Técnica de programação e controle da construção repetitiva, linha de balanço, estudo de caso de um conjunto habitacional

Este trabalho apresenta uma técnica de programação e controle da construção repetitiva denominada Linha de Balanço. E uma técnica, surgida na indústria fabril, onde a produção em série e em grande escala exige a organização dos métodos de produção e a racionalização do trabalho. O estudo, inicialmente, modela o trabalho de construção de unidades repetitivas, salientando os problemas de organização e administração destes empreendimentos. Num segundo momento, são apresentados os princípios teóricos da técnica com aplicações práticas da programação. Por fim, é analisada a metodologia usual de construção de conjuntos habitacionais através de um estudo de caso e, observadas as condições de aplicação da técnica da Linha de Balanço, não exigindo mudificações muito profundas na atual ação gerencial neste tipo de obra. As conclusões esboçadas confirmam as vantagens da técnica da Linha de Balanço para estes empreendimentos e propõem a sua utilização na organização do trabalho nos canteiros repetitivos.

Scienza della sostenibilita' e regolazione: Il caso studio della politica europea in materia di risparmio energetico

Entro l’approccio concettuale e metodologico transdisciplinare della Scienza della Sostenibilità, la presente tesi elabora un background teorico per concettualizzare una definizione di sostenibilità sulla cui base proporre un modello di sviluppo alternativo a quello dominante, declinato in termini di proposte concrete entro il caso-studio di regolazione europea in materia di risparmio energetico. La ricerca, attraverso un’analisi transdisciplinare, identifica una crisi strutturale del modello di sviluppo dominante basato sulla crescita economica quale (unico) indicatore di benessere e una crisi valoriale. L’attenzione si concentra quindi sull’individuazione di un paradigma idoneo a rispondere alle criticità emerse dall’analisi. A tal fine vengono esaminati i concetti di sviluppo sostenibile e di sostenibilità, arrivando a proporre un nuovo paradigma (la “sostenibilità ecosistemica”) che dia conto dell’impossibilità di una crescita infinita su un sistema caratterizzato da risorse limitate. Vengono poi presentate delle proposte per un modello di sviluppo sostenibile alternativo a quello dominante. Siffatta elaborazione teorica viene declinata in termini concreti mediante l’elaborazione di un caso-studio. A tal fine, viene innanzitutto analizzata la funzione della regolazione come strumento per garantire l’applicazione pratica del modello teorico. L’attenzione è concentrata sul caso-studio rappresentato dalla politica e regolazione dell’Unione Europea in materia di risparmio ed efficienza energetica. Dall’analisi emerge una progressiva commistione tra i due concetti di risparmio energetico ed efficienza energetica, per la quale vengono avanzate delle motivazioni e individuati dei rischi in termini di effetti rebound. Per rispondere alle incongruenze tra obiettivo proclamato dall’Unione Europea di riduzione dei consumi energetici e politica effettivamente perseguita, viene proposta una forma di “regolazione per la sostenibilità” in ambito abitativo residenziale che, promuovendo la condivisione dei servizi energetici, recuperi il significato proprio di risparmio energetico come riduzione del consumo mediante cambiamenti di comportamento, arricchendolo di una nuova connotazione come “bene relazionale” per la promozione del benessere relazionale ed individuale.

Professionalisation of sport federations. A multi-level framework for analysing forms, causes and consequences

Research question: International and national sport federations as well as their member organisations (usually sport clubs) are key actors within the sport system and have a wide range of relationships outside the sport system (e.g. with the state, sponsors, and the media). They are currently facing major challenges such as growing competition in top-level sports, democratisation of sports with “sports for all” and sports as the answer to social problems (integration, education, health, unemployment, etc.). In this context, professionalising sport organisations seems to be an appropriate strategy to face these challenges and solve current problems. We define the professionalisation of sport organisations as an organisational process of transformation leading towards organisational rationalisation, efficiency and business-like management. This has led to a profound organisational change, particularly within sport federations, characterised by the strengthening of institutional management (managerialism) and the implementation of efficiency-based management instruments and paid staff. Research methods: The goal of this article is to review the international literature and establish a global understanding of and theoretical framework for how sport organisations professionalise and what consequences this may have. Results and Findings: Our multi-level approach based on the social theory of action integrates the current concepts for analysing professionalisation in sport federations. We specify the framework for the following research perspectives: (1) forms, (2) causes and (3) consequences, and discuss the reciprocal relations between sport federations and their member organisations in this context. Implications: Finally, we derive general methodological consequences for the investigation of professionalisation processes in sport organisations.

Professionalisation of sport federations – A multi-level framework for analysing forms, causes and consequences

Research question: International and national sport federations as well as their member organisations are key actors within the sport system and have a wide range of relationships outside the sport system (e.g. with the state, sponsors, and the media). They are currently facing major challenges such as growing competition in top-level sports, democratisation of sports with ‘sports for all’ and sports as the answer to social problems. In this context, professionalising sport organisations seems to be an appropriate strategy to face these challenges and current problems. We define the professionalisation of sport organisations as an organisational process of transformation leading towards organisational rationalisation, efficiency and business-like management. This has led to a profound organisational change, particularly within sport federations, characterised by the strengthening of institutional management (managerialism) and the implementation of efficiency-based management instruments and paid staff. Research methods: The goal of this article is to review the current international literature and establish a global understanding of and theoretical framework for analysing why and how sport organisations professionalise and what consequences this may have. Results and findings: Our multi-level approach based on the social theory of action integrates the current concepts for analysing professionalisation in sport federations. We specify the framework for the following research perspectives: (1) forms, (2) causes and (3) consequences, and discuss the reciprocal relations between sport federations and their member organisations in this context. Implications: Finally, we work out a research agenda and derive general methodological consequences for the investigation of professionalisation processes in sport organisations.

Causes, forms and consequences of the professionalization of international sport federa-tions in Switzerland: Conceptual framework and first results

Synopsis: Sport organisations are facing multiple challenges originating from an increasingly complex and dynamic environment in general, and from internal changes in particular. Our study seeks to reveal and analyse the causes for professionalization processes in international sport federations, the forms resulting from it, as well as related consequences. Abstract: AIM OF ABSTRACT/PAPER - RESEARCH QUESTION Sport organisations are facing multiple challenges originating from an increasingly complex and dynamic environment in general, and from internal changes in particular. In this context, professionalization seems to have been adopted by sport organisations as an appropriate strategy to respond to pressures such as becoming more “business-like”. The ongoing study seeks to reveal and analyse the internal and external causes for professionalization processes in international sport federations, the forms resulting from it (e.g. organisational, managerial, economic) as well as related consequences on objectives, values, governance methods, performance management or again rationalisation. THEORETICAL BACKGROUND/LITERATURE REVIEW Studies on sport as specific non-profit sector mainly focus on the prospect of the “professionalization of individuals” (Thibault, Slack & Hinings, 1991), often within sport clubs (Thiel, Meier & Cachay, 2006) and national sport federations (Seippel, 2002) or on organisational change (Griginov & Sandanski, 2008; Slack & Hinings, 1987, 1992; Slack, 1985, 2001), thus leaving broader analysis on governance, management and professionalization in sport organisations an unaccomplished task. In order to further current research on above-mentioned topics, our intention is to analyse causes, forms and consequences of professionalisation processes in international sport federations. The social theory of action (Coleman, 1986; Esser, 1993) has been defined as appropriate theoretical framework, deriving in the following a multi-level framework for the analysis of sport organisations (Nagel, 2007). In light of the multi-level framework, sport federations are conceptualised as corporative actors whose objectives are defined and implemented with regard to the interests of member organisations (Heinemann, 2004) and/or other pressure groups. In order to understand social acting and social structures (Giddens 1984) of sport federations, two levels are in the focus of our analysis: the macro level examining the environment at large (political, social, economic systems etc.) and the meso level (Esser, 1999) examining organisational structures, actions and decisions of the federation’s headquarter as well as member organisations. METHODOLOGY, RESEARCH DESIGN AND DATA ANALYSIS The multi-level framework mentioned seeks to gather and analyse information on causes, forms and consequences of professionalization processes in sport federations. It is applied in a twofold approach: first an exploratory study based on nine semi-structured interviews with experts from umbrella sport organisations (IOC, WADA, ASOIF, AIOWF, etc.) as well as the analysis of related documents, relevant reports (IOC report 2000 on governance reform, Agenda 2020, etc.) and important moments of change in the Olympic Movement (Olympic revenue share, IOC evaluation criteria, etc.); and secondly several case studies. Whereas the exploratory study seeks more the causes for professionalization on an external, internal and headquarter level as depicted in the literature, the case studies rather focus on forms and consequences. Applying our conceptual framework, the analysis of forms is built around three dimensions: 1) Individuals (persons and positions), 2) Processes, structures (formalisation, specialisation), 3) Activities (strategic planning). With regard to consequences, we centre our attention on expectations of and relationships with stakeholders (e.g. cooperation with business partners), structure, culture and processes (e.g. governance models, performance), and expectations of and relationships with member organisations (e.g. centralisation vs. regionalisation). For the case studies, a mixed-method approach is applied to collect relevant data: questionnaires for rather quantitative data, interviews for rather qualitative data, as well as document and observatory analysis. RESULTS, DISCUSSION AND IMPLICATIONS/CONCLUSIONS With regard to causes of professionalization processes, we analyse the content of three different levels: 1. the external level, where the main pressure derives from financial resources (stakeholders, benefactors) and important turning points (scandals, media pressure, IOC requirements for Olympic sports); 2. the internal level, where pressure from member organisations turned out to be less decisive than assumed (little involvement of member organisations in decision-making); 3. the headquarter level, where specific economic models (World Cups, other international circuits, World Championships), and organisational structures (decision-making procedures, values, leadership) trigger or hinder a federation’s professionalization process. Based on our first analysis, an outline for an economic model is suggested, distinguishing four categories of IFs: “money-generating IFs” being rather based on commercialisation and strategic alliances; “classical Olympic IFs” being rather reactive and dependent on Olympic revenue; “classical non-Olympic IFs” being rather independent of the Olympic Movement; and “money-receiving IFs” being dependent on benefactors and having strong traditions and values. The results regarding forms and consequences will be outlined in the presentation. The first results from the two pilot studies will allow us to refine our conceptual framework for subsequent case studies, thus extending our data collection and developing fundamental conclusions. References: Bayle, E., & Robinson, L. (2007). A framework for understanding the performance of national governing bodies of sport. European Sport Management Quarterly, 7, 249–268 Chantelat, P. (2001). La professionnalisation des organisations sportives: Nouveaux débats, nouveaux enjeux [Professionalisation of sport organisations]. Paris: L’Harmattan. Dowling, M., Edwards, J., & Washington, M. (2014). Understanding the concept of professionalization in sport management research. Sport Management Review. Advance online publication. doi: 10.1016/j.smr.2014.02.003 Ferkins, L. & Shilbury, D. (2012). Good Boards Are Strategic: What Does That Mean for Sport Governance? Journal of Sport Management, 26, 67-80. Thibault, L., Slack, T., & Hinings, B. (1991). Professionalism, structures and systems: The impact of professional staff on voluntary sport organizations. International Review for the Sociology of Sport, 26, 83–97.

Analysis of duplication in the Spanish durum wheat collection maintained in the CRF-INIA on the basis of agro-morphological traits and gliadin proteins

A total of 106 potential duplicate cases involved 277 accessions were detected on the basis of passport data in the durum wheat collection maintained in the CRF-INIA. Similarity between accessions was measured by agro-morphological traits. The 90% of the agro-morphological duplication were verified with gliadin proteins, allowing identification of similar material with greater refinement than agro-morphological data. However, the results indicated not to decide for rationalisation only on the basis of molecular data.

Analysis of duplication in the Spanish durum wheat collection maintained in the CRF-INIA on the basis of agro-morphological traits and gliadin proteins

A total of 106 potential duplicate cases involved 277 accessions were detected on the basis of passport data in the durum wheat collection maintained in the CRF-INIA. Similarity between accessions was measured by agro-morphological traits. The 90% of the agro-morphological duplication were verified with gliadin proteins, allowing identification of similar material with greater refinement than agro-morphological data. However, the results indicated not to decide for rationalisation only on the basis of molecular data

Traslaciones Poéticas: un recorrido por la Friedrichstrasse de Mies van der Rohe en 1921. Arquitectura, fotografía y cine, la percepción en la arquitectura

El presente ensayo pretende aportar una reflexión sobre el amplio territorio de la imagen en la arquitectura hoy. Para ello un buen ejemplo es el proyecto del Rascacielos de la Friedrichstrasse, realizado por Mies van der Rohe en el periodo de entre guerras de 1921/22. Muchas son las razones que han hecho de esta obra la elegida, pero una más actual sobresale del resto: que de los cientos de ensayos vertidos sobre esta obra solo se haya comentado -salvo alguna excepción- las características objetuales de lo directamente descrito por las vistas -como si fuera un fiel reflejo de la realidad- sin entrar a analizar la verdadera naturaleza física y simbólica de lo representado como expresión subjetiva –espacial- de una arquitectura. Si su importancia como punto de inflexión en el desarrollo inicial de una obra plenamente moderna es un motivo más que suficiente para dedicarle un estudio pormenorizado, ya que puede resultar crucial para comprender los inicios del autor en el Movimiento Moderno. Su presencia como un reducido conjunto de cuatro vistas perspectivas, mezcla de una fotografía del lugar y de un dibujo realizado sobre la misma, acarrea en nuestra opinión significaciones igual de importantes para la comprensión de esta arquitectura que todas aquellas ideas descritas sobre las mismas. Creadas en una época seminal, cuando el lenguaje de la fotografía y el cine están en pleno desarrollo, se puede afirmar que el conjunto de representaciones del Rascacielos de la Friedrichstrasse forman parte como referente histórico de una de las primeras arquitecturas virtuales que pertenecen de pleno derecho al Movimiento Moderno. Paradigma de las más absoluta actualidad, por encontrarse en esa frontera de lo nunca realizado, pero sí asumible espacialmente como realidad fotográfica, las imágenes del rascacielos se pueden considerar así como una de las primeras reflexiones sobre la naturaleza virtual del proyecto arquitectónico postindustrial. No siendo novedoso que la descripción fotográfica de una obra absorba y comunique por sí misma las múltiples propiedades que esta posee, como tampoco lo es que la mayoría de arquitecturas se den por conocidas actualmente a través de los medios. Sorprende que hasta hoy no se hayan analizado con la misma intensidad las múltiples razones que dieron lugar a unas imágenes cuya poética da forma por igual a la arquitectura que representan. Si la intención es reflexionar así sobre este hecho contemporáneo mediante un ejemplo paradigmático, certificado por la historia, nos veremos obligados a emplear una metodología acorde a la condición dual que toda imagen mediatizada produce en su lectura como mezcla fluctuante entre lo que se interpreta de manera autónoma a través de lo representado y de los significados que la imagen adquiere a lo largo de su recorrido como referente histórico. Esta ambivalencia interpretativa llevará a organizar este ensayo mediante dos bloques claramente diferenciados que, complementarios entre sí, siguen el orden de lectura que toda imagen de una arquitectura ofrece a través de los medios. Así, una primera parte, titulada La imagen de una arquitectura, analiza la interpretación que la historia y el autor han dado al rascacielos por medio de su uso en las diferentes exposiciones, revistas, tratados de estilos y monografías de las que ha formado parte. Este recorrido, que es el verdadero espacio donde estas arquitecturas residen, limitado -por una cuestión de poner orden- al estudio a los países que acogieron en vida al autor, servirá para establecer una primera narrativa que expone las diferentes posiciones que la crítica ha producido a lo largo del tiempo. La presencia del primer rascacielos junto al segundo, en la publicación que el arquitecto realiza de manera temprana en Frühlicht, obligará a incorporar esta segunda solución como una parte más del estudio. Cargada de las citas obligadas, de las diferentes personalidades que se han enfrentado a dichos proyectos, este primer análisis historiográfico establece un primer estado de la cuestión donde se revela una lectura ambivalente de los rascacielos. Si la interpretación directa de sus imágenes ha permitido profundizar en las características del vidrio y sus reflejos y en la desnudez de una estructura metálica como claros ejemplos de una expresión moderna y tecnológica de vidrio y el acero. Las particulares formas triangulares del primero y las formas sinuosas del segundo han dado lugar a una multitud de calificaciones, de ser ejemplo tanto de un Expresionismo como de un dadaísmo o constructivismo, que con el tiempo han ido creciendo hacia una admiración artística con una fuerte carga poética. Este lectura histórica, que remata con un breve periodo más actual donde se inicia el cuestionamiento de su carácter utópico y se recupera puntualmente su naturaleza como proyecto, servirá para plantear finalmente una serie de dudas que, sin respuesta aparente, exigen revisar la lectura de sus imágenes como parte de lo que realmente son: expresión de una nueva arquitectura que a partir de ese preciso momento entra de pleno derecho en el Movimiento Moderno. Por otro lado, la existencia en el discurso posterior del arquitecto de un proceso de formalizacion altamente valorado por su autor y la presencia de igual a igual de un lugar en las representaciones y planos de los rascacielos, que la historia parece haber obviado, servirán como razón más que suficiente para la revisión de unas relaciones iniciales con la vanguardia -todavía hoy poco definidas- así como para proponer la lectura renovada de dichas propuestas en altura por lo que también son: proyectos que responden a unas necesidades espaciales de un lugar y tiempo muy determinados. Esta segunda parte, denominada La arquitectura de una imagen, se plantea así más como una inmersión total en el mundo del proyecto que una simple descripción nominal del mismo. Conscientemente simétrica y opuesta a un primer bloque histórico, esta segunda parte -mucho más extensa y parte central de esta tesis- se concentra en el análisis de las imágenes como: aquel conjunto de eventos históricos que aplicados sobre la ciudad, el lugar, el rascacielos, y los procesos técnicos de la imagen dieron lugar a estas arquitecturas como razón de ser. Consecuentemente se tratará pues de bucear en las razones que, ocultas como proceso de formalización, llevaron a Mies a dar un paso más allá hacia a una nueva manera de hacer, ver y pensar su arquitectura, de expresar un espacio. La aproximación a estas imágenes radicará por tanto en resaltar al mismo tiempo la naturaleza de unas representaciones cuyas características fotográficas son el fiel reflejo de una época donde los nuevos medios visuales –cine y fotografía- empiezan a ser cuestionados por su excesiva utilización. La complejidad de unos hechos coincidentes en el tiempo obligará a dividir este estudio en un primer acercamiento general, a la respuesta dada por una mayoría de participantes al concurso, para así cotejar la importancia de una actitud proyectual y contextual común de Mies y sus compañeros. Mezcla de requerimientos y necesidades de la propia historia de la parcela, de las peculiaridades de un lugar y las exigencias programáticas del concurso; el siguiente paso consistirá en reconstruir el proceso de formalización del conjunto de dibujos que caracterizan ambos proyectos para así comprender los mecanismo que, suspendidos como traslaciones entre las diferentes representaciones, operan en la realización física de dichas imágenes y complementan como pensamiento la idea arquitectónica de los mismos. Con lo que se pretende ofrecer dos cosas: una interpretación que tenga en cuenta la novedosa naturaleza de la manera de pensar lo fotográfico en el arquitecto, así como la particular idiosincrasia del momento en que estas concurren. Dicho de otro modo, se realizará una aproximación de las vistas del primer rascacielos que tenga en cuenta la historia tecnológica y visual que rodea al evento y las características de una ejecución física todavía hoy sin aclarar del todo. El descubrimiento de una serie de incoherencias geométricas en las plantas, alzado y vistas del primer proyecto llevará a argumentar la presencia de un trampantojo que, nunca antes revelado, se entiende lleno de unas intenciones espaciales plenamente vanguardistas. Interpretación arquitectónica de las imágenes donde la presencia de una serie de elementos directamente ligados al lenguaje fotográfico y cinematográfico se traduce en una nueva lectura espacial plenamente dinámica llena de dislocación, ritmo y simultaneidad alejada de la idea de ver la forma como un elemento permanentemente fijo. Sugerencia que nos lleva directamente a la lectura del segundo proyecto de rascacielos como una clara continuación de lo imaginado en el primero. Para finalizar, tras una revisión biográfica -previa al proyecto- que desvela unas preocupaciones urbanas y un deseo de cambio anterior al concurso de la Friedrichstrasse, se comparan estas nuevas significaciones espaciales con una práctica de vanguardia que, coetánea a la convocatoria de 1921, demuestran unas investigaciones muy similares con unos mismos intereses cinematográficos. La lectura de las propuestas de tres artistas próximos en ese momento al arquitecto -como son Hans Richter, Moholy-Nagy y El Lissitzky- permiten demostrar unas preocupaciones muy similares a lo conseguido por Mies con los rascacielos que parecen haber servido de ejemplo y motivación mutua para el surgimiento de una nueva espacialidad -más fluida-. Esta lectura permitirá recuperar la importancia de estos dos proyectos como la expresión directa de una nueva manera de pensar y hacer su arquitectura que ya no tendrá vuelta atrás en la obra de Mies. A la vez que recuperar la potencialidad poética de unas vistas que, así definidas reiteradamente por la crítica, se revelan ahora como directas transmisoras de ese deseo de cambio arquitectónico evidenciado en los proyectos posteriores. Racionalización de una poética que al ir más allá de la forma directamente transcrita permite establecer una última reflexión general sobre como opera la imagen en la arquitectura, así como la pertinencia crítica de este proyecto para con el mundo virtual de hoy. En definitiva, más allá del poder evocador de estas representaciones, este será un estudio que pretende cuestionar las características que la imagen de la arquitectura puede proponer más allá de su literalidad por medio de la fascinante interacción que se produce entre la imagen y lo espacialmente imaginado. Encuentros, recursos e intereses de una respuesta plenamente arquitectónica que, además de dar luz a un cambio tan inclasificable como moderno, abre el camino a la interpretación de un proceso de formalizacion que, reiteradamente defendido por su autor justifican una intensidad poética dada por la historia y reafirman una preocupación artística a menudo desmentida por su autor. Dicho de otro modo, si profundizar en las razones arquitectónicas, históricas y técnicas que llevan a Mies a realizar sus rascacielos, por medio de su relación con la vanguardia y el cine, arrojan luz y explican el cambio que se está gestando en el arquitecto cara una nueva espacialidad fluida. Reflexionar sobre su naturaleza espacial -de estas imágenes ya icónicas- equivale a aportar una reflexión crítica sobre la naturaleza simbólica de la imagen de la arquitectura hoy. “Aunque el puesto clave que ocupa el Rascacielos de la Friedrichstrasse dentro de la historia de la arquitectura moderna nunca ha sido seriamente cuestionado, la opinion critica al respecto siempre ha estado dividida. Desde la publicacion de la monografia de Philip Johnson sobre Mies en 1947, el muro cortina como una piel transparente que reviste el esqueleto estructural has ido aclamado como un gran avance pionero. Otros puntos de vista sobre el edificio, subrayando su supuesta planta expresionista, lo han visto como un esfuerzo un poco menos aventurado. Asi calibrada, la propuesta de Mies para la Friedrichstrasse es radicalmente moderna en mas de un sentido enfatizado por Johnson.” 1 W.Tegethoff ABSTRACT This essay reflects on the broad territory of the image in today’s architecture. One good example is the Friedrichstrasse Skyscraper design by Mies van der Rohe in 1921/22, during the period between World Wars I and II. There are many reasons why this work has been chosen, but one of the most recent stands out above the rest: of the hundreds of essays written on this work, comments have been made only (with the odd exception) on the objectual characteristics of what has been directly described by the views (as if it were a genuine reflection of reality), without analysing the real physical and symbolic nature of the representation a subjective (spatial) expression of architecture. If its importance as a point of inflection in the initial development of a completely modern work is more than enough reason to make a detailed study, since it may be crucial for understanding the author’s beginnings in the Modern Movement. Its presence as a reduced set of four views, the combination of a photograph of the place and a drawing made of it, in our opinion, carry meanings that are as important for understanding this architecture as all the ideas described about them. Created during an early period, when the languages of photography and cinema were in full swing, it can be said that the perspectives of the Friedrichstrasse Skyscraper form a historical reference of one of the first virtual architectures that belong entirely to the Modern Movement. A paradigm of the most absolute modernity owing to the fact that it is on that frontier of the never-accomplished, but spatially assumable as photographic reality, the images of the skyscraper can be considered as one of the first reflections on the virtual nature of post-industrial architectural design. There is nothing new in the fact that the photographic description of work absorbs and communicates on its own the multiple properties it involves and there is nothing new in the fact that most architectures become known today through the media. It is surprising that no analysis has been made to date, with the same intensity, of the many reasons that led to a number of images whose poetry add form to the architecture they represent. If the intention is to reflect on this contemporary fact using a paradigmatic example certified by history, we will be forced to use a methodology that corresponds to the dual condition produced by the interpretation of all media images as a fluctuating combination of what is interpreted independently through the representation and meanings the image acquires as a historical reference. This ambivalent interpretation will lead this essay to be structured in two clearly different and complementary blocks that follow the reading order offered by any image of architecture in the media. Thus, a first part, titled The image of an architecture, analyses the interpretation history and the author have given to the skyscraper through its use in the various exhibitions, magazines, style agreements and monographs in which it has been included. This examination, which is the real space in which these architectures reside, is (to delimit and organise the study) restricted to countries in which the author lived during his lifetime and it will help establish a first narrative that considers the different interpretations made by critics over time. The presence of the first skyscraper next to the second one in the publication the architect makes early on in Frühlicht will require the second solution to be incorporated as another part of the study. Laden with necessary quotes by the various personalities who have examined said designs, this first historiographical analysis establishes an initial state of the question that reveals an ambivalent interpretation of skyscrapers. If the direct interpretation of the images has made it possible to closely examine the characteristics of the glass and its reflections and the nudity of a metal structure as clear examples of a modern and technological expression of glass and steel. The particular triangular shapes of the former and the sinuous shapes of the latter have generated many classifications that suggest it is an example of Expressionism, Dadaism or Constructivism, which have grown over time into artistic admiration laden with poetry. This historical reading, which concludes with a more recent short period that begins to question the utopian character and recovers its nature as a project, will finally consider a number of doubts that have no apparent answer and require a revision of the reading of the images as part of what they actually are: expression of a new architecture that becomes part of the Modern Movement as from that precise moment. In addition, the existence in the architect’s subsequent discourse of a formalisation process highly valued by the author and the equal presence of a place in the representations and plans of a skyscraper history seems to have forgotten, will stand as more than sufficient reason for a revision of initial relations with the avantgarde -not particularly well defined today- together with a renewed reading of said vertical proposals for what they also are: projects that respond to the special needs of a very specific place and time. This second part, titled The architecture of an image, is presented more as a total immersion in the project world than a mere nominal description of it. Deliberately symmetrical and opposite to a historic first bloc, this second part (much longer and central part of the thesis) it will focus on analysing images as: the set of historical events that affected the skyscraper, city, place and technical processes image to provide these architectures with their raison d’être. Consequently, the aim is to delve in the reasons which, hidden as a formalisation process, led Mies to move on to a new form of doing, seeing and thinking his architecture, of expressing a space. The approach to these images will therefore lie in highlighting the nature of a number of representations whose photographic features are the true reflection of a period in which the new visual media (cinema and photography) begin to be questioned due to excessive use. The complexity of facts that coincide in time will require this study to be divided into a first general approach, with a response given by most of the participants in the competition, to compare the importance of a common approach in terms of project and context of the response given by Mies and his colleagues. A combination of requirements and needs of the very history of the plot of land, the peculiarities of a place and the programmatic requirements of the competition; the next step will reconstruct the formalisation process of the set of drawings that characterise both to understand the mechanism which, suspended like translations between the different representations, operates in the realisation of said images and complements as thought their architectural idea. The aim is thus to offer two things: an interpretation that takes into account the new way in which the architect works with photography, together with the particular idiosyncrasy of the moment at which they occur. In other words, the approach will focus on the views of the first skyscraper, which takes into account the technological and visual history that surrounds the event and the characteristics of a physical execution that still remains unexplained in full. The subsequent discovery of a number of geometrical incoherences in the floor plans, elevations and views of the first project will lead to an argument for the presence of trompe l’oeil which, never before revealed, is seen as laden with completely avant-garde spatial intentions. Architectural interpretation of the images where the presence of a number of elements directly linked to the languages of photography and cinema is translated into a new spatial reading that is completely dynamic and full of dislocation, rhythm and simultaneity far-removed from the idea of seeing shape as a permanently fixed element. This suggestion takes us to directly to the second skyscraper design as a clear continuation of what he imagined in the first. To end, after a preliminary biographical revision (previous to the project) that reveals urban concerns and a desire for change before the Friedrichstrasse competition, a comparison is made of these new spatial meanings with avant-garde practice which, contemporary with the 1921 competition, show very similar investigations with the same cinematographic interest. The reading of the proposals of three artists close to the architect at that time -i.e. Hans Richter, Moholy-Nagy and El Lissitzky- reveals concerns that are very similar to what Mies achieved with the skyscrapers that seem to have been used as an example and mutual motivation for the creation of a new (more fluent) spatiality. This interpretation will make it possible to recover the importance of these two projects as the direct expression of a new way of thinking and doing his architecture that was to remain fixed in Mies’ work. This also gives rise to the possibility of recovering the poetic potential of views which, as defined repeatedly by the critics, now stand as the direct transmitters of the desire for architectural change shown in later projects. A rationalisation of poetry which, by going beyond the directly transcribed form, gives rise to the establishment of one general final reflection on how the image works in architecture, together with the critical relevance of this design for today’s virtual world. In short, beyond the evocative power of images this will be a study which questions the characteristics the image of architecture can propose beyond its literality through the fascinating interaction between the image and spatially imagined. Encounters, resources and interests of a completely architectural response that, besides sheds light to a change that is as non-classifiable as it is modern, shows the way to the interpretation of a formalisation process which, repeatedly defined by the author, justifies a poetic intensity and confirms an artistic concern often denied by the author. In other words, examining the architectural, historical and technical reasons that led Mies to create his skyscrapers, thanks to its relationship with the avant-garde and cinema, sheds light on and explains the change taking place in the architect with regard to a new fluent spatiality. Reflecting on the spatial nature -of these iconic images- is tantamount to a critical reflection on the symbolic nature of architecture today. “Although the key position of the Friedrichstrasse Office Building within the early history of modern architecture has never been seriously challenged, critical opinion on it has always been divided. Ever since the publication of Philip Johnson’s monograph on Mies in 1947, the curtain wall as a transparent skin sheathing the skeleton structure has frequently been hailed as a pioneering breakthrough. Other views of the building, stressing its supposedly Expressionist plan, have seen it as a somewhat less adventurous effort. In fact, the project has never been regarded in abroad context. Thus measured, Mies’s proposal fro Friedrichstrasse is radically modern in more than the one respect emphasized by Johnson.” 1 W.Tegethoff

Arquifanía: la arquitectura como manifestación

Arquifanía: arquitectura y epifanía. La revelación que se da en el proyectar, en el construir y en el habitar. Desentrañar los protagonistas y el escenario de ese encuentro es el objetivo de esta tesis. Nace de una doble inquietud: la relación entre literatura y arquitectura y la constatación de algo inconmensurable en la arquitectura. A lo largo de los siglos la teoría de la arquitectura ha hecho un gran esfuerzo por racionalizar todos los aspectos de la disciplina. La sistematización del orden y jerarquía de los espacios, el uso de parámetros más rigurosos en los cálculos estructurales, el desarrollo de la técnica y el estudio de los esquemas funcionales han supuesto una fuente inagotable de manifestaciones arquitectónicas. Los paradigmas científicos, incluso, han resultado fundamentales en la creación de nuevos lenguajes. Sin embargo, en este camino de racionalización se han orillado aspectos de difícil cuantificación. Pese a que en la experiencia diaria del arquitecto se constata la presencia de parámetros inconmensurables, la teoría de la arquitectura no ha integrado de forma sistemática este conocimiento. De aquí nace la presente tesis doctoral. En ella se estudia, por analogía con el resto de artes, el concepto de manifestación. Se analiza de qué manera la obra arquitectónica se manifiesta, haciendo uso de su autonomía, y se convierte en la que dirige al arquitecto en todos los tiempos de la existencia de la obra: desde su génesis en el tiempo del proyecto hasta la experiencia de la obra terminada en el tiempo de la historia. Se considera que reflexionar en el concepto de manifestación puede aportar luces sobre la disciplina arquitectónica en un doble momento. Se estudia por una parte la actitud y el proceder del arquitecto ante la génesis del proyecto y por otra su posicionamiento ante la obra ya existente, sometida a su análisis (para la posterior síntesis) generando una espiral de conocimiento siempre abierta y en continuo enriquecimiento. Se analiza la obra de María Zambrano, filósofa, y José Ángel Valente, poeta, en busca de la definición del concepto de manifestación. El momento creativo, la naturaleza de la palabra poética, la actitud del poeta ante su obra, el conocimiento y la revelación de la belleza son temas recurrentes en sus obras y crean un corpus teórico que permite elaborar una teoría poética sólida y abierta, llena de sugerencias que se dirige con precisión al momento de la generación de la forma: su epifanía. A continuación se repasa el concepto de manifestación en la actividad de algunos artistas de la modernidad que, de manera implícita o explícita, han hablado del concepto de epifanía. A menudo de forma intuitiva, los artistas han detectado en su actividad la condición de ser depositarios de un don que se renueva en cada obra ejecutada. Entrelazado con su trabajo y con la disciplina diaria los artistas experimentan un diálogo con la obra, que se revela libre y con voluntad de manifestarse. Enunciado el problema y hecho el repaso por el mundo de la creación artística, nos enfrentamos con el núcleo de la tesis: ¿hasta qué punto y de qué manera el concepto de manifestación es válido en arquitectura? El discurso busca en la actividad de múltiples arquitectos la validez del concepto de manifestación. Se rastrean testimonios, textos, obras y análisis de obras. De esta investigación surge una topografía, un atlas de revelaciones de manifestaciones arquitectónicas: constataciones explícitas, testimonios implícitos o intuiciones. A través de este periplo entre el concepto de manifestación que la razón poética ofrece y la experiencia de muchos arquitectos se intenta responder, aunque sea parcialmente, a las preguntas que surgen al llevar a las últimas consecuencias la arquifanía: ¿En qué momento existe una voluntad de forma? ¿De qué manera encuentra el arquitecto la forma? ¿Cómo se le presenta? ¿Es el arquitecto el verdadero artífice de la obra? ¿O es en cambio un ser a la espera de la aparición? ABSTRACT Archiphany: architecture and epiphany. The revelation taking place in designing, building and living. The objective of the present dissertation is to unravel the protagonists and the scenario of this encounter. It stems from a double interest: the relationship between literature and architecture and the discovery of something incommensurable in architecture. Over the centuries, architectural theory has made a great effort in order to rationalise all aspects of this discipline. Thus, the systematization of the order and hierarchy of space, the use of more rigorous parameters on the structural analysis, the development of technical capacities and the study of functional schemes have been an inexhaustible source of architectural manifestations. Even scientific paradigms have been essential in the creation of new languages. However, aspects of difficult quantification have been relegated in this path of rationalisation. Whereas the presence of immeasurable parameters are encountered in the daily experience of the architect, architectural theory has failed to systematically integrate this knowledge. This is the driving force of this thesis. It explores, by analogy with the other arts, the concept of manifestation. It discusses how the architectural work manifests itself, making use of its autonomy, becoming the one leading the architect during the whole existence of the work: from its genesis in the designing time until the experience of the completed work in the historical time. In the present dissertation, it is assumed that reflecting on the concept of manifestation might shed light on two different moments on the way to project architecture. The architect approach to the project genesis is studied on the one hand, while in the other hand it is considered his positioning in front of the existing work, as well as his analysis (for a following synthesis) that generates an ever-open and ever-enriching spiral of knowledge. In the search for a definition of the concept of manifestation, the work of the philosopher María Zambrano and the poet José Ángel Valente are analysed. The creative moment, the nature of the poetic word, the attitude of the poet in front of his work, the knowledge and the revelation of beauty are persistent issues in their works. They create a theoretical corpus allowing to develop a sound and open poetical theory full of suggestions, accurately directed to the time of the form generation: its epiphany. The concept of manifestation is then reviewed in the activity of some modern artists that talked about the concept of epiphany –either implicitly or explicitly. Often in an intuitive way, artists have come to realize in their activity to be the depositories of a gift that is renewed in each work. Intertwined with their work and with their daily discipline, artists experience a dialogue with the work, which proves to be free and willing to manifest itself. Having stated the problem and having reviewed the world of artistic creation, we are confronted with the core of the thesis: Up to which extent and in which way is the concept of manifestation valid for architecture? Validity and evidence of this concept is sought in the activity of multiple architects. Texts, works, analysis, reviews and testimonies are investigated. From this research, a topography, an atlas of revelations of architectural manifestations arises: explicit findings, implicit witnesses or intuitions. By means of this journey going from the concept of manifestation hinted by the poetic reason to the experience of many architects, the ultimate questions risen by archiphany are meant to be answered (though partially): When does a will of form emerge? How does the architect find the form? How does it appear? Is the architect the true creator of the work? Or is he instead a being waiting for the vision?

Le Parlement européen à la recherche de l’efficacité législative: Une analyse des évolutions de son organisation = The European Parliament seeking legislative efficiency: An analysis of the changes in its organization. Bruges Political Research Paper No. 39, January 2015

Quel rôle l’organisation du travail parlementaire a-t-elle joué dans la montée en puissance du Parlement européen (PE)? Cet article vise à examiner cette question en s’appuyant sur la governing theory développée dans le cadre des études sur le Congrès nord-américain. Sur cette base, nous faisons l’hypothèse que les réformes de la structure institutionnelle du PE résultent des efforts des députés visant à renforcer la place de l’institution dans le système politique de l'Union européenne, à travers un accroissement de son «efficacité législative». Afin de tester cette hypothèse, cet article analyse l’impact de la rationalisation du fonctionnement du PE sur trois éléments clés: les organes de direction et les groupes politiques, la délibération en séance plénière et le comportement des députés. On montre ainsi que l'argument de «l'efficacité» générale du travail parlementaire est devenu un objectif en soi qui s’est imposé sur celui de liberté des parlementaires.

Genetic testing in familial isolated hyperparathyroidism: unexpected results and their implications

Familial hyperparathyroidism is not uncommon in clinical endocrine practice. It encompasses a spectrum of disorders including multiple endocrine neoplasia types 1 (MEN1) and 2A, hyperparathyroidism-jaw tumour syndrome (HPT-JT), familial hypocalciuric hypercalcaemia (FHH), and familial isolated hyperparathyroidism (FIHP). Distinguishing among the five syndromes is often difficult but has profound implications for the management of patient and family. The availability of specific genetic testing for four of the syndromes has improved diagnostic accuracy and simplified family monitoring in many cases but its current cost and limited accessibility require rationalisation of its use. No gene has yet been associated exclusively with FIHP. FIHP phenotypes have been associated with mutant MEN1 and calcium-sensing receptor ( CASR) genotypes and, very recently, with mutation in the newly identified HRPT2 gene. The relative proportions of these are not yet clear. We report results of MEN1, CASR, and HRPT2 genotyping of 22 unrelated subjects with FIHP phenotypes. We found 5 (23%) with MEN1 mutations, four (18%) with CASR mutations, and none with an HRPT2 mutation. All those with mutations had multiglandular hyperparathyroidism. Of the subjects with CASR mutations, none were of the typical FHH phenotype. These findings strongly favour a recommendation for MEN1 and CASR genotyping of patients with multiglandular FIHP, irrespective of urinary calcium excretion. However, it appears that HRPT2 genotyping should be reserved for cases in which other features of the HPT-JT phenotype have occurred in the kindred. Also apparent is the need for further investigation to identify additional genes associated with FIHP.

A post-structural analysis of perceptions and experiences of continuity and change within the UK automotive supplier base

Firms acting as suppliers to the British automotive industry have a long history of so doing, with some evidencing histories that predate even the invention of the motor car. In exploring the challenges faced by the descendants of these firms in the 1990s, a review is undertaken of the bodies of literature surrounding the changes wrought through the increased globalisation of the industry; the impact of new manufacturing technologies and techniques; the rising levels of co-operation between firms; and the growing impact of the automotive 'service sector'. Moreover, an exploration is undertaken of the perceived 'realities' of the automotive industry as constructed through discourse, including the ways in which discourse effects a continual reinterpretation and re-evaluation of the historical evolution of the industry. Attention is focused on the implications of the above for the automotive supply chain, and the means for its rationalisation proposed by the major car manufacturers and their partner-suppliers. Post-structuralist approaches are introduced as part of an attempt to establish and appropriate research methodology that can explore and deconstruct the discourses surrounding 'modernity', 'supply chain rationalisation', 'flexible specialisation' and 'globalisation' within the automotive industry. Analytical research is conducted into the small- to medium-sized business that constitute the majority of the supplier base in the United Kingdom, and the findings of this research are compared with those of a similar study conducted a quarter-century ago. In this way, the relationships of these firms with their customers, suppliers, and peers are investigated, as are their perceptions of a changing marketplace and their reactions to the impact of policies such as the 'supply chain rationalisation' pursued by the major automotive manufacturers. Authoritative discourses of industry form, function, and structure are challenged, with voice being granted to the marginalised: small suppliers, 'service sector' firms, or those only partly involved in the automotive industry.

The influence of political, economic and passenger market factors on international civil aviation

Civil aviation plays an essential role in maintaining international communications. Many extraneous factors influence the daily operations of the air transport industry. This thesis begins by investigating the major categories of so­ called "external interests" in civil aviation. These are shown to have played a significant part in ensuring the need for international agreement over the adoption of regulating principles. The combination and interaction of the various influences has produced a particular type of regulatory environment in which all commercial air services have to operate. The need for such regulation and the extreme difficulty experienced in trying to define universally acceptable methods of supervision is discussed. It is shown how opportunity for the development of on-scheduled air services was created by default on the part of the European Governments.The concept of so-called "scheduled" and "non-scheduled" sectors" is considered and it is suggested that growth of the inclusive tour industry resulted from inappropriate categorisation of the air services involved. The means by which development opportunities were created for inclusive tour operations is considered and the work then investigates the importance of British air transport policy in their exploitation. The politics of British civil aviation in the post-war years is the subject of detailed examination and the process by which Independent airlines were encouraged to develop inclusive tours, is identified. This theme is expanded to demonstrate the vital contribution of British air transport policy in the restructuring of the international industry. The subsequent involvement of the United States is shown to have been directed specifically towards the satisfaction of domestic issues. British objectives, however, are considered to have been more generally concerned with improving the tariff structure. The unique opportunities for British experimentation with international fares are seen to have major influence in forcing the pace of tariff rationalisation.

The design of contact lens based ocular drug delivery systems for single-day use:part (I) structural factors, surrogate ophthalmic dyes and passive diffusion studies

The poor retention and efficacy of instilled drops as a means of delivering drugs to the ophthalmic environment is well-recognised. The potential value of contact lenses as a means of ophthalmic drug delivery, and consequent improvement of pre-corneal retention is one obvious route to the development of a more effective ocular delivery system. Furthermore, the increasing availability and clinical use of daily disposable contact lenses provides the platform for the development of viable single-day use drug delivery devices based on existing materials and lenses. In order to provide a basis for the effective design of such devices, a systematic understanding of the factors affecting the interaction of individual drugs with the lens matrix is required. Because a large number of potential structural variables are involved, it is necessary to achieve some rationalisation of the parameters and physicochemical properties (such as molecular weight, charge, partition coefficients) that influence drug interactions. Ophthalmic dyes and structurally related compounds based on the same core structure were used to investigate these various factors and the way in which they can be used in concert to design effective release systems for structurally different drugs. Initial studies of passive diffusional release form a necessary precursor to the investigation of the features of the ocular environment that over-ride this simple behaviour. Commercially available contact lenses of differing structural classifications were used to study factors affecting the uptake of the surrogate actives and their release under 'passive' conditions. The interaction between active and lens material shows considerable and complex structure dependence, which is not simply related to equilibrium water content. The structure of the polymer matrix itself was found to have the dominant controlling influence on active uptake; hydrophobic interaction with the ophthalmic dye playing a major role. © The Author(s) 2014 Reprints and permissions: sagepub.co.uk/journalsPermissions.nav.

CO2 absorption into aqueous amine blended solutions containing monoethanolamine (MEA), N,N-dimethylethanolamine (DMEA), N,N-diethylethanolamine (DEEA) and 2-amino-2-methyl-1-propanol (AMP) for post-combustion capture processes

Presently monoethanolamine (MEA) remains the industrial standard solvent for CO2 capture processes. Operating issues relating to corrosion and degradation of MEA at high temperatures and concentrations, and in the presence of oxygen, in a traditional PCC process, have introduced the requisite for higher quality and costly stainless steels in the construction of capture equipment and the use of oxygen scavengers and corrosion inhibitors. While capture processes employing MEA have improved significantly in recent times there is a continued attraction towards alternative solvents systems which offer even more improvements. This movement includes aqueous amine blends which are gaining momentum as new generation solvents for CO2 capture processes. Given the exhaustive array of amines available to date endless opportunities exist to tune and tailor a solvent to deliver specific performance and physical properties in line with a desired capture process. The current work is focussed on the rationalisation of CO2 absorption behaviour in a series of aqueous amine blends incorporating monoethanolamine, N,N-dimethylethanolamine (DMEA), N,N-diethylethanolamine (DEEA) and 2-amino-2-methyl-1-propanol (AMP) as solvent components. Mass transfer/kinetic measurements have been performed using a wetted wall column (WWC) contactor at 40°C for a series of blends in which the blend properties including amine concentration, blend ratio, and CO2 loadings from 0.0-0.4 (moles CO2/total moles amine) were systematically varied and assessed. Equilibrium CO2 solubility in each of the blends has been estimated using a software tool developed in Matlab for the prediction of vapour liquid equilibrium using a combination of the known chemical equilibrium reactions and constants for the individual amine components which have been combined into a blend.From the CO2 mass transfer data the largest absorption rates were observed in blends containing 3M MEA/3M Am2 while the selection of the Am2 component had only a marginal impact on mass transfer rates. Overall, CO2 mass transfer in the fastest blends containing 3M MEA/3M Am2 was found to be only slightly lower than a 5M MEA solution at similar temperatures and CO2 loadings. In terms of equilibrium behaviour a slight decrease in the absorption capacity (moles CO2/mole amine) with increasing Am2 concentration in the blends with MEA was observed while cyclic capacity followed the opposite trend. Significant increases in cyclic capacity (26-111%) were observed in all blends when compared to MEA solutions at similar temperatures and total amine concentrations. In view of the reasonable compromise between CO2 absorption rate and capacity a blend containing 3M MEA and 3M AMP as blend components would represent a reasonable alternative in replacement of 5M MEA as a standalone solvent.