Análise das Áreas de Proteção Permanente do perímetro urbano do município de Rio Claro, SP, visando uma proteção e revitalização por meio de um gerenciamento baseado no PMBOK

The constant misuse of land in Permanent Preservation Areas (APPs) have been recurrent, especially in urban areas, where the dynamics of change is constant. The protection of these areas to maintain a balance in the ecosystem and the population's quality of life is fundamentally important. So it is of utmost important to draw up a mechanism that can help in decision-making in relation to measures for the protection, mitigation of damages that are being caused and revitalization of these areas. Thus, a managing these areas based on the PMBOK (Project Management Body of Knowledge) in order to create mechanisms to facilitate the protection and revitalization of APPs, could be of great help for making public decision-making bodies that are entrusted to protect such areas. Based on this, we elaborated a project management in order to revitalize and protect the APPs in urban area of Rio Claro, SP and could become a model for future use by public bodies

CD8(+) T-cell-mediated immunity against malaria: a novel heterologous prime-boost strategy

Evaluation of: Rodriguez D, Gonzalez-Aseguinolaza G, Rodriguez JR et al. Vaccine efficacy against malaria by the combination of porcine parvovirus-like particles and vaccinia virus vectors expressing CS of Plasmodium. PLoS ONE 7(4), e34445 (2012). Recently, a vaccine against malaria was successfully tested in a human Phase III trial. The efficacy of this vaccine formulation, based on the Plasmodium falciparum circumsporozoite protein, was approximately 50% and correlated with the presence of antibodies specific to the infective stages of the malaria parasites. Different strategies are being pursued to improve vaccine efficacy levels. One such strategy is the induction of specific cytotoxic T cells that can destroy the intracellular hepatocyte stages of the malaria parasite. In this study, a novel vaccination protocol was developed to elicit strong immune responses mediated by CD8(+) cytotoxic cells specific to the circumsporozoite protein. As proof-of-concept, the authors used the rodent malaria Plasmodium yoelii parasite. The vaccination strategy consisted of a heterologous prime-boost vaccination regimen involving porcine parvovirus-like particles for priming and the modified vaccinia virus Ankara for the booster immunization, both of which expressed the immunodominant CD8 epitope of the P. yoelii circumsporozoite protein. Results from this experimental model were extremely meaningful. This vaccination strategy led to a significant T-cell immune response mediated by CD8(+) multifunctional T effector and effector-memory cells. However, most importantly for the malaria vaccine development was the fact that following a sporozoite challenge, immunized mice eliminated more than 97% of the malaria parasites during the hepatocyte stages. These results confirm and extend a vast body of knowledge showing that a heterologous prime-boost vaccination strategy can elicit strong CD8(+) T-cell-mediated protective immunity and may increase the efficacy of malaria vaccines.

Microscopic Modeling on complex networks

The field of complex systems is a growing body of knowledge, It can be applied to countless different topics, from physics to computer science, biology, information theory and sociology. The main focus of this work is the use of microscopic models to study the behavior of urban mobility, which characteristics make it a paradigmatic example of complexity. In particular, simulations are used to investigate phase changes in a finite size open Manhattan-like urban road network under different traffic conditions, in search for the parameters to identify phase transitions, equilibrium and non-equilibrium conditions . It is shown how the flow-density macroscopic fundamental diagram of the simulation shows,like real traffic, hysteresis behavior in the transition from the congested phase to the free flow phase, and how the different regimes can be identified studying the statistics of road occupancy.

Factors associated with educational aspirations among adolescents: cues to counteract socioeconomic differences?

Our study aims to follow this effort and to explore the association between health, socioeconomic background, school-related factors, social support and adolescents' sense of coherence and educational aspirations among adolescents from different educational tracks and to contribute to the existing body of knowledge on the role of educational aspirations in the social reproduction of health inequalities. We expect that socioeconomic background will contribute to the development of educational aspirations, but this association will be modified by available social and individual resources, which may be particularly favourable for the group of adolescents who are on lower educational tracks, since for them such resources may lead to gaining a higher educational level.

From 'land grabbing' to sustainable investments in land: potential contributions by land change science

This paper assesses possible contributions of land change science to the growing body of knowledge about large-scale land acquisition. Despite obvious commonalities, such as a problem-oriented and interdisciplinary approach to land change, there seems to be little overlap between the two fields thus far. We adopt a sustainability research perspective — an important feature of land change science — to review research questions about large-scale land acquisition that are currently being addressed, and to define questions for further inquiry. Possible contributions of land change science toward more sustainable land investments are based on understanding land use change not only as a consequence, but also as a cause of large-scale land acquisition and as a solution to the problems land acquisition can create.

Sport psychology: Needs and perspectives for research, education and application

Sport psychology has shown an increasing development in the past 25 years. A first focus is laid on the growth of research output as indicated by the number of publications. A more detailed analysis shows that some mainstream topics are very dominant in the international research literature whereas other themes are completely lacking. Possible biases are discussed as well as consequences for the body of knowledge in sport psychology. The need for a sound training in sport psychology is discussed in relation with the progress in sport psychology research. Different concepts of education in sport psychology with their respective background are compared and their impact on the development of sport psychology is discussed. The field of application, mainly in top level sport, is presented with a focus on professional standards and deontological codes. Conclusions are drawn with the aim to open new perspectives for research, education, and application of sport psychology.

Men, Women, Microblogging: Where Do We Stand?

With millions of users worldwide, microblogging has developed into a powerful tool for interaction and information dissemination. While both men and women readily use this technology, there are significant differences in how they embrace it. Understanding these differences is important to ensure gender parity, provide advertisers with actionable insights on the marketing potential of both groups, and to inform current theories on how microblogging affordances shape gender roles. So far, existing research has not provided a unified framework for such analysis, with gender insights scattered across multiple studies. To fill this gap, our study conducts a comprehensive meta-review of existing research. We find that current discourse offers a solid body of knowledge on gender differences in adoption, shared content, stylistic presentation, and a rather convoluted picture of female and male interaction. Together, our structured findings offer a deeper insight into the underlying dynamics of gender differences in microblogging.

Placing Strategy Discourse in Context : Sociomateriality, Sensemaking, and Power

There has been increasing interest in the discursive aspects of strategy over the last two decades. In this editorial we review the existing literature, focusing on six major bodies of discursive scholarship: post-structural, critical discourse analysis, narrative, rhetoric, conversation analysis and metaphor. Our review reveals the significant contributions of research on strategy and discourse, but also the potential to advance research in this area by bringing together research on discursive practices and research on other practices we know to be important in strategy work. We explore the potential of discursive scholarship in integrating between significant theoretical domains (sensemaking, power and sociomateriality), and realms of analysis (institutional, organizational and the episodic), relevant to strategy scholarship. This allows us to place the papers published in the special issue Strategy as Discourse: Its Significance, Challenges and Future Directions among the body of knowledge accumulated thus far, and to suggest a way forward for future scholarship.

The Madras Presidency’s Prisons and the British Empire, 1820s–1850s

This paper is based on the observation that projects to reform prisons in British India in the first half of the 19th century were remarkably parallel to those in Britain and other colonies of the British Empire. Therefore, it will be asked to what extent local discussions about imprisonment in India were connected to developments in the metropole, in other parts of the empire, and elsewhere in the colony and how such imperial connections influenced local practices. Recent studies on colonial India’s prisons have focused on the British possessions in north India, whereas the Madras Presidency’s penal history is as of yet mostly unstudied. The paper will look on two initiatives of prison reform undertaken by the Madras Government; firstly, an inquiry made in the 1820s to combat the high mortality in the jails, and secondly, attempts throughout the 1840s and 1850s to construct a penitentiary along the lines of penal systems in other parts of India and the British Empire. The two case studies promise insights into the body of knowledge about punishment that was accumulated in British India, its entanglement with debates in other parts of the empire, and the emergence of ‘imperial standards’ of imprisonment in the course of the 19th century.

Wissenstransfer, Experten und ihre Handlungsspielräume am Instituto de Nutrición de Centroamérica y Panamá (INCAP), 1961-1982

In the history of development there has been a tendency to attribute developmental initiatives to coordinating centres in the global north and view countries in the south as recipients, a phenomenon that continues to the present day. The Central American Nutrition Institute (INCAP) is by contrast an example of a regional institution that not only generated a considerable body of knowledge concerning the nutritional state of the region and policy proposals but also advocated an alternative development model emphasizing local resources. Although INCAP enjoyed some success in disseminating a number of its ideas through international organisations, the implementation of its vision was ultimately hampered by the unstable political situation prevailing in Central America in the time period analyzed in this article.

The opioid antagonist naltrexone and its pharmacological role in treating alcohol dependence: A literature review

Naltrexone, an opioid antagonist, was the second drug approved for treatment of alcohol dependence in the U.S. Its approval followed two landmark studies published in the U.S. in 1992. [1, 2] These studies showed that a combined treatment of naltrexone and behavioral therapy reduced alcohol consumption in alcoholics. Opioid antagonists decrease craving for alcohol and help to reduce drinking by blocking opioid peptide receptors in the body that are active in a dopamine chemical reward system. ^ Despite their usefulness, opioid antagonists have been underutilized. Health providers not educated in the use of opioid antagonists hold the view that opioid antagonist therapy is ineffective. However, it is apparent from the relevant literature that this therapy, when properly understood and targeted, has the potential to make a positive contribution in treating alcohol dependent patients. ^ This thesis will review the scientific literature and the present body of knowledge regarding opioid antagonists (naltrexone) and their pharmacological role in treating alcohol dependence.^

Outsourcing and acquisition models comparison related to IT supplier selection decision analysis

This paper presents a comparison of acquisition models related to decision analysis of IT supplier selection. The main standards are: Capability Maturity Model Integration for Acquisition (CMMI-ACQ), ISO / IEC 12207 Information Technology / Software Life Cycle Processes, IEEE 1062 Recommended Practice for Software Acquisition, the IT Infrastructure Library (ITIL) and the Project Management Body of Knowledge (PMBOK) guide. The objective of this paper is to compare the previous models to find the advantages and disadvantages of them for the future development of a decision model for IT supplier selection.

La planta Miralles: representación y pensamiento en la arquitectura de Enric Miralles

Resulta imposible disociar la evolución de la arquitectura de Enric Miralles de lo que fue el desarrollo de un sistema de representación propio. Partiendo de una posición heredada de su formación en la Escuela de Arquitectura de Barcelona y de su práctica en el estudio Viaplana-Piñón, donde adquiere el gusto por la precisión en el dibujo técnico, la delineación sobre papel vegetal o el grafismo constituido exclusivamente a base de líneas del mismo grosor, Miralles pronto evoluciona hacia un método caracterizado por un personal uso del sistema diédrico, vinculado a una concepción fragmentaria de la planta de arquitectura y del espacio mismo. Miralles proyectará por fragmentos de planta, asignándoles una geometría característica para diferenciarlos entre sí y desarrollar su espacialidad y sección con cierta autonomía, a través de planos y maquetas independientes. Gran parte de la arquitectura que elabora con Carme Pinós, en solitario o con Benedetta Tagliabue, estará compuesta por colecciones de piezas heterogéneas herederas de los fragmentos de la planta original, que encajan entre sí no en base a esquemas clásicos de integración subordinada o jerárquica, sino a través de posiciones relativas de yuxtaposición o superposición, caracterizadas por una ausencia de compacidad en la solución de conjunto. Este sistema de representación se apoya por tanto en la geometría como mecanismo de diferenciación por piezas, se basa en la fragmentación del diédrico desde la fragmentación de la planta, y en la falta de compacidad como soporte de pensamiento separativo. Un sistema que se define como “planta Miralles”, término que incluye todas las técnicas de representación empleadas por el arquitecto, desde planos a maquetas, pero que enfatiza la importancia estratégica de la planta como origen y guía del proyecto de arquitectura. La tesis se estructura en los tres primeros capítulos como un corolario de las categorías enunciadas, explicando, en orden cronológico a través de los proyectos, la evolución de la geometría, la utilización del diédrico, y el impacto de la falta de compacidad en la obra construida. Mientras que estos capítulos son globales, se refieren a la trayectoria de este método en su totalidad, el cuarto y último es un estudio de detalle de su aplicación en un proyecto particular, el Ayuntamiento de Utrecht, a través de los dibujos originales de Miralles. Tanto en la explicación global como en el estudio de detalle de este sistema de representación, la tesis pone de manifiesto su instrumentalidad en el pensamiento de esta arquitectura, argumentando que ésta no podría haber sido desarrollada sin la existencia del mismo. La relación entre representación y pensamiento es por tanto un tema capital para explicar esta obra. No obstante, hasta la fecha, las referencias al mismo en la bibliografía disponible no han pasado de ser una colección de opiniones dispersas, incapaces de construir por sí mismas un cuerpo estructurado y coherente de conocimiento. Se ha insistido sobremanera en el análisis y contextualización de los proyectos individuales, y poco en el estudio de la técnica proyectual utilizada para pensarlos y llevarlos a cabo. En definitiva, se han priorizado los resultados frente a los procesos creativos, existiendo por tanto un inexplicable vacío teórico respecto a un tema de gran importancia. Este vacío es el marco donde se inserta la necesidad de esta tesis doctoral. La investigación que aquí se presenta explica el origen y evolución del sistema de representación de Enric Miralles, desde su etapa como estudiante en la Escuela de Arquitectura de Barcelona hasta los últimos proyectos que elabora con Benedetta Tagliabue, así como el estudio de sus consecuencias en la obra construida. Termina concluyendo que su desarrollo es paralelo al de la arquitectura de Miralles, poniendo de manifiesto su vinculación y mutua interdependencia. ABSTRACT It is impossible to dissociate the evolution of the architecture of Enric Miralles from the development of his own system of representation. Starting from a position inherited from his training at the Barcelona School of Architecture and his practice at the office of Viaplana-Piñón, where he acquires a liking for precision in drafting and a graphic style based exclusively on lines of the same thickness, Miralles soon moves into a method defined by a customized use of the dihedral system, connected to a fragmented conception of the floorplan and space itself. Breaking up the floorplan into multiple fragments, Miralles will design an architecture where each of them has a unique shape and geometry, developing their sections and spatial qualities with a certain degree of autonomy within the whole, through separate plans and models. Many of the projects he designs with Carme Pinós, individually or with Benedetta Tagliabue, will consist of collections of heterogeneous pieces, heirs of the original floorplan fragments, which do not fit together according to classical principles of subordinate or hierarchical integration, but based on relative positions of juxtaposition or superposition that lead to a lack of compactness in the overall scheme. This system of representation is thus based on the use of geometry as a way of differentiating architectural pieces, on the fragmentation of the dihedral system from the fragmentation of the floorplan, and on a lack of compactness as a device of separative thinking. This system is defined as “Miralles plan”, a term that includes all techniques of representation used by the architect, from plans to models, and that emphasizes the particular importance of the floorplan as the guiding force of the design process. The first three chapters of the thesis have been structured as a corollary of these categories, explaining, in chronological order through Miralles’ projects, the evolution of geometry, the customization of the dihedral system, and the impact of the lack of compactness on the built work. While these three chapters are global, for they refer to the overall evolution of this system, the fourth and last one is a case study of its application to a particular project, the Utrecht Town Hall, through Miralles’ original drawings. Both in the global and particular explanations of this system of representation, the thesis highlights its instrumentality in the process of thinking this architecture, arguing that it could not have been designed without its parallel development. The relationship between thinking and representation is therefore a key issue to explain this architecture. However, to date, existing references to it in the available literature have not evolved from a collection of scattered opinions, unable to build for themselves a structured and coherent body of knowledge. Great emphasis has been put on the critical contextualization of this architecture through the analysis of the projects themselves, but little on the study of the design technique used to think and carry them out. Results have been prioritized over creative processes, existing therefore an inexplicable theoretical void on an issue of great importance. This void is the conceptual framework where the need for this thesis is inserted. This research explains the origin and evolution of Enric Miralles’ system of representation, from his time as student at the Barcelona School of Architecture to the last projects he designed with Benedetta Tagliabue, as well as the study of its impact on the built work. It concludes that the development of this system runs parallel to that of the architecture it is used for, making it explicit its indissolubility and mutual interdependence.

La metáfora. Herramienta característica de renovación arquitectónica tras el movimiento moderno

Esta tesis estudia el papel de la metáfora como instrumento arquitectónico en el debate y las propuestas para superar la ortodoxia de la arquitectura moderna a partir de mediados del siglo XX. En arquitectura, la utilización del procedimiento que constituye la metáfora se apoya en una consideración semántica de la arquitectura y se ha usado constantemente a lo largo de la historia para desarrollar nuevas propuestas, basándose en la comparación con modelos conocidos. En este trabajo se examina la notable presencia que adquirió este instrumento en las propuestas críticas a la arquitectura moderna ortodoxa, debido a la importancia que tuvieron los aspectos semánticos en el debate sobre la continuidad y vigencia de los postulados de la arquitectura moderna. Con este estudio se ha indagado sobre las razones y la frecuencia con las que aquellos arquitectos que adoptaron una actitud crítica hacia la arquitectura moderna se refirieron a las relaciones metafóricas en sus propuestas alternativas. Para mostrar cómo las metáforas formaron parte de los mecanismos de cambio de la arquitectura en este periodo, recuperando un mayor potencial creativo para abordar los proyectos arquitectónicos, se han estudiado una serie de ejemplos pertinentes y relevantes. En cada uno de los capítulos se han analizado las objeciones más importantes que fueron planteadas frente a la arquitectura moderna por un arquitecto o grupo de arquitectos, seleccionados entre aquéllos que tomaron parte en este debate, y se estudia la inclusión de la metáfora en las alternativas que propusieron en cada caso. Además de una actitud crítica con la arquitectura moderna, todos los arquitectos seleccionados comparten una consideración semántica de la arquitectura y han expuesto sus ideas y posturas tanto en obras proyectadas y construidas, como en escritos o comentarios sobre su manera de entender y proyectar arquitectura. Esta doble producción ha permitido analizar, comparativamente, el papel de la metáfora en sus enfoques y propuestas críticas y en la realización de sus obras como alternativas a las mismas. Al mismo tiempo, la investigación profundiza en el conocimiento de la utilización de la metáfora como herramienta arquitectónica. A través del recorrido por las distintas maneras de entender este instrumento que pueden observarse en algunos de los arquitectos de la segunda mitad del siglo XX, se exponen tanto las posibilidades como los aspectos más críticos de la utilización de la metáfora en arquitectura. La variada utilización de la noción de metáfora en arquitectura se ve reflejada en las diversas consideraciones que hacen de la misma los arquitectos estudiados. La tesis se ha ocupado de distinguir cada uno de estos enfoques, haciéndose eco de la pluralidad con la que puede abordarse el concepto de metáfora de manera general y en arquitectura en particular. Así, algunos arquitectos del Team 10, la utilizan como un instrumento de ampliación y renovación semántica de la arquitectura moderna, que propone una síntesis de lo viejo y lo nuevo. Para Robert Venturi, se trata de un recurso con capacidad de persuadir y recrear, renovando semánticamente la arquitectura. Charles Jencks considera que es un procedimiento semántico esencial de la arquitectura, olvidado por los arquitectos modernos, cuya recuperación supone un rasgo diferencial de la arquitectura posmoderna respecto a la moderna. Para Aldo Rossi, es una manera de materializar las relaciones analógicas que constituyen su propuesta para proyectar una arquitectura de racionalismo exaltado frente a un racionalismo convencional. Peter Eisenman la valora porque inventa otras arquitecturas diferentes a las preconcebidas anteriormente, a pesar de que rechaza su capacidad representativa y expresiva. Rafael Moneo la utiliza para contraponerse al determinismo, como instrumento de innovación de la forma arquitectónica que construye una dinámica entre la contingencia y la necesidad. Finalmente, para Frank Gehry supone un procedimiento creativo y subjetivo con el que enfrentarse tanto a la arquitectura moderna como a la posmoderna con una arquitectura nueva y abierta a referencias inusuales. De esta manera, a través de los distintos capítulos, el estudio pretende componer un mosaico de posturas que manifieste los vínculos y las diferencias existentes entre estos arquitectos con relación a los temas estudiados: crítica y alternativas a la arquitectura moderna, semántica de la arquitectura, metáfora y otros conceptos relacionados. A su vez, la aparición continuada de la metáfora en los diferentes capítulos, y de los temas con los que está relacionada, manifiesta el protagonismo de esta herramienta arquitectónica en las propuestas de evolución y cambio de la arquitectura del periodo estudiado. ABSTRACT This thesis studies the role of the metaphor as an architectural tool in the debate and proposals to overcome the orthodoxy of modern architecture that took place since the middle part of the Twentieth Century. In architecture, the usage of the process which the metaphor constitutes is based in a semantic consideration of architecture and historically it has been used many times to develop new proposals, always based in the comparison with known models. This work examines the significant presence that this tool acquired in the proposals critical with orthodox modern architecture, due to the importance that the semantic aspects had in the debate on the continuity and validity of modern architecture’s postulates. This study also looks into the motives and frequency that those architects which adopted a critical attitude towards modern architecture alluded to the metaphorical relations in their alternative proposals. To demonstrate how during that period metaphors were imbued in the mechanisms of change of architecture, recovering a higher creative potential to approach architectural projects, a series of pertinent and relevant examples are studied. Each chapter examines the most important objections on modern architecture made by an architect or group of architects, selected among those who participated in this debate, and studies the inclusion of metaphor in the alternatives proposed in each case. Besides a critical attitude towards modern architecture, all the selected architects share a semantic consideration of architecture and have exposed their ideas and postures through projected and finalized works as in writings or commentaries on their way of understanding and projecting architecture. This double production allowed to analyse, in a comparatively manner, the role of metaphor in their approaches and critical proposals as in the execution of their works. At the same time, the research conducted further analyses the body of knowledge on the usage of metaphor as an architectural tool. By looking over the different ways some of the architects of the second half of the Twentieth Century understood this tool, both the possibilities and the most critical aspects of the usage of the metaphor in architecture can be exposed. The various usages of the notion of metaphor in architecture are reflected in the multiple considerations done about it by the selected architects. This thesis differentiates each one of those approaches, echoing the plurality with which the concept of metaphor can be addressed both in broader terms and more particularly in architecture. In this sense, some architects of Team 10 used it as a mean of semantic extension and renewal of modern architecture, proposing a synthesis between the old and the new. For Robert Venturi it is a resource with the capacity to persuade and recreate, semantically renewing architecture. Charles Jencks considers it an essential semantic procedure of architecture, forgotten by the modern architects, and which recovery represents a differential trait of post-modern architecture in relation to modern architecture. For Aldo Rossi, is a way of materializing the analogical relations which represent his proposal to project architecture of exalted rationalism as opposed to a more conventional rationalism. Peter Eisenman values it because it invents other architectures different from the preconceived before, even if he refuses its representational and expressive capacity. Rafael Moneo uses it to counter determinism, as an innovation tool of the architectonical form which generates dynamics between contingency and necessity. Finally, for Frank Gehry it supposes a creative and subjective process to face both modern architecture and post-modern architecture with a new architecture open to unusual references. As such, through its different chapters, this study aims to compose a mosaic of postures which expresses the links and the differences between those architects in relation to the topics examined: criticism and alternatives to modern architecture, semantics of architecture, metaphor and other related concepts. At the same time, the continuous presence of the metaphor in the different chapters, and of the issues it relates to, shows the importance of this tool in the proposals of evolution and change of architecture in the period considered.

Juan Navarro Baldeweg : el dibujo de la mano como herramienta en el proceso creativo

Esta investigación es una incursión en el tránsito de Juan Navarro desde sus “habitaciones y horizontes”, las manifestaciones espontáneas de la mano y el proyectar, a la obra que nos devuelve a la experiencia física y corporal del mundo. Juan Navarro debe a sus manos gran parte de sus inquietudes y capacidades. Sus manos están presentes en su obra como materia –piezas de manos-, como herramienta -el dibujo por la mano- y como desencadenante en los procesos creativos de su obra de arquitectura. Las distintas obras remiten a una preocupación común: la de visualizar el espacio a través de un imaginario personal. Sin embargo, el proceso creativo en cada disciplina se desarrolla teniendo en cuenta la especificidad del medio y la experiencia que provoca en el espectador. La obra, como concreción del proceso creativo, se explica por las continuidades y discontinuidades entre las herramientas, mecanismos y estrategias utilizadas en los distintos medios. La tesis se estructura en dos partes, en la primera se estudia cómo se producen los procesos creativos, sus mecanismos en los distintos medios plásticos y el dibujo como herramienta transversal. Se identifican los conceptos y temas que dan lugar a la obra profundizando en el papel de la mano como presencia orgánica, biológica y responsable de una forma de representación personal. La segunda parte se articula en dos capítulos que, a través del dibujo, muestran la arquitectura como modelo e identifican los mecanismos utilizados en su forma de proyectar y su relación con la obra en distintos proyectos. El texto se estructura como una secuencia de ideas articuladas alrededor de un universo gráfico que nos conduce por múltiples itinerarios desde los que atisbar los procesos creativos de Juan Navarro. Estos caminos son hilos con los que se teje una visión personal de la relación entre las herramientas y mecanismos utilizados por Juan Navarro y su obra. La manera cómo se produce el proceso creativo, los mecanismos y las herramientas que los ponen en marcha constituyen una forma de abordar la obra, que hasta la fecha, se ha tratado aisladamente sin una intención de construir un cuerpo estructurado de conocimiento. En la arquitectura Juan Navarro existe un vacío de conocimiento teórico y gráfico sobre el propio proceso y su forma de proyectar. Se ha persistido en la explicación de la obra, sus referencias, temas abordados, relaciones y trasvases sin ahondar en la especificidad del medio. Estos vacíos establecen la necesidad y justificación de esta tesis doctoral. La investigación comienza descifrando una obra que desde sus inicios trabaja con la dualidad de lo gestual y lo conceptual. Plantea una forma de ordenación del mundo, de la sensación sometida a la medida en la que finalmente la obra se recibe como signo que desencadena sentimientos y te devuelve al mundo. Propone la recuperación de los sentidos a través de una arquitectura como vivencia no reductible al espacio geométrico. Identifica los mecanismos y herramientas que se establecen en este proceso y termina concluyendo que el dibujo es la herramienta doblemente transversal porque atiende de forma desigual a las distintas disciplinas y a los dos extremos en que se presenta la actividad creatividad en el trabajo de Juan Navarro. Estos extremos se corresponden con un conocimiento corporal inconsciente y un trabajo constante guiado por la motivación, la predeterminación y la conceptualización. El dibujo por la mano es el espacio de encuentro entre lo que representa la mano y la posibilidad de expresión proyectual codificada. Se produce en un territorio que se extiende desde lo analógico subyacente –que se nutre de imágenes complejas- y el dominio simbólico construido. Abstract. This research is a foray into Juan Navarro’s transition from his "Rooms and Horizons", -spontaneous demonstrations of the hand-, to the project, -the work that brings us back to experiencing the physical world-. Juan Navarro owes his hands much of his capacities and inquisitiveness. His hands are present in his work as the subject –“Hand Pieces”-, as a tool -through hand-drawing - and as a trigger in the creative processes of his work of architecture. The various works refer to a common theme: the viewing space through a personal imagery. However, the creative process in each discipline develops taking into account the specificity of the medium and the experience that arouses in the observer. The work, as completion of the creative process, is explained by the continuities and discontinuities between the tools, mechanisms and strategies used in the different media. The thesis is structured in two parts, the first studies how the creative processes are iniciated, their mechanisms in the different plastic art media, as well as drawing as a transversal tool. In this section the investigation identifies the concepts and themes that give rise to the art work, exploring the role of the hand as the organic, biological presence responsible for a way of personal representation. The second part is divided into two chapters, which, via the drawing, show the architecture as a model and identify the mechanisms used in the his way of projecting form of the project and its the relationship of hand-drawing to with his work ilustrated with different projects. The text is structured as a sequence of ideas, articulated around a graphic universe that leads us by multiple paths, letting us glimpse into the creative processes of Juan Navarro. These paths are threads that weave a personal vision of the relationship between the tools and mechanisms used by Juan Navarro in his work. The way the creative process takes place, the mechanisms and tools that set it in action, constitutes a way of dealing with the work, that, hithergo, has been treated in isolation without an intention to build a structured body of knowledge. In Navarro Baldeweg’s architecture there is a vacuum of theoretical and graphic knowledge of the process itself and his way of projecting. So far, emphasis has been placed mainly on his work’s explanation, its references, the subjects covered, connections and transfers, without delving into the specificity of each medium. These academic gaps justify the need for this doctoral thesis. The investigation begins deciphering a work that, since its very beginning, deals with the duality of the gesture and the concept. It poses a way of managing the world and the sensations which are submitted until it finally detects the work as a sign that triggers feelings and returns the observer to the real world. It proposes the recovery of the senses through an architecture that is sensed as an experience and not merely reduced to geometric space. It identifies the mechanisms and tools that are set out in this process and concludes that drawing is a core tool working in two directions, because it caters unevenly to the various disciplines and to both ends of the creative activity presented in the work of Juan Navarro. These ends correspond with an unconscious physical knowledge and a continuous work guided by motivation, predetermination and conceptualization. Hand-drawing is the meeting space between what the hand represents, and the possibility of an encoded, projectual expression. Thus, hand-drawing takes place in a territory that covers the underlying analogue - which feeds on complex images - to the symbolic built domain.