Die Hebung des Obstbaues durch Provinzial-Institute

von Otto Nattermüller

Environmental sustainability and the human element: Decision making in National Cancer Institute-designated cancer centers and Practice Greenhealth subscribing institutions

Background. Various aspects of sustainability have taken root in the hospital environment; however, decisions to pursue sustainable practices within the framework of a master plan are not fully developed in National Cancer Institute (NCI) -designated cancer centers and subscribing institutions to the Practice Greenhealth (PGH) listserv.^ Methods. This cross sectional study was designed to identify the organizational characteristics each study group pursed to implement sustainability practices, describe the barriers they encountered and reasons behind their choices for undertaking certain sustainability practices. A web-based questionnaire was pilot tested, and then sent out to 64 NCI-designated cancer centers and 1638 subscribing institutions to the PGH listserv.^ Results. Complete responses were received from 39 NCI-designated cancer centers and 58 subscribing institutions to the PGH listserv. NCI-designated cancer centers reported greater progress in integrating sustainability criteria into design and construction projects than hospitals of institutions subscribing to the PHG listserv (p-value = <0.05). Statistically significant differences were also identified between these two study groups in undertaking work life options, conducting energy usage assessments, developing energy conservation and optimization plans, implementing solid waste and hazardous waste minimization programs, using energy efficient vehicles and reporting sustainability progress to external stakeholders. NCI-designated cancer centers were further along in implementing these programs (p-value = <0.05). In comparing the self-identified NCI-designated cancer centers to centers that indicated they were both and NCI and PGH, the later had made greater progress in using their collective buying power to pursue sustainable purchasing practices within the medical community (p-value = <0.05). In both study groups, recycling programs were well developed.^ Conclusions. Employee involvement was viewed as the most important reason for both study groups to pursue recycling initiatives and incorporated environmental criteria into purchasing decisions. A written sustainability commitment did not readily translate into a high percentage that had developed a sustainability master plan. Coordination of sustainability programs through a designated sustainability professional was not being undertaken by a large number of institutions within each study group. This may be due to the current economic downturn or management's attention to the emerging health care legislation being debated in congress. ^ Lifecycle assessments, an element of a carbon footprint, are seen as emerging areas of opportunity for health care institutions that can be used to evaluate the total lifecycle costs of products and services.^

Perinatal mortality and quality of care at the National Institute of Perinatology: A 3-year analysis

Quality of medical care has been indirectly assessed through the collection of negative outcomes. A preventable death is one that could have been avoided if optimum care had been offered. The general objective of the present project was to analyze the perinatal mortality at the National Institute of Perinatology (located in Mexico City) by social, biological and some available components of quality of care such as avoidability, provider responsibility, and structure and process deficiencies in the delivery of medical care. A Perinatal Mortality Committee data base was utilized. The study population consisted of all singleton perinatal deaths occurring between January 1, 1988 and June 30, 1991 (n = 522). A proportionate study was designed.^ The population studied mostly corresponded to married young adult mothers, who were residents of urban areas, with an educational level of junior high school or more, two to three pregnancies, and intermediate prenatal care. The mean gestational age at birth was 33.4 $\pm$ 3.9 completed weeks and the mean birthweight at birth was 1,791.9 $\pm$ 853.1 grams.^ Thirty-five percent of perinatal deaths were categorized as avoidable. Postnatal infection and premature rupture of membranes were the most frequent primary causes of avoidable perinatal death. The avoidable perinatal mortality rate was 8.7 per 1000 and significantly declined during the study period (p $<$.05). Preventable perinatal mortality aggregated data suggested that at least part of the mortality decline for amenable conditions was due to better medical care.^ Structure deficiencies were present in 35% of avoidable deaths and process deficiencies were present in 79%. Structure deficiencies remained constant over time. Process deficiencies consisted of diagnosis failures (45.8%) and treatment failures (87.3%), they also remained constant through the years. Party responsibility was as follows: Obstetric (35.4%), pediatric (41.4%), institutional (26.5%), and patient (6.6%). Obstetric responsibility significantly increased during the study period (p $<$.05). Pediatric responsibility declined only for newborns less than 1500 g (p $<$.05). Institutional responsibility remained constant.^ Process deficiencies increased the risk for an avoidable death eightfold (confidence interval 1.7-41.4, p $<$.01) and provider responsibility ninety-fivefold (confidence interval 14.8-612.1, p $<$.001), after adjustment for several confounding variables. Perinatal mortality due to prematurity, barotrauma and nosocomial infection, was highly preventable, but not that due to transpartum asphyxia. Once specific deficiencies in the quality of care have been identified, quality assurance actions should begin. ^

Cataract surgery in cancer patients and its impact on quality of life as measured by the National Eye Institute Visual Functioning Questionnaire - 25 (NEI-VFQ-25)

Purpose. The measurement of quality of life has become an important topic in healthcare and in the allocation of limited healthcare resources. Improving the quality of life (QOL) in cancer patients is paramount. Cataract removal and lens implantation appears to improve patient well-being of cancer patients, though a formal measurement has never been published in the US literature. In this current study, National Eye Institute Visual Functioning Questionnaire (NEI-VFQ-25), a validated vision quality of life metric, was used to study the change in vision-related quality of life in cancer patients who underwent cataract extraction with intraocular lens implantation. ^ Methods. Under an IRB approved protocol, cancer patients who underwent cataract surgery with intraocular lens implantation (by a single surgeon) from December 2008 to March 2011, and who had completed a pre- and postoperative NEI-VFQ-25 were retrospectively reviewed. Post-operative data was collected at their routine 4-6 week post-op visit. Patients' demographics, cancer history, their pre and postoperative ocular examinations, visual acuities, and NEI-VFQ-25 with twelve components were included in the evaluation. The responses were evaluated using the Student t test, Spearman correlation and Wilcoxon signed rank test. ^ Results. 63 cases of cataract surgery (from 54 patients) from the MD Anderson Cancer Center were included in the study. Cancer patients had a significant improvement in the visual acuity (P<0.0001) postoperatively, along with a significant increase in vision-related quality of life (P<0.0001). Patients also had a statistically significant improvement in ten of the twelve subcategories which are addressed in the NEI-VFQ-25. ^ Conclusions. In our study, cataract extraction and intraocular implantation showed a significant impact on the vision-related quality of life in cancer patients. Although this study includes a small sample size, it serves as a positive pilot study to evaluate and quantify the impact of a surgical intervention on QOL in cancer patients and may help to design a larger study to measure vision related QOL per dollar spent for health care cost in cancer patients.^

Abundance of mesozooplankton in the western part of the Black Sea in summer 2001 during the National Monitoring Programme of the Bulgarian Institute of Oceanography

The dataset is based on samples collected in the summer of 2001 in the Western Black Sea in front of Bulgaria coast (transects at c. Kaliakra and c. Galata). The whole dataset is composed of 26 samples (from 10 stations of National Monitoring Grid) with data of mesozooplankton species composition abundance and biomass. Samples were collected in discrete layers 0-10, 10-20, 10-25, 25-50, 50-75, 75-90. Zooplankton samples were collected with vertical closing Juday net,diameter - 36cm, mesh size 150 µm. Tows were performed from surface down to bottom meters depths in discrete layers. Samples were preserved by a 4% formaldehyde sea water buffered solution. Sampling volume was estimated by multiplying the mouth area with the wire length. Mesozooplankton abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber which is a rectangle form for taxomomic identification and count. Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Oceanology by Lyudmila Kamburska and Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972). Taxon-specific abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber which is a rectangle form for taxomomic identification and count. Copepods and Cladoceras were identified and enumerated; the other mesozooplankters were identified and enumerated at higher taxonomic level (commonly named as mesozooplankton groups). Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Oceanology by Lyudmila Kamburska and Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972).

Abundance of mesozooplankton in the western part of the Black Sea in spring 2002 during the National Monitoring Programme of the Bulgarian Institute of Oceanography

The dataset is based on samples collected in the spring of 2002 in the Western Black Sea in front of Bulgaria coast. The whole dataset is composed of 76 samples (from 27 stations of National Monitoring Grid) with data of mesozooplankton species composition abundance and biomass. Sampling on zooplankton was performed from bottom up to the surface at depths depending on water column stratification and the thermocline depth. Zooplankton samples were collected with vertical closing Juday net,diameter - 36cm, mesh size 150 µm. Tows were performed from surface down to bottom meters depths in discrete layers. Samples were preserved by a 4% formaldehyde sea water buffered solution. Sampling volume was estimated by multiplying the mouth area with the wire length. Mesozooplankton abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber which is a rectangle form for taxomomic identification and count. Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Oceanology by Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972). Taxon-specific abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber which is a rectangle form for taxomomic identification and count. Copepods and Cladoceras were identified and enumerated; the other mesozooplankters were identified and enumerated at higher taxonomic level (commonly named as mesozooplankton groups). Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Oceanology by Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972).

Abundance of mesozooplankton in the western part of the Black Sea during the 2001 National Monitoring Programme of the Bulgarian Institute of Oceanography

The dataset is based on samples collected in the autumn of 2001 in the Western Black Sea in front of Bulgaria coast. The whole dataset is composed of 42 samples (from 19 stations of National Monitoring Grid) with data of mesozooplankton species composition abundance and biomass. Samples were collected in the layers 0-10, 0-20, 0-50, 10-25, 25-50, 50-100 and from bottom up to the surface at depths depending on water column stratification and the thermocline depth. Zooplankton samples were collected with vertical closing Juday net,diameter - 36cm, mesh size 150 µm. Tows were performed from surface down to bottom meters depths in discrete layers. Samples were preserved by a 4% formaldehyde sea water buffered solution. Sampling volume was estimated by multiplying the mouth area with the wire length. Mesozooplankton abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber which is a rectangle form for taxomomic identification and count. Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Oceanology by Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972). Taxon-specific abundance: The collected material was analysed using the method of Domov (1959). Samples were brought to volume of 25-30 ml depending upon zooplankton density and mixed intensively until all organisms were distributed randomly in the sample volume. After that 5 ml of sample was taken and poured in the counting chamber which is a rectangle form for taxomomic identification and count. Copepods and Cladoceras were identified and enumerated; the other mesozooplankters were identified and enumerated at higher taxonomic level (commonly named as mesozooplankton groups). Large (> 1 mm body length) and not abundant species were calculated in whole sample. Counting and measuring of organisms were made in the Dimov chamber under the stereomicroscope to the lowest taxon possible. Taxonomic identification was done at the Institute of Oceanology by Kremena Stefanova using the relevant taxonomic literature (Mordukhay-Boltovskoy, F.D. (Ed.). 1968, 1969,1972).

Entrevista a Eugene Garfield, director del Institute for Scientific Information (ISI) de Estados Unidos

El químico norteamericano Eugene Garfield es considerado por muchos investigadores como el "santón" de la documentación científica en el mundo. Bajo el prisma de Garfield y a través de publicaciones tan prestigiosas como "Current Contents" o "Science Citation Index", cualquier investigador puede conocer el índice de impacto que ha alcanzado su trabajo en la comunidad científica.

The Cup Anemometer, a Fundamental Meteorological Instrument for the Wind Energy Industry. Research at the IDR/UPM Institute

The results of several research campaigns investigating cup anemometer performance carried out since 2008 at the IDR/UPM Institute are included in the present paper. Several analysis of large series of calibrations were done by studying the effect of the rotor’s geometry, climatic conditions during calibration, and anemometers’ ageing. More specific testing campaigns were done regarding the cup anemometer rotor aerodynamics, and the anemometer signals. The effect of the rotor’s geometry on the cup anemometer transfer function has been investigated experimentally and analytically. The analysis of the anemometer’s output signal as a way of monitoring the anemometer status is revealed as a promising procedure for detecting anomalies.

Mies van der Rohe's Illinois Institute of Technology: Analysis and History of a Compositive Development = El IIT de Mies van der Rohe: análisis e historia de un proceso compositivo

The Illinois Institute of Technology (iit) campus, Chicago, by architect Ludwig Mies van der Rohe, is often considered as a transitional work, usually acknowledged as significant for the reorientation of his professional career after he emigrated to the United States. Moreover, its favorable recognition today is somehow indicative of its relevance as a model for urban intervention in the contemporary American city and for contemporary city planning in general, not to mention the profound impact that it had on the cityscape of Chicago. However, today we know it was rather the result of a close collaboration between he and Ludwig Hilberseimer —later on, to be completed with Alfred Caldwell— who merged their personal ideas and expertise in the design for the first time. In addition to this, when one tries to locate the design within its own historical context and evaluate the sources of its approach to it, some contradictions arise. The major impact of the images produced by Mies to promote its realization —widely disseminated in most contemporary architectural periodicals— probably outshined the particular circumstances in which the design was conceived. In fact, it would never be materialized as originally presented, but it was, instead, continuously reworked according to land availability in the site —a circumstance often ignored by subsequent architectural critic, that enthusiastically praised the design even before it was fully completed. One of the main consequences of looking at iit from such a standpoint is that, when historically contextualized, one can appreciate that, due to the urban scale of its implementation process, the design had to face a complex reality very different to that initially planned by the architect, often far from his actual possibilities of intervention. Such approach is in contradiction with the common description of the design as a ‘tabula rasa’ that allegedly would have been formulated on the basis of a full denial of its context. On the contrary, the ever-changing circumstances of the design motivated a necessary re-interpretation of the relation between its executed fragments, in order to keep the original identity of the whole in an ever-changing context. This situation implied a continuous transformation of the design by means of a steady re-composition of its elements: as the number of completed buildings increased in its successive stages, their relation to their site-specific context changed, in a very particular process that these lines try to delineate. Requiring decades to be erected, neither of its authors would ever see the design finished as planned, partially because of the difficulties in acquiring the extension of land that it required. Considering the study of this process as able to provide a valuable gateway to understand the urban discourse that the architects entailed, the aim of these lines is to analyze the problems that the iit campus design had to face. As a starting point, a relationship between practice and theory in the activity of the authors implied in iit campus design has been assumed. Far from being interrupted during World War ii, strong historical evidence can be found to infer that both were developed in parallel. Consequently, the historical sequence of the preserved testimonies has been put into context, as well as their transformation while Mies remained in charge for the campus Master Plan. Notably, when seen from this perspective, some ideas already expressed during his previous European practice were still present during the design process. Particularly, Mies's particular understanding of certain architectural concepts — such as those of ‘order’ and ‘structure’—can be traced paralleling the theories about urban planning from his collaborators, a fact that possibly facilitated the campus successful development. The study of the way these ideas were actually redeveloped and modified in the American urban context, added to the specific process of the implementation of iit campus design, sheds a new light for a critical interpretation of the reasons that made it possible, and of the actual responsibility of Mies's collaborators in its overall development and final completion. RESUMEN El campus del Illinois Institute of Technology (iit) de Chicago, obra del arquitecto Ludwig Mies van der Rohe, es a menudo considerado como una obra de transición que, por lo general, ha venido siendo reconocida como relevante para la reorientación de su carrera profesional posterior a su exilio en los Estados Unidos. El reconocimiento del que goza el proyecto es indicativo, de algún modo, de su importancia como modelo para la intervención urbana en la ciudad norteamericana contemporánea y el planeamiento de la ciudad contemporánea en general, sin olvidar el profundo impacto que ha tenido sobre el paisaje urbano de Chicago. Sin embargo, hoy sabemos que el resultado se benefició de su estrecha colaboración con Ludwig Hilberseimer y se completaría más tarde con la de Alfred Caldwell, quienes unieron sus ideas y experiencia profesional en el proyecto por primera vez. Asimismo, cuando se intenta ubicar el proyecto dentro de su propio contexto histórico y evaluar los criterios de su manera de abordarlo, surgen algunas contradicciones. El considerable impacto de las imágenes producidas por Mies para impulsar su ejecución —ampliamente difundidas en la mayoría de publicaciones de arquitectura de la época— probablemente eclipsó las particulares circunstancias en las que el proyecto fue concebido. De hecho, nunca llegó a materializarse tal y como fue inicialmente presentado. Por contra, fue reelaborado de manera continua, de acuerdo a la disponibilidad de suelo en el emplazamiento; una circunstancia a menudo ignorada por la crítica posterior, que elogió con entusiasmo el proyecto antes siquiera de que fuese terminado. Una de las principales consecuencias de contemplar el iit desde semejante punto de vista es que, una vez contextualizada históricamente su puesta en obra, se puede apreciar que el arquitecto tuvo que enfrentarse a una compleja realidad urbana muy diferente a la inicialmente prevista —probablemente debido a la escala del proyecto— a menudo lejos de sus posibilidades reales de intervención. Este enfoque contradice la descripción habitual del proyecto como una ‘tabula rasa’, que supuestamente se habría formulado sobre la base de una negación completa de su contexto. Por el contrario, las circunstancias cambiantes del proyecto obligaron una necesaria reinterpretación de la relación entre sus frag mentos ejecutados, con el fin de mantener la identidad original del conjunto en un contexto en constante cambio. Esta situación implicó una continua transformación del proyecto por medio de una permanente re-composición de sus elementos: según se incrementaba el número de edificios construidos en las etapas sucesivas de desarrollo del conjunto, variaba su relación con el contexto específico en que se emplazaban, en un proceso muy particular que estas líneas tratan de perfilar. Al necesitar décadas para ser levantado, ninguno de sus autores vería el conjunto terminado según lo planificado, en parte debido a las dificultades para la adquisición de la extensión de suelo que demandaba. Asumiendo que el estudio de este proceso es capaz de proporcionar una valiosa puerta de entrada para elucidar el discurso urbano asumido por los Mies, el objetivo de estas líneas es analizar los problemas a los que el proyecto del campus del iit tuvo que enfrentarse. Como punto de partida, se ha supuesto una relación entre la práctica y la teoría en la actividad de los autores implicados en el proyecto del campus del iit. Lejos de interrumpirse durante la Segunda Guerra Mundial, existen evidencias históricas sólidas para deducir que ambas vertientes se desarrollaron en paralelo. En consecuencia, se ha contextualizado la secuencia histórica de los testimonios conservados, así como su transformación durante el periodo en que Mies estuvo a cargo del Plan General del campus. Significativamente, al ser contempladas bajo esta perspectiva, algunas ideas ya expresadas durante su práctica europea anterior resultan aún presentes durante la redacción del proyecto. En concreto, se puede trazar un paralelismo entre la comprensión particular de Mies de ciertos conceptos arquitectónicos —como los de ‘orden’ y ‘estructura’— y las teorías sobre el urbanismo de sus colaboradores, hecho que posiblemente facilitó el exitoso desarrollo del proyecto. El estudio de la manera en que estas ideas fueron reelaboradas y modificadas en el contexto urbano estadounidense, sumado al proceso específico de su aplicación en el proyecto del campus del iit, arroja una nueva luz para una interpretación crítica tanto de las razones que lo hicieron posible, como del papel real que los colaboradores de Mies tuvieron en su desarrollo y ejecución final.

Las casualidades controladas : la primera visibilidad del cambio del paradigma moderno

Como no pocos proyectos, el origen de esta tesis es fruto de una casualidad. Hace unos años me topé en Londres, en la librería Walden Books del 38 de Harmood St., con una primera edición de la conocida monografía de Mies a cargo de Philip Johnson. El librito, en realidad catálogo de la exposición que en 1947 el MoMA de Nueva York dedicara a la obra de Mies Van der Rohe a los diez años del desembarco del arquitecto en Estados Unidos, tiene un tamaño de 10 x 7,5 pulgadas, es decir, la mitad del formato americano Crown (20x15 pulgadas), equivalente a 508 x 381 mm. Se imprimieron, en su primera tirada, editada por The Plantin Press, 12.000 ejemplares. Ese mismo año, con edición al cuidado de Reynal y Hitchcock, se publicaría la primera traducción al inglés de Cuando las catedrales eran blancas de Le Corbusier y una selección de poemas de Lorca, siete años después de su Poeta en Nueva York. En la monografía, en la página 109, aparece el conocido croquis de Mies Sketch for a glass house on a hillside. c. 1934, escasamente unas líneas, aunque precisas y llenas de matices, de la casa en una ladera que rápidamente nos remite a aquella primera propuesta de Saarinen para una casa en el aire, primero en 1941 en Pensilvania y después, en 1945, con Charles Eames, en Los Angeles, que nunca llegarían a construirse, sino en su aliteraciones posteriores realizadas por Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, Nueva York, 1956) o Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank & Polly Pierson House, Malibú, 1962; Chamorro House, Hollywood Hills, 1963, o la serie Weekend House, con Gerald Horn, entre 1964 y 1970, hasta el magnífico Art Center College of Design de Pasadera, su puente habitado de 1977). El relato que da origen al texto discurre en un estricto período de tiempo, desde los primeros dibujos de la Case Study House nº8, dentro del programa promovido por John Entenza y su revista Arts & Architecture en California, realizados en el estudio de Saarinen en Bloomfield Hills, Michigan, hasta que el proyecto de la casa Eames finaliza cinco años después de acabar la obra en 1955, en la versión conocida, radicalmente distinta al proyecto original, cuando la pareja Charles y Ray Eames edita el corto House After Five Years of Living. La discusión original en torno a esta casita, o mejor, a las circunstancias, casualidades controladas, que rodean su construcción, se produce estrictamente cuando rastreamos aquellos invariantes que se mantienen en las dos versiones y las reconcilian. En este corto período de tiempo se producen en el proyecto una serie de decisiones que permiten descubrir, tanto en la forma como en el mismo proceso transformador del proyecto, en su obsesivo registro, en los nuevos referentes asumidos y propuestos, la primera visibilidad del cambio del paradigma moderno. Pero este momento germinal que cristaliza el paso a la postmodernidad no es inédito en la historia de la arquitectura americana. Así, el relato abre su ámbito temporal hasta un nuevo período de cincuenta años que arranca en 1893, año de la celebración en Chicago de la Exposición Internacional Colombina. En la White City de Hunt & McKim y del traidor Burham, Louis Sullivan construye su Golden Doorway en el pabellón de los Transportes. Aquella que visitará Adolf Loos antes de volver, renovado, a Viena; la misma que admirará André Bouillet, representante de la Union Centrale des Arts Decoratifs de Paris, y que deslumbrará en los museos de toda Europa, de París a Moscú en grandes fotografías y maquetas. Hasta que en Finlandia alguien muestra una de esas fotografías a un joven estudiante de diecinueve años en el Instituto Politécnico. Eliel Saarinen queda fascinado por la poderosa novedad de la imagen. Cuelga la fotografía frente a su tablero de dibujo, consciente de que la Golden Doorway, esa puerta de la aventura y la catarsis que Sullivan acuñaría como distintivo y que resolvería como único elemento complejo sus proyectos más maduros, desprovistos de todo ornamento; la misma que repetirían más tarde, con profundo reconocimiento, Ladovsky, Wright, Scarpa o Moneo, puerta dentro de puerta, fuelle y umbral, contenía, en sus propias palabras emocionadas, todo el futuro de la arquitectura. Desde ahí, pasando por el año 1910, momento de la huida de Wright a La Toscana y el descubrimiento de su arquitectura en Europa, entre otros por un joven Mies van der Rohe, meritorio en el estudio de Peter Behrens, a través del Wasmuth Portfolio; y así como algo después, en 1914, Schindler y en 1923 Neutra, harán el camino inverso, hasta que Mies les siga en 1937, animado por un Philip Johnson que había viajado a Europa en 1930, volviendo a 1945 y el inicio del programa Case Study House en California, hasta 1949, momento de la construcción de la CSH#8, y, por fin, al año 1955, after 5 years of living, en el que Julius Shulman fotografía la casa de Ray y Charles Eames en el prado de Chautauqua sobre las Pacific Palisades de Los Angeles, lanzando sus finas líneas amarillas hasta Alison y Peter Smithson y su tardomoderno heroico, hasta el primer Foster y su poético hightech y hasta el O-riginal Ghery, deconstruyendo el espacio esencial de su casa desde el espacio mismo, abiertas ya las puertas al nuevo siglo. Y en estos cambios de paradigma, desde el rígido eclecticismo de los estilos al lirismo moderno en el gozne secular y de ahí a la frivolidad, ligereza, exhibicionismo y oportunismo cultos del hecho postmoderno, hay algo que se mantiene invariante en los bandazos de la relación del hombre contemporáneo con su entorno. Como la escultura, que según Barnett Newman no es sino aquello contra lo que uno choca cuando retrocede para mirar un cuadro, en estos prístinos lugares, comunes y corrientes, recorrido, puerta, umbral, recinto y vacío, te topas con la arquitectura antes de darte cuenta de que es arquitectura. ABSTRACT As with many other projects, the origin of this doctoral thesis is the result of a chance. A few years ago I found in a bookstore in London, 38 Harmood st., Walden Books, a first edition of the well-known monograph about Mies by Philip Johnson. The tiny book, in fact a catalog of the exhibition that the MoMA of New York devoted to the work of Mies van der Rohe in 1947, ten years after his landing in the United States, has a size of 10 x 7.5 inches, that is, half of Crown American format (20 x 15 inches), equivalent to 508 x 381 mm. In the first printing, published by The Plantin Press, 12,000 copies were released. That same year, produced by Reynal and Hitchcock, both the first English translation of When the cathedrals were white by Le Corbusier and a selection of poems by Lorca were published, seven years after his Poet in New York. Inside the book, the famous drawing from Mies Sketch for a glass house on a hillside c. 1934 appears on page 109, barely a few lines, precise and nuanced though, the house on a hillside that quickly reminds us of the proposals of Eero Saarinen for a house in the air, first in 1941, in Pennsylvania, and later, in 1945, with Charles Eames, in Los Angeles, that would never be built, but in their later alliterations made by Harry Seidler (Julian Rose House, Wahroonga, Sydney, 1949), Philip Johnson (Leonhardt house, Long Island, New York, 1956) or Craig Ellwood (Smith House, Crestwood Hills, 1958; Frank Pierson & Polly House, Malibu, 1962, Chamorro House, Hollywood Hills, 1963, or the Weekend House series, with Gerald Horn, between 1964 and 1970, to the magnificent Art Center College of Design Pasadena, the inhabited bridge, in 1977). The story that gives rise to the text flows in a short amount of time, from the first drawings of the Case Study House No. 8, within the program promoted by John Entenza and his magazine Arts & Architecture in California, made in the study of Saarinen in Bloomfield Hills, Michigan, until the project of the Eames house is completed five years after finishing the construction in 1955, in the final version we know, radically different from the initial state, when the couple, Charles and Ray, published the film House after Five Years of Living. The original discussion around this house, or better, about the circumstances, controlled coincidences, regarding its construction, appears when one takes account of those that remain, the invariants, in the two versions, drawn and built, which precisely allow the reconciliation between both projects. In this short period of time a series of decisions made in the transformation process of the project reveal, in the obsessive record made by Charles Eames and in the new proposed references, the first visibility of the changing of the modern paradigm. But this germinal moment that crystallizes the transition to postmodernism is not unprecedented in the history of American architecture. So, the story opens its temporal scope to a fifty-year period that started in 1893, date of the celebration of the Chicago World´s Columbian Exposition. In the White City by Hunt & McKim and Burnham, the traitor, Louis Sullivan builds his Golden Doorway in the Transportation Building. That visited by a renovated Adolf Loos before his coming back to Vienna; the same that André Bouillet, Head of the Union Centrale des Arts Decoratifs in Paris, admired and dazzled in museums all over Europe, from Paris to Moscow, in large photographs and models. Until someone in Finland showed one of those photos to a young nineteen-years-old student at the Polytechnic Institute. Eliel Saarinen became fascinated by the powerful new image: he hanged the picture in front of his drawing board, aware that the Golden Doorway, that door of adventure and catharsis Sullivan coined as distinctive and as a single complex element which would solve their most mature projects, devoid of all ornament; the same that would repeat later, with deep appreciation, Ladovsky, Wright, Scarpa, or Moneo, a door inside a door, a threshold, a gap that contained, in its own moving words, the whole future of architecture. From there, through 1910, when Wright's flight to Tuscany allows Europe to discover his architecture, including a young Mies van der Rohe, meritorious in the studio of Peter Behrens, via the Wasmuth Portfolio; and as a little bit later, in 1914, Schindler and Neutra in 1923, made the travel in opposite direction, until Mies follows them in 1937, led by a Philip Johnson who had traveled to Europe in 1930, we return to 1945 and the beginning of the program Case Study House in California, and from 1949, when construction of the CSH # 8 begins, and finally, to 1955, after five years of living, when Julius Shulman photographs the inside of the house with Ray and Charles Eames, and all their belongins, at the Chautauqua meadows on Pacific Palisades in Los Angeles, launching its fine yellow lines to Alison and Peter Smithson and his heroic late modern, up to the first Foster and his poetic hightech and even the O-riginal Gehry, deconstructing the essential space of his home from the space itself, opening the doors to the new century. And these paradigm shifts, from the hard eclectic styles to modern secular lyricism in the hinge and then overcoming the cultured frivolity, lightness, exhibitionism, and opportunism of the postmodern skeptical focus, something remains intense, invariant in the lurching relationship of contemporary man and his environment. As the sculpture, which according to Barnett Newman is what you bump into when you back up to see a painting, in these pristine, ordinary places, promenade, door, threshold, enclosure and emptiness, you stumble upon the architecture even before realizing that it is architecture.