898 resultados para Appreciation


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Forest tree species play a fundamental role in feeding of rural populations in Niger, especially in periods of scarcity. It is important to understand how local people use and manage these species. The information obtained in this study is of great value to design a program of conservation and sustainable management paying attention to the real needs of the local population. The study focus on the period of scarcity of food, the importance of the products of spontaneous woody species as ingredients in the diet, in its mode of use, as well as in the appreciation that local populations have on the forest environment and on the conservation status of priority species, seeking for any differences due to gender.

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The effects of nature on people's mind have been an active research theme for decades. However, the impact of people's mind on landscape ecological health has received less attention. How and why perception, meanings and mental constructs determine the way nature is valued and consequently managed? How this interplay should be? These are in some cases more relevant questions than knowing what particular landscapes are preferred (Carlson 1993). This was the underlying inquiry in the focus group experience held in a natural protected area in La Rioja (Spain). Participants were asked to locate in a map areas representing low/high quality in terms of ecology and aesthetics. Some relevant conclusions for landscape management were derived from the analysis of participant's discourse in terms of ecological aesthetical appreciation and their consideration about how human takes place in nature.

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This work shows the objective results of the acoustic quality of the Compañia de Jesús Church in Cordoba, Argentina. The acoustics of this Temple, built by the Orden Jesuita (Jesuit Order) two centuries ago and declared a World Heritage Site by UNESCO in 2000, is currently considered optimal by musicians as well as general public. In the second half of XVI century, with the Catholic reform, the need for improved speech intelligibility was given priority, being the Jesuit one of the orders that gave most importance to the construction of their temples. This church has constructive and spatial characteristics consistent with those needs. With the purpose of carrying out the acoustic assessment of the precincts, a work methodology that allowed comparing the results obtained from objective measures was developed by means of implementation of field measurements and space modeling, with subjective appreciation results, by developing surveys, with the aim of characterizing acoustically the sound space. This paper shows the comparison between the subjective results and objective criteria, which allowed important conclusions on the acoustic behavior of the temple to be obtained. In this way interesting data were obtained in relation to the subjective response of the acoustics of the church.

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La importantísima expansión urbana que sufren las principales ciudades de los países en vías de desarrollo, es el mayor reto que afronta la habitabilidad a nivel mundial. Dentro de la teoría general de la Habitabilidad Básica (HaB-ETSAM-UPM, 1995) la ordenación del territorio y el planeamiento urbanístico son las herramientas determinantes para orientar coherentemente los procesos de urbanización, como se reconoce también desde las principales esferas técnicas a nivel internacional. Pero tales herramientas deben enfocarse a una construcción eficiente del territorio, actuando desde una aproximación multidisciplinar, flexible y directa, que incida en las prioridades específicas de cada contexto. Para ello, resulta fundamental comprender a fondo las realidades específicas de estos ámbitos. La ciudad es un fenómeno complejo en esencia. El tejido construido, en constante proceso de cambio, es el caparazón visible que alberga una maravillosa mezcla entrelazada de espacios, funciones, flujos, personas.... Cada ciudad, diferente y única, se integra en su medio, se adapta a geografías, contextos y climas distintos, evoluciona según dinámicas propias, en incomprensibles (o casi) procesos evolutivos. El estudio de la ciudad, supone siempre una simplificación de la misma. La realidad urbana, por detallado que sea nuestro análisis, siempre contendrá indescifrables relaciones que se nos escapan. En cambio, necesitamos de métodos analíticos que nos ayuden a comprender algo esa complejidad. Acercarnos en ese análisis, es un paso previo fundamental para la formulación de respuestas. En este plano, de avance en la comprensión del hecho urbano, se sitúa este trabajo. Se pone el acento en el enfoque cuantitativo, profundizando en datos básicos concretos, siempre aceptando de partida que esta información es una componente mínima, pero esperamos que sustantiva, de un fenómeno inabordable. Y es esta búsqueda de comprensión material y cuantitativa de la ciudad, el objetivo esencial de la investigación. Se pretende proporcionar una base detallada de aquéllos aspectos fundamentales, que pueden ser medidos en los entornos urbanos y que nos proporcionan información útil para el diagnóstico y las propuestas. Para ello, se aportan rangos y referencias deseables, a través de una herramienta para la comprensión y la valoración de cada contexto, la Matriz de Indicadores. Esta herramienta se concibe desde la reflexión a la aplicación práctica, a la utilidad directa, al aporte concreto para quien pueda servir. Ésta es la voluntad decidida con la que se aborda este trabajo, centrado en los entornos urbanos donde el aporte técnico es prioritario: la Ciudad Informal. La Ciudad Informal, entendida aquí como aquélla que se desarrolla sin los medios suficientes (técnicos, económicos e institucionales) que proporciona la planificación, aquélla por donde la habitabilidad precaria se extiende. Es la ciudad que predomina en los países en vías de desarrollo, en los contextos de bajos recursos, allí donde, precisamente, se concentran los principales déficits y necesidades a nivel global. El enfoque nace de la teoría de la Habitabilidad Básica, de la definición de mínimos posibles para, desde allí, construir el espacio necesario para el desarrollo humano. Éste es el ámbito genérico objeto del trabajo que, a su vez, se nutre, de forma muy importante, de la experiencia directa en la ciudad de Makeni, en Sierra Leona. Esta ciudad nos sirve de prototipo experimental en un doble sentido. Por un lado, sirve como espacio empírico en el que chequear la metodología de valoración cuantitativa; y, por otro, el conocimiento de esta ciudad de tamaño medio africana, que se ha ido adquiriendo en los últimos cinco años, es una base directa para el desarrollo teórico de la propia metodología, que ayuda a atisbar lo esencial en contextos similares. El encaje de todo este recorrido se ha articulado desde una experiencia académica que, como docente, he coordinado directa e intensamente. Experiencia muy enriquecedora, que ha sumado muchas manos y mucho aprendizaje en este tiempo. Teoría y práctica en planeamiento urbano se alternan en el trabajo, nutriéndose la una de la otra y a la inversa. Trabajo que nace desde la pasión por la ciudad y el urbanismo. Desde la búsqueda por comprender y desde la vocación de actuar, de intentar mejorar y hacer más habitables los entornos urbanos. Especialmente allí donde las dificultades se agolpan y el camino se alarga, se llena de polvo. Acumular preguntas a cada paso. Cada vez más preguntas. Las respuestas, si existen, aparecen entrelazadas en dinámicas indescifrables de las que queremos formar parte. Fundirnos por momentos en la misma búsqueda, acompañarla. Sentirnos cerca de quiénes comienzan de cero casi cada día. Y otra vez, arrancar. Y compartir, desde el conocimiento, si acaso es que se puede. Y la ciudad. Brutal, imponente, asfixiante, maravillosa, imposible. Creación colectiva insuperable, de energías sumadas que se cosen sin patrón aparente. O sin más razón que la del propio pulso de la vida. Así se siente Makeni. ABSTRACT The important urban growth suffering major cities of developing countries, is the biggest challenge facing the global habitability. Within the general theory of Basic Habitability (HAB-ETSAM-UPM, 1995) spatial planning and urban planning are the crucial tools to consistently guide the urbanization process, as also recognized from the main technical areas worldwide. But such tools should focus on an efficient construction of the territory, working from a multidisciplinary, flexible and direct approach, that affects the specific priorities of each context. To do this, it is essential to thoroughly understand the specific realities of these areas. The city is essentially a complex phenomenon. The urban fabric in constant flux, is the visible shell that houses a wonderful mixture interlocking spaces, functions, flows, people.... Every city, different and unique, is integrated into its environment, adapted to geographies, contexts and climates, it evolves according to its own dynamics, along (almost) incomprehensible evolutionary processes. The study of the city, is always a simplification of it. The urban reality, even studied from a detailed analysis, always contain undecipherable relationships that escape us. Instead, we need analytical methods that help us understand something that complexity. Moving forward in this analysis is an essential first step in formulating responses. At this level, progressing in understand the urban reality, is where this work is located. The emphasis on the quantitative approach is placed, delving into specific basic data, starting always accepting that this information is just a minimal component, but we hope that substantive, of an intractable phenomenon. And it is this search for materials and quantitative understanding of the city, the main objective of the research. It is intended to provide a detailed basis of those fundamental aspects that can be measured in urban environments that provide us useful information for the diagnosis and proposals. To do this, desirable ranges and references are provided, through a tool for understanding and appreciation of each context, the Indicator Matrix. This tool is conceived from reflection to practical application, to a direct utility, concrete contribution to who can serve. This is the firm resolve with which this work is addressed, centered in urban environments where the technical contribution is a priority: the Informal City. The Informal City, understood here as the urban areas developed without the sufficient resources (technical, economic and institutional) which planning provides, where it is extended the precarious habitability. It is the city that prevails in developing countries, in low-resource settings, where, precisely, the main gaps and needs in the global context are concentrated. The approach stems from the theory of Basic Habitability, the definition of possible minimum, to build the necessary space for human development. This is the generic scope of the work object, that is also based in the direct experience in the town of Makeni, Sierra Leone. This city serves as an experimental prototype in two ways. On the one hand, it serves as a space where empirically check the quantitative assessment methodology; and, secondly, the knowledge of this African city of medium size, which has been acquired in the last five years, is a direct basis for the theoretical development of the methodology itself, which helps to glimpse the essence in similar contexts. The engagement of this whole journey has been articulated from an academic experience, directly and intensely coordinated as teacher. Enriching experience that has added many hands and much learning at this time. Theory and practice in urban planning are mixed at work, enriching the one of the other and vice versa. Work is born from the passion for the city and urbanism. From the search for understanding and from the vocation of acting, trying to improve and make more livable urban environments. Especially where the difficulties are crowded and the road is so long, full of dust. To accumulate questions at every turn. More and more questions. The answers, if do exist, appears inside indecipherable dynamics in which we want to be involved. Merge at times in the same search. Feel close to those who start from scratch almost every day. And again, move forward. And share, from knowledge, if possible. And the city. Brutal, impressive, suffocating, wonderful, impossible. Unsurpassed collective creation, combined energy mix that are sewn with no apparent pattern. Or for no reason other than the pulse of life itself. As it feels the city of Makeni.

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Esta tesis integra un estudio reflexivo sobre la relación de dependencia entre la creación y la memoria a través del análisis de la última obra del escultor Juan Muñoz: Double Bind (Tate Modern, Londres, 2001). Desde esta posición es obligado replantear el análisis de la obra, lo que hace necesario su estudio cubriendo el mayor espectro posible de información accesible más allá de la obra en sí, para aproximarse a la convergencia entre memoria y creación. La perspectiva de análisis propuesta abre camino a nuevas consideraciones so¬bre la relevancia del conocimiento en el desarrollo del proceso creativo. Este análisis no debe tan sólo suponer una aportación al conocimiento del trabajo de Juan Muñoz. Debe también desprenderse de él la innegable participación y necesaria lectura del pasado en el presente. La amnesia de los tiempos pasados impide completar el atlas de imágenes en las que se apoya la creación impidiendo el conocimiento del origen de las fuentes de inspi¬ración y las bases de la creación de una determinada obra. Este hecho limita y distorsiona sus posibles interpretaciones. Pretendo un acercamiento al entendimiento de la forma de mirar y de crear a través del tiempo que es memoria. La memoria tiene un cometido de crucial importancia para la actividad mental y juega un papel fundamental en la conducta y en la creación. La obra es el resultado de la búsqueda de una idea que exprese algo que el creador no puede ex¬presar de otra manera. Es la necesidad de expresar las ideas mediante un lenguaje que se desarrolla en el tiempo y en el espacio, reflejo del ser que responde al pensamiento. Es una forma de experiencia donde subyacen las sendas del pasado y donde se plantea el futuro. Sólo el creador accede a la obra desde dentro, el observador llega a ella desde el exterior y mediante su propia subjetividad. Las obras son formas de experiencia de sus autores, comunicar el mensaje de dicha experiencia supone por tanto interpretar. Persiguiendo la necesidad de saber y entender, pretender explicar el sentido de una cosa implica una apreciación intencionada asociada al entendimiento del intérprete. Las obras son produc¬tos que portan un mensaje y que contienen en su estructura las trazas del tiempo vivido por su creador. Si se quiere adquirir un acercamiento que represente la posición de un autor, será necesario no solo mirar a través de ella, si no introducirse en el contexto de su historia. Mirar hacia atrás, hacia la profundidad del presente para tener conciencia del pensamiento presente y futuro. Recorrer de este modo la instalación Double Bind de Juan Muñoz proporciona una síntesis de sus preocupaciones e intereses a la vez que aporta un conocimiento no necesariamente inmediato, pero relevante y trascendente de la obra, su creador y la historia. ABSTRACT This thesis comprises a reflective study of the dependence relationship between creation and memory through the analysis of the latest work by the sculptor Juan Muñoz: Double Bind (Tate Modern, London, 2001). From this position, it is mandatory to rethink the analysis of the work, making it necessary to cover the widest possible range of information available beyond the work itself, in order to obtain a closer view of the convergence between memory and creation. The proposed analytical approach opens up new considerations on the relevance of knowledge during the development of the creative process. This analysis should not only make a contribution to the knowledge of the work of Juan Muñoz. It should also infer the undeniable involvement and the necessary reading of the past in the present. Amnesia regarding past makes it impossible to complete the atlas of images on which the creation is based, blocking knowledge of the origin of the sources of inspiration and the basis for the creation of a specific work. This fact limits and distorts its possible interpretations. My intention is an approach to how to understand memory as the way of looking and creating over time. Memory has a crucial role to mental activity and plays a key role in behaviour and creation. The work is the result of finding an idea that expresses something that the creator can not express otherwise. It is the need to express ideas by means of a language that develops throughout time and space, a reflection of the being that responds to the thought. It is a way of experience underlying the paths of the past and where the future is set out. Only the creator can access the work from the inside. The observer sees it from the outside and in accordance with his/her own subjectivity. The works form a part of the experience of their authors, thus implying the interpretation of the message of their experience being passed on. The pursuit of knowledge and understanding, and trying to explain the meaning of something implies a deliberate appreciation associated with the understanding of the interpreter. The works are products bearing a message and containing in their structure traces of the time lived by their creator. If one wants to come close to what the author’s posture represents, it will not only be necessary to penetrate it, but also to introduce oneself into the context of its history. Take a look back, towards the depth of the present in order to become aware of present and future thinking. To go across the installation of Double Bind by Juan Muñoz in this way offers a synthesis of his concerns and interests while also providing a not necessarily immediate knowledge, but one which is relevant and important to the work, its creator and history.

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

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El tema de estudio de esta tesis es el análisis morfológico y cronológico de diez ejemplares emblemáticos de la arquitectura doméstica señorial de la Granada del siglo XVI, analizados en comparación con otros casos de referencia construidos en el mismo período en la propia ciudad, conservados y desaparecidos. También se han tenido en cuenta las principales manifestaciones arquitectónicas de los mayores focos urbanos contemporáneos en el reino de Castilla. El trabajo se ha desarrollado partiendo de la realización de una planimetría precisa y completa de las diez casas documentadas, uniendo al trabajo in situ sobre los datos materiales el estudio de las fuentes de archivo y de la bibliografía especializada existente sobre la materia. El análisis formal de las unidades domésticas ha sido enfocado al estudio tipológico de lo construido, haciendo especial hincapié en las pervivencias andalusíes sobre las cuales los nuevos moradores edificaron o adaptaron sus casas solariegas. En apoyo a las hipótesis presentadas se aporta la documentación arqueológica derivada de las excavaciones realizadas en los solares de las viviendas objeto de análisis, además de los planos de los estados previos a las recientes reformas sufridas por muchos de estos edificios. El análisis comparativo con algunos edificios contemporáneos en los que se ha documentado y estudiado cronológicamente su evolución histórica, ha permitido afianzar las hipótesis de datación y de reconstrucción de la distribución espacial de las fábricas originarias de la época tratada. Los objetivos de la investigación han sido orientados a poner de manifiesto la delicada y compleja transición de la medina nazarí a la ciudad cristiana, tratando también ciertas características multiculturales propias de las técnicas constructivas y de sociedad de la época. Los resultados de este estudio multidisciplinar se han registrado en un mapa de datos creado con el Sistema de Información Geográfico, en el que se han incluido tanto los datos cronológicos como formales, individualizando los ambientes que constituyen las pervivencias medievales y los que se han construido después, aportando sus distintas dataciones. Se ha querido dar respuesta a varios interrogativos: ¿Cómo se adapta la arquitectura castellana al tejido urbano andalusí? ¿Reaprovecha las preexistencias o las elimina en cada momento? ¿De qué modo la ciudad ha ido modificándose hasta configurarse como una ciudad moderna? ¿Cuánto se ha mantenido este patrimonio de casas? ¿Cómo se debería conservar? Se ha tratado de resolver estas cuestiones formulando síntesis gráficas en las que se puede comprender la evolución histórica de las viviendas acontecida a lo largo del siglo XVI, junto con sus transformaciones recientes provocadas por las intervenciones contemporáneas. Asimismo se aporta el estudio de las principales características de las intervenciones acometidas sobre este patrimonio único de viviendas, que por su propia naturaleza es altamente perecedero y necesita que se formulen criterios eficaces y correctos para su mayor conservación. El punto de partida de este trabajo no ha sido solamente el análisis de campo sino también la recopilación y ordenación de los datos procedentes de la bibliografía existente para formular discursos coherentes y precisos sobre la evolución de este tipo de viviendas históricas, cuyos valores son tan expuestos a graves deterioros que su catalogación, documentación y valoración se hacen imprescindibles. Pese a que las diez viviendas incluidas en los capítulos de estudio detallado estén catalogadas en los Planes Especiales de Protección (Albaicín, 1990 y Centro, 2002), sus caracteres formales y sus elementos estructurales y decorativos de valor histórico han sufrido un evidente proceso de expolio o destrucción, hecho grave que esta Tesis quiere reflejar de cara a la deseable futura puesta en valor real de estos edificios así como, indirectamente, de sus ámbitos urbanísticos de pertenencia. ABSTRACT The purpose of this thesis is to study the morphological and chronological characteristics of ten emblematic mansions belonging to the architectural period of the 16th Century in Granada, Spain. These houses are compared with other similar outstanding constructions of the same period that are located in the city, which have either been preserved or disappeared. Also, this study has taken into account the main architectural expressions of greater contemporary urban areas of the Kingdom of Castile. The work carried out began, first of all, by drawing a precise and thorough planimetry of the ten surveyed houses, together with in situ tasks based on physical data, a study of archival data, and the specialized existing bibliography on the subject. The formal analysis of the home units is focused as a typological study of erected buildings, with a special attention on Al Andalus remains over which the new householders constructed or adapted their mansions. The hypotheses brought forward have been supported by the archaeological documentation that had been elaborated during the excavation works of the houses concerned in this study. Moreover, the drawings of the states of the sites, previously to the most recent renovation works many of these buildings have undergone, have been presented. The comparative analysis made with some contemporary buildings, which have been chronologically documented and studied in their historical evolution, has confirmed the dating hypotheses, and that of the reconstruction of the spatial distribution of the original factories the period discussed. The aims of this research have been oriented to bring to light the delicate and complex transition of the town, from the Nasrid period to Christian times. The research has also dealt with some special multicultural characteristics of the constructive techniques, as well as of the society of that period. The results of this multidisciplinary study have been registered on a data map created with the Geographical Information System, which includes both the chronological and formal data. The Medieval settings, and those of later constructions, have been individualised and dated. Several questions have been answered: how the Castilian architecture adapts to the Al Andalus urban design? Have the pre-existing structures been reused or eliminated at each stage? How has the town evolved until becoming a modern city? To which degree this heritage of houses has remained? How should it been preserved? These questions have been approached by means of graphical syntheses in an attempt to bring an understanding of the historical evolution of the houses throughout the 16th Century. But also, this work shows the more recent transformations these structures suffered over the contemporary period. Moreover, there is a study of the main characteristics of interventions over this unique patrimony of housing which by nature is perishable and needs a formulation of correct and efficient criteria for better conservation. The starting point of this work has not only been that of field analysis, but also the gathering and ordering of the existing bibliographical data, in order to formulate coherent and precise statements on the evolution of this type of historical housing. Its treasures are so exposed to severe deterioration that their cataloguing, documentation and appreciation are becoming crucial. Despite the fact that the ten houses considered in the chapters of this detailed study are listed in the special protection plans (Planes Especiales de Protección, Albaicín plan of 1990 and the town centre plan of 2002) their formal characteristics, as well as structural and decorative historical value, have suffered gradual plunders or destruction. This thesis tries to reflect how serious is that matter and the need in the future to give this heritage and the surrounding urban environment, a real value.

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Relatório de estágio apresentado para obtenção do grau de mestre na especialidade profissional de educação pré-escolar

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As an advocate for the elderly, Edna Chavis has made many improvements for matured people. She worked for the Social Security Administration for eleven years, where she recognized that “older people are the same as anyone else with the same wants and desires.” Since then, she gained educational experience to assist her in understanding the self-concept of older people. She earned a Bachelor of Arts Degree in Social Science and a teaching certificate from Eastern Michigan University in 1972, a Master of Science Degree in Adult Education from Tuskegee Institute in 1975, and a PhD Degree in Social Gerontology and Adult Education from the University of Missouri in 1979. Some of her accomplishments include her position as the head of the Missouri Delegates to the White House Conference on Aging and her lobbying efforts toward Missouri’s first Governor’s Conference on Aging. She was also awarded the Lt. Governor’s Nursing Home Task Force Certificate of Appreciation. As an adjunct instructor at Lincoln University, Chavis emphasizes to her students that aging is a natural process. She has had a great impact on her students, several of whom have continued on related career paths. Following her own advice that “Aging successfully is to never sit down and do nothing,” Chavis continues to teach, work as a gerontologist, and serve on committees within the Department of Health and Senior Services.

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presente pesquisa apresenta-se em uma perspectiva qualitativa, de cunho etnográfico. Analisa o movimento da prática avaliativa de professores que participaram do curso sobre Avaliação numa perspectiva construtivista. Inicialmente, discute a hipótese de não-mudança em relação à prática avaliativa. Em uma trajetória reflexiva, a análise passa a ser inspirada nos estudos de Michel de Certeau, ao não se render à supremacia de produtos culturais impostos por uma ordem social dominante; ao não se limitar à perspectiva das teorias sobre Avaliação da aprendizagem. O foco da pesquisa direcionou-se à ação dos consumidores desses produtos os professores que, ao se apropriarem de tais teorias, o fazem à sua maneira, redimensionando-as e as resignificando, com astúcia, criatividade, inventividade. Ao entender que tais profissionais, em situações menos privilegiadas nas estruturas sociais de poder constituído, possuem uma inteligência que engendra uma multiplicidade de interpretações, abrimos nosso olhar para surpresas, possibilitando a apreciação de variados caminhos que delineiam as práticas avaliativas dos professores. No entanto, se elegêssemos um único padrão de referência para a análise das ações cotidianas, poderíamos nos fechar em apenas duas conclusões: obediências ou resistências. Optamos, todavia, por aproximarmo-nos de Certeau, e acreditar, como ele, na inteligência e criatividade também presentes nas ações dos mais fracos nas organizações sociais, que são os consumidores dos produtos culturais. Criamos, destarte, nova oportunidade para que a multidão adquira vida, evidenciando a diversidade de práticas avaliativas de um grupo de professores, focalizando a análise em ações concretas, de professores reais.

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presente pesquisa apresenta-se em uma perspectiva qualitativa, de cunho etnográfico. Analisa o movimento da prática avaliativa de professores que participaram do curso sobre Avaliação numa perspectiva construtivista. Inicialmente, discute a hipótese de não-mudança em relação à prática avaliativa. Em uma trajetória reflexiva, a análise passa a ser inspirada nos estudos de Michel de Certeau, ao não se render à supremacia de produtos culturais impostos por uma ordem social dominante; ao não se limitar à perspectiva das teorias sobre Avaliação da aprendizagem. O foco da pesquisa direcionou-se à ação dos consumidores desses produtos os professores que, ao se apropriarem de tais teorias, o fazem à sua maneira, redimensionando-as e as resignificando, com astúcia, criatividade, inventividade. Ao entender que tais profissionais, em situações menos privilegiadas nas estruturas sociais de poder constituído, possuem uma inteligência que engendra uma multiplicidade de interpretações, abrimos nosso olhar para surpresas, possibilitando a apreciação de variados caminhos que delineiam as práticas avaliativas dos professores. No entanto, se elegêssemos um único padrão de referência para a análise das ações cotidianas, poderíamos nos fechar em apenas duas conclusões: obediências ou resistências. Optamos, todavia, por aproximarmo-nos de Certeau, e acreditar, como ele, na inteligência e criatividade também presentes nas ações dos mais fracos nas organizações sociais, que são os consumidores dos produtos culturais. Criamos, destarte, nova oportunidade para que a multidão adquira vida, evidenciando a diversidade de práticas avaliativas de um grupo de professores, focalizando a análise em ações concretas, de professores reais.

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A inserção de uma igreja evangélica em um assentamento rural do Movimento dos Trabalhadores Rurais Sem-terra (MST), é objeto de nosso estudo de caso neste presente trabalho. A dissertação pesquisa e analisa a inserção dos evangélicos batistas no assentamento Antonio Conselheiro II na região do Pontal do Paranapanema, no estado de São Paulo, assim como a conseqüente implantação neste da Congregação Batista Monte Sião . Partindo de uma perspectiva teórica e empírica, o objetivo concentra-se em analisar a experiência de vida dos assentados batistas no interior do assentamento, buscando retratar as formas, tanto conceptuais como práticas, que estes vivenciam sua fé, costumes e crenças, sonhos e ideais, sempre procurando tecer relações que nos permitam melhor avaliar a forma como os mesmos compreendiam e comunicavam sua fé enquanto assentados do MST. Da apreciação crítica dos relatos obtidos nas entrevistas e dos dados do questionário, ambos aplicados aos agentes de nossa pesquisa, surge uma história que nos desvela faces de uma relação identitária que mescla ideologia e fé, ser evangélico batista e assentado no MST, bem como uma proposição internalizada de uma metodologia da não-violência nas manifestações do movimento Sem-terra.(AU)

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A inserção de uma igreja evangélica em um assentamento rural do Movimento dos Trabalhadores Rurais Sem-terra (MST), é objeto de nosso estudo de caso neste presente trabalho. A dissertação pesquisa e analisa a inserção dos evangélicos batistas no assentamento Antonio Conselheiro II na região do Pontal do Paranapanema, no estado de São Paulo, assim como a conseqüente implantação neste da Congregação Batista Monte Sião . Partindo de uma perspectiva teórica e empírica, o objetivo concentra-se em analisar a experiência de vida dos assentados batistas no interior do assentamento, buscando retratar as formas, tanto conceptuais como práticas, que estes vivenciam sua fé, costumes e crenças, sonhos e ideais, sempre procurando tecer relações que nos permitam melhor avaliar a forma como os mesmos compreendiam e comunicavam sua fé enquanto assentados do MST. Da apreciação crítica dos relatos obtidos nas entrevistas e dos dados do questionário, ambos aplicados aos agentes de nossa pesquisa, surge uma história que nos desvela faces de uma relação identitária que mescla ideologia e fé, ser evangélico batista e assentado no MST, bem como uma proposição internalizada de uma metodologia da não-violência nas manifestações do movimento Sem-terra.(AU)

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O objetivo deste estudo foi avaliar, por meio de fotografias em norma frontal e lateral, a agradabilidade facial obtida com o tratamento de pacientes portadores de má oclusão de classe II. Foram selecionados dois grupos de pacientes que receberam abordagens diferentes de tratamento, um submetido à cirurgia ortognática e o outro à compensação dentária. As fotografias em norma lateral e frontal obtidas ao início e final do tratamento foram distribuídas aleatoriamente e dispostas em apresentação de multimídia para serem submetidas à avaliação subjetiva de indivíduos leigos e ortodontistas, em uma escala linear crescente. Os resultados foram avaliados comparativamente entre os grupos leigos e ortodontistas, entre os estágios inicial e final do tratamento e entre os grupos tratados com a abordagem cirúrgica e compensatória, com o intuito de estabelecer qual das duas abordagens oferece maior agradabilidade facial. Concluímos que houve proximidade entre as avaliações de leigos e ortodontistas quanto à agradabilidade facial, sendo os leigos mais críticos. Tanto leigos quanto ortodontistas deram escores significativamente maiores para as fotos pós-tratamento nos casos compensatórios e cirúrgicos; os casos cirúrgicos em norma lateral obtiveram os resultados melhores.

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Acknowledgements The iHARP database was funded by unrestricted grants from Mundipharma International Ltd and Research in Real-Life Ltd; these analyses were funded by an unrestricted grant from Teva Pharmaceuticals. Mundipharma and Teva played no role in study conduct or analysis and did not modify or approve the manuscript. The authors wish to direct a special appreciation to all the participants of the iHARP group who contributed data to this study and to Mundipharma, sponsors of the iHARP group. In addition, we thank Julie von Ziegenweidt for assistance with data extraction and Anna Gilchrist and Valerie L. Ashton, PhD, for editorial assistance. Elizabeth V. Hillyer, DVM, provided editorial and writing support, funded by Research in Real-Life, Ltd.