiza a través de cada pareja de proyectos los episodios teóricos, artísticos y filosóficos más relevantes que se sintetizan en estas obras, así como sus referentes arquitectónicos y la dimensión trascendente de los materiales en los que la cultura suiza hunde sus raíces: la madera, la piedra y el hormigón. Las vanguardias pictóricas, el Movimiento Moderno y las corrientes humanistas y regionalistas que se fueron sucediendo durante el pasado siglo, configuran el escenario en el que tomó cuerpo la sensibilidad arquitectónica suizo alemana reciente, que emerge a través de la compleja red de relaciones establecidas entre el panorama suizo y el internacional. El mismo bagaje teórico subyace al territorio suizo alemán a nivel general, por lo que asociarlo a través de esta tesis a proyectos realizados en un entorno característico, permite acceder a una realización concreta de ese debate en un entorno tan particular como son los Grisones. La aproximación a los proyectos es de carácter fenomenológico: la experiencia directa de los mismos ha sido el sustrato fundamental del enfoque de la tesis. El trabajo de campo no se limitó a visitar los proyectos que vertebran la tesis, sino que trató de abarcar las obras más relevantes de la producción suizo alemana reciente en los Grisones, con el fin de adquirir cierto grado de sensibilidad perceptiva hacia la singularidad de su identidad territorial. La tesis hace especial hincapié en las obras de Peter Märkli y Peter Zumthor, representantes de los dos extremos del discurso suizo alemán reciente, respecto a la materialidad y al carácter de la secuencia espacial, sistemático o fluido respectivamente, pero que asimismo comparten el clasicismo formalista que subyace al fenómeno suizo alemán. Los dos proyectos que establecen el periodo 1992-2004 explorado por esta investigación constituyen dos hitos fundamentales. El Museo de La Congiunta en Giornico de Peter Märkli se construyó en 1992 y se erige a partir de entonces como un icono arquitectónico de la condensación típicamente suizo alemana de base reductiva. Este paradigma de síntesis conceptual y constructiva comenzó a forjarse en la década de 1930 de la mano del Konkrete Kunst formulado por Max Bill, que es la única manifestación artística genuinamente suiza del siglo XX y que desarrolló pictóricamente los valores de precisión, rigor, racionalismo y abstracción afines a la sensibilidad suizo alemana. En segundo lugar, el proyecto para la rehabilitación de la Villa Garbald y la construcción de la Torre Roccolo en Castasegna llevado a cabo por Miller & Maranta en 2004, supuso la consumación de la Analoge Architektur, que fue la primera corriente arquitectónica propiamente suiza, desarrollada durante la década de 1980 por Miroslav Sik. La Deutscher Tendenza es un periodo de la trayectoria suizo alemana reciente poco conocido, representado por una figura tan relevante como es Peter Zumthor. Las obras que proyectó Zumthor entre 1979 y 1985 forman parte de un periodo en que el arquitecto se encontraba profundamente influido por el neorracionalismo italiano, como ilustra la escuela de Churwalden de 1983. La arquitectura suizo alemana reciente exploró sistemáticamente los sistemas compositivos de las vanguardias pictóricas y del Movimiento Moderno, por encima de su formalismo concreto. La segunda fase de la obra de Zumthor entre 1985 y 1996 se caracteriza por la transfiguración del plano libre del sistema compositivo neoplasticista desarrollado por De Stijl, plano que adquirió grosor hasta convertirse en la caja articuladora de la fluidez de la secuencia espacial. El formalismo de Zumthor en esta fase implica la prioridad del esquema compositivo, compuesto por un perímetro regular en el que se reúnen las cajas que, como las superficies de color de las composiciones de Mondrian, articulan el espacio a su alrededor. La Residencia de Masans de Zumthor de 1993 es un proyecto canónico de este sistema compositivo, que culmina en el esquema radial de las Termas de Vals de 1996. La imagen poética se convirtió en el lenguaje propio del pensamiento de la arquitectura suizo alemana, que permitía una reflexión no verbal, a partir de unos pocos arquetipos fundamentales. Los arquitectos del Ticino buscaron en la Tendenza italiana durante la década de 1970 una alternativa al insostenible modelo territorial que estaba destruyendo su paisaje cultural. Algunos de estos arquitectos comenzaron a dar clase durante esa década en la ETHZ, por lo que transmitieron sus inquietudes al alumnado e introdujeron a Aldo Rossi en la facultad, que era uno de los máximos representantes de la Tendenza. El método analógico de Rossi, basado en la psicología analítica de Carl Jung, fue una influencia fundamental en la ETHZ durante los años 70. Rossi partía de una teoría afín al colectivo intelectual suizo que los arquitectos de la ETHZ pronto comprendieron que debían independizar del contexto italiano, desarrollando su propio método a partir de 1985 con la Analoge Architektur. El valor de la preexistencia de acuerdo a este método incipiente se hallaba en su papel articulador de la continuidad cultural de una comunidad, que Miroslav Sik definió a partir de su concepto de Altneue (literalmente, lo Nuevo-Viejo). La fusión entre lo nuevo y lo viejo era la base de la espontaneidad con la que habían crecido los asentamientos históricamente. Sik consideraba que la continuidad dependía de la comprensión de los patrones preexistentes, con el objeto de mantener su vigencia mediante la incorporación de estrategias contemporáneas, que renovarían su significado sin perder su esencia. La Casa Gugalun en Versam de Zumthor de 1994 supone una aproximación a escala doméstica a este planteamiento. La arquitectura suizo alemana reciente a menudo busca en sus referentes plásticos una manera de explorar ámbitos poco accesibles para la disciplina arquitectónica. El pensamiento arquitectónico basado en la imagen poética se implementa a partir de la tectónica de la construcción, que es el medio para comunicar una idea vertebradora del proyecto de principio a fin. La construcción como medio introduce el concepto clave de la apariencia de la arquitectura, estrechamente relacionado con la filosofía idealista de Friedrich Schiller. La apariencia debe expresar el sentido conceptual de la obra, que los arquitectos suizo alemanes denominan idea, por lo que la construcción no tiene un valor por sí misma, sino en cuanto a la apariencia. La Capilla de Oberrealta de Christian Kerez de 1993 puede ser considerada una obra escultórica en el paisaje, más próxima a las artes plásticas que a la arquitectura. La tensión que surge entre la figura ideal y la pieza sometida a una sutil deformación confiere un carácter dinámico a la composición, que intensifica el efecto perceptivo, de acuerdo a la teoría del pensamiento visual de Rudolph Arnheim. La deformación al servicio de la psicología de la percepción es un fenómeno que caracteriza la arquitectura suizo alemana reciente. El concepto de Forme Forte (forma fuerte) fue introducido por Martin Steinmann para caracterizar el objeto arquitectónico denominado internacionalmente Swiss Box. Este concepto se caracteriza por una predilección por lo monolítico, lo unitario y lo arquetípico. La condición más sustancial de una Forme Forte es, sin embargo, la de configurar un elemento estructurador del entorno. Tanto la base morfológica de una Forme Forte, como su capacidad para estructurar el lugar, se corresponden con los conceptos de arquetipo y monumento de la teoría de Rossi. La tesis explora el sentido de la deformación en la producción suizo alemana reciente, a partir de la Escuela de Paspels de Valerio Olgiati de 1998 y la Torre Roccolo de Villa Garbald de Miller&Maranta de 1998. La teoría tectónica de Gottfried Semper y la razón de la forma de Adolf Loos constituyen el sustrato teórico, que relaciona la actividad existencial de habitar con la materialidad de la arquitectura suizo alemana reciente. La teoría tectónica de Semper fundamenta las revisiones posteriores de los sistemas constructivos tradicionales suizo alemanes. Esta influencia sirvió como base a la vanguardia suiza de la Neues Bauen, que desarrolló un racionalismo funcionalista durante las décadas de 1920 y 1930, que constituye una gramática de base no simbólica. Esta gramática constituye el fundamento de la transición del orden clásico a la materialidad como instrumento compositivo durante la segunda mitad del siglo XX, consolidando el concepto de la base material de la forma. La revisión de la tradición regionalista y racionalista llevada a cabo por la generación de arquitectos suizo alemanes de la década de 1950 y 1960, constituyó una investigación lingüística sustancial. Rudolph Olgiati es la figura determinante de este periodo. La revisión de esta investigación se codificó en clave estructuralista durante los años 70 en la ETHZ, influenciada por la presencia de Roland Barthes como profesor invitado. Esta revisión constituyó la base de la articulación tectónica propiamente suizo alemana todavía vigente, como ilustra expresamente la obra de Burkhalter&Sumi en esta tesis. La obra de Gion Caminada en Vrin entre 1995 y 2002 aporta una intensa investigación sobre el Strickbau, que implementa una y otra vez variaciones sobre un sistema tradicional, ilustrando las infinitas posibilidades que ofrece un lenguaje, paradójicamente limitado por los medios disponibles en un entorno alpino aislado. Para terminar Jürg Conzett es el ingeniero con el que han desarrollado sus proyectos la mayoría de los arquitectos en el entorno de los Grisones, formado durante 8 años con Zumthor y colaborador habitual de Caminada entre otros. Conzett es el referente que relaciona la ingeniería con la arquitectura en el ámbito de esta tesis, imprescindible en el contexto de esta investigación. ABSTRACT The Alpine setting of Grisons has been a laboratory for architectural experimentation with an approach forged in the 1970s from various sources in the Swiss Federal Institute of Technology in Zurich (ETHZ). This method has produced a uniquely German-Swiss theoretical discourse over the past three decades. Tradition continues to be a cultural value for Grisons, a region committed to continue linking its architecture with the region’s history and landscape. The specificity of the German-Swiss environment is obvious, but beyond its characteristic features, there is a common denominator that gives these settings a silent unity: it is an idea of building. The phenomenon of Grisons is geographic in its specific location, but it shares the theoretical basis of the rest of the new German-Swiss architecture. This thesis transversely delves into the conditions that have shaped this common path up to the present, just as German-Swiss architecture is going through a time of generational change. In this thesis, Märkli Peter's work constitutes a paradigm of the German-Swiss will to uphold the cultural and architectural continuity of the region, exemplifying an attitude of shared resistance to the globalized world. The thesis is structured around eight recent projects carried out by German-Swiss architects in the Alpine region of Grisons. These projects represent the trajectory of twentieth century German-Swiss architectural history, as well as the architectural phenomenon that has taken place in the environs of Grisons over the past three decades. Through these projects the thesis analyzes the most relevant theoretical, artistic and philosophical references that are synthesized in the works, as well as their architectural references and the transcendental dimension of the materials in which Swiss culture is rooted: wood, stone and concrete. The artistic avant-garde, together with Modernism and the humanistic and regional movements that occurred during the last century, set the stage for present-day German-Swiss architectural sensitivity, which emerges from a complex web of relationships established between the Swiss and international panorama. This same theoretical background and experience underlies all of the German-Swiss territory in general, so associating it through this thesis to a particular context allows the description of a specific embodiment of this debate, within the unique environment of Grisons. The methodological approach to analyzing the projects was phenomenological: direct experience is the main substrate underpinning the focus of the thesis. Field work was not limited to visiting the projects featured in the thesis, but rather encompassed the most important works of recent German-Swiss construction in the Grisons in order to gain some degree of perceptual sensitivity to the uniqueness of its territorial identity. The present paper puts special emphasis on the works of Peter Märkli and Peter Zumthor, who share the formal classicist perspective of the German-Swiss context but stand on opposite sides of the philosophical spectrum with regard to the notion of materiality and the nature of space, which they conceive as systematic or fluid, respectively. The two projects that establish the boundaries of the time period 1992–2004 explored by this research represent two key milestones. The Museum La Congiunta in Giornico, by Peter Märkli, was built in 1992 and quickly established itself as an architectural icon of German-Swiss reductionism. This paradigm of conceptual and constructive synthesis began to take shape in the 1930s under the banner of Konkrete Kunst (Concrete Art), led by Max Bill. The only genuinely Swiss artistic movement of the twentieth century, Konkrete Kunst was characterized by the artistic values of precision, rigor, rationalism and abstraction, sentiments that were very close to the German-Swiss tradition. Secondly, the project for the rehabilitation of Villa Garbald and the construction of the Roccolo Tower in Castasegna, conducted by Miller&Maranta in 2004, represented the consummation of the Analoge Architektur, which was the first truly Swiss architectural movement, spearheaded in the 1980s by Miroslav Sik. The Deutscher Tendenza is a little-known period of recent German-Swiss history, represented by the important figure of Peter Zumthor. The projects that Zumthor led between 1979 and 1985 are part of a period when Italian Neo-Rationalism exercised a profound influence on the architect, as illustrated by the Churwalden School, circa 1983. Recent German-Swiss architecture systematically explored the compositional systems of the artistic avant-garde and Modernism, beyond its specific formal aspects. The second phase of Zumthor's work, between 1985 and 1996, is characterized by the transfiguration of the free plane, neoplastic compositional system developed by De Stijl, a plane that thickened until it became the box articulating fluidity from the spatial sequence. Zumthor's formalism in this phase prioritizes the compositional scheme, consisting of a regular perimeter in which the boxes that -like Mondrian’s colored surfaces- arrange the space around it. Zumthor’s Masans Residence, circa 1993, is a canonical project of this compositional system, which culminates in the radial pattern of the Therme Vals, circa 1996. The poetic image became the appropriate language of thought for German-Swiss architecture, which invited a nonverbal reflection inspired by a few fundamental archetypes. The architects of Ticino sought, through the Italian Tendenza of the 1970s, an alternative to the unsustainable territorial model that was destroying their cultural landscape. Some of these architects began to teach during that decade at ETHZ, and naturally they transmitted their unease to their students. These architects also introduced Aldo Rossi, one of the leading representatives of the Tendenza, to the school. Rossi’s analogue method, based on the analytical psychology of Carl Jung, was a major influence on the ETHZ during the 1970s. Rossi’s theoretical grounding was very much in tune with Swiss intellectualism, and it did not take long for architects from ETHZ to realize that they should break away from the Italian context, developing their own method from 1985 on with the Analoge Architektur. The value of the pre-existing conformity of this emerging method, stemmed from its role in facilitating the cultural continuity of a community, which Miroslav Sik defined in his concept of Altneue (literally, Old-new). This fusion of old and new was the basis for the spontaneity with which settlements had historically grown. Sik considered that continuity depended on understanding the existing patterns and sustaining their relevance through the incorporation of contemporary strategies, which would renew their meaning without losing their essence. Zumthor’s Gugalun House in Versam, circa 1994, is a domestic-scale approach to this philosophy. Modern German-Swiss architecture often looks to its references in visual art for a way to explore areas that are normally inaccessible to the architectural discipline. Architectural thinking based on the poetic image is achieved through a building’s tectonics, which communicate the core idea of a project from start to finish. The understanding of construction as a medium introduces the key concept of the appearance in architecture, closely related to the idealistic philosophy of Friedrich Schiller. The appearance should express the conceptual meaning of the work, which German-Swiss architects call the idea, so that the building does not have value in and of itself, but only in terms of its appearance. The Oberrealta Chapel by Christian Kerez, circa 1993, can be considered a sculpture in the landscape, closer to the visual arts than to architecture. The tension that arises between the ideal figure and the piece subjected to a subtle deformation confers a dynamic character onto the composition, intensifying the perceptual effect, according to Rudolf Arnheim’s theory of visual thought. The deformation in the service of the psychology of perception is a phenomenon that characterizes recent German-Swiss architecture. Martin Steinmann introduced the Forme Forte (Strong Form) concept to describe the architectural object known internationally as the Swiss Box. This concept is characterized by a predilection for all things monolithic, unitary and archetypal. The most substantial condition of a Forme Forte, however, is the configuration of a structuring element in the environment. Both the morphological basis of a Forme Forte and its ability to frame the place, correspond to the concepts of archetype and monument put forward by Rossi’s theory. The present thesis explores the sense of deformation in recent German-Swiss production, based on the School of Paspels by Valerio Olgiati, circa 1998 and the Roccolo Tower in Villa Garbald, by Miller&Maranta, circa 1998. Gottfried Semper’s tectonic theory and Adolf Loos’s reason for form constitute the theoretical foundation that links the existential activity of dwelling to the materiality of recent German-Swiss architecture. Semper’s tectonic theory laid the foundation for subsequent revisions of the German-Swiss traditional building systems. This influence was the basis for the Swiss avant-garde of Neues Bauen, which developed a functional rationalism during the 1920s and 30s that served as a non-symbolic grammatical foundation for the transition from classical order to materiality as a compositional tool. During the second half of the twentieth century, this architectural grammar helped consolidate the concept of the material base of the form. The revision of the regionalist and rationalist tradition, carried out by the generation of German-Swiss architects of the 1950s and 60s, constituted a substantial linguistic investigation. Rudolph Olgiati is the key figure of this period. The research was codified in terms of structuralism in the 1970s in ETHZ and influenced by the presence of Roland Barthes as a visiting professor. This revision was the basis of the uniquely German-Swiss tectonic design still in use today, as specifically illustrated by the work of Burkhalter & Sumi in this thesis. Gion Caminada's work in Vrin between 1995 and 2002 offers an extensive study on the Strickbau, which implements variations on a traditional system again and again, illustrating the endless possibilities of a language that paradoxically seems limited by the available resources in a remote Alpine setting. Finally, Jürg Conzett is the engineer with whom most architects in the Grisons region have developed their projects. Trained under Zumthor for 8 years, and a regular collaborator of Caminada, among others, Conzett is the reference point linking engineering with architecture in this thesis, essential in the context of this research.

Juan Martínez Gutiérrez y la modernización de la arquitectura chilena

La presente tesis para optar al grado de Doctor en la Escuela Técnica Superior de Arquitectura de la Universidad Politécnica de Madrid, aborda la obra del arquitecto de origen español Juan Martínez Gutiérrez, reconocido por la crítica especializada como uno de los precursores de la arquitectura moderna en Chile. A pesar de la relevancia de su obra, en la actualidad se carece de un estudio sistematizado y preciso que, de manera global, expongan los factores de modernidad de sus principales edificios, aun cuando han aparecido en los últimos años dos publicaciones referentes al arquitecto y parcialmente a su obra. Formado tanto en arquitectura como en pintura, la labor profesional de Juan Martínez Gutiérrez se inscribió en un contexto de modernización de la sociedad chilena entre la década del 20 y del 50, adjudicándose mediante concurso público, el diseño de cinco edificios institucionales y de carácter público, los que conforman en la actualidad bienes de carácter patrimonial estando dos de ellos declarados Monumento Histórico. Se desenvolvió también en el ámbito de la docencia siendo profesor de la Facultad de Arquitectura y Urbanismo de la Universidad de Chile por más de 35 años y Decano de la misma institución. Participó asimismo de la vida gremial de la profesión, recibiendo en el año 1969 el primer premio nacional de arquitectura. Sus edificios públicos, se han mantenido en uso siendo hitos urbanos y en el ámbito disciplinar reconocidas obras ejemplares. Sin embargo, al comenzar el siglo XXI, cuando la modernidad se nos presenta desde la historicidad, surge la pregunta por los valores que sustenta la arquitectura de Juan Martínez, en relación a su tiempo y a la actualidad. En este ámbito reflexivo se plantea la puesta en tesis de la presente investigación, donde las principales obras del arquitecto se analizan inquiriendo su condición de modernidad a la luz de un contexto local cuyas problemáticas sociales son aunadas por el proyecto desarrollista estatal de la primera mitad del siglo XX; interpelando algunos aspectos del estado técnico del país durante el periodo; las tendencias estéticas imperantes de la época y el entorno urbano en el que se emplazan. Al mismo tiempo, el desarrollo de la tesis examina un tópico referencial de la modernidad latinoamericana, que es el influjo europeo en el punto de inflexión que va desde el fin del modelo academicista y la incorporación de los preceptos de un funcionalismo y racionalismo arquitectónico, todo ello mediado por los condicionantes locales. ABSTRACT The following thesis, to achieve the Doctor´s degree at the Superior Technical School of Architecture of the Polytechnic University of Madrid aboard the work of the chilean architect of spanish origin Juan Martinez Gutierrez, recognized by specialized critic as one of the forefathers of modern architecture in Chile. Although the relevance of his work, currently there is no systematic and precise study of it. A study that in a global view exposes the factors of modernity in his foremost buildings. The absence of such study is, despite the appearance in the last two years of two publications about the architect and –partially- his work. Formed as much in architecture as in painting, the professional labor of Juan Martinez Gutierrez was inscribed in the context of Chilean society modernization, between the decades of the 20´s and 30´s. Awarding himself, by means of architectural contests, the design of institutional buildings of public use, witch conform current cultural goods, two of them having been declared National Monuments; a category of cultural heritage officially protected by the state. He also developed an important academic work, being for more than 35 years, professor at the Faculty of Architecture and Urbanism at the University of Chile and in his time, Faculty Dean. He also participated, actively, in guild life, being awarded in 1969 the first ever, National Prize of Architecture. His public buildings, still in use, are urban landmarks and exemplar works in a disciplinary dimension. Never the less, at the begins of the XXI century, when the modern movement is presented to us from an historical viewpoint, even from historicity, questions surge about the values that sustain Juan Martinez´s architecture in relation to his time and ours. It is in this reflexive field, that is planted the thesis of the present research, where the principal works of the architect are analyzed inquiring their modern condition, at the light of a local context who´s social problems join the chilean social development state the “Estado Desarrolista” of the first half of the XX century, a situation that interpellants several dimensions: the technical status of the country during the period, the aesthetic tendencies prevailing, and the urban context were they place themselves. At the same time, in its development, the thesis examines a referential topic, that is the Latin American modern movement, or the European influx in that inflexion point that goes from the end of academicism Beaux – Art model and the incorporation of functional and rationalist precepts, all mediated by local conditions.