El modelo constructivo: la influencia de la técnica en la teoría de la arquitectura (1840-1899)

La hipótesis de partida de esta tesis es que existe una influencia directa entre la técnica que se desarrolla durante el segundo período del s. XIX y el cambio sustancial de los conceptos y de la teoría arquitectónica que se da en esos mismos años. Dicha influencia genera nuevos modelos constructivos que serán la base de la arquitectura moderna. Para llegar a la confirmación de la hipótesis, se han planteado tres objetivos principales que responden a los tres capítulos principales de la misma. En primera instancia, se establecen las condiciones teóricas del debate arquitectónico entre las fechas estudiadas. Se analiza el concepto de modelo y «estilo» para evaluar si, efectivamente, hubo cambio o no. También se analizará si los arquitectos eran conscientes de la necesidad de una nueva arquitectura que respondiese a la funcionalidad que el progreso requería. Para comprobar que dicho cambio se ha producido a todos los niveles hasta el punto de redefinir el modelo constructivo se escoge un ejemplo práctico que cumpla las condiciones necesarias para sustentar o no la tesis y se investiga sobre si sucede o no el cambio. A continuación, se analizará la situación de la técnica y de los avances tecnológicos en el período estudiado. Es importante contrastar que realmente hay un conocimiento y una conciencia verdadera de cambio entre los teóricos y los arquitectos que están construyendo en ese momento. Confirmar que dicha conexión existe es vital para la investigación; para eso, se analizará y se profundizará en las conexiones entre la arquitectura y la ingeniería (o los avances tecnológicos) para entender la implicación de uno con el otro. Con este fin, se han estudiado las distintas publicaciones periódicas de la época; sobre todo la más relevante y la que primero se editó, que fue La revue générale de l’architecture; me he apoyado en ella. Es un documento que mensualmente recoge cambios, avances y debates. Tuvo una grandísima divulgación; todo docente, arquitecto e ingeniero de la época tenía un acceso fácil y directo a dicha publicación. Por último, a raíz de una construcción ideal proyectada por uno de los grandes arquitectos teóricos de la época, se reflexiona sobre si esa arquitectura supone realmente una comprensión y una conciencia de los nuevos modelos arquitectónicos, definidos por una técnica en progreso, o si responde exclusivamente a una utopía arquitectónica como tantas otras se habían esbozado con anterioridad por grandes teóricos. Para poder definir la geometría de este elemento estructural, se ha realizado un modelado tridimensional que permite calcular la estructura a través de un proceso de elementos finitos. El propósito de este cálculo no es exclusivamente saber si la estructura era viable o no en aquella época, sino también comprender si la definición de estos originales elementos estructurales implicaba una concepción nueva de las estructuras tridimensionales y eso significa que empezaba a germinar un cambio sustancial en la teoría de la arquitectura, con la búsqueda de un nuevo modelo constructivo derivado de los avances técnicos. De este modo queda demostrado que el modelo constructivo ha cambiado definitivamente por un modelo mucho más versátil y sobre todo con una gran capacidad de adaptación, esto combinado a su vez con una proliferación de patentes que intentan y buscan una estandarización del modelo constructivo y que no son, en ningún caso, un modelo en sí. Como última conclusión, queda argumentado que en aquella época ya se tenía una gran intuición estructural; a pesar de que el cálculo matemático era todavía algo relativamente nuevo, se manejaban de forma instintiva líneas de cargas, combinación de materiales y nuevas formas, que ayudarán a crear los modelos de los próximos años y que serán la base del cálculo numérico posterior. ABSTRACT The hypothesis of this thesis is that there is a direct influence between the technique developed during the second period of the XIX century and the substantial change in the concepts and in the architectural theory that occurs in those years. This influence develops new building models that will be the basis of modern architecture. To confirm this hypothesis, we present three principal objectives that corresponds to the three principals chapsters of the text. First, we establish the theoretical conditions of the architectural debate between the dates studied. We analyze the concepts of model and “style” to assess whether there was a change or not. We consider as well if architects were aware of the need for a new architecture to respond to the functionality needs that progress demanded. To verify that the change occurred at all levels to the extent of redefining the building model we choose a practical example that fulfills the necessary conditions to support or not the thesis and we investigate whether or not the change happens. Next, we analyze the status of technical and technological advances in the study period of study. It is important to contrast that there is a real knowledge and awareness of change between the theorists and architects who are building at the time. Confirming that that connection exists is vital for the research; for that, we will analyze and deepen into the connections between architecture and engineering (or technological progress) to understand the implication of one into the other. To this end, we have studied various publications of the time; especially the most relevant and the first published, La Revue générale de l’architecture; I have relied on it. This is a monthly document that includes changes, developments and debates. It had a very great disclosure; every teacher, architect and engineer of the time had a direct and easy access to this publication. Finally, following theoretical ideal construction projected by one of the great architects of the time, we reflect on whether that architecture really represents an understanding and awareness of the new architectural models defined by a technique in progress, or if it only responds to an architectural utopia as the ones outlined earlier by the great theorists. To be able to define the geometry of this structural item, we have carried out a three-dimensional modeling that enables us to calculate the structure through a process of finite elements. The purpose of this calculation is not exclusively understanding whether the structure was viable or not at the time, but also understanding if the definition of these original structural elements involved a new concept of three-dimensional structures and if that involved the beginning of a substantial change in theory of architecture, with the search for a new construction model derived from technical advances. In this way it is demonstrated that the building model has definitely changed for a much more versatile one and above all with a high adaptation capacity, this combined in turn with a proliferation of patents that try and seek a standardization of the building model and are not, in any case, a model in itself. As a final conclusion, it is argued that at the time a major structural intuition was present; even though the math calculation was still relatively new, in an instinctively way load lines, combination of materials and new forms were taken into account, that will help to create models in the coming years and which will form the basis of subsequent numerical calculation.

La representación de la arquitectura moderna : la villa Stein-de Monzie en "L'Oeuvre Complète" de Le Corbusier y Pierre Jeanneret : influencia de la visión cinematográfica

Esta tesis doctoral trata de investigar cuánto hubo de presencia del cine en el pensamiento de Le Corbusier y Pierre Jeanneret, a la hora de acometer la publicación y maquetación de las páginas dedicadas a la Villa Stein-de Monzie en Garches, en “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Qué mecanismos cinematográficos pusieron en juego, cuando montaban las páginas de L´Oeuvre Complète. Más que encontrar elementos cinematográficos utilizados de manera directa; el objetivo de esta tesis es profundizar en los mecanismos, procedimientos, sistemas de generación de ideas a lo largo del proceso de proyecto; en las maneras de percibir y experimentar los espacios, o de observar las formas. El armazón lo compone por lo tanto el análisis del modo en que Le Corbusier representa la villa en L´Oeuvre Complète, sus intenciones y la función pedagógica de este modo de representar; así como sus diferencias con respecto a lo realmente construido. Una realidad elaborada sobre un tablero; maquetando su representación, eligiendo los fragmentos, y componiendo las láminas (cercana a la de un director de cine). La justificación del objeto a estudiar se plantea en el primer capítulo: L´Oeuvre Complète (1937), la reedición en francés, alemán e inglés de la primera edición en alemán, Ihr Gesamtes Werk (1929).Se establecen las intenciones de Le Corbusier de que se convierta en un modelo de Tratado de Arquitectura Moderna, eminentemente visual. Se estudian los mecanismos formales y geométricos de composición del libro, y el modo en el que L´Oeuvre Complète debe ser leída. El desarrollo de los siguientes capítulos (del 2 al 9) recoge el método principal de investigación de esta tesis, basado en una lectura longitudinal, crítica y sistemática, a partir de la observación atenta de la representación de la villa Stein-de Monzie en Garches, en las páginas nº 140 a 149 de L´Oeuvre Complète. Se efectúa mediante un desarrollo lineal y secuenciado, como si de un guión cinematográfico se tratara. Cada capítulo describe y analiza cada uno de los diferentes fragmentos, permitiendo al mismo tiempo enlazar temas de interés que ayudan a comprender aspectos de la villa de Garches, de su concepción en la intensa labor de proyecto (con numerosas variantes y propuestas), e incluso de su aparición en el cine. Además, la tesis arroja luz sobre unos documentos bastante desconocidos: las láminas de la colección del Museo Cooper-Hewitt de nueva York, para la villa de Garches. El análisis de la presentación de la villa de Garches en L´Oeuvre Complète, constata que para Le Corbusier, el fragmento, per se, ha de ser perfecto, produciendo la máxima emoción. Como un prestidigitador, Le Corbusier los manipula, o le niega información al espectador mediante el uso de la elipsis en el relato. Los textos concatenan las imágenes, soportan el hilo de la narración. Los bocetos quieren siempre seducir al espectador: son dibujos que rezuman vitalidad, con una técnica muy cercana a la ligne claire del cómic. Las plantas son un laboratorio para demostrar su jerarquía y su libertad de composición; eliminando elementos, distorsionando la valoración de líneas y apareciendo algún elemento no ejecutado. Los alzados, esquemáticos y abstractos, demuestran el control de la geometría para garantizar la emoción. Las fotografías son controladas en su fase de captura (elección del punto de vista, cuidada puesta en escena de los objetos, composición con la luz, uso de las sombras para la aparición del fuera de campo); pero también en la fase de postproducción y edición, donde son cortadas, alisadas superficies, borrando o dibujando elementos sobre ellas. El montaje compone asimismo una representación dinámica, fragmentada y múltiple de la villa. Como sucede en el cine, los fragmentos sólo encuentran su razón de ser una vez son re-creados y montados en la cabeza del espectador. La falta de raccord es un mecanismo buscado por Le Corbusier, trasladando a la representación una de las primordiales características de la villa de Garches: su permanente dualidad simultánea. Todos estos mecanismos son desplegados por Le Corbusier, para ofrecer una versión idealizada de la villa, que recoja todas las virtudes de los distintos proyectos e incorpore el factor tiempo. ABSTRACT This doctoral thesis tries to investigate how much the cinema affected Le Corbusier and Pierre Jeanneret´s thoughts, at the moment of undertaking the publication and layout of the pages dedicated to the villa Stein-de Monzie in Garches, in the book “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Which cinematographic mechanisms they brought into play, when they were mounting those pages. Instead of finding cinematographic elements, used directly; the aim of this thesis is to go deeply into the mechanisms, methods, systems of generation of ideas along the project process; into the ways of seeing and feeling the spaces, or of watching the forms. The body is composed therefore by the analysis of the way in which Le Corbusier represents the villa in L'Oeuvre Complète, his intentions and the pedagogic function of that way of representation; as well as its differences with the real built villa. One reality elaborated on a board; laying out its representation, choosing the fragments, and composing the sheets (near to the work of a director of cinema). The justification of the object to studying appears in the first chapter: L'Oeuvre Complète (1937), the reissue in French, German and English of the first edition in German, Ihr Gesamtes Werk (1929). This chapter shows the intentions of Le Corbusier of turning the book into a model of modern architecture, highly visual. The formal and geometric mechanisms of composition of the book are studied, and the way in which L'Oeuvre Complète must be read. The development of the following chapters (from 2 to 9) gathers the principal method of investigation of this thesis, based on a longitudinal, critical and systematic reading; from the watching of the representation of the villa Stein-de Monzie in Garches, in the pages nr. 140 to 149 of L'Oeuvre Complète. It is carried out by a linear and sequenced development, as a cinematographic script. Every chapter describes and analyzes each of the different fragments, allowing at the same time to connect interesting issues that help to understand aspects of the villa in Garches, of its conception in the intense project process (with numerous variants and designs), and even of its appearance in films. Also, the thesis throws light on some unknown documents: the sheets of the collection of the Museum Cooper-Hewitt in New York, for the villa in Garches. The analysis of the presentation of the villa in Garches in L'Oeuvre Complète, proves that for Le Corbusier, the fragment, itself, has to be perfect, getting the maximum emotion. As a prestidigitator, Le Corbusier manipulates them, or denies information to the spectator by means of the use of the ellipsis in the story. The texts concatenate the images, support the thread of the story. The sketches always attempt to seduce the spectator: they are drawings that leak vitality, with lines very near to the ligne claire of the cómic. The plans are a laboratory to demonstrate their hierarchy and their freedom of composition; deleting elements, distorting the thickness of lines and showing some not executed elements. The elevations, schematic and abstract, shows the control of the geometry to guarantee the emotion in architecture. The pictures are controlled in their instant of capture (choice of the point of view, elegant mise-en-scène of the objects, composition with light, use of the shadows for the appearance of out of vision); but also in the postproduction and edition time, when surfaces are cut, smoothing, erasing or drawing elements in them. The montage composes in the same way a dynamic, fragmented and multiple representation of the villa. As in the films, the fragments only find their raison d'être once they have been re-created and mounted into the mind of the viewer. The continuity error is a mechanism allowed by Le Corbusier, transfering to the representation in the book one of the basic characteristics of the villa in Garches: its constant simultaneous duality. All these methods are displayed by Le Corbusier, to offer an idealized version of the villa, which gathers all the virtues of the different projects, and incorporates the time factor.

Propiedad, control y gestión del agua en regadíos deficitarios del Sureste español: la huerta de Alicante durante la Edad Moderna

La Huerta de Alicante, prototipo de los denominados regadíos deficitarios o secanos mejorados, ofrece uno de los mejores ejemplos de cómo la escasez hídrica activó la búsqueda de soluciones técnicas, propició la inversión en infraestructuras hidráulicas y desarrolló unas peculiares relaciones entre los labradores regantes y los propietarios del agua. La gestión de los recursos hídricos y su distribución por estricto cómputo horario por parte del municipio alicantino hasta 1739 permitió, pese a los condicionantes físicos y climáticos, el desarrollo de una actividad agrícola significativa durante los siglos modernos. La temprana separación del agua de la tierra a la que estaba adscrita en los primeros repartos medievales provocó numerosos conflictos a lo largo de la historia e intentos de unificar ambas propiedades, algo que nunca se consiguió.

O reforço positivo como estratégia pedagógica para o incremento da motivação e autoestima, com alunas do 1º ano do ensino vocacional, no contexto da aula de dança moderna, na Escola de Dança Ana Manjericão

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino da Dança.

Contributos para a promoção da igualdade de género no contexto da aula de Técnica de Dança Contemporânea com os alunos do 6º ano da Escola de Dança do Conservatório Nacional

Relatório Final de Estágio apresentado à Escola Superior de Dança, com vista à obtenção do grau de Mestre em Ensino de Dança.

Ribeira, técnica versus natureza: transformações em prol de um projeto de modernização (1860-1932)

The necessity of the insertion of the capital of Rio Grande do Norte in the world-wide commercial scene and its claim as the seat of political power, in ends of nineteenth and beginning of twentieth century, determined the direction of urban interventions undertaken by government to restructure the city. In that matter, there were several actions of improvements and embellishment in Natal, which had, as a starting point, the adequacy works of the port, located in the Ribeira quarter, with the aim of ending the physical isolation that reinforced its economic stagnation. Besides the problems faced in the opening bar of the Potengi River, and would complement the required improvements, other barriers demonstrate the tension established between the physic-geographic field and the man: the flooded and slope which connected Cidade Alta and Ribeira the first two quarters of the city.The execution of these works demanded knowledge whose domain and application it was for engineering. But, how the actions done for the engineers, in sense to transform natural areas into constructed spaces made possible the intentional conformation of the quarter of the Ribeira in a commercial and politician-administrative center, in the middle of the XIX century and beginning of the XX? Understand, therefore, the employment effects of technology on the physical-geographical Ribeira, is the objective of this work that uses theoretical and methodological procedures of Urban Environmental History, by analyzing the relationship between the environment and the man, mediated by knowledge and use of technologies. The documental research was used, as primary sources, the Messages of the Provincial Assembly Government that later became the Legislative Assembly of Rio Grande do Norte reports and articles on specialized publications, in addition to local newspapers. The work is structured in five chapters. First, some comments about Urban Environmental History (Chapter 1) supplemented with analysis of the conceptual construction of nature in the Contemporary Era and its application in the city (chapter 02), the following chapters (03 and 04) deal with the rise of engineers as a active group in the Brazilian government frameworks and their vision about the nature inside the urban environment and it is studied how the professional technicians dealt with the improvement work of the harbor and in the shock with the natural forces. Other works that would complement this "project" of modernization and had had natural obstacles to be removed the Ribeira flood and slope constitute the subject of the fifth chapter. Finally, some final considerations retake the initial discussions aiming an association between the technique and the nature as junction elements inside the process of constitution of a Modern Natal

Ribeira, técnica versus natureza: transformações em prol de um projeto de modernização (1860-1932)

The necessity of the insertion of the capital of Rio Grande do Norte in the world-wide commercial scene and its claim as the seat of political power, in ends of nineteenth and beginning of twentieth century, determined the direction of urban interventions undertaken by government to restructure the city. In that matter, there were several actions of improvements and embellishment in Natal, which had, as a starting point, the adequacy works of the port, located in the Ribeira quarter, with the aim of ending the physical isolation that reinforced its economic stagnation. Besides the problems faced in the opening bar of the Potengi River, and would complement the required improvements, other barriers demonstrate the tension established between the physic-geographic field and the man: the flooded and slope which connected Cidade Alta and Ribeira the first two quarters of the city.The execution of these works demanded knowledge whose domain and application it was for engineering. But, how the actions done for the engineers, in sense to transform natural areas into constructed spaces made possible the intentional conformation of the quarter of the Ribeira in a commercial and politician-administrative center, in the middle of the XIX century and beginning of the XX? Understand, therefore, the employment effects of technology on the physical-geographical Ribeira, is the objective of this work that uses theoretical and methodological procedures of Urban Environmental History, by analyzing the relationship between the environment and the man, mediated by knowledge and use of technologies. The documental research was used, as primary sources, the Messages of the Provincial Assembly Government that later became the Legislative Assembly of Rio Grande do Norte reports and articles on specialized publications, in addition to local newspapers. The work is structured in five chapters. First, some comments about Urban Environmental History (Chapter 1) supplemented with analysis of the conceptual construction of nature in the Contemporary Era and its application in the city (chapter 02), the following chapters (03 and 04) deal with the rise of engineers as a active group in the Brazilian government frameworks and their vision about the nature inside the urban environment and it is studied how the professional technicians dealt with the improvement work of the harbor and in the shock with the natural forces. Other works that would complement this "project" of modernization and had had natural obstacles to be removed the Ribeira flood and slope constitute the subject of the fifth chapter. Finally, some final considerations retake the initial discussions aiming an association between the technique and the nature as junction elements inside the process of constitution of a Modern Natal

Material audiovisual para la aplicación de la técnica de representación estereográfica en Ingeniería Geológica

El proyecto pretende generar información audiovisual moderna y atractiva que facilite a los estudiantes nuevas maneras de aprendizaje de técnicas de representación espacial para su utilización en la resolución de problemas de Ingeniería Geológica relacionados con el análisis de estabilidad de taludes en macizos rocosos. Se han generado varios vídeos cortos (< 5 min) en los que se explican en español de manera detallada las técnicas de representación estereográfica y su utilización en la resolución de problemas de Ingeniería Geológica. Además, los vídeos incorporan datos de campo de estructuras geológicas con valor didáctico y bloques diagrama que facilitan la visualización 3D de las mismas. Estos videos se pueden visualizar a través de internet en el Campus Virtual UCM y en YouTube (https://www.youtube.com/user/geostereovideo), y sirven de refuerzo en la formación de los estudiantes que pueden reproducir los vídeos tanto antes como después de la explicación del profesor en clase.

Síntese e estudo de ortossilicatos de zinco luminescentes com aplicação da técnica sol-gel

Usually, the concepts of the Sol-Gel technique are not applied in experimental chemistry courses. This work presents a feasible experiment for chemistry instruction, which involves the synthesis of luminescent materials - Zn2SiO4, with and without Mn2+ as a dopant - by the Sol-Gel technique. The obtained materials were analyzed by scanning electron microscopy, X-Ray diffraction, IR spectroscopy and luminescence measures by UV-vis spectroscopy. The results allow the students to confirm the luminescent properties of the zinc orthosilicate luminophores as well as the structural features expected from literature data.

Sistema MINUS® - técnica minimamente invasiva para o tratamento das fraturas transtrocanterianas do fêmur

The MINUS system was developed as a minimally invasive procedure that uses a diaphyseal cephalic extramedullary implant for the treatment of transtrochanteral fractures of the femur in elderly patients. The implant consists of a sliding screw coupled to a plate adapted to the minimally invasive technique. The surgical access is approximately three centimeters in length located on the lateral surface of the hip, below the projection of the small trochanter. A perfectly adapted instrument was used for the procedure, which also requires the use of an image intensifier, reducing surgery time and rate of bleeding. The objective of this study is to present a new instrument and implant, developed specifically for treatment with the minimally invasive technique, reducing the length of the conventional surgical access from 10 to three centimetres. This new implant was given the commercial name of MINUS System.

Avaliação da aceitação de vinhos brancos varietais brasileiros através de testes sensoriais afetivos e técnica multivariada de mapa de preferência interno

The acceptability of nine commercial brazilian varietal white table wines (Riesling, Chardonnay and Gewürztraminer) was evaluated using sensory affective tests. The samples were assessed by 43 consumers of brazilian white wines using he nine-point structured hedonic scale. Judges were recruited based on their responses to a questionnary about consumer?s behavior towards white wines consumption. Subsequently, Analysis of Variance (ANOVA) with means comparision (Tukey test) and Internal Analysis of Preference Mapping (MDPREF) were performed on data. Analysis of Variance showed that two samples (a Riesling and a Gewürztraminer, both sweet table wines) had significantly (p < 0.05) higher acceptance means, around 7 in the hedonic scale. The least acceptance means (4,3) was obtained by a demi-sec Chardonnay wine and the other six samples achieved means around 5 in the hedonic scale, all of them either demi-sec or dry table wines. MDPREF confirmed the results showed by ANOVA showing that samples were segmented into two groups of preference. The first group was composed by 86% of consumers who prefered the sweet table wines (higher acceptance), converging to the region on the map where these samples were represented. Only 14% showed preference for the demi-sec and dry table wines, being represented on the region of the MDPREF where these samples were located. This study suggests that sweet table wines are prefered by Brazilian consumers, instead of dry or demi-sec table wines.

A abordagem centrada na pessoa e a psicologia do esporte : vivência de um psicólogo com jogadores e a comissão técnica de uma equipe durante os períodos de preparação e disputa da Copa São Paulo de Futebol Júnior

Universidade Estadual de Campinas . Faculdade de Educação Física

Indicações e uso da técnica "sonda-dedo"

A recomendação da Organização Mundial da Saúde é que todo recém nascido deva ser alimentado exclusivamente no seio materno até o sexto mês e, de forma complementar, até o segundo ano de vida. Assim, algumas técnicas são realizadas para facilitar a alimentação ao seio, dentre elas o uso do copo e, recentemente, a utilização da técnica "sonda-dedo". Tal prática é bastante controversa e há escassez de estudos na literatura sobre a descrição da técnica, sua indicação e uso. O objetivo do presente trabalho é relatar a experiência clínica para indicação e uso da técnica "sonda-dedo". A técnica "sonda-dedo" consiste no oferecimento do leite, de preferência humano, utilizando sonda gástrica conectada a uma seringa com êmbolo e fixada em dedo mínimo enluvado com fita adesiva. A sonda é posicionada na cavidade oral do recém nascido e deve servir como uma técnica de auxílio para adequação do padrão de sucção. Desta forma, sugere-se que sua indicação deve ser apenas nos casos em que seja caracterizada uma disfunção oral, seja em recém nascidos a termo ou pré-termo. Diante da avaliação específica, realizada pelo fonoaudiólogo, indica-se a técnica "sonda-dedo" com objetivo de adequar as alterações obtidas na avaliação da sucção não nutritiva ou em seio materno. Acredita-se que, para que a técnica "sonda-dedo" seja indicada como complemento do aleitamento materno, devam ser realizados novos estudos para esclarecer quais as repercussões da técnica "sonda-dedo" na prevalência do aleitamento materno e no desenvolvimento motor oral de recém nascidos.

À "frente" da Semana de Arte Moderna: a presença de Graça Aranha e Paulo Prado

Reconhecidos como personagens centrais pelo grupo de intelectuais e artistas ligados à Semana de Arte Moderna de 1922, Graça Aranha e Paulo Prado são muitas vezes deixados de lado pelos estudiosos e, em geral, se fazem presentes nas análises de bastidores e/ou em referências de terceiros. Este artigo pretende observar mais atentamente suas redes de sociabilidade e inserção, o que revela, entre outras coisas, as ambivalências do engate de ambos os autores em um projeto "moderno", assim como certas ambivalências presentes no interior do próprio movimento modernista.

Nova técnica para o fechamento dinâmico da parede abdominal

Os avanços nos cuidados com o paciente traumatizado e com infecções abdominais graves são responsáveis por um número crescente de peritoneostomias. O manejo desta entidade é complexo e várias técnicas foram descritas para seu tratamento. Recentemente foi introduzido na literatura o conceito de fechamento dinâmico da parede abdominal, com elevadas taxas de sucesso. O objetivo deste trabalho é de servir como nota prévia de uma nova abordagem para o tratamento das peritoneostomias, desenvolvida no Hospital Universitário da Universidade de São Paulo. Trata-se de um procedimento simples e de baixo custo, facilmente realizado por cirurgião geral. O procedimento também foi utilizado como reforço em fechamentos abdominais tensos, de maneira profilática. O procedimento é descrito em detalhes, assim como os resultados nos primeiros pacientes. Apesar de promissora, refinamentos técnicos e estudos complementares são necessários para a validação da técnica.