Significance of the preservation of the architectural heritage in relation to tourism

Destaca la importancia de considerar la preservacion del patrimonio arquitectonico como un aporte al desarrollo de proyectos turisticos.

Uma arquitetura multiagentes para sistema educacional baseado na web semântica

Pós-graduação em Ciência da Computação - IBILCE

Effect of follicle age on conception rate in beef heifers

The objective of this study was to determine the effect of age of the ovulatory follicle on fertility in beef heifers. Ovulation was synchronized with the 5 d CO-Synch + controlled intravaginal drug release (CIDR) program in heifers in Montana (MT; n = 162, Hereford and Angus Crossbred) and Ohio (OH; n = 170, Angus Crossbred). All heifers received estradiol benzoate (EB; 1 mg/500 kg BW, [i.m.]) 6 d after the final GnRH of the synchronization program to induce follicular atresia and emergence of a new follicular wave (NFW) followed by prostaglandin F2 alpha (PGF(2 alpha); 25 mg, i.m.) administration either 5 d (young follicle [YF]; n = 158) or 9 d (mature follicle [MF]; n = 174) after EB. Estrous detection was performed for 5 d after PGF(2 alpha) with AI approximately 12 h after onset of estrus. Ovarian ultrasonography (MT location only) was performed in YF and MF at EB, 5 d after EB, PGF(2 alpha), and AI. Heifers in MT (n = 20) and OH (n = 18) that were not presynchronized or did not initiate a NFW were excluded from further analyses, resulting in 142 and 152 heifers in MT and OH, respectively. Heifers from the MF treatment in MT that initiated a second NFW after EB but before PGF(2 alpha) (MF2; n = 14) were excluded from the primary analysis. In the secondary analysis, the MF2 group was compared to MF and YF treatments in MT. Estrous response was similar (90%; 252/280) between treatments and locations. Proestrus interval (from PGF(2 alpha) to estrus) and age of the ovulatory follicle at AI were similar for MF heifers between locations (54.6 +/- 1.7 h and 8.3 +/- 0.07 h) but were greater (P < 0.01) for YF heifers in OH (78.5 +/- 1.4 h and 5.3 +/- 0.06 h) than MT (67.4 +/- 1.6 h and 4.8 +/- 0.06 h; treatment x location, P < 0.01). However, conception rate did not differ for MF (63.8%; 74/116) and YF (67.0%; 91/136) treatments. In the MT heifers, follicle size and follicle age atAI in the YF treatment (10.4 +/- 0.15 mm and 4.8 +/- 0.06 d, respectively) was less (P < 0.01) than in the MF treatment (11.0 +/- 0.18 mm and 8.3 +/- 0.11 d, respectively), but conception rate to AI did not differ between treatments in MT. In the MF2 group proestrus interval was greater (P < 0.01); hence, diameter of the ovulatory follicle and age were similar to that for the YF treatment. Conception rate to AI did not differ between MF2, MF, and YF (61.5, 63.3, and 64.7%, respectively) in MT. In conclusion, manipulation of age of the nonpersistent ovulatory follicle at spontaneous ovulation did not influence conception rate.

Assessment of in vitro sperm characteristics and their importance in the prediction of conception rate in a bovine timed-AI program

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Inferences of body energy reserves on conception rate of suckled Zebu beef cows subjected to timed artificial insemination followed by natural mating

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Manipulation of follicle development to ensure optimal oocyte quality and conception rates in cattle

Over the last several decades, a number of therapies have been developed that manipulate ovarian follicle growth to improve oocyte quality and conception rates in cattle. Various strategies have been proposed to improve the responses to reproductive biotechnologies following timed artificial insemination (TAI), superovulation (SOV) or ovum pickup (OPU) programmes. During TAI protocols, final follicular growth and size of the ovulatory follicle are key factors that may significantly influence oocyte quality, ovulation, the uterine environment and consequently pregnancy outcomes. Progesterone concentrations during SOV protocols influence follicular growth, oocyte quality and embryo quality; therefore, several adjustments to SOV protocols have been proposed depending on the animal category and breed. In addition, the success of in vitro embryo production is directly related to the number and quality of cumulus oocyte complexes harvested by OPU. Control of follicle development has a significant impact on the OPU outcome. This article discusses a number of key points related to the manipulation of ovarian follicular growth to maximize oocyte quality and improve conception rates following TAI and embryo transfer of in vivo-and in vitro-derived embryos in cattle.

Effect of nAellore cows ciclicity on conception and pregnant rates after synchronization protocols for fixed timed artificial insemination

Palhano H.B., Jesus V.L.T., Abidu-Figueiredo M., Baldrighi J.M. & Mello M.R.B. [Effect of nAellore cows ciclicity on conception and pregnant rates after synchronization protocols for fixed timed artificial insemination]. Efeito da ciclicidade de vacas Nelore sobre as taxas de concepcao e de prenhez apos protocolos de sincronizacao para inseminacao artificial em tempo fixo. Revista Brasileira de Medicina Veterinaria, 34(1):63-68, 2012. Departamento de Biologia Animal, Universidade Federal Rural do Rio de Janeiro, BR 465 km 7, Seropedica, RJ 23890-000, Brasil. Email: hbpalhano@gmail.com The present study evaluated the effect on conception and pregnancy rates of Nellore cows selected for Fixed Timed Artificial Insemination (FTAI) program, submitted to four synchronization protocols. Four hundred and ninety lactating females were used and assigned to eight groups: I-OvSynch, n=68, with selection of cycling cows; II-OvSynch + progesterone (P-4), n=67, after selection of non-cycling animals; III-OvSynch, without selection, n=68; IV-OvSynch + P-4, without selection, n=67; V-Co-Synch, n=55, with selection of cycling cows; VI-Co-Synch + P-4, n=55, with selection non-cycling cows; VII- Co-Synch without selection, n=55; VIII- Co-Synch + P-4, without selection, n=55. The conception and pregnancy rates were, respectively, 45.6%, 27.9% and 82.4%, 48.5% for groups I and III; 61.2%, 37.3% and 85.1%, 58.2% for groups II and IV; 43.6%, 25.5% and 80%, 41.8% for groups V and VII; 52.7%, 32.7% and 83.6%, 50.9% for groups VI and VIII. When compared these rates, the results after chi-square test showed significant difference (P < 0.05) among protocols with or without selection. There was no significant difference (P > 0.05) between OvSynch and Co-Synch protocols, with or without P-4 and with selection, considering Co-Synch a viable option for optimization of FTAI. In conclusion, the selection of cows before FTAI program contributed significantly to improve the conception and pregnancy rates.

Resistance of Cyanobacterial Fouling on Architectural Paint Films to Cleaning by Water Jet

Mortar panels painted with three different white acrylic coatings were exposed to the environment in urban (So Paulo) and rural (Pirassununga) sites in Brazil for 7 years. After this time, all panels were almost equally discoloured, and paint detachment was observed to only a small degree. The biofilms were composed mainly of cyanobacteria and filamentous fungi, principal genera being Gloeocapsa and Chroococcidiopsis of the cyanobacteria, and Cladosporium and Alternaria of the fungi. Two of the three paints in Pirassununga became covered by a pink film that contained red-encapsulated Gloeocapsa and clay particles. The third, an 800% elastomeric matt formulation, became discoloured with a grey, only slightly pink, film, although the same cyanobacteria were present. The levels of paint detachments from all films in both locations were low, with rating range of 0-1 of a maximum 5 (100% detachment). After high-pressure water jetting, paint detachments increased at both locations, up to 2 in Pirassununga and 3 in So Paulo. Discoloration decreased; L*A*B* analysis of surface discoloration showed that Delta E (alteration in colour from the original paint film) changed from 28-39 before cleaning to 13-16 afterwards. The pink coloration was not entirely removed from Pirassununga samples, suggesting that cyanobacterial cells are difficult to detach, and microscopic analysis of the biofilms confirmed that Gloeocapsa was still present as the principal contaminant on all surfaces, with Chroococcidiopsis being present as the second most common. Almost no fungi were detected after water jet application.

Analysis of Vilanova Artigas' unbuilt designs in Sao Paulo

The aim of this article is to examine unbuilt residential projects designed by Vilanova Artigas. The formal and spatial conception of these projects is investigated through physical models. The object of this research project consists of the unbuilt residential projects designed by Vilanova Artigas in Sao Paulo that are available in FAUUSP's digital Library. The results indicate that physical models contribute to a better interpretation of unbuilt architectural design, both from the conceptual and aesthetic and from the functional and technical point of view. The original contribution lies in the object, i.e. the unbuilt projects, in the method, using physical models for analysis, and in the objective, viz. to establish a relationship between Artigas' built works and his unbuilt residential projects in order to better understand the design's spatial conception and its architectural approach.

NOTES ON THE FREUDIAN CONCEPTION OF ANXIETY

NOTES ON THE FREUDIAN CONCEPTION OF ANXIETY This article belongs to the field of history and epistemology of psychoanalysis, specifically to research on the conceptual genealogy pertaining to the construction of Freudian metapsychology of anguish. It aims to present the main arguments that allow us to discuss that theories contained in Freud's work on anxiety are not exclusive and may be considered, as a whole, a single explanatory model that would encompass the various stages of production on anxiety This paper intends to examine the barriers that can be seized in the Freudian formulations, under what is conceived, since Freud, as a "second theory of anxiety".

Effect of sequence of insemination after simultaneous thawing of multiple semen straws on conception rate to timed AI in suckled multiparous Nelore cows

The objective was to determine the effect of sequence of insemination after simultaneous thawing of multiple 0.5 mL semen straws on conception rate in suckled multiparous Nelore cows. The effect of this thawing procedure on in vitro sperm characteristics was also evaluated. All cows (N = 944) received the same timed AI protocol. Ten straws (0.5 mL) of frozen semen from the same batch were simultaneously thawed at 36 degrees C, for a minimum of 30 sec. One straw per cow was used for timed AI. Frozen semen from three Angus bulls was used. Timed AI records included sequence of insemination (first to tenth) and time of semen removal from thawing bath. For laboratory analyses, the same semen batches used in the field experiment were evaluated. Ten frozen straws from the same batch were thawed simultaneously in a thawing unit identical to that used in the field experiment. The following sperm characteristics were analyzed: sperm motility parameters, sperm thermal resistance, plasma and acrosomal membrane integrity, lipid peroxidation, chromatin structure, and sperm morphometry. Based on logistic regression, there were no significant effects of breeding group, body condition score, AI technician, and sire on conception rate, but there was an interaction between sire and straw group (P = 0.002). Semen from only one bull had decreased (P < 0.05) field fertility for the group of straws associated with the longest interval from thawing to AI. However, the results of the laboratory experiment were unable to explain the findings of the field experiment. Sperm width:length ratio of morphometric analysis was the single sperm characteristic with a significant interaction between sire and straw group (P = 0.02). It was concluded that sequence of insemination after simultaneous thawing of 10 semen straws can differently affect conception rates at timed AI, depending on the sire used. Nevertheless, the effects of this thawing environment on in vitro sperm characteristics, remain to be further investigated. (C) 2012 Elsevier Inc. All rights reserved.

Drawing and surface: freehand architectural drawing mediated by digital

This paper discusses the redefinition of the function of freehand drawing in the design process in view of intuitive digital media. It sets forth an interpretive analysis of an experiment with drawing on opaque tablets, carried out with a group of students of the Instituto de Arquitetura e Urbanismo da Universidade de São Paulo. After a brief review of the current debate on freehand drawing and the advent of digital media, we examine the experiment as a possible way to elicit facts that may contribute to the discussion. To this end, our research has concentrated on the intuitive use enabled by existing digital media. It is our intention that this empirical approximation becomes a pilot experiment for the use of digital tablets in the process of construction the gaze of the student in Architecture and Urbanism as a reflection on the different cognitive dimensions that constitute the practice of drawing and its reinterpretation to develop new ideas.

Automatic code generation: from process algebraic architectural descriptions to multithreaded java programs

Process algebraic architectural description languages provide a formal means for modeling software systems and assessing their properties. In order to bridge the gap between system modeling and system im- plementation, in this thesis an approach is proposed for automatically generating multithreaded object-oriented code from process algebraic architectural descriptions, in a way that preserves – under certain assumptions – the properties proved at the architectural level. The approach is divided into three phases, which are illustrated by means of a running example based on an audio processing system. First, we develop an architecture-driven technique for thread coordination management, which is completely automated through a suitable package. Second, we address the translation of the algebraically-specified behavior of the individual software units into thread templates, which will have to be filled in by the software developer according to certain guidelines. Third, we discuss performance issues related to the suitability of synthesizing monitors rather than threads from software unit descriptions that satisfy specific constraints. In addition to the running example, we present two case studies about a video animation repainting system and the implementation of a leader election algorithm, in order to summarize the whole approach. The outcome of this thesis is the implementation of the proposed approach in a translator called PADL2Java and its integration in the architecture-centric verification tool TwoTowers.

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

La rue Mallet-Stevens forma e linguaggi nell'architettura di Mallet-Stevens

La ricerca ha avuto come obiettivo l’analisi delle residenze lungo la rue Mallet-Stevens, a Parigi, realizzate da Robert Mallet-Stevens negli anni 1925-1930. Si tratta di un intervento pensato unitariamente, i cui dispositivi spaziali sono rivelatori tanto del concetto spazio-forma, quanto del processo d’ideazione dello stesso nell’ambito dei paradigmi gestaltici e compositivi della modernità. All’epoca la necessità di espressione e affermazione di un simile concetto si tradusse nell’interpretazione spaziale dalla scala dell’abitazione alla scala della città. Le residenze, realizzate nella zona di Auteuil (16 arrondissement), occupano l’area di una nuova lottizzazione, da cui il successivo nome dell’intervento: case su rue Mallet-Stevens. Il programma comprendeva cinque abitazioni, commissionate da artisti e ricchi borghesi, una piccola maison per il guardiano del confinante parco, e un progetto, mai realizzato che nella prima versione comprendeva due interventi: un hôtel particulier e un edificio per appartamenti. La rue Mallet-Stevens si costituì come frammento di città possibile, ove si manifestava un’idea di urbanità chiaramente ispirata al modello della città giardino e ai valori del vivere moderno. I volumi “stereometrici” sono la cifra dell’idea di spazio che, a quel punto della sua attività, Mallet-Stevens aveva maturato sia come architetto, sia come scenografo. La metodologia di analisi critica dell’oggetto architettonico adottata in questa ricerca, si è servita di una lettura incrociata del testo (l’oggetto architettonico), del paratesto (ciò che l’autore ha scritto di sé e della propria opera) e dell’intertesto, in altre parole l’insieme di quelle relazioni che possono ricondurre sia ad altre opere dello stesso autore, sia ai modelli cui l’architetto ha fatto riferimento. Il ridisegno bidimensionale e tridimensionale degli edifici della rue Mallet-Stevens ha costituito lo strumento fondamentale di analisi per la comprensione dei temi architettonici. Le conclusioni cui la ricerca è giunta mostrano come la posizione culturale di Mallet-Stevens si è arricchita di molteplici influenze creative, sulla scia di una consapevole e costante strategia di contaminazione. Mallet-Stevens, osservando i linguaggi a lui contemporanei, si appropriò della componente morfologica del progetto, privilegiandola rispetto a quella sintattica, per poi giungere ad una personalissima sintesi delle stesse.