Age in antiretroviral therapy programmes in South Africa: a retrospective, multicentre, observational cohort study.

BACKGROUND As access to antiretroviral therapy (ART) expands, increasing numbers of older patients will start treatment and need specialised long-term care. However, the effect of age in ART programmes in resource-constrained settings is poorly understood. The HIV epidemic is ageing rapidly and South Africa has one of the highest HIV population prevalences worldwide. We explored the effect of age on mortality of patients on ART in South Africa and whether this effect is mediated by baseline immunological status. METHODS In this retrospective cohort analysis, we studied HIV-positive patients aged 16-80 years who started ART for the first time in six large South African cohorts of the International Epidemiologic Databases to Evaluate AIDS-Southern Africa collaboration, in KwaZulu-Natal, Gauteng, and Western Cape (two primary care clinics, three hospitals, and a large rural cohort). The primary outcome was mortality. We ascertained patients' vital status through linkage to the National Population Register. We used inverse probability weighting to correct mortality for loss to follow-up. We estimated mortality using Cox's proportional hazards and competing risks regression. We tested the interaction between baseline CD4 cell count and age. FINDINGS Between Jan 1, 2004, and Dec 31, 2013, 84,078 eligible adults started ART. Of these, we followed up 83,566 patients for 174,640 patient-years. 8% (1817 of 23,258) of patients aged 16-29 years died compared with 19% (93 of 492) of patients aged 65 years or older. The age adjusted mortality hazard ratio was 2·52 (95% CI 2·01-3·17) for people aged 65 years or older compared with those 16-29 years of age. In patients starting ART with a CD4 count of less than 50 cells per μL, the adjusted mortality hazard ratio was 2·52 (2·04-3·11) for people aged 50 years or older compared with those 16-39 years old. Mortality was highest in patients with CD4 counts of less than 50 cells per μL, and 15% (1103 of 7295) of all patients aged 50 years or older starting ART were in this group. The proportion of patients aged 50 years or older enrolling in ART increased with successive years, from 6% (290 of 4999) in 2004 to 10% (961 of 9657) in 2012-13, comprising 9% of total enrolment (7295 of 83 566). At the end of the study, 6304 (14%) of 44,909 patients still alive and in care were aged 50 years or older. INTERPRETATION Health services need reorientation towards HIV diagnosis and starting of ART in older individuals. Policies are needed for long-term care of older people with HIV. FUNDING National Institutes of Health (National Institute of Allergy and Infectious Diseases), US Agency for International Development, and South African Centre for Epidemiological Modelling and Analysis.

Printed Narrative: The Festival Books for Archduke Ernest of Austria from Brussels and Antwerp 1594

Workshop „The Narrative in Eastern and Western Art“, Graduate School of Letters, Kyoto, 2-5 December 2013 Abstract by Ivo Raband, University of Berne Printed Narrative: The Festival Books for Ernest of Austria from Brussels and Antwerp 1594 During the early modern period the medium of the festival book became increasingly more important as an object of ‘political narration’ throughout Europe. Focusing on Netherlandish examples from the sixteenth and seventeenth centuries, my talk will focus on the festival books printed for the Joyous Entries of Archduke Ernest of Austria (1553–1595). Ernest was appointed Governor General of the Netherlands by King Philipp II in 1593, being the first Habsburg Prince to reside in Brussels since 30 years. In Brussels and Antwerp, the Archduke was greeted with the traditional Blijde Imkomst, Joyous Entry, which dates back to the fourteenth century and was a necessity to actually become the sovereign of Brabant and Antwerp and to uphold the privileges of the cities. Decorated with ephemeral triumphal arches, stages, and tableaux vivants, both cities welcomed Ernest and, at the same time, demonstrated their civic self-assurance and negotiated their statuses. In honor of these events of civic power, the city magistrates commissioned festival books. These books combine a Latin text with a description of the events and the ephemeral structures, including circa 30 engravings and etchings. Being the only visual manifestation of the Joyous Entries, the books became important representational objects. The prints featured in festival books will be my point of departure for discussing the importance of narrative political prints and the concept of the early modern festival book as a ‘political object’. By comparing the prints from Ernest’s entries with others from the period between 1549 and 1635, I will show how the prints became as important as the event itself. Thus, I want to pose the question of whether it would have been possible to substitute a printed version of the event for the actual ceremony.

A unified approach to architecture conformance checking

Architectural decisions can be interpreted as structural and behavioral constraints that must be enforced in order to guarantee overarching qualities in a system. Enforcing those constraints in a fully automated way is often challenging and not well supported by current tools. Current approaches for checking architecture conformance either lack in usability or offer poor options for adaptation. To overcome this problem we analyze the current state of practice and propose an approach based on an extensible, declarative and empirically-grounded specification language. This solution aims at reducing the overall cost of setting up and maintaining an architectural conformance monitoring environment by decoupling the conceptual representation of a user-defined rule from its technical specification prescribed by the underlying analysis tools. By using a declarative language, we are able to write tool-agnostic rules that are simple enough to be understood by untrained stakeholders and, at the same time, can be can be automatically processed by a conformance checking validator. Besides addressing the issue of cost, we also investigate opportunities for increasing the value of conformance checking results by assisting the user towards the full alignment of the implementation with respect to its architecture. In particular, we show the benefits of providing actionable results by introducing a technique which automatically selects the optimal repairing solutions by means of simulation and profit-based quantification. We perform various case studies to show how our approach can be successfully adopted to support truly diverse industrial projects. We also investigate the dynamics involved in choosing and adopting a new automated conformance checking solution within an industrial context. Our approach reduces the cost of conformance checking by avoiding the need for an explicit management of the involved validation tools. The user can define rules using a convenient high-level DSL which automatically adapts to emerging analysis requirements. Increased usability and modular customization ensure lower costs and a shorter feedback loop.

BIOCHEMICAL CHARACTERIZATION OF BINDING PARTNERS OF TWO HSP70 CO-CHAPERONES IN SACCHAROMYCES CEREVISIAE

Cells are exposed to a variety of environmental and physiological changes including temperature, pH and nutrient availability. These changes cause stress to cells, which results in protein misfolding and altered cellular protein homeostasis. How proteins fold into their three-dimensional functional structure is a fundamental biological process with important relevance to human health. Misfolded and aggregated proteins are linked to multiple neurodegenerative diseases, cardiovascular disease and cystic fibrosis. To combat proteotoxic stress, cells deploy an array of molecular chaperones that assist in the repair or removal of misfolded proteins. Hsp70, an evolutionarily conserved molecular chaperone, promotes protein folding and helps maintain them in a functional state. Requisite co-chaperones, including nucleotide exchange factors (NEFs) strictly regulate and serve to recruit Hsp70 to distinct cellular processes or locations. In yeast and human cells, three structurally non-related cytosolic NEFs are present: Sse1 (Hsp110), Fes1 (HspBP1) and Snl1 (Bag-1). Snl1 is unique among the cytosolic NEFs as it is localized at the ER membrane with its Hsp70 binding (BAG) domain exposed to the cytosol. I discovered that Snl1 distinctly interacts with assembled ribosomes and several lines of evidence indicate that this interaction is both independent of and concurrent with binding to Hsp70 and is not dependent on membrane localization. The ribosome-binding site is identified as a short lysine-rich motif within the amino terminus of the Snl1 BAG domain distinct from the Hsp70 interaction region. In addition, I demonstrate ribosome association with the Snl1 homolog in the pathogenic fungus, Candida albicans and localize this putative NEF to a perinuclear/ER membrane, suggesting functional conservation in fungal BAG domain-containing proteins. As a first step in determining specific domain architecture in fungal BAG proteins, I present the preliminary steps of protein purification and analysis of the minimal Hsp70 binding region in in both S.cerevisiae and C. albicans Snl1. Contrary to previous in vitro evidence which showed the Fes1 NEF to interact with both cytosolic Hsp70s, Ssa and Ssb, Fes1 is shown to interact specifically with Ssa when expressed under normal cellular conditions in S. cerevisiae. This is the first reported evidence of Hsp70 binding selectivity for a cytosolic NEF, and suggests a possible mechanism to achieve specificity in Hsp70-dependent functions. Taken together, the work presented in this dissertation highlights the striking divergence among Hsp70 co-chaperones in selecting binding partners, which may correlate with their specific roles in the cell.

Pollen profiles from 8 sediment cores from the Degersee, Southern Germany

The discovery of a neolithic pile field in the shallow water near the eastern shore of the Degersee confirmed earlier palynological and sedimentological studies stating that early man was active in the region since more than 6000 years. The already available off-site data were freshly assessed, completed by additional data from old and new cores and the interpretations revised. A common time scale for the off-site data and the on-site data was obtained by AMS dating of terrestrial macro remains of the neolithic section of off-site core De_I+De_H. The ages can thus be parallelled with AMS ages of construction timber on-site. Pollen analyses from all cores provide a further time scale. The continuously and densely sampled pollen profile of the profundal zone embracing the entire Late glacial and Holocene serves as a reference. From the Boreal onwards the relative ages are transformed by AMS ages and varve counts into calibrated and absolute. A transect cored close to the neolithic pile field across the lake marl-platform demonstrates its geological architecture in the shallow water since the Lateglacial. Studies of the microfabric of thin sections of drilled cores and of box cores from the excavations demonstrate that neolithic settlements now at 2-3,5 m water depth had been erected on lake marl freshly fallen dry, thus indicating earlier lake levels dropped by 1.5-2 m. The neolithic section of the highly resolved off-site profile in the lake=s profundal zone has laminated and calcareous zones alternating with massive ones. Assemblages of diatoms and concentrations of trace elements changing simultaneously characterise the calcareous sections as deposits of low lake levels that lasted between some 40 and more than 300 years. The ages of discovered lake shore dwellings fall into calcareous segments with low lake levels. From the end of the Upper Atlantic period (F VII) appear Secondary Forest Cycles in the beech forest, a man-made sequence of repeated vegetational development with an identical pattern: With a decrease of beech pollen appear pollen of grasses, herbs and cultural indicators. These are suppressed by the light demanding hazel and birch, those again by ash, and finally by the shade demanding beech forming a new pollen peak. Seven main Forest Cycles are identified In the upper Neolithic period each comprising some 250, 450 or 800 years. They are subdivided into subcycles that can be broken down by very dense sampling in even shorter cycles of decadal length. Farming settlers have caused minor patchy clearances of the beech-mixed-forest with the use of fire. The phases of clearance coincide with peaks of charcoal and low stands of the lake levels. The Secondary Forest Cycles and the continuous occurrence of charcoal prove a continued occupation of the region. Together with the repeated restoration of the beech climax forest they point to pulsating occupation probably associated with dynamic demography. The synchronism of the many palynological, sedimentological and archaeological data point to an external forcing as the climate that affects comprehensively all these proxies. The fluctuations of the activity of the sun as manifested in the residual d14C go largely along with the proxies. The initial clearances at the begin of the forest cycles are linked to low lake levels and negative values of d14C that point to dry and warm phases of a more continental climate type. The subcycles exist independent from climatic changes, indicating that early man acted largely independent from external forces.

Sediment thickness and distribution of facies types in the Kara Sea

We studied the impact of the last glacial (late Weichselian) sea level cycle on sediment architecture in the inner Kara Sea using high-resolution acoustic sub-bottom profiling. The acoustic lines were ground-truthed with dated sediment cores. Furthermore we refined the location of the eastern LGM ice margin, by new sub bottom profiles. New model results of post-Last Glacial Maximum (LGM) isostatic rebound for this area allow a well-constrained interpretation of acoustic units in terms of sequence stratigraphy. The lowstand (or regressive) system tract sediments are absent but are represented by an unconformity atop of Pleistocene sediments on the shelf and by a major incised dendritic paleo-river network. The subsequent transgressive and highstand system tracts are best preserved in the incised channels and the recent estuaries while only minor sediment accumulation on the adjacent shelf areas is documented. The Kara Sea can be subdivided into three areas: estuaries (A), the shelf (B) and (C) deeper lying areas that accumulated a total of 114 * 10**10 t of Holocene sediments.

Recovery of traditional mortars in the laboratory of materials at the school of architectura of Madrid

The Laboratory of Materials seminar is an optional course offered to students in the School of Architecture in Madrid. It is taught during 35 class hours in the laboratory of materials distributed in two hours and forty minutes weekly. One of the working lines is the preparation of traditional mortars made by students groups, each one of 4 or 5 members. It is basically a practical course, and students have to prepare a group of tests pieces in order to confirm the initial hypothesis, or when needed, make innovations. The test pieces are of 150mmx150mmx10mm and applied to big size hollow bricks, prismatic test pieces of 40mmx40mmx160mm to apply physical and mechanical tests and brick wallings of varied dimensions.

Radiofrequency architectures and technologies for software defined radio

Six-port network is an interesting radiofrequency architecture with multiple possibilities. Since it was firstly introduced in the seventies as an alternative network analyzer, the six-port network has been used for many applications, such as homodyne receivers, radar systems, direction of arrival estimation, UWB (Ultra-Wide-Band), or MIMO (Multiple Input Multiple Output) systems. Currently, it is considered as a one of the best candidates to implement a Software Defined Radio (SDR). This thesis comprises an exhaustive study of this promising architecture, where its fundamentals and the state-of-the-art are also included. In addition, the design and development of a SDR 0.3-6 GHz six-port receiver prototype is presented in this thesis, which is implemented in conventional technology. The system is experimentally characterized and validated for RF signal demodulation with good performance. The analysis of the six-port architecture is complemented by a theoretical and experimental comparison with other radiofrequency architectures suitable for SDR. Some novel contributions are introduced in the present thesis. Such novelties are in the direction of the highly topical issues on six-port technique: development and optimization of real-time I-Q regeneration techniques for multiport networks; and search of new techniques and technologies to contribute to the miniaturization of the six-port architecture. In particular, the novel contributions of this thesis can be summarized as: - Introduction of a new real-time auto-calibration method for multiport receivers, particularly suitable for broadband designs and high data rate applications. - Introduction of a new direct baseband I-Q regeneration technique for five-port receivers. - Contribution to the miniaturization of six-port receivers by the use of the multilayer LTCC (Low Temperature Cofired Ceramic) technology. Implementation of a compact (30x30x1.25 mm) broadband (0.3-6 GHz) six-port receiver in LTTC technology. The results and conclusions derived from this thesis have been satisfactory, and quite fruitful in terms of publications. A total of fourteen works have been published, considering international journals and conferences, and national conferences. Aditionally, a paper has been submitted to an internationally recognized journal, which is currently under review.

Algoritmos de distribución de cargas de proceso en computación con membranas

Con el surgir de los problemas irresolubles de forma eficiente en tiempo polinomial en base al dato de entrada, surge la Computación Natural como alternativa a la computación clásica. En esta disciplina se trata de o bien utilizar la naturaleza como base de cómputo o bien, simular su comportamiento para obtener mejores soluciones a los problemas que los encontrados por la computación clásica. Dentro de la computación natural, y como una representación a nivel celular, surge la Computación con Membranas. La primera abstracción de las membranas que se encuentran en las células, da como resultado los P sistemas de transición. Estos sistemas, que podrían ser implementados en medios biológicos o electrónicos, son la base de estudio de esta Tesis. En primer lugar, se estudian las implementaciones que se han realizado, con el fin de centrarse en las implementaciones distribuidas, que son las que pueden aprovechar las características intrínsecas de paralelismo y no determinismo. Tras un correcto estudio del estado actual de las distintas etapas que engloban a la evolución del sistema, se concluye con que las distribuciones que buscan un equilibrio entre las dos etapas (aplicación y comunicación), son las que mejores resultados presentan. Para definir estas distribuciones, es necesario definir completamente el sistema, y cada una de las partes que influyen en su transición. Además de los trabajos de otros investigadores, y junto a ellos, se realizan variaciones a los proxies y arquitecturas de distribución, para tener completamente definidos el comportamiento dinámico de los P sistemas. A partir del conocimiento estático –configuración inicial– del P sistema, se pueden realizar distribuciones de membranas en los procesadores de un clúster para obtener buenos tiempos de evolución, con el fin de que la computación del P sistema sea realizada en el menor tiempo posible. Para realizar estas distribuciones, hay que tener presente las arquitecturas –o forma de conexión– de los procesadores del clúster. La existencia de 4 arquitecturas, hace que el proceso de distribución sea dependiente de la arquitectura a utilizar, y por tanto, aunque con significativas semejanzas, los algoritmos de distribución deben ser realizados también 4 veces. Aunque los propulsores de las arquitecturas han estudiado el tiempo óptimo de cada arquitectura, la inexistencia de distribuciones para estas arquitecturas ha llevado a que en esta Tesis se probaran las 4, hasta que sea posible determinar que en la práctica, ocurre lo mismo que en los estudios teóricos. Para realizar la distribución, no existe ningún algoritmo determinista que consiga una distribución que satisfaga las necesidades de la arquitectura para cualquier P sistema. Por ello, debido a la complejidad de dicho problema, se propone el uso de metaheurísticas de Computación Natural. En primer lugar, se propone utilizar Algoritmos Genéticos, ya que es posible realizar alguna distribución, y basada en la premisa de que con la evolución, los individuos mejoran, con la evolución de dichos algoritmos, las distribuciones también mejorarán obteniéndose tiempos cercanos al óptimo teórico. Para las arquitecturas que preservan la topología arbórea del P sistema, han sido necesarias realizar nuevas representaciones, y nuevos algoritmos de cruzamiento y mutación. A partir de un estudio más detallado de las membranas y las comunicaciones entre procesadores, se ha comprobado que los tiempos totales que se han utilizado para la distribución pueden ser mejorados e individualizados para cada membrana. Así, se han probado los mismos algoritmos, obteniendo otras distribuciones que mejoran los tiempos. De igual forma, se han planteado el uso de Optimización por Enjambres de Partículas y Evolución Gramatical con reescritura de gramáticas (variante de Evolución Gramatical que se presenta en esta Tesis), para resolver el mismo cometido, obteniendo otro tipo de distribuciones, y pudiendo realizar una comparativa de las arquitecturas. Por último, el uso de estimadores para el tiempo de aplicación y comunicación, y las variaciones en la topología de árbol de membranas que pueden producirse de forma no determinista con la evolución del P sistema, hace que se deba de monitorizar el mismo, y en caso necesario, realizar redistribuciones de membranas en procesadores, para seguir obteniendo tiempos de evolución razonables. Se explica, cómo, cuándo y dónde se deben realizar estas modificaciones y redistribuciones; y cómo es posible realizar este recálculo. Abstract Natural Computing is becoming a useful alternative to classical computational models since it its able to solve, in an efficient way, hard problems in polynomial time. This discipline is based on biological behaviour of living organisms, using nature as a basis of computation or simulating nature behaviour to obtain better solutions to problems solved by the classical computational models. Membrane Computing is a sub discipline of Natural Computing in which only the cellular representation and behaviour of nature is taken into account. Transition P Systems are the first abstract representation of membranes belonging to cells. These systems, which can be implemented in biological organisms or in electronic devices, are the main topic studied in this thesis. Implementations developed in this field so far have been studied, just to focus on distributed implementations. Such distributions are really important since they can exploit the intrinsic parallelism and non-determinism behaviour of living cells, only membranes in this case study. After a detailed survey of the current state of the art of membranes evolution and proposed algorithms, this work concludes that best results are obtained using an equal assignment of communication and rules application inside the Transition P System architecture. In order to define such optimal distribution, it is necessary to fully define the system, and each one of the elements that influence in its transition. Some changes have been made in the work of other authors: load distribution architectures, proxies definition, etc., in order to completely define the dynamic behaviour of the Transition P System. Starting from the static representation –initial configuration– of the Transition P System, distributions of membranes in several physical processors of a cluster is algorithmically done in order to get a better performance of evolution so that the computational complexity of the Transition P System is done in less time as possible. To build these distributions, the cluster architecture –or connection links– must be considered. The existence of 4 architectures, makes that the process of distribution depends on the chosen architecture, and therefore, although with significant similarities, the distribution algorithms must be implemented 4 times. Authors who proposed such architectures have studied the optimal time of each one. The non existence of membrane distributions for these architectures has led us to implement a dynamic distribution for the 4. Simulations performed in this work fix with the theoretical studies. There is not any deterministic algorithm that gets a distribution that meets the needs of the architecture for any Transition P System. Therefore, due to the complexity of the problem, the use of meta-heuristics of Natural Computing is proposed. First, Genetic Algorithm heuristic is proposed since it is possible to make a distribution based on the premise that along with evolution the individuals improve, and with the improvement of these individuals, also distributions enhance, obtaining complexity times close to theoretical optimum time. For architectures that preserve the tree topology of the Transition P System, it has been necessary to make new representations of individuals and new algorithms of crossover and mutation operations. From a more detailed study of the membranes and the communications among processors, it has been proof that the total time used for the distribution can be improved and individualized for each membrane. Thus, the same algorithms have been tested, obtaining other distributions that improve the complexity time. In the same way, using Particle Swarm Optimization and Grammatical Evolution by rewriting grammars (Grammatical Evolution variant presented in this thesis), to solve the same distribution task. New types of distributions have been obtained, and a comparison of such genetic and particle architectures has been done. Finally, the use of estimators for the time of rules application and communication, and variations in tree topology of membranes that can occur in a non-deterministic way with evolution of the Transition P System, has been done to monitor the system, and if necessary, perform a membrane redistribution on processors to obtain reasonable evolution time. How, when and where to make these changes and redistributions, and how it can perform this recalculation, is explained.

Una revolución historiográfica para la cultura arquitectónica española: Juan Daniel Fullaondo en Nueva Forma

Este texto apunta algunos aspectos de la labor crítica desarrollada por Juan Daniel Fullaondo como director de Nueva Forma entre 1966 y 1975. En unos años de crisis disciplinar, esta publicación emprendió una revisión del legado arquitectónico español. Ante un panorama editorial aséptico, los textos críticos de Fullaondo aspiraron a mediar en el decurso histórico con el firme convencimiento de que la crítica, como tal, cumple con una función tan real como el de las propias obras construidas. ABSTRACT: This paper studies some aspects of the critical work that Juan Daniel Fullaondo developed at the Spanish magazine Nueva Forma (New Form), which directed from 1966 to 1975. In these critical years, this monthly publication, which was specialized in architecture and art, undertook a revision of the Spanish Architectural legacy. Despite the aseptic editorial panorama, Fullaondo’s texts firmly aspired to mediate in the collective cultural knowledge. His defense on criticism as a specialized discipline made him vindicate that it could have a role in History as real as masterly projects.

Analysis of QoS Parameter in AODV a DSR in Mobile Ad Hoc Networks

Providing QoS in the context of Ad Hoc networks includes a very wide field of application from the perspective of every level of the architecture in the network. Saying It in another way, It is possible to speak about QoS when a network is capable of guaranteeing a trustworthy communication in both extremes, between any couple of the network nodes by means of an efficient Management and administration of the resources that allows a suitable differentiation of services in agreement with the characteristics and demands of every single application.The principal objective of this article is the analysis of the quality parameters of service that protocols of routering reagents such as AODV and DSR give in the Ad Hoc mobile Networks; all of this is supported by the simulator ns-2. Here were going to analyze the behavior of some other parameters like effective channel, loss of packages and latency in the protocols of routering. Were going to show you which protocol presents better characteristics of Quality of Service (QoS) in the MANET networks.

La modernidad arquitectónica en México : una mirada a través del arte y los medios impresos

Esta tesis se basa en la hipótesis de que la modernidad arquitectónica en México no es, como se ha pretendido, una historia homogénea, centrada en un puñado de figuras clave, sino una multiplicidad de narrativas complejas en las cuales el arte y los medios impresos juegan un papel esencial. Por tanto, se propone una nueva mirada sobre la arquitectura del siglo XX en México a partir de la relación con la fotografía, el dibujo, las ideas y los medios. La tesis se plantea con el fin de vincular la arquitectura con los movimientos artísticos relevantes, los autores con las publicaciones, las formas con los manifiestos. Asímismo, uno de los principales intereses es explorar los conceptos de modernidad y de identidad, como parte de la construcción misma de la arquitectura de dicha época y del concepto de “lo mexicano”. A pesar del énfasis que se ha dado en la construcción de un canon, muchas veces ligado a la noción de monumentalidad, regionalismo, y mestizaje, este trabajo parte de una mirada puesta no en las formas sino en los procesos. A partir de las conexiones entre distintas capas de información, se buscan nuevas maneras de abordar el proyecto arquitectónico. El crítico de arquitectura brasileño Hugo Segawa ha descrito la investigación sobre la arquitectura latinoamericana como “una tarea más de índole arqueológica que historiográfica”, sin embargo, también ha calificado a México como “el más vigoroso centro de debates teóricos en Latinoamérica a lo largo del siglo XX.” Ese descompas entre la ruina y el vigor, entre la abundancia de producción y la precariedad de su conservación, ha definido no solo el estudio de la arquitectura sino las propias formas de creación. Por tanto, la tesis se plantea como una nueva plataforma desde la cual sea posible reformular la arquitectura, lejos de su condición amnésica, pensada en cambio, como un sistema basado en una misma voluntad por indagar y crear. Se busca, siguiendo al crítico británico Anthony Vidler, “relacionar” la historia con el proyecto. Con el fin de quitarle lo escurridizo a una historia incompleta y sobre todo de poder entender la manera en que las ideas se convierten en forma o en objeto, la tesis se estructura a partir de 22 líneas de tiempo organizadas en tres recorridos que se cruzan: arquitectura; arte y pensamiento. A partir de referencias como el Atlas Mnemosyne de Aby Wargurg o la serie Asterisms del artista Gabriel Orozco, se crean nuevos dispositivos para ver. De tal manera, se desdoblan los distintos temas para trazar relaciones entre la ciudad, los edificios, las utopías, las publicaciones y la publicidad. El trabajo se construye como un nuevo instrumento de exploración articulado por medio de capas, como un mapa genealógico evolutivo. El objetivo es abarcar aquella arquitectura construida no sólo en la ciudad sino también en el papel. Iniciando con el trabajo de la generación que llevó la arquitectura al siglo XX, el estudio se extiende a manera de epílogo hasta la primera década del siglo XXI, reuniendo obras que normalmente se han visto de manera aislada para entenderlas en su contexto más amplio. Como escenario de búsquedas, esta tesis intenta provocar el cruce de significados, creyendo imprescindible una nueva reflexión en torno a la disciplina y a los escenarios en los cuales se inscribe. La arquitectura de México –un país que en el siglo XX pasó de tener 13 millones de habitantes a 100 millonescorresponde esencialmente a una producción anónima, o bien, fabricada a partir de estereotipos. Pero entre la mancha de desarrollo informal y el hito reconocible está un trabajo tan amplio como inexplorado. Por tanto, se ofrece una serie de nuevas constelaciones que comprenden desde la Revolución de 1910 a los Juegos Olímpicos de 1968; del terremoto de la ciudad de México en 1985 a los concursos internacionales de las últimas décadas. This thesis’ hypothesis states that architectural modernity in Mexico is not, as sometimes pretended, a homogeneous history, focused on some key figures, but rather a multiple and complex narrative, in which art and print media have played an essential role. Therefore, it proposes a new perspective on 20th century architecture in Mexico analized through the relationship between architecture and photography, art, theory and media. Its aim is to link architecture and artistic movements, authors and publications, forms and manifestos. What is intended here is to explore the concepts of ‘modernity’ and ‘identity’ as part of the construction of architecture and the concept of ‘Mexicanity’. Despite the emphasis that has been given to the construction of an architectural canon —mostly related to the notions of monumentality, regionalism and mestizaje/métissage— this thesis’ approach is focused mainly in processes and not in forms. Through connections between diverse layers of information, new ways of dealing with the architectural project are explored. Brazilian architecture critic Hugo Segawa has described the research on Latin American architecture as «more a task of archaeology than of historiography». Nonetheless, he has also described Mexico as «the most vigorous center of theoretical debates in Latin America throughout the 20th century». This acute discrepancy between decay and vigor, between abundance of production and precarious state of conservation has determined not only the ways in which architecture is studied and understood but also the process of architectural creation. This work is therefore outlined as a new platform in order to reformulate the discipline as a system based on a common will to research and create, far from the existing amnesiac attitude. Following British critic Anthony Vidler, the interest relies in the attempt to ‘relate’ History to project. In order to reduce the elusiveness of an incomplete history and, specially, to understand how ideas become forms and objects, this thesis is composed of 22 timelines organized in three intersecting itineraries: Architecture, Art and Theory. Drawing inspiration from Aby Warburg’s Atlas Mnemosyne and Gabriel Orozco’s series Asterisms, new exploration devices are created. In such a way, diverse topics unfold to draw connections between built environment, utopian projects, publications, photography and publicity. This work is developed as a new tool for exploration, articulated by layers, like an evolutionary genealogy map. Its objective is to analyze not only the architecture build in cities, but produced on paper. Starting with the work of the generation that led Mexican architecture into the 20th century, this research extends until the first decade of the 21st century (the epilogue), gathering together works which have been usually seen in isolation, and therefore making possible its understanding in a broader context. As a scenario for exploration, this work tries to prompt the crossing of meanings, in the belief that new approaches on the discipline and its context are needed. Architecture in Mexico — a country whose population grew in the 20th century form 13 to 100 million— is related essentially with an anonymous production, or else made from stereotypes. However, between the sprawl of informal urban developments and landmark buildings there is an architectural production as extensive as it is unexamined. This essay introduces a series of new constellations, ranging from the Revolution in 1910 to the Olympic Games in 1968; from the earthquake in Mexico City in 1985 to the international competitions of the last decade. These myriad perspectives present buildings that were never built, forgotten writings, iconic images and unpublished material.

Los tratados y el jardín renacentista en Italia. Principios, metodologías y técnicas

La tesis destaca la influencia que ejerció la teoría, las técnicas y la metodología de proyecto de los principales tratados de la época renacentista en la concepción, diseño y realización de algunos de los más importantes jardines de la época. Los tratados de Vitruvio, Alberti, Filarete, Di Giorgio, Serlio, Palladio, Colonna y Del Riccio establecen una nueva estética y una nueva visión del mundo, basadas en la geometría elemental y en los números simples. En la Grecia antigua, Platón y Pitágoras intuyeron la necesidad existencial del hombre de apoyarse en unas leyes seguras de orden superior. Sus teorías sobre las leyes del Universo son retomadas y aplicadas en el arte y en el jardín por Vitruvio y por los tratadistas del Renacimiento. Según los tratadistas, la estética es el núcleo generador del que se activan la información y las leyes hacia todos los campos del conocimiento y de la vida social y, por lo tanto, la finalidad de los tratados es buscar, a través de un procedimiento científico y racional, las reglas de la belleza. Las leyes estéticas formuladas por los tratadistas examinados se aplican con el mismo rigor y respeto ya sea al paisaje que al jardín, exaltando el elemento natural al igual que el construido (la ciudad y la arquitectura). De los tratados renacentistas se han extraídos términos y conceptos que ayudan a revalorizar, reinterpretar e integrar en el debate los temas del paisaje y del jardín. La tesis sostiene que: 1) una idea moderna de jardín se tiene que fundar en la historia; 2) que la historia es indispensable incluso para enfrentar el problema del mantenimiento y de la restauración de los jardines históricos; 3) que la teoría y las ideas que tienen valor, así como nos enseña Alberti, producen obras que también tienen valor; 4) la influencia de la estética de los tratadistas se encuentra incluso en algunos importantes jardines de época moderna y contemporánea. El capítulo 1 contiene la definición de tratado y la concepción estética del Renacimiento, analizada por medio de: a) la idea de ciencia y b) a través de las pinturas. Los capítulos 2 y 3 contienen respectivamente los principios teóricos de los tratados y el diseño, la metodología, las técnicas constructivas y los métodos de representación del proyecto según los tratadistas. Estos capítulos resultan propedéuticos de los capítulos siguientes por proporcionar el instrumento de lectura e interpretación de los jardines renacentistas y modernos. El capítulo 4 destaca la gran influencia de los tratados sobre las villas y jardines renacentistas y describe sus elementos. El último capítulo, el quinto, contiene un análisis de algunos jardines modernos. Entre ellos: Chiswick, la Villa “I Tatti”, Sutton Place, y la Villa “Il Roseto” que renuevan y prosiguen, en nuestra opinión, la lección de los tratadistas. El primer anexo contiene la propuesta de líneas de investigación que surgen a la luz de la tesis, y el segundo anexo contiene las noticias biográficas de los tratadistas examinados. ABSTRACT The thesis investigates the influence exercised by the theory, techniques and project methodology contained in the most relevant essays on art and architecture of the Renaissance on the concept, design and making of some of the most important gardens of that time. The essays of Vitruvius, Alberti, Filarete, Di Giorgio, Serlio, Palladio, Colonna y Del Riccio established a new concept of aesthetics and a vision of the world based on basic geometry and simple numbers. In ancient Greece, Plato and Pythagoras understood that humans needed “superior laws” to anchor their existences. Their theories on laws of the Universe were adopted and applied in art and gardening by Vitruvius and Renaissance essays authors. According to the authors of these essays, aesthetics represents the core generating information and laws that branch out toward all the fields of knowledge and social life. Therefore, the purpose of art and architecture essays consists in exploring, through a scientific and rational process, the rules of beauty. The laws of aesthetics proposed by the authors apply to landscaping and gardening with the same rigor and exalt the natural component as much as the artificial one (city and architecture). Several terms and concepts are also extracted that, despite their age, still help us to understand and enrich the contemporary debate revolving around landscaping and gardening. The thesis argues that: 1) the modern idea of gardening must be based on history; 2) history is fundamental even to address the topics of maintenance and restoration of historical gardens; 3) like Leon Battista Alberti maintains, valid theory and ideas produce valuable works; 4) the influence played by aesthetics on authors can be found in many important modern and contemporary gardens. Chapter 1 contains the definition of essay and of the Renaissance concept of aesthetics, analyzed by: a) the idea of science and 2) the analysis of some paintings of the period. Chapters 2 and 3 discuss respectively the theoretical principles of the essays and the design, methodology, construction techniques and the methods of representation of the project according to the authors. These chapters are preparatory toward the following chapters and provide us with the keys necessary to read and interpret Renaissance and modern gardens. Chapter 4 highlights the great influence exercised by those authors on the planning of important villas and gardens from the Renaissance while describing their elements. The 5th and final chapter analyzes some modern gardens among which Chiswick, Villa “I Tatti”, Sutton Place, Villa “Il Roseto”. These villas renew and in our opinion carry on the lesson of the essays written in the Renaissance. The first addendum suggests future lines of research derived from the thesis, while the second addendum contains biographical information regarding the authors examined.

Resonancias de los paradigmas científicos en las arquitecturas de la Escuela de Madrid

Los años cincuenta y sesenta son los años de la incorporación definitiva de la arquitectura española al panorama internacional. Entre los arquitectos que protagonizan ese salto sin retorno, se encuentra el grupo de aquellos que unos años más tarde serán denominados por Juan Daniel Fullaondo como Escuela de Madrid. Carlos Flores, en su libro Arquitectura Española Contemporánea 1880-1950, se refiere a esos arquitectos como aquellos que se aplicaban a la difícil tarea de restablecer en España un tipo de arquitectura que conectaba con las teorías, soluciones y lenguajes establecidos por Europa durante las primeras décadas del siglo XX. Sigfried Giedion plantea en Espacio, Tiempo y Arquitectura el origen de una nueva tradición, surgida a partir de la revolución óptica de principios de siglo. Con tradición se refiere a una nueva cultura, que abarca la interrelación de las diferentes actividades del hombre: la similitud de los métodos que se usan en la arquitectura, la construcción, la pintura, el urbanismo o la ciencia. Esa novedad, fundamentada en su independencia y desvinculación con el periodo anterior, se inscribe dentro del esquema evolutivo que Thomas Kuhn plantea en su texto La Estructura de la Revoluciones Científicas, conforme a periodos no acumulativos. Kuhn habla del surgimiento de anomalías en cada periodo, origen de las crisis de pensamiento cuya explicación precisará un necesario cambio paradigmático. En la ciencia, en el campo de la óptica Thomas Young demuestra a principios del siglo XIX la naturaleza ondulatoria de la luz con su experimento de doble rendija; en el electromagnetismo se produce el salto conceptual que supone la postulación de la existencia del campo eléctrico por parte de Michael Faraday, y en termodinámica la consideración apuntada por Planck de que la radiación de la energía de produce de forma discreta, a través de cuantos. En las artes plásticas, paralelamente, Gleizes y Metzinger, en su recopilación de logros cubistas recogida en Sobre el Cubismo, hablan de la evolución sufrida durante el siglo XIX por la pintura: desde el idealismo de principios de siglo, para pasando por el realismo y la representación impresionista de la realidad, concluir prescindiendo de la perspectiva clásica. También la matemática, una vez desarrolladas por Gauss o Lobachevsky y Bolyai geometrías coherentes que incumplen el quinto postulado de Euclides, terminará dando validez a través de Riemann a los espacios ambiente en los que habitan dichas geometrías, desvinculando la relación directa entre espacio geométrico –el espacio ambiente al que da lugar un tipo de geometría- y el espacio físico. Capi Corrales refleja en su libro Contando el Espacio, cómo hasta la teoría de la relatividad y el cubismo, las geometrías no euclídeas no se hicieron notorias también fuera del campo de las matemáticas. El origen de la nueva tradición con la que Giedion se refiere a la nueva cultura de la modernidad coincide con los saltos paradigmáticos que suponen la teoría de la relatividad en las ciencias y el cubismo en las artes plásticas. Ambas se prolongan durante las primeras décadas hasta la teoría cuántica y la abstracción absoluta, barreras que los dos principales precursores de la relatividad y el cubismo, Einstein y Picasso, nunca llegan a franquear. En ese sentido Giedion habla también, además del origen, de su desarrollo, e incorpora las aportaciones periféricas en la arquitectura de Brasil, Japón o Finlandia, incluyendo por tanto la revisión orgánica propugnada por Zevi como parte de esa nueva tradición, quedando abierta a la incorporación tardía de nuevas aportaciones al desarrollo de esa cultura de la modernidad. Eliminado el concepto de la estética trascendental de Kant del tiempo como una referencia absoluta, y asumido el valor constante de la velocidad de la luz, para la teoría de la relatividad no existe una simultaneidad auténtica. Queda así fijada la velocidad de la luz como uno de los límites del universo, y la equivalencia entre masa y energía. En el cubismo la simultaneidad espacial viene motivada por la eliminación del punto de vista preferente, cuyo resultado es la multiplicidad descriptiva de la realidad, que se visualiza en la descomposición en planos, tanto del objeto como del espacio, y la consecuente continuidad entre fondo y figura que en arquitectura se refleja en la continuidad entre edificio y territorio. Sin la consideración de un punto de vista absoluto, no existe una forma auténtica. El cubismo, y su posterior desarrollo por las vanguardias plásticas, hacen uso de la geometría como mecanismo de recomposición de la figura y el espacio, adoptando mecanismos de penetración, superposición y transparencia. Gyorgy Kepes indica en El Lenguaje de la Visión que la descomposición cubista del objeto implica la sucesiva autonomía de los planos, hasta convertirse en elementos constituyentes. Algo que refleja las axonometrías arquitectónicas de Van Doesburg y que culmina con los espacios propuestos por Mies van der Rohe en sus primeros proyectos europeos. Estos mecanismos, encuentran eco en los primeros planteamientos de Javier Carvajal: en la ampliación del Panteón de españoles del cementerio de Campo Verano, un recinto virtual reconstruido mentalmente a partir del uso de tres únicos planos; o en el Pabellón de Nueva York, que organiza su planta baja desde el recorrido, introduciendo el parámetro temporal como una dimensión más. Al uso diferenciado del plano como elemento constituyente, Carvajal incorpora su plegado y su disposición conformando envolventes como mecanismo de cualificación espacial y formal, potenciando la prolongación entre arquitectura y territorio. Una continuidad que quedará culminada en las dos viviendas unifamiliares construidas en Somosaguas. La descomposición volumétrica conduce a unos niveles de abstracción que hace precisa la incorporación de elementos de la memoria -fuentes, patios, celosías…- a modo de red de señales, como las que Picasso y Braque introducen en sus cuadros para permitir su interpretación. Braque insiste en el interés por el espacio que rodea a los objetos. Una búsqueda de la tactilidad del espacio contraria a la perspectiva que aleja el objeto del observador, y que en los jardines de las viviendas de Somosaguas parece emanar de su propia materialidad. Un espacio táctil alejado del espacio geométrico y que Braque identifica con el espacio representativo en el que Poincaré, en La Ciencia y la Hipótesis, ubica nuestras sensaciones. Desdibujar los límites del objeto prolonga el espacio indefinidamente. Con el paso en el arte griego del mito al logos, se abre paso a la matemática como herramienta de comprensión de la naturaleza hasta el siglo XIX. Leon Lederman, en Simetría y la Belleza del Universo, apunta a que una de las mayores contribuciones de la teoría de Einstein es hacer cambiar el modo de pensar la naturaleza, orientándolo hacia la búsqueda de los principios de simetría que subyacen bajo las leyes físicas. Considerando que la simetría es la invariancia de un objeto o un sistema frente a una transformación y que las leyes físicas son las mismas en cualquier punto del espacio, el espacio de nuestro universo posee una simetría traslacional continua. En la ocupación del espacio de las primeras propuestas de Corrales y Molezún aparecen estructuras subyacentes que responden a enlosetados: paralelogramos sometidos a transformaciones continuas, que la naturaleza identifica tridimensionalmente con los grupos cristalográficos. Las plantas del museo de Arte Contemporáneo de la Castellana, la residencia de Miraflores, el pabellón de Bruselas o la torre Peugeot pertenecen a este grupo. La arquitectura como proceso de ocupación continua del territorio y de su trasposición al plano de cubierta, se materializa en líneas estructurales coincidentes con la estructura matemática de sus simetrías de traslación cuya posibilidad de prolongación infinita queda potenciada por el uso de la envolvente transparente. Junto a esta transparencia literal, inherente al material, Colin Rowe y Robert Slutzky nos alertan sobre otra transparencia inherente a la estructura: la transparencia fenomenal, ilustrada por los cuadros de Juan Gris, y cuya intuición aparece reflejada en la casa Huarte en Puerta de Hierro de Madrid. Corrales y Molezún insisten en una lectura de su volumetría alejada de la frontalidad, en la que los contornos de sus cubiertas inclinadas y las visuales tangenciales sugeridas por la organización de sus recorridos introducen una estructura diagonal que se superpone al entendimiento ortogonal de su planta, dibujando una intrincada red de líneas quebradas que permiten al espacio fluctuar entre las secuencia volumétrica propuesta. Los datos relativos al contenido energético de la luz y el concepto de átomo parten de la consideración de la emisión de energía en cuantos realizada por Planck, y concluyen con una circunstancia paradójica: la doble naturaleza de la luz -demostrada por la explicación de Einstein del efecto fotoeléctrico- y la doble naturaleza de la materia -asumida por Bohr y demostrada por el efecto Compton-. Schrödinger y Heisenberg formularán finalmente la ecuación universal del movimiento que rige en las ondas de materia, y cuya representación matemática es lo que se conoce como función de onda. El objeto es así identificado con su función de onda. Su ondulatoriedad expresará la probabilidad de encontrarse en un lugar determinado. Gyorgy Kepes subraya la necesidad de simplificar el lenguaje para pasar de la objetividad que aún permanece en la pintura cubista a la abstracción total del espacio. Y es así como los artistas plásticos reducen los objetos a simples formas geométricas, haciendo aflorar a la vez, las fuerzas plásticas que los tensionan o equilibran, en un proceso que acaba por eliminar cualquier atisbo de materia. Robert Rosenblum en La Pintura Moderna y la Tradición del Romanticismo Nórdico habla de cómo ese rechazo de la materia en favor de un vacío casi impalpable, campos luminosos de color denso que difunden un sereno resplandor y parecen engendrar las energías elementales de la luz natural, está directamente vinculado a la relación con la naturaleza que establece el romanticismo nórdico. La expresión de la energía de la naturaleza concentrada en un vacío que ya había sido motivo de reflexión para Michael Faraday en su postulación del concepto de campo eléctrico. Sáenz de Oíza incide en la expresión de la condición material de la energía en su propuesta junto a José Luis Romany para la capilla en el Camino de Santiago. La evocación de diferentes fuerzas electromagnéticas, las únicas junto a las gravitatorias susceptibles de ser experimentadas por el hombre, aparecerán visualizadas también en el carácter emergente de algunas de sus obras: el Santuario de Aránzazu o Torres Blancas; pero también en la naturaleza fluyente de sus contornos, la dispersión perimetral de los espacios -el umbral como centro del universoo la configuración del límite como respuesta a las tensiones germinales de la naturaleza. Miguel Fisac, a la vuelta de su viaje a los países nórdicos, aborda una simplificación lingüística orientada hacia la adecuación funcional de los espacios. En el Instituto de Daimiel, el Instituto de formación del profesorado o los complejos para los Padres Dominicos en Valladolid o Alcobendas, organiza progresivamente la arquitectura en diferentes volúmenes funcionales, incidiendo de un modo paralelo en la manifestación de los vínculos que se establecen entre dichos volúmenes como una visualización de las fuerzas que los tensionan y equilibran. En ellos la prolongación de la realidad física más allá de los límites de la envolvente ya es algo más que una simple intuición. Un proceso en el que el tratamiento de la luz como un material de construcción más, tendrá un especial protagonismo. En la iglesia de la Coronación, la iluminación del muro curvo escenifica la condición ondulatoria de la luz, manifestándose como si de un patrón de interferencia se tratara. Frente a la disolución de lo material, el espacio se manifiesta aquí como un medio denso, alejado de la tradicional noción de vacío. Una doble naturaleza, onda y partícula, que será intuido también por Fisac en la materia a través de su uso comprometido del hormigón como único material de construcción. Richard Feynmann nos alerta de la ocupación del espacio por multitud de fuerzas electromagnéticas que, al igual que la luz, precisan de receptores específicos para captar su presencia. Sus célebres diagramas suponen además la visualización definitiva de los procesos subatómicos. Al igual que la abstracción absoluta en las artes plásticas, esas representaciones diagramáticas no son asimilables a imágenes obtenidas de nuestra experiencia. Una intuición plasmada en el uso del diagrama, que irán adquiriendo progresivamente los dibujos de Alejandro de la Sota. La sección del gimnasio Maravillas recoge los trazos de sus principales elementos constructivos: estructura, cerramientos, compartimentaciones…, pero también, y con la misma intensidad, los de las fuerzas que generan su espacio, considerando así su condición de elementos constituyentes. El vacío, nos deja claro Sota, es el lugar donde habitan dichas tensiones. La posterior simplificación de las formas acompañadas de la obsesión por su aligeramiento, la casi desaparición de la envolvente, incide en aquella idea con la que Paul Klee define la actividad del artista en su Teoría del Arte Moderno, y en la que se transmite el distanciamiento hacia lo aparente: No se trata de reproducir lo visible, se trata de volver visible. Así, en Bankunión y Aviaco, como en tantos otros proyectos, frente al objetivo de la forma, Sota plantea el límite como la acotación de un ámbito de actuación. Su propia representación aséptica y diagramática transmite la renuncia a una especificidad espacial. Gilles Deleuze expresa ese posicionamiento en Pintura, el Concepto de Diagrama: el diagrama como la posibilidad de cuadros infinitos, o la posibilidad infinita de cuadros. Aparece así una concepción probabilística del espacio en la que frente a la renuncia por la forma, la tendencia al aligeramiento, y lo difuso de su definición – ideas claras, definición borrosa, en palabras de Llinás referidas al modo de operar de Sota-, la insistente atención a algunos elementos como escaleras, protecciones o miradores parece trasmitir la idea de que la arquitectura queda condensada en aquellos acontecimientos que delatan su condición dinámica, transitoria. Primando la relación frente al objeto, el vínculo frente a lo tangible. English summary. The fifties and sixties were the years of the final incorporation of Spanish architecture to the international scene. Among the architects who star that no return leap, is the group of those who a few years later will be named by Juan Daniel Fullaondo as Escuela de Madrid. Carlos Flores, in his book Arquitectura Española Contemporánea 1880-1950, refers to those architects as those that applied to the difficult task of restoring in Spain an architecture that connected with theories, solutions and established languages in Europe during the first decades of the twentieth century. Sigfried Giedion proposes in Space, Time and Architecture, the origin of a new tradition, arising from the optical revolution at the beginning of the century. With tradition he refers to a new culture, covering the interplay of different human activities: the similarity of the methods used in architecture, building, painting, urban planning or science. This new feature, based on its independence and detachment from the previous period, is part of the evolutionary scheme that Thomas Kuhn proposes in his text The Structure of Scientific Revolutions, according to non-accumulative periods. Kuhn talks about the emergence of anomalies in each period, origin of thought crisis whose explanation will require a paradigm shift needed. In science, in the field of optical Thomas Young demonstrates at the early nineteenth century the wave nature of light with its double-slit experiment , in electromagnetism the postulation of the existence of the electric field by Michael Faraday involves a conceptual leap, and in thermodynamic, the consideration pointed by Planck about quantum energy radiation. In the arts, in a parallel process, Gleizes and Metzinger , in his collection of cubism achievements on their book Du Cubisme, speak of evolution occurring during the nineteenth century by the painting: from the idealism of beginning of the century, going for realism and impressionist representation of reality, and finishing regardless of the classical perspective . Mathematics also, once developed by Gauss and Lobachevsky and Bolyai consistent geometries that violate Euclid's fifth postulate , will end validating Riemann’s ambient spaces in which these geometries inhabit, decoupling the direct relationship between geometric space -the space environment that results in a type of geometry- , and physical space. Capi Corrales reflectes in his book Contando el Espacio, that non-Euclidean geometries were not noticeable outside the field of mathematics until the theory of relativity and cubism. The origin of the new tradition that Giedion relates to the new culture of modernity coincides with paradigmatic leaps pointed by the theory of relativity in science and Cubism in the visual arts. Both are extended during the first decades until quantum theory and absolute abstraction, barriers that the two main precursors of relativity and cubism, Einstein and Picasso never overcome. In that sense Giedion speaks about the origin, but also the development, and incorporates peripheral inputs from Brazil, Japan and Finland architecture, thus including organic revision advocated by Zevi as part of this new tradition, being open to the late addition of new contributions to the development of that culture of modernity. Removed the concept of Kant's transcendental aesthetics, of time as an absolute reference, and assumed the constant value of the speed of light, theory of relativity says there is no authentic concurrency. It is thus fixed the speed of light as one of the limits of the universe, and the equivalence of mass and energy. In cubism, spatial simultaneity results from the elimination of preferential points of view, resulting in the multiplicity descriptive of reality, which is displayed in decomposition levels, both the object and the space, and the resulting continuity between figure and background that architecture is reflected in the continuity between building and land. Without the consideration of an absolute point of view, there isn’t an authentic shape. Cubism, and its subsequent development by the vanguard arts, make use of geometry as a means of rebuilding the figure and space, taking penetration mechanisms, overlapping and transparency. Gyorgy Kepes suggest in Languaje of Vision, that cubist decomposition of the object involves successive planes autonomy, to become constituent elements. Something that reflects the Van Doesburg’s architectural axonometrics and culminates with the spaces proposed by Mies van der Rohe in his first European projects. These mechanisms are reflected in the first approaches by Javier Carvajal: the extension of Spanish Pantheon in Campo Verano Cemetery, virtual enclosure mentally reconstructed from 24 the use of only three planes, or in the Spanish Pavilion of New York, which organizes its ground floor from the tour, introducing the time parameter as an additional dimension. Carvajal adds to the differential use of the plane as a constituent, Carvajal incorporates its folding and forming enclosures available as a mechanism for spatial and formal qualification, promoting the extension between architecture and territory. A continuity that will be completed in the two houses built in Somosaguas. Volumetric decomposition, as the fragmentation achieved in the last cubist experiences, needs the incorporation of elements of memory - fountains, patios, shutters...- as a network of signals, such as those introduced by Picasso and Braque in their paintings to allow their interpretation. Braque insists in his interest in the space surrounding the objects. A search of the tactility of space contrary to the perspective, which moves the observer away from the object, and that in the gardens of Somosaguas seems to emanate from its own materiality. A tactile space away from the geometric space and Braque identified with the representative space in which Poincaré in La Science et l´hypothèse, located our feelings. To blur those boundaries of the object extends the space indefinitely. With the passage in Greek art from myth to logos, it opens up to mathematics as a tool for understanding the nature until the nineteenth century. Leon Lederman, in Symmetry and beautiful Universe, suggests that one of the greatest contributions of Einstein's theory is to change the mindset of nature, namely the search for symmetry principles that underlie physical laws. Considering that symmetry is the invariance of an object or system from a transformation and that physical laws are the same at any point in space, the space of our universe has a continuous translational symmetry. In the space occupation of the first proposals by Corrales and Molezún underlying structures appear that match enlosetados: parallelograms under continuous transformations, which nature identifies tridimensionally with the crystallographic groups. Plants in the Contemporary Art Museum in La Castellana, the residence in Miraflores, the Brussels pavilion or the Peugeot tower belong to this group. The architecture as a process of continuous occupation of the territory and of its transposition to the deck, embodied in structural lines coincide with the mathematical structure of the translational symmetry and infinite extension whose possibility is enhanced by the use of the transparent cover. Alongside this literal transparency inherent to the material, Colin Rowe and Robert Slutzky alert us another transparency inherent in the structure: phenomenal transparency, illustrated by the Juan Gris’ works, and whose intuition is reflected in the Huarte’s house in Puerta de Hierro in Madrid. Corrales and Molezún insist on a reading of its volume away from the frontal, in which the outline of their inclined roofs and tangential visual suggested by the organization of his circulations introduce a diagonal structure which overlaps the orthogonal understanding of its plant, drawing an intricate web of broken lines that allow the space fluctuate between the volumetric sequence proposal. Information concerning to the energy mean of light and the concept of atom start from the consideration by Plank about the energy emission, and conclude with a paradoxical situation: the dual nature of light - demonstrated by the explanation of Einstein's photoelectric effect-, and the dual nature of matter -assumed by Bohr and demonstrated by the Compton effect-. Finally, Schrödinger and Heisenberg will formulate the universal movement equation governing in undulatory matter, whose mathematical representation is what is known as a wave function. The object is thus identified with its wave function. Its undulatory expression speaks about the probability of being found in a certain place. Gyorgy Kepes emphasizess the need to simplify the language to move from the objectivity that still remains in the cubist painting to the total abstraction of the space. And this is how artists reduced the objects to simple geometric shapes, making emerge at a time, the plastic forces that tense or balance them, in a process that eventually eliminate any trace of matter. Robert Rosenblum in Modern Painting and the Northern Romantic Tradition. Friedrich to Rothko talks about how this rejection of matter in an almost impalpable vacuum: dense color light fields that broadcast a serene glow and seem to generate the elemental energies of natural light is directly linked to the relationship with nature that sets the northern romanticism. An expression of the power of nature concentrated in a vacuum which had been reason for thought by Michael Faraday in his application of the concept of electric field. Saenz de Oíza touches upon the material expression of the energy in its proposal with Jose Luis Romany to the chapel on the Camino de Santiago. The presence of electromagnetic forces, the only ones with the gravitational one capable of being experienced by the man will also visualize in the emerging nature of some of his works: the sanctuary of Aránzazu or Torres Blancas, but also in the flowing nature of its contours, and the inclusion of interest in the realization of space fluctuating boundary: the threshold as the center of the universe. Miguel Fisac, back from his trip to the Northern Countries, starts on a linguistic simplification oriented to the functional adequacy of spaces. In the Daimiel Institute, in the Institute to Teacher Formation or in the complex to the Dominican Fathers in Valladolid or Alcobendas, progressively organized into different functional volumes architecture, focusing in a parallel way in the manifestation of the links established between these volumes as a visualization of the forces that tense and balance them. The prolongation of the physical reality beyond the limits of the envelope is already something more than a simple intuition. A process in which the treatment of light as a construction material, have a special role. In the Coronation church, curved wall lighting dramatizes the undulatory condition of the light, manifesting as if an interference pattern is involved. Versus the dissolution of the material, the space is expressed here as a dense atmosphere, away from the traditional notion of the vacuum. A dual nature, wave and particle, which is also sensed by Fisac in his committed use of concrete as a unique construction material. Richard Feynman alerts us to the occupation of space by many electromagnetic forces, which like the light, require specific receptors to capture their presence. His famous diagrams also involve the final visualization of atomic processes. As absolute abstraction in the visual arts, these representations are not assimilated to images obtained from our experience. A diagrammatic nature, abstracted from figuration, which will obtein the pictures of Alejandro de la Sota. The section of Maravillas gym collects traces of its main building blocks: structure, enclosures... but also, and with the same intensity, of the forces that generate their space as constituent elements. Sota makes it clear: the vacuum is where inhabit these tensions. The subsequent simplification of forms, accompanied by the obsession with his lightening, the near disappearance of the envelope, touches upon that idea which Paul Klee defines the activity of the artist in his Modern Art Theory, the spacing out to the apparent: it is not to reproduce the visible, it is to turn visible. Thus, in Bankunión and Aviaco, as in many other projects, against the shape, raises the limit as the dimension of a scope. His own aseptic and diagrammatic representation transmits waiver to a spatial specificity that Gilles Deleuze clearly expressed in Painting. The Concept Diagram: The diagram as the possibility of infinite pictures, or infinite possibility of the picture. Thus appears the probabilistic concept of space in which, opposite to the diffuse of its definition -clear ideas, diffuse definition, as Llinas said- the insistent attention to some elements like stairs, guards or lookouts seems to concentrate the architecture in its dynamic condition, transitional. The relationship opposite the object, the link opposite the tangible.