Saint-Pierre de Firminy-Vert: el edificio como objet-à-réaction-émouvante

Cada proyecto del arquitecto es un pequeño paso que, desplazándose de un lado a otro, avanza inexorablemente hacia un objetivo claro: la machine à émouvoir. Le Corbusier acomete la disciplina de la Arquitectura desplegando sus inquietudes en varios frentes simultáneos. La crítica, por norma general, ha descuidado esta consonancia de intereses comunes, fragmentando y disgregando aspectos aparentemente inconexos que en realidad vibran animados por la misma energía que les da forma: la poesía. Este trabajo quiere rescatar y reubicar todos esas piezas, que iluminadas bajo un mismo fulgor han de ayudar a comprender esta visión integradora. No es una lectura unívoca, lineal. A través de este viaje perfilaremos un extenso mapa de conexiones e interacciones que en última instancia pondrán de manifiesto una discurso proyectual monolítico, sintético e universal. Como vehículo de traslación, queremos utilizar una obra de reconocida proyección pero que al mismo tiempo ha permanecido hasta nuestros días ajena al alcance del rigor científico y analítico que se merece. Su estudio nos permitirá fijar un punto de origen, un punto de apoyo, una atalaya desde la que iniciar una larga marcha que, en último término, nos ha de conducir a la misma posición desde donde comenzamos, cerrando así un ciclo vital.

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.

Os pressupostos do positivismo no campo de pesquisa jurídica e as contribuições teórico-metodológicas de Pierre Bourdieu / Evandro José Morello e Dirce Mendes da Fonseca.

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Azimuthal asymmetry in the risetime of the surface detector signals of the Pierre Auger Observatory.

The azimuthal asymmetry in the risetime of signals in Auger surface detector stations is a source of information on shower development. The azimuthal asymmetry is due to a combination of the longitudinal evolution of the shower and geometrical effects related to the angles of incidence of the particles into the detectors. The magnitude of the effect depends upon the zenith angle and state of development of the shower and thus provides a novel observable, (sec theta)(max), sensitive to the mass composition of cosmic rays above 3 x 10(18) eV. By comparing measurements with predictions from shower simulations, we find for both of our adopted models of hadronic physics (QGSJETII-04 and EPOS-LHC) an indication that the mean cosmic-ray mass increases slowly with energy, as has been inferred from other studies. However, the mass estimates are dependent on the shower model and on the range of distance from the shower core selected. Thus the method has uncovered further deficiencies in our understanding of shower modeling that must be resolved before the mass composition can be inferred from (sec theta)(max).

Measurement of the cosmic ray energy spectrum using hybrid events of the Pierre Auger Observatory

The energy spectrum of ultra-high energy cosmic rays above 10(18)eV is measured using the hybrid events collected by the Pierre Auger Observatory between November 2005 and September 2010. The large exposure of the Observatory allows the measurement of the main features of the energy spectrum with high statistics. Full Monte Carlo simulations of the extensive air showers (based on the CORSIKA code) and of the hybrid detector response are adopted here as an independent cross check of the standard analysis (Phys. Lett. B 685, 239 (2010)). The dependence on mass composition and other systematic uncertainties are discussed in detail and, in the full Monte Carlo approach, a region of confidence for flux measurements is defined when all the uncertainties are taken into account. An update is also reported of the energy spectrum obtained by combining the hybrid spectrum and that measured using the surface detector array.

A search for anisotropy in the arrival directions of ultra high energy cosmic rays recorded at the Pierre Auger Observatory

Observations of cosmic rays arrival directions made with the Pierre Auger Observatory have previously provided evidence of anisotropy at the 99% CL using the correlation of ultra high energy cosmic rays (UHECRs) with objects drawn from the Veron-Cetty Veron catalog. In this paper we report on the use of three catalog independent methods to search for anisotropy. The 2pt-L, 2pt+ and 3pt methods, each giving a different measure of self-clustering in arrival directions, were tested on mock cosmic ray data sets to study the impacts of sample size and magnetic smearing on their results, accounting for both angular and energy resolutions. If the sources of UHECRs follow the same large scale structure as ordinary galaxies in the local Universe and if UHECRs are deflected no more than a few degrees, a study of mock maps suggests that these three method can efficiently respond to the resulting anisotropy with a P-value = 1.0% or smaller with data sets as few as 100 events. using data taken from January 1, 2004 to July 31, 2010 we examined the 20, 30, ... , 110 highest energy events with a corresponding minimum energy threshold of about 49.3 EeV. The minimum P-values found were 13.5% using the 2pt-L method, 1.0% using the 2pt+ method and 1.1% using the 3pt method for the highest 100 energy events. In view of the multiple (correlated) scans performed on the data set, these catalog-independent methods do not yield strong evidence of anisotropy in the highest energy cosmic rays.

Description of atmospheric conditions at the Pierre Auger Observatory using the Global Data Assimilation System (GDAS)

Atmospheric conditions at the site of a cosmic ray observatory must be known for reconstructing observed extensive air showers. The Global Data Assimilation System (GDAS) is a global atmospheric model predicated on meteorological measurements and numerical weather predictions. GDAS provides altitude-dependent profiles of the main state variables of the atmosphere like temperature, pressure, and humidity. The original data and their application to the air shower reconstruction of the Pierre Auger Observatory are described. By comparisons with radiosonde and weather station measurements obtained on-site in Malargue and averaged monthly models, the utility of the GDAS data is shown. (C) 2012 Elsevier B.V. All rights reserved.

Search for signatures of magnetically-induced alignment in the arrival directions measured by the Pierre Auger Observatory

We present the results of an analysis of data recorded at the Pierre Auger Observatory in which we search for groups of directionally-aligned events (or 'multiplets') which exhibit a correlation between arrival direction and the inverse of the energy. These signatures are expected from sets of events coming from the same source after having been deflected by intervening coherent magnetic fields. The observation of several events from the same source would open the possibility to accurately reconstruct the position of the source and also measure the integral of the component of the magnetic field orthogonal to the trajectory of the cosmic rays. We describe the largest multiplets found and compute the probability that they appeared by chance from an isotropic distribution. We find no statistically significant evidence for the presence of multiplets arising from magnetic deflections in the present data. (C) 2011 Elsevier B.V. All rights reserved.

Search for ultrahigh energy neutrinos in highly inclined events at the Pierre Auger Observatory

The Surface Detector of the Pierre Auger Observatory is sensitive to neutrinos of all flavors above 0.1 EeV. These interact through charged and neutral currents in the atmosphere giving rise to extensive air showers. When interacting deeply in the atmosphere at nearly horizontal incidence, neutrinos can be distinguished from regular hadronic cosmic rays by the broad time structure of their shower signals in the water-Cherenkov detectors. In this paper we present for the first time an analysis based on down-going neutrinos. We describe the search procedure, the possible sources of background, the method to compute the exposure and the associated systematic uncertainties. No candidate neutrinos have been found in data collected from 1 January 2004 to 31 May 2010. Assuming an E-2 differential energy spectrum the limit on the single-flavor neutrino is E(2)dN/dE < 1.74 x 10(-7)GeVcm(-2)s(-1)sr(-1) at 90% C.L. in the energy range 1 x 10(17) eV < E < 1 x 10(20)eV.

The Lateral Trigger Probability function for the Ultra-High Energy Cosmic Ray showers detected by the Pierre Auger Observatory

In this paper we introduce the concept of Lateral Trigger Probability (LTP) function, i.e., the probability for an Extensive Air Shower (EAS) to trigger an individual detector of a ground based array as a function of distance to the shower axis, taking into account energy, mass and direction of the primary cosmic ray. We apply this concept to the surface array of the Pierre Auger Observatory consisting of a 1.5 km spaced grid of about 1600 water Cherenkov stations. Using Monte Carlo simulations of ultra-high energy showers the LTP functions are derived for energies in the range between 10(17) and 10(19) eV and zenith angles up to 65 degrees. A parametrization combining a step function with an exponential is found to reproduce them very well in the considered range of energies and zenith angles. The LTP functions can also be obtained from data using events simultaneously observed by the fluorescence and the surface detector of the Pierre Auger Observatory (hybrid events). We validate the Monte Carlo results showing how LTP functions from data are in good agreement with simulations.

The effect of the geomagnetic field on cosmic ray energy estimates and large scale anisotropy searches on data from the Pierre Auger Observatory

We present a comprehensive study of the influence of the geomagnetic field on the energy estimation of extensive air showers with a zenith angle smaller than 60 degrees, detected at the Pierre Auger Observatory. the geomagnetic field induces an azimuthal modulation of the estimated energy of cosmic rays up to the similar to 2% level at large zenith angles. We present a method to account for this modulation of the reconstructed energy. We analyse the effect of the modulation on large scale anisotropy searches in the arrival direction distributions of cosmic rays. At a given energy, the geomagnetic effect is shown to induce a pseudo-dipolar pattern at the percent level in the declination distribution that needs to be accounted for.

Anisotropy and chemical composition of ultra-high energy cosmic rays using arrival directions measured by the Pierre Auger Observatory

The Pierre Auger Collaboration has reported. evidence for anisotropy in the distribution of arrival directions of the cosmic rays with energies E > E-th = 5.5 x 10(19) eV. These show a correlation with the distribution of nearby extragalactic objects, including an apparent excess around the direction of Centaurus A. If the particles responsible for these excesses at E > E-th are heavy nuclei with charge Z, the proton component of the sources should lead to excesses in the same regions at energies E/Z. We here report the lack of anisotropies in these directions at energies above E-th/Z (for illustrative values of Z = 6, 13, 26). If the anisotropies above E-th are due to nuclei with charge Z, and under reasonable assumptions about the acceleration process, these observations imply stringent constraints on the allowed proton fraction at the lower energies.

Engravings of a plan and an exterior view of Harvard Hall drawn by Pierre Eugène du Simitière, (photographic prints, photostats, and negative photostats), [ca. 1764]

The floor plan details all three floors of Harvard Hall, including its cellars, kitchen, chapel, and library. The items in this folder were reproduced from "The Burning of Harvard Hall, 1764, and its consequences," presented by F. Apthorp Foster at the April 1911 meeting of the Colonial Society of Massachusetts, and published in the Publications of the Colonial Society of Massachusetts, Volume XIV. The floor plan and exterior views were created by Pierre Eugène du Simitière in circa 1764. The original drawings are held in the Pierre Eugène du Simitière collection in the Ridgeway Branch of the Library Company of Philadelphia.